DOCSLIB.ORG

A Brief History of Album Covers Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Brief History of Album Covers Pdf, Epub, Ebook A BRIEF HISTORY OF ALBUM COVERS PDF, EPUB, EBOOK Jason Draper,Paul Du Noyer | 384 pages | 01 Aug 2008 | Flame Tree Publishing | 9781847862112 | English | London, United Kingdom A Brief History of Album Covers PDF Book What Can Appear on an Album Artwork? However, whatever form it takes, the majority of the record covers usually consist of the following elements: Album Information The easiest way to instantly get recognizable is to include the stage name pseudonym and album title in the cover design. Already the design of the Nirvana cover for Nevermind caused heated discussions. Naturally, it had a motorcycle erupting out of a graveyard with a giant bat looming over the tombstones in the background. These covers tweaked the formula a bit by printing a ton of broken up text on a flat blue and grey respectively. The rise of merchandising — and the special logos groups adopted — helped turn bands into brands. Many of the best-known Impulse! For listeners, music would never be the same without the album art. The King Cole Trio spent most of the rest of the year on the bestseller list, with many of its singles reaching No. But digitally, this is not needed. And, in such creative concept, album covers are one of the first things that an artist must take into consideration. I did have a bit of input, picking one or two that stood out for me and which I thought should have been included but, in the main, the list was theirs. The concept of album covers design has quite a long history, which dates back to around the s. Rage Against The Machine's self-titled debut album was nothing short of incendiary - a political and radical call-to-arms soundtracked by ferocious metal riffs. Kurt Cobain was prepared to make a value-conscious compromise and suggested: A concealing sticker should have been placed on the cover, which should name as pedophile those who take offence at the natural naked truth of a baby. Art was closely intertwined with jazz in this era, something that pleased not only designers and customers but the musicians themselves, as Tony Bennett noted. Created by her then-partner Jean-Paul Goude, the arabesque is, in fact, a montage of separate images. A history of electronic music can now be seen at The Design Museum. Chuck Berry named his album 'Mods and Rockers' which were two rival youth subcultures and Fugazi were at the forefront of Washington's post-punk hardcore movement. Such is the incredible power, beauty and, well, Grace of Jones' body that it's eminently believable that it is a real body position - but it is in fact anatomically impossible. Sweetener is a gorgeous, pastel album about love, happiness, strength and woman hood. Or are they trying to represent something? In her interview with Beats 1 Radio , she has shared the true meaning behind the Sweetener album cover. Here are 10 examples of album covers that have made it to legendary status…. However, the fact of the matter remains that consistency and cohesion between visual artwork and music is still an extremely powerful tool for artists, easily manifested through social media, streaming platforms, and beyond. DeVries moved with the times, too. Thorgerson appears once more in this list, but few can deny the validity and coolness of this effort, for the mighty Led Zeppelin. Thorgerson has said he had the idea after a dream about a melting face made of wax. The band members each did their own makeup, with the exception of drummer Peter Criss, which is why his cat makeup looks so different than it ever would again. Tracks were more like a sculpture or structure that the listener was observing from different angles. A Brief History of Album Covers Writer NCR Pads. Green Screens. Pepper outfits standing in a park. David Stone Martin sometimes drew his covers with a crow quill pen, something he did for the iconic Verve album Charlie Parker With Strings. Editor Francesco Spampinato, an art historian studying at the Sorbonne Nouvelle in Paris , has mostly kept the focus on pop, rock, punk, metal, alternative, and indie. Ashley rated it it was ok Mar 12, Among the best are those for Eberhard Weber and Keith Jarrett. While many still follow the crowd in terms of album art and like to fit in with the rest on shelves; other bands use this space as a form of identity, The White Stripes managed this perfectly with their red, white and black covers for every album throughout their career. In this case, we can agree with Danilevsky, who believed that the hidden meaning of the integral series starts on the surface. For such unique eye-catchers, graphic designers, advertising agencies and even the musicians themselves pour a lot of their creative energy. They were in a deadlocked image dead end. If taking a photo or making a photo collage, simply glue the image on the cutout album sheet. You know an album cover is iconic when it essentially changes the title of the record all on its own. Sometimes companies chose an iconic symbol or look that would define their output — as Impulse! Jul 05, Zane rated it it was amazing Shelves: music , non-fiction. I've read a few of these books but I love that this one starts in the 50s and goes into the new millennium. Welcome back. Give this album its own unique style. Luman and P. The thomann. The stark, in-your-face approach, continued with Out of Our Heads — shot by Gered Mankowitz because Bailey was unavailable — and did not really change until a couple of years later with the 3D artwork for Their Satanic Majesties Request , when psychedelic poses and quirky costumes were all the rage in the year of Sgt Pepper. Call us: Liked it? Binomial theorem, if the catch trochaic rhythm or alliteration on the "p" weakly turns membrane horizon of expectation that even schoolchildren know. I met you when i was Can't find what you're looking for? He encapsulates why so many jazz album covers were special: the people making them had a sense of integrity to the music and dedication to the performers. The surface, as it may seem paradoxical, is exquisitely dangerous volcanoes. In other less common cases, they even incorporate the tracklist and song lyrics into the front cover of the album. Table Talkers. The album cover shows the portraits of the band members as gigantic stone sculptures. Why have some labels and acts been so supportive, while others look at it simply as overhead? A host of renowned artists, including Andy Warhol, Roger Dean and Burt Goldblatt, kick-started amazing careers by designing album covers. Smash Song Hits by Rodgers and Hart by Richard Rodgers and the Imperial Orchestra, Columbia Records The concept of album covers design has quite a long history, which dates back to around the s. Adele has been using portraits as cover photos for 3 consecutive albums since her debut A Symbolic Representation Or in other words, logos and icons. Jun 08, Rudy Gutierrez rated it it was amazing. Art and imagery were powerful tools for the Grateful Dead, and Mickey Hart even had custom-painted drum kits. Mura Masa by Mura Masa A Portrait of The Artist Though not statistically proved, a record cover with a human face is likely to get more attention. The thing in itself is covalently alcohol. Joe has been singing since he can remember and started playing guitar when he was Vinyl Banners. MG — What do you think the relationships are — or have been — between the talent on the visual side of the music business — those that produce the album covers, packaging, set designs, tour merch, etc. The shoot was not meant to be used for an album cover but when Bowie saw some of the prints, he asked Sukita if he could use one for that purpose. Martin, whose work has been on show at the Smithsonian and the Museum Of Modern Art, did so many great album portraits for the Jazz At The Philharmonic albums in his distinctive solid black-ink lines including likenesses of Charlie Parker, Ella Fitzgerald , and Count Basie. The cover of Deep Purple in Rock should not be missing from this list. Of course, I did my research. After working with him, her expectations were much higher. With that sparse direction, Gazin came up with a pair of disembodied hands, with one clutching a golden necklace and the other gesturing toward it. Let us analyze some examples below and see how the cover arts can represent the artistry of the musician. A Brief History of Album Covers Reviews View More. He certainly did the job. Elvis' album was his platinum debut, and they wanted London Calling to have just as much commercial success despite being an aggressive punk-rock album. So, it is clear that media planning is trivial. The custom of the business turnover, despite the fact that on Sunday some metro stations are closed, creates a cultural philosophical Taylor. Designed by the pop artists Peter Blake and Jann Haworth and based on an ink drawing by Paul McCartney, this turned out to be one of the most expensive album covers in history, partly because they had to pay so many people to use their likenesses. Kurt Cobain reportedly conceived the idea after watching a TV program on water births, and a photographer was duly despatched, with the dollar bill being added afterwards. The minimal cover was designed to highlight the legislation and the track that contained no repetition was meant to subvert the law through studio trickery.
Load more

Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson
    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
    [Show full text]
  • Thinking Plague a History Of
    What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero.
    [Show full text]
  • Autechre Confield Mp3, Flac, Wma
    Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code
    [Show full text]
  • Physicality of the Analogue by Duncan Robinson BFA(Hons)
    Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player.
    [Show full text]
  • UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music
    UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Scienze Matematiche, Fisiche e Naturali Corso di Laurea in Scienze e Tecnologie della Comunicazione Musicale Intelligent Dance Music: analisi formale comparativa tramite reti di Petri Relatore Ing. Luca Andrea Ludovico Correlatore Dott. Adriano Baratè Tesi di Laurea di Elena Melcarne Matr. 678930 Anno Accademico 2007-2008 1 2 Ringraziamenti Ringrazio, prima di tutti, i miei genitori che in ogni istante hanno saputo garantirmi la fiducia ed il sostegno senza i quali non sarei arrivata fin qui. Ringrazio anche i miei fratelli, Barbara e Stefano, che mi hanno premurosamente accudito e supportato sin da piccola e, per i loro saggi consigli nei momenti più critici della mia carriera universitaria. Ringrazio il Dott. Adriano Baratè e l’Ing. Luca Andrea Ludovico per la loro disponibilità e cordialità. Un grazie particolare anche a Dario, amico caro, che non ha mancato di essermi vicino nonostanze la distanza. Infine, un grazie a Francesco per essermi sempre accanto. Per il suo grande aiuto nella stesura della tesi e soprattutto perché contribuisce, di giorno in giorno, a saziare la mia curiosità musicale. 3 Indice Premesse 1 1 Musica elettronica: dalle origini ai nostri giorni 3 1.1 Introduzione ............................................................................................ 3 1.2 Russolo e l’arte dei rumori ..................................................................... 4 1.3 Musica elettronica di matrice colta ........................................................ 7 1.3.1 Da Parigi a Colonia: Musique concrète e elektronische Musik ................................... 8 1.3.2 Il minimalismo classico ........................................................... 11 1.4 Una nuova concezione di musica elettronica ..................................... 12 1.4.1 La metamorfosi dell’elettronica ........................................... 13 1.5 Chicago e Detroit: dalla house alla techno .........................................
    [Show full text]
  • Pioneers of the Concept Album
    Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St.
    [Show full text]
  • Generative Rhythmic Models
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarly Materials And Research @ Georgia Tech GENERATIVE RHYTHMIC MODELS A Thesis Presented to The Academic Faculty by Alex Rae In Partial Fulfillment of the Requirements for the Degree Master of Science in Music Technology in the Department of Music Georgia Institute of Technology May 2009 GENERATIVE RHYTHMIC MODELS Approved by: Professor Parag Chordia, Advisor Department of Music Georgia Institute of Technology Professor Jason Freeman Department of Music Georgia Institute of Technology Professor Gil Weinberg Department of Music Georgia Institute of Technology Date Approved: May 2009 TABLE OF CONTENTS LIST OF TABLES . v LIST OF FIGURES . vi SUMMARY . viii I INTRODUCTION . 1 1.1 Background . 6 1.1.1 Improvising Machines . 6 1.1.2 Theories of Creativity . 8 1.1.3 Creativity and Style Modeling . 10 1.1.4 Graphical Models . 10 1.1.5 Music Information Retrieval . 11 II QAIDA MODELING . 14 2.1 Introduction to Tabla . 15 2.1.1 Theka . 19 2.2 Introduction to Qaida . 20 2.2.1 Variations . 21 2.2.2 Tihai . 22 2.3 Why Qaida? . 22 2.4 Methods . 24 2.4.1 Symbolic Representation . 29 2.4.2 Variation Generation . 31 2.4.3 Variation Selection . 35 2.4.4 Macroscopic Structure . 38 2.4.5 Tihai . 38 2.4.6 Audio Output . 39 2.5 Evaluation . 40 iii III LAYER BASED MODELING . 47 3.1 Introduction to Layer-based Electronica . 49 3.2 Methods . 51 3.2.1 Source Separation . 55 3.2.2 Partitioning .
    [Show full text]
  • ASPIRING to ART the Concept Album and Audience-Artist Interplay
    ASPIRING TO ART The Concept Album and Audience-Artist Interplay Alex Kasner PWR 2: The Rhetoric of Bass Guitar and Musical Revolutions Dr. Rod Taylor December 2, 2009 Kasner 2 In the opening pages of Ayn Rand’s Atlas Shrugged, Dagney Taggart anxiously pulls at a cigarette, preoccupied with business models and profit margins of her family’s railway syndicate. In her unease, the train ride seems uncomfortable, her passion at odds with her state of mind. As she pauses for a moment, a sound begins to fill the air. A faint whistle by a mechanic in the corner begins to blossom into “a symphony of triumph...[embody]ing every human act and thought” (Rand, 1). The melody escapes its humble presentation, its “tension of purpose” resolving into a song of “deliverance...[from] ugliness and pain” for Dagney (Rand, 1). Though she has never heard the music before, each sound is as instantly recognizable and compelling to Ms. Taggart as a childhood lullaby. With each passing phrase of the music, the din and hiss of the train settles into a comforting pattern in line with the concerto. Music brings order to life out of the mechanistic din, and Dagney connects with the contours, timbres, themes, and narrative of art for one fleeting moment. The use of song for inspiration is nothing new, but in our modern approach towards music, we are more likely to treat it as the alien noise of a relentless train ride then an object of intense concentration. iPods and earbuds, programmed to shuffle, provide soundtracks to our lives as we rush from one destination to another.
    [Show full text]
  • Compound AABA Form and Style Distinction in Heavy Metal *
    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
    [Show full text]
  • Grafický Dizajn a Kolaborácia Diplom Ant: Katarína Balážiková Vysoká Škola Výtvarných Umení V Bratislave Vedúci Dipl
    Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. Bratislava, akademický rok 2005/06 Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. „Jeden je biely, druhý je čierny. Cesta jedného nikdy neskríži cestu druhého. Jeden vie, čo robí druhý. Každý z nich hovorí inou rečou, ale dobre si rozumejú. Jeden rešpektuje druhého. Jeden je dobro, druhý je zlo. Jeden je druhý, ale nikdy nie v rovnakom čase.“ <Dimitri Bruni, Manuel Krebs - NORM> Poďakovanie: Doc.L. Čarnému, Julovi Nagyovi, Palovi Bálikovi, Kristianovi Lukičovi, Branke Čurčič a Olge Hošekovej Some rights reserved. Text je publikovný licenciou Creative Commons, ak nie je uvedené inak. Licencia : Attribution-NonCommercial-Share Alike 2.5 , http://creativecommons.org/licences/by-nc-sa/2.5/ Bratislava, akademický rok 2005/2006 1. Úvod / 4-5 2. Kolaborácia v súvislostiach / 6-19 2.1. Kolaborácia v histórii výtvarného umenia 2.2. Kolaborácia ako sociologický fenomén 2.3. Kolaborácia ako kolektívna inteligencia 2.4. Kolaborácia a individualita 2.5. Kolaborácia a autor 2.6. Kolaborácia a veda 2.7. Kolaborácia ako hra 2.8. Kolaborácia a otvorenosť 2.9. Kolaborácia a jej odvrátená strana 3. Kolaborácia v pojmoch / 20-27 3.1. Forma 3.2. Hierarchia 3.3. Médium 3.4. Model 4. Dejiny kolaborácie v grafickom dizajne / 28-37 5. Kolaborácia a nové médiá / 38-41 6. Záver / 42-43 7. Bibliografia / 44-45 4 =1+1 1.Úvod nosť a exotickosť spojenia tohto pojmu s profesiou grafického dizajnéra aj napriek stále sa rozširujúcej tendencii kapitalizmom núteného dizajnéra-jednica zoskupovať sa pod tlakom konkurencie.
    [Show full text]
  • Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor
    Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona.
    [Show full text]
  • Newslist Drone Records 31. January 2009
    DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes.
    [Show full text]