The Sampler As Compositional Tool and Recording Dislocation
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An Annotated Bibliography of Current Research in the Field of the Medical Problems of Trumpet Playing
AN ANNOTATED BIBLIOGRAPHY OF CURRENT RESEARCH IN THE FIELD OF THE MEDICAL PROBLEMS OF TRUMPET PLAYING D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School at The Ohio State University By Mark Alan Wade, B.M., M.M. ***** The Ohio State University 2008 Document Committee: Professor Timothy Leasure, Adviser Approved by Professor Alan Green Dr. Russel Mikkelson ________________________ Adviser Graduate Program in Music ABSTRACT The very nature of the lifestyle of professional trumpet players is conducive to the occasional medical problem. The life-hours of diligent practice and performance that make a performer capable of musical expression on the trumpet also can cause a host of overuse and repetitive stress ailments. Other medical problems can arise through no fault of the performer or lack of technique, such as the brain disease Task-Specific Focal Dystonia. Ailments like these fall into several large categories and have been individually researched by medical professionals. Articles concerning this narrow field of research are typically published in their respective medical journals, such as the Journal of Applied Physiology . Articles whose research is pertinent to trumpet or horn, the most similar brass instruments with regard to pitch range, resistance and the intrathoracic pressures generated, are often then presented in the instruments’ respective journals, ITG Journal and The Horn Call. Most articles about the medical problems affecting trumpet players are not published in scholarly music journals such as these, rather, are found in health science publications. Herein lies the problem for both musician and doctor; the wealth of new information is not effectively available for dissemination across fields. -
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Exit Through the Gift Shop
Filmtipp Banksy - Exit Through The Gift Shop Regie Banksy Darsteller/innen Banksy, Shepard Fairey, Thierry Guetta, Space Invader, Joshua Levine Land, Jahr USA, Großbritannien 2010 Länge, Format 87 Minuten FSK ab 6 Jahre Sprachfassung Deutsch Festivals, Preise Internationale Filmfestspiele Berlin 2010 (außer Konkurrenz), Sundance Festival Kinostart, Verleih 21.10.2010, Alamode Filmdistribution Genre Dokumentation Inhalt Der Street-Art-Künstler Banksy ist ein Phantom. Obwohl seine Werke auf zahlreichen Fassaden dieser Welt zu finden sind, ist seine Identität nur wenigen Menschen bekannt. Als der französische Filmemacher Thierry Guetta zufällig in die Street-Art-Szene hinein kommt und wie besessen alles mit seiner Videokamera festhält, ist es nur eine Frage der Zeit, bis er von dem berüchtigten Banksy hört. Er setzt sich das Ziel, auch diesen Künstler zu filmen. Dank guter Kontakte lernt Guetta Banksy tatsächlich kennen und bekommt die Erlaubnis, ihn bei seiner Arbeit zu filmen. Doch der fertige Film ist eine Katastrophe, so dass Banksy kurzerhand beschließt, den Spieß umzudrehen und einen Film über Guetta zu machen, der sich seitdem als Street-Art-Künstler betätigt. Fortan nennt sich der weder als Street-Art-Künstler noch als Filmemacher talentierte Guetta "Mr. Brainwash". Er plant eine Ausstellung, die in die Geschichte eingehen soll. Umsetzung "Banksy – Exit Through The Gift Shop" ist eine ungewöhnliche Dokumentation. Der Film des Provokateurs Banksy hat viel von einer "Mockumentary" (mock = vortäuschen, sich lustig machen), eines fiktionalen Dokumentarfilms, der sowohl das Genre als auch sein Thema aufs Korn nimmt. So kann sich der Zuschauer auch in diesem Film an kaum einer Stelle sicher sein, welche Elemente der Realität entsprechen, welche lediglich lose mit ihr verknüpft und welche vollständig erfunden sind. -
Neve 88RS User Manua
Contents CONTENTS INTRODUCTION System Information 1:1 POWER UP AND POWER DOWN SEQUENCE Power Up Procedure: 2:1 Power Down Procedure 2:3 CONSOLE CONFIGURATION Multitrack Recording 2:6 Mixdown 2:8 Overdubbing 2:10 Tape and Cues Post EQ 2:18 Broadcast 2:20 THE 88RS CONSOLE SURFACE The 88RS Channel Module 3:3 Channel Fader Module 3:11 SOLO & MASTER CUT SYSTEM 4:1 Solo System 4:1 Cut Grouping Facility 4:4 MONITOR & FACILITIES SECTION Oscillator and Signal level 5:1 Auxiliary Master Section 5:2 Cue Mix System 5:4 Rev Returns 5:6 Monitor Panel 5:7 5:14 2 Track Mixer 5:21 5:22 5:23 Monitor and Facilities Fader Section 5:23 Issue 3 i 88RS User Manual Contents METERING Multitrack Meters 6:1 Auxiliary Meters 6:3 Multitrack Meter Controls 6:4 Monitor 6T Output Meters 6:5 6:6 Monitor 8T Output Meters (optional) 6:6 Encore Screen 6:8 6:8 6:8 SURROUND: ROUTING & MONITORING Reassign Matrix Panel 7:1 Reassign Matrix Modes 7:5 Automated Panning 7:8 Optional Joystick Module 7:9 AUTOMATION & MACHINE CONTROL Global Master Automation 8:1 Events Master 8:2 Automation Panel 8:3 GLOSSARY Terms Used In This Manual 9:1 Issue 3 ii 88RS User Manual INTRODUCTION System Information INTRODUCTION System Information The 88RS is an ‘in-line’ monitor type console. Each channel strip contains all the facilities necessary for multitrack recording, overdubbing and mixdown. The console has the powerful feature of split operation - i.e. the console can be operationally divided into two halves (to the left and right of the master control panel) with independent status control and split mix busses. -
Ben Salisbury
Craft / Geoff Barrow of Portishead with Ben Salisbury quite dry, quite traditional. I was expecting it might be like ‘The Kids from Fame’. But they weren’t, the vast majority of students wanted to be music teachers! The benefit was there was a brand new recording studio at Newcastle University, and there was only me and one other guy who were interested in using it, so we had the run of it. It was absolutely state-of-the- art, when samplers and digital stuff were just taking off. So that was really my introduction into composing. Music for Film and TV at Bournemouth in the early ’90s was a brilliant course, in that you had your own workstation. You were sat down, you had deadlines, and it was quite pressurised, so was actually quite similar to life as a commercial composer. Weirdly, that was probably exactly the same time Geoff [Barrow] was using samplers to make Portishead’s Dummy. What was your first real break? I came out of Bournemouth with a credit to my name, because I did music for a short film that went on to win an award, and was broadcast on Channel Four. It was directed by a guy called Ben Salisbury Miguel Sapochnik who I’ve worked with since on other short films. Now he directs episodes of DAVE ROBINSON meets the nature documentary composer Game of Thrones! One person, that’s all it took: one director who has his (laser) sights on sci-fi chose a bit of music I’d done for that film as temp music for his film about elephants and en Salisbury is a name you can expect Your father worked at the BBC Natural said, “Look, you’re very inexperienced, but to see more and more of on your History Unit: that must have been useful to we’ve got this music in there. -
Melancholy and Loss
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Book Section Title: ‘You should try lying more’: the nomadic impermanence of sound and text in the work of Bill Drummond Creator: WisemanTrowse, N. J. B. Example citation: WisemanTrowse, N. J. B. (2014) ‘You should try lying more’: the nomadic impermanence of sound and text in the work of Bill Drummond. In: Hansen, A. and Carroll, R. (eds.) Litpop: Writing and Popular Music. Aldershot: Ashgate. pp. 157 168. It is advisable to refer to the publisher's version if you intend to cite from this work. Version: Submitted version Official URL: http://www.ashgate.com/isbn/9781472410979 NECTARhttp://nectar.northampton.ac.uk/4373/ 1 ‘You Should Try Lying More’: The Nomadic Impermanence of Sound and Text in the Work of Bill Drummond Nathan Wiseman-Trowse Imagine waking up tomorrow, all music has disappeared. All musical instruments, all forms of recorded music, gone. A world without music. What is more, you cannot even remember what music sounded like or how it was made. You can only remember that it had existed, that it had been important to you and your civilisation. And you long to hear it once more. Then imagine people coming together to make music with nothing but their voices, and with no knowledge of what music should sound like.1 Bill Drummond’s work straddles the worlds of popular music, literature and art. Drummond is perhaps best known as one half of the massively successful dance act The KLF, who scored a number of single and album chart hits across Europe in the late eighties and early nineties. -
UNBOUNDLATE NIGHTS at the EDINBURGH INTERNATIONAL BOOK FESTIVAL 10 25 AUG 2014 an Introduction to Jura Unbound 2014
UNBOUNDLATE NIGHTS AT THE EDINBURGH INTERNATIONAL BOOK FESTIVAL 10 25 AUG 2014 An Introduction to Jura Unbound 2014 he Edinburgh International Book Festival is once more that it’s not just in August that the T18 days of bookish brilliance bursting out of literary sun shines bright in Edinburgh. the tents inside Charlotte Square Gardens. 16 It wouldn’t be a proper Jura Unbound of those days transform into nights of literary programme without a delicious collision of delight with Jura Unbound, the Book Festival’s words and music, and the lovely Willy Vlautin eclectic programme of fantastic, free events and legendary Vic Galloway both host their own inviting you to discover the makers of some truly special evenings. Importantly, we remain rooted magnificent stories. in books and stories, with the ethereal tales Jura Unbound is a mischievously magical of E.O. Higgins and the literary fitness freak thing. Quietly created from dreams and schemes, Andy Miller. To top it all, Spoken Word takes to ideas and frivolous fancies, it unleashes our centre stage with Nasty Little Press plus a word- unique creative chaos onto the world from inside wrestling battle-to-the-death independence the magnificent Guardian Spiegeltent. Each debate with a difference. night, enveloped by the velvet roof and mirrored Look out for Jura Unbound’s special series walls, a little bit of magic happens. Maybe of #shelfies from participants, performers and, it's because of the mysterious stilt-walking hopefully, you. Belgians who build the venue, or perhaps it’s the And the most magical thing about Jura audience, who are looking to fend off the festival Unbound? It is still completely free. -
Plunderphonics – Plagiarismus in Der Musik
Plagiat und Fälschung in der Kunst 1 PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK Durch die Erfindung der Notenschrift wurde Musik versprachlicht und damit deren Beschreibung mittelbar. Tonträger erlaubten es, Interpretationen, also Deutungen dieser sprachlichen Beschreibung festzuhalten und zu reproduzieren. Mit der zunehmenden Digitalisierung der Informationen und somit der Musik eröffneten sich im 20. Jahrhundert neue Möglichkeiten sowohl der Schaffung als auch des Konsums der Musik. Eine Ausprägung dieses neuen Schaffens bildet Plunderphonics, ein Genre das von der Reproduktion etablierter Musikstücke lebt. Diese Arbeit soll einen groben Überblick über das Genre, deren Ursprünge und Entwicklung sowie einigen Werken und thematisch angrenzenden Musik‐ und Kunstformen bieten. Es werden rechtliche Aspekte angeschnitten und der Versuch einer kulturphilosophischen Deutung unternommen. 1.) Plunderphonics und Soundcollage – Begriffe und Entstehung Der Begriff Plunderphonics wurde vom kanadischen Medienkünstler und Komponisten John Oswald geprägt und 1985 in einem bei der Wired Society Electro‐Acoustic Conference in Toronto vorgetragenen Essay zuerst verwendet [1]. Aus musikalischer Sicht stellt Plunderphonics hierbei eine aus Fragmenten von Werken anderer Künstler erstellte Soundcollage dar. Die Fragmente werden verfälscht, beispielsweise in veränderter Geschwindigkeit abgespielt und neu arrangiert. Hierbei entsteht ein Musikstück, deren Bausteine zwar Rückschlüsse auf das „Ursprungswerk“ erlauben, dessen Aussage aber dem „Original“ zuwiderläuft. Die Verwendung musikalischer Fragmente ist keine Errungenschaft Oswalds. Viele Musikstile bedienen sich der Wiederaufnahme bestehender Werke: Samples in populär‐ und elektronischer Musik, Riddims im Reggae, Mash‐Ups und Turntablism in der Hip‐Hop‐Kultur. Soundcollagen, also Musikstücke, die vermehrt Fragmente verwenden, waren mit dem Fortschritt in der Tontechnik möglich geworden und hielten Einzug in den Mainstream [HB2]. -
Record Store Day 2015 Releases Price Record
Record Store Day 2015 Releases Price Record Store Day 2015 Releases Price Record Store Day 2015 Releases Price Record Store Day 2015 Releases Price 7" SINGLES 7" J Dilla : Fuck The Police - Badge Shaped 7" Edition29.99 7" Soko : Ocean Of Tears 6.99 10" The Replacements : Alex Chilton 12.99 7" Adam And The Ants : Kings Of The Wild Frontier / Ant8.99 Music7" Jagaara : In The Dark 6.49 7" The Spaceape Feat Kode9 & The Bug : Ghost Town8.99 / At War10" With Time Roxy- Gold Music Vinyl :Edition Ladytron 14.99 7" Ryan Adams : Come Pick Me Up 10.99 7" Bert Jansch : Needle Of Death EP 9.99 7" Dusty Springfield : What's It Gonna Be / Spooky 11.99 10" Tracey Thorn : Songs From The Falling 7.99 7" A-ha : Take On Me 13.99 7" Jay-Z / Ghostface Killah : U Don't Know / Whip You11.99 With A7" Strap Stealing Sheep / The Voyeurs : Split 7" 7.99 10" The Waterboys : Puck's Blues 8.99 7" Air : Playground Love 12.99 7" Sharon Jones & The Dap-Kings : Little Boys With Shiny5.49 Toys7" The Subways : Taking All The Blame 7.49 10" Young Knives : Something Awful 12.99 7" A$ap Rocky : LPFJ2 / Multiply 7.99 7" Tom Jones : Chills & Fever / Breathless 11.99 7" Supergrass : Sofa (Of My Lethargy) 11.99 10" Various : An On-U Sound Journey Through Time & 8.99Space 7" B-Movie : They Forget / Trash & Mystery 6.49 7" Joy Division : Love Will Tear Us Apart / Leaders Of14.99 Men 7" Temples / Fever The Ghost : Split 7" 7.99 12" SINGLES 7" Syd Barrett / R.E.M. -
Gaining System Access Through Information Obtained in Web 2.0 Sites Arsenio Guzmán
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 2010 Gaining system access through information obtained in Web 2.0 sites Arsenio Guzmán Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Guzmán, Arsenio, "Gaining system access through information obtained in Web 2.0 sites" (2010). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Gaining system access thr ough in formation obtained in web 2.0 sites By Ing. Arsenio Guzmán Thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Networking and Systems Administration Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences [04/05/2010] Rochester Institute of Technology B. Thomas Golisano College Of Computing and Information Sciences Master of Science in Networking and Systems Administration ~ Project Approval Form ~ ~ Student Name: Arsenio de Jesús Guzmán Project Title: Gaining system's access through information obtained in Web 2.0 sites Project Area(s): Networking Systems Administration (circle one) √ Security Other ________________________ ~ MS Project Committee ~ Name Signature Date Prof. Charles Border Chair Prof. Bo Yuan Committee Member Prof. Arlene Estevez Committee Member Project Reproduction Permission Form Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Master of Science in Networking and Systems Administration Gaining system access through information obtained in web 2.0 sites I, Arsenio Guzmán, hereby grant permission to the Wallace Library of the Rochester Institute of Technology to reproduce my thesis in whole or in part. -
Introduction to Computer Music Week 7 Sampling Synthesis and Filters Version 1, 28 Sep 2018
Introduction to Computer Music Week 7 Sampling Synthesis and Filters Version 1, 28 Sep 2018 Roger B. Dannenberg Topics Discussed: Sampling Synthesis, Filters 1 Sampling Synthesis Although direct synthesis of sound is an important area of computer music, it can be equally interesting (or even more so!) to take existing sounds (recorded or synthesized) and transform, mutate, deconstruct—in general, mess around with them. There are as many basic sound transformation techniques as there are synthesis techniques, and in this chapter we’ll describe a few important ones. For the sake of convenience, we will separate them into time-domain and frequency-domain techniques. 1.1 Tape Music / Cut and Paste The most obvious way to transform a sound is to chop it up, edit it, turn it around, and collage it. These kinds of procedures, which have been used in electronic music since the early days of tape recorders, are done in the time domain. There are a number of sophisticated software tools for manipulating sounds in this way, called digital sound editors. These editors allow for the most minute, sample-by-sample changes of a sound. These techniques are used in almost all fields of audio, from avant-garde music to Hollywood soundtracks, from radio station advertising spots to rap. 1.2 Time-Domain Restructuring Composers have experimented a lot with unusual time-domain restructuring of sound. By chopping up waveforms into very small segments and radically reordering them, some noisy and unusual effects can be created. As in collage visual art, the ironic and interesting juxtaposition of very familiar materials can be used to create new works that are perhaps greater than the sum of their constituent parts.