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Bio Information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: Djtrio Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP
Bio information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: djTRIO Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: EXPERIMENTAL / SOUND ART / AVANT-GARDE / TURNTABLISM “At various moments, the mix suggested nature sounds, urban cacophony, 12-tone compositions and the tuning of radio dial” – Washington Post “An archeological excavation where whirlpool scratches, microtones and samples of thrift store-mined cheese fly around like poltergeists released from a tomb.” – XLR8R “Some amazing, static-riddled alien music.” – Dusted Start off by dispelling any outmoded notions about taking things at face value – sometimes a DJ is not just a DJ, a record is not a record, and a turntable is more than a record player. These are the basic tenets with which to enter the world of Christian Marclay’s djTRIO, especially in the case of their live recordings. World-renowned multi-media artist Marclay may be best known these days for his globally embraced film collage piece “The Clock,” but he began by redefining the roles of “musician,” “DJ,” and even “artist” itself. Since the late ‘70s, Marclay has created art by masterfully mistreating both vinyl and phonographic equipment, using them both in a manner more consistent with the way an abstract sculptor employs raw materials in the service of a larger vision. Sometimes these sonic journeys utilizing a turntable as a sextant have been in-the-moment experiences and sometimes they’ve been captured for posterity, but 21 September 2002 on Cuneiform Records happens to be both. -
Dave Douglas/Marcus Rojas Duo
Solos and Duos Series Glenn Siegel, Program Director 15 Curry Hicks, 100 Hicks Way (413) 545-2876 University of Massachusetts [email protected] Amherst, MA 01003 www.fineartscenter.com THE 2008 SOLOS & DUOS SERIES PRESENTS: Dave Douglas/Marcus Rojas Duo The Solos & Duos Series, produced by the Fine Arts Center at the University of Massachusetts at Amherst, concludes its 7th season with a duo concert by trumpeter Dave Douglas and tuba player Marcus Rojas on Thursday, November 20, in Bezanson Recital Hall at 8:00pm. Dave Douglas is widely recognized as one of the most important and original American musicians to emerge from the jazz and improvised music scene of the last decade. His collaborations as a trumpeter read like a who's who of important contemporary artists: John Zorn, Joe Lovano, Bill Frisell, Don Byron, Steve Lacy, Anthony Braxton, Myra Melford, Andy Bey, Trisha Brown, Henry Grimes, Tom Waits, Rabih Abou-Khalil, DJ Olive, Ikue Mori, Han Bennink, Misha Mengelberg, Uri Caine, Roswell Rudd, Andrew Cyrille, Marc Ribot, Karsh Kale, Mark Dresser, Marty Ehrlich, and many others. For the past half decade Dave Douglas has repeatedly been named trumpeter, composer, and jazz artist of the year by such organizations as the New York Jazz Awards, Down Beat, Jazz Times, and Jazziz. Dave Douglas is “an original thinker blessed with a seemingly bottomless well of intriguing ideas,” writes Howard Reich. Since 1993, Douglas has released 21 albums of original music, and has appeared on over one hundred recordings. His 2000 album “Soul on Soul”, was voted “Album of the Year” by DownBeat. -
Perfect Partner
PERFECT PARTNER A film by Kim Gordon, Tony Oursler and Phil Morrison starring Michael Pitt and Jamie Bochert, with a live soundtrack performed by Kim Gordon, Jim O’Rourke, Ikue Mori, Tim Barnes and DJ Olive As a significant figure of alternative/avant-garde rock and one of the founders of Sonic Youth, Kim Gordon is a truly creative spirit. Enigmatic, iconic, original and multi- faceted, she is increasingly working in the medium of visual arts and diversifying her music projects into more experimental territory. Perfect Partner is a first time collaboration between Kim Gordon, highly renowned artist Tony Oursler and acclaimed filmmaker Phil Morrison. In a response to America’s enchantment with car culture, this surreal psychodrama-cum-road movie starring Michael Pitt (The Dreamers, Hedwig And the Angry Inch, Bully and Gus Van Sant’s upcoming Last Days) and Jamie Bochert unfolds to a thundering free rock live soundtrack. The sound world of Perfect Partner is textural improvised music breaking into occasional songs that interact with the narrative of the film. Kim Gordon is joined on stage by fellow Sonic Youth collaborator, producer extraordinaire, composer and School Of Rock collaborator Jim O’Rourke, percussionist Tim Barnes, laptop virtuoso Ikue Mori and turntablist DJ Olive. Audiences across the UK should fasten their seatbelts for an invigorating trip through live music, video and projection in this one-off cross media adventure. Gordon and Oursler’s shared fascination with the dream lifestyle promised by car manufacturers, and the aspirational language of car advert copy (selling cars as our ‘perfect partner’), provided the inspiration for this hugely inventive project. -
Slash. Uri Caine's Mahler
Interdisciplinary Studies in Musicology 13,2013 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2013 ADAM POPRAWA Institiute of Polish Philology, University of Wroclaw Slash. Uri Caine’s Mahler ABSTRACT: In recent years, artistic projects combining a wide array of musical styles, such as jazz interpretations of classical music or orchestral arrangements of rock songs, have enjoyed considerable popularity. As their authors were focused mainly on sales profits, the artistic value of their works was often highly disputable. Nevertheless, some outstanding achievements in that field have also been made, among them reinterpretations of classical repertoire - Bach, Beethoven, Mozart, Schumann, and, above all, Mahler - by American pianist Uri Caine. He recorded several CDs containing new ver sions of Mahler’s entire works or their excerpts. Sometimes Caine’s music moves far away from the originals, though such artistic experiments are always well-grounded and aesthetically convincing. Caine’s reinterpretations of Mahler have also some (auto)biographical overtones. KEYWORDS: Uri Caine, blurred genres, reinterpretation, Jewish cultural tradition A warehouseman Gladyshev, one of the characters in Vladimir Voinovich’s novel, inspired by Michurin’s and Lysenko’s achievements, decided to grow a new plant which was to have been a combination of a potato and a to mato. Such a crop should bring a double benefit as in the near future it would be possible to pick tomatoes off the top and to dig up potatoes at the bottom of the same plant. Gladyshev named this cross using an acronym PUKS which stood for the ‘Put’ k Sotsialismu’ [Path to Socialism], ‘The experiments [...] have not as yet produced any useful results, however, some characteristic features of PUKS have already appeared: the leaves and stalks of Gladyshev’s plant were sort of potato like, the roots, one the other hand, looked definitely like those of a tomato’1. -
Crinew Music Re Uoft
CRINew Music Re u oft SEPTEMBER 11, 2000 ISSUE 682 VOL. 63 NO. 12 WWW.CMJ.COM MUST HEAR Universal/NIP3.com Trial Begins With its lawsuit against MP3.com set to go inent on the case. to trial on August 28, Universal Music Group, On August 22, MP3.com settled with Sony the only major label that has not reached aset- Music Entertainment. This left the Seagram- tlement with MP3.com, appears to be dragging owned UMG as the last holdout of the major its feet in trying to reach a settlement, accord- labels to settle with the online company, which ing to MP3.com's lead attorney. currently has on hold its My.MP3.com service "Universal has adifferent agenda. They fig- — the source for all the litigation. ure that since they are the last to settle, they can Like earlier settlements with Warner Music squeeze us," said Michael Rhodes of the firm Group, BMG and EMI, the Sony settlement cov- Cooley Godward LLP, the lead attorney for ers copyright infringements, as well as alicens- MP3.com. Universal officials declined to corn- ing agreement allowing (Continued on page 10) SHELLAC Soundbreak.com, RIAA Agree Jurassic-5, Dilated LOS AMIGOS INVIWITI3LES- On Webcasting Royalty Peoples Go By Soundbreak.com made a fast break, leaving the pack behind and making an agreement with the Recording Word Of Mouth Industry Association of America (RIAA) on aroyalty rate for After hitting the number one a [digital compulsory Webcast license]. No details of the spot on the CMJ Radio 200 and actual rate were released. -
Node. International Festival of Electronic Music and Live Media
NODE. INTERNATIONAL FESTIVAL OF ELECTRONIC MUSIC AND LIVE MEDIA. FIFTH EDITION Press Release Fifth edition of NODE, the International Festival of Electronic Music and Live Media, organised by the Galleria Civica di Modena, curated by Filippo Aldovini, Anna Bartolacelli and Fabio Bonetti, and coproduced in collaboration with the Culture Councillorship of Modena City Council. On Friday 8th and Saturday 9th June 2012, Palazzo Santa Margherita in corso Canalgrande 103 will host two evenings of performances by Orcas, Lapalux, Sanso-xtro, Holy Other, Benoît Pioulard and the Quiet Ensemble. The event will showcase Australian, American, British and Italian artists offering an expression of new musical research on the international electronic panorama. The performances – to which entrance is free, although places are limited – will be staged as usual in the Main Hall from 9.30pm onwards, with both the audio and video relayed live in the cloister of the Palazzo in order to allow the greatest number of people to follow the live event. And the end of both evenings, a dj set will be presented by major representatives of the Red Bull Music Academy: on Friday 8th June the SRSLY djs, while on Saturday 9th June it will be the turn of Broke One. NODE, which as usual brings together visual arts and music with new technologies, focuses on the new generation in this edition, as well as the most important results of contemporary research and experimentation, while at the same time seeking out new environments in which to find common ground. Indeed, this yearʼs Festival is preceded by three previews held in collaboration with VIE, the contemporary scene festival, and with the Mattatoio Culture Club. -
Mephista Short Bios.Rtf
MEPHISTA Sylvie Courvoisier (piano) Ikue Mori (electronics) Susie Ibarra (drums) Three of downtown's most dynamic performers join forces to form Mephista-one of the first all women supergroups (Susie Ibarra, Sylvie Courvoisier, and Ikue Mori). Separately these three have worked with some of the most important musicians in new music (Derek Bailey, William Parker, John Zorn, Fred Frith, Mike Patton, Dave Douglas, etc.)-together they have created a whole new kind of music spanning the worlds of rock, classical, jazz and electronica. Sensitive, powerful and exotic. Recordings Black Narcissus (Tzadic,2002) Entomological Refelections (Tzadic, 2004) ----------------------------------------------------------------------------------------- SYLVIE COURVOISIER- Pianist & composer Sylvie Courvoisier was born and raised in Lausanne, Switzerland. As a composer, she has been commissioned to write music for concerts, radio, dance and theater. Her newest release as a leader "ABATON" with Mark Feldman and Erik Friedlander is on ECM Records. As a pianist and improviser, she plays and records with different artists such as Mark Feldman, John Zorn, Tony Oxley, Yusef Lateef, Butch Morris, Tim Berne, Herb Robertson, Joëlle Léandre, Dave Douglas, Susie Ibarra, Ellery Eskelin, Ikue Mori, Fred Frith, Michel Godard, Mark Nauseef… Since 1998, Sylvie Courvoisier has been based in Brooklyn, New York. Her recent work includes: "Abaton", a trio performing her compositions with Mark Feldman violin & Erik Friedlander cello. "Sylvie Courvoisier Quintet" with Mark Feldman, Vincent Courtois, Ikue Mori, Gerald Cleaver "Mephista" an improvising trio with Ikue Mori electronics and Susie Ibarra drums. "Duo" with Mark Feldman playing John Zorn’s music "Vincent Courtois Trio" the French cellist's group with Ellery Eskelin saxophone. "John Zorn's Cobra" “Yusef Lateef 4tet” with Yusef Lateef , Adam Rudolph and Joseph Bowie "Herb Robertson Quintet" with Tim Berne, Tom Rainey and Mark Dresser. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Members Events Seminars with Artists Panel Discussion
SEMINARS WITH ARTISTS 7–8:15 pm This season’s popular Seminars with Artists series showcases 2002 Biennial artists. TIRTZA EVEN Tuesday, March 19 COLLIER SCHORR Tuesday, April 2 TRENTON DOYLE HANCOCK Tuesday, April 16 LEBBEUS WOODS Tuesday, April 23 YUN-FEI JI Tuesday, April 30 ANNE WILSON Thursday, May 16 Admission: Individual sessions: $17.50; members, sen- ior citizens, and students with valid ID $12.50. Series TRENTON DOYLE HANCOCK, Rememor with Membry, 2001. Collage, pieced acrylic on canvas, 60 1/8 x 72 1/2 in. (152.7 x 184.2 cm). Whitney Museum of American Art, admission (based on availability): $100; members, sen- New York; purchase with funds from the Contemporary Committee 2001.229 ior citizens, and students with valid ID $70. Advance tickets required; call 1 (877) WHITNEY or purchase MEMBERS EVENTS tickets in the Museum Lobby. Join today and attend these events for free! To become a member, please call (212) 570-3641. MEMBERS-ONLY PANEL DISCUSSION PRIVATE VIEWING HOURS SITES, SIGNS, AND TIMES: RESPONSES Thursday, April 4 6–9:30 pm TO THE 2002 BIENNIAL EXHIBITION Saturday, April 6 9–11 am Thursday, May 9 6–8 pm THE GRADUATE CENTER, THE CITY UNIVERSITY OF NEW YORK 365 FIFTH AVENUE AT 34TH STREET In conjunction with the 2002 Biennial Exhibition, this panel brings together a broad range of crit- ical thinkers and cultural producers responding to notions of contemporary visual culture, archi- tecture, performance, film, and sound. Speakers include Eleanor Heartney, contributing editor to MUSEUM ADMISSION Art in America; Greg Tate, contributing writer for Call now for tickets: 1 (877) WHITNEY, or The Village Voice, Vibe, Artforum, and Rolling Stone; visit www.whitney.org. -
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project. -
Monsieur Délire: 2013-11-25/26: Copernicus, the Claudia Quintet
Mer Nästa blogg» Skapa en blogg Logga in Portail du journalisme et de l'activisme musical de François Couture. INTRODUCTION | JOURNAL D'ÉCOUTE | DÉLIRE MUSICAL | DÉLIRE ACTUEL | FIMAV | MA PROPRE MUSIQUE Home of François Couture's music journalism and activism. INTRODUCTION | LISTENING DIARY | DÉLIRE MUSICAL | DÉLIRE ACTUEL | FIMAV | MY OWN MUSIC 2 0 1 3 - 1 1 - 2 7 CE François Couture 2013-11-25/26: Copernicus, The Claudia Quintet, Nouvel album solo / New solo Chrome Hoof, 21, Metal-o-Phone, Brigitte release Fontaine Libellés : 21, Brigitte Fontaine, Chrome Hoof, Claudia Quintet, Coax Records, Copernicus, Cuneiform, Journal d'écoute / Listening diary, Metal-o-Phone, Collaboration avec ®o©HLo / New Nevermore, Superior Viaduct collaboration with ®o©HLo Journal d'écoute / Listening Diary 2013-11-25/26 D'autres musiques sur / More music COPERNICUS / L’Éternité immédiate (Nervermore – merci à/thanks on: bandcamp soundcloud to Moonjune) J’aime bien Copernicus – son personnage, ses musiques, son propos. Les choix de Monsieur Délire / Or, avec L’Éternité immédiate, c’est la débandade. Je m’explique: en Monsieur Délire's current favs 2001, Copernicus enregistre Immediate Eternity en Équateur, avec des - Anthony Braxton: Quartet (FRM) musiciens équatoriens, en espagnol et en anglais. Il considère encore 2007 Vol. 4 aujourd’hui qu’il s’agit de son meilleur album en carrière. Au cours des - The Wrong Object: After the deux années suivantes, il a réenregistré des paroles en fançais et en Exhibition allemand. En 2013, à l’occasion d’une longue entrevue dans un - Dieuf-Dieul de Thiès: Aw Sa Yone, magazine français, son étiquette Nervermore a réédité L’Éternité Vol. -
Dancecult 7(2)
Reviews Remixology: Tracing the Dub Diaspora Paul Sullivan London: Reaktion Books, 2014. ISBN: 978-1-78023-199-0 RRP: $31.54 (CAD); $25.00 (USD); £15 (UK) <http://dx.doi.org/10.12801/1947-5403.2015.07.02.06> tobias c. van Veen Université de Montréal (Canada) Paul Sullivan opens his Remixology: Tracing the Dub Diaspora by writing that “dub is a genre and a process”, as he describes the intersection of Afrodiasporic and Rastafari soundsystem culture with bass-heavy music styles as “ethereal, mystical, conceptual, fluid, avant-garde, raw, unstable, provocative, postmodern, disruptive, heavyweight, political, enigmatic . .” (2014: 7). Dub resonates as an echo through all of these signs, though Remixology tends to provide a lightweight treatment of the complex of metaphors Sullivan commences with. Less an intensive cultural study, even less so indulging in the kind of rich poetic license one would expect from a music journalist such as David Toop, Sullivan’s make-do journalistic approach combines first-hand interviews with a repackaging of well-travelled tales to tell a rich narrative of dub’s musical and cultural development, focusing on its producers, soundsystem operators, selectors and DJs. Avoiding the usual rounds of critique that gives cultural studies its edge—there is very little here on gender/sexuality, power/violence, colonialism/race or nationalism/politics—and leaving unremarked the sometimes provocative and interesting statements that arise in interviews, Sullivan nonetheless provides a gentle-enough grand narrative of dub’s outward spread from Jamaica. In the process Sullivan lays the groundwork for naming the “dub diaspora” as a transnational network based upon postcolonial migrancy and the dissemination—through copying, remixing and versioning—of dub studio and performance practices.