DOCSLIB.ORG

The Transcendent Experience in Experimental Popular Music Performance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Transcendent Experience in Experimental Popular Music Performance The transcendent experience in Experimental Popular Music performance Adrian Brian Barr, B. Mus (Hons) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Western Sydney 2012 Acknowledgements My wife Elanor, thank you for all your love and support – I know I meant to finish this before we married, but I wouldn’t have it any other way! My parents Robert and Linda Barr; my family Jane, Daniel, Karen and Gene for supporting me through this journey; Matthew Robertson, my brother, great friend and musical ally; friends and colleagues at UWS, particularly Mitchell Hart, Noel Burgess, Eleanor McPhee, John Encarnacao, Samantha Ewart, Michelle Stead; and most importantly my supervisors Diana Blom and Ian Stevenson – thank you ever so much for your hard work and ongoing support. Thank you to all the inspiring musicians who kindly gave me the time to share their amazing experiences. Statement of Authentication This work has not been submitted for a higher degree at any other institution and an undertaking that the work is original and a result of the candidates own research endeavour. Signed: ____________________________ Adrian Barr 1 ABSTRACT The Transcendent Experience in Experimental Popular Music Performance Adrian Barr, B. Mus (Hons.) School of Humanities and Communication Arts, Music This thesis is an investigation into experiences of transcendence in music performance driven by the author’s own performance practice and the experimental popular music environment in which he is situated. Employing a phenomenological approach, 19 interviews were conducted with musicians, both locally and internationally, who were considered strong influences on the author’s own practice. The interviews focused on transcendent experiences in music performance and provided rich texts for analysis and comparison with existing models of transcendent experience. The main areas investigated are how transcendence was experienced, the musical and extra-musical aspects of these experiences, and how discussing the significance of these experiences is useful for one’s musical practice and in educational contexts. The framework of transcendent experience in experimental popular music developed in this thesis encapsulates a diverse range of personal and collective experiences of music performance. Despite this diversity, of individual musicianship, experiences and personality, a common experiential ground of experimental popular music performance providing a vehicle for shared musical experiences and meaning, including transcendence, is revealed. The outcomes of this study provide unique insight into the creative processes and 2 music-making in the form of experimental popular music and, in doing so, have potential implications for education and general musicianship. 3 Table of Contents Chapter 1: Introduction 13 1.1 Experimental Popular Music under investigation 17 1.1.1 The Necks 21 1.2 Personal Background 24 1.3 Literature on transcendence and the study 26 1.4 Research Aims 29 1.5 Writing a Thesis 32 1.6 Thesis Structure 33 Chapter 2: Literature - Representations of Transcendent Experience 35 2.1 The transcendent experience as manifesting in contemporary, experimental popular music performance 36 2.1.1 Defining Transcendent Experience 36 2.1.2 Elusive Experiences 41 2.1.3 Sense of Self 42 2.1.4 Time 46 2.1.5 Representations in Psychology Literature 48 2.1.6 Trance 52 2.1.7 The Spiritual 57 4 2.1.8 Other Representations 60 2.1.9 Summary 61 2.2 How musical aspects facilitate the transcendent experience in performing experimental popular music 63 2.2.1 Improvisation 64 2.2.2 Structure 66 2.2.3 Repetition 67 2.2.4 Rhythm 68 2.2.5 Drones 71 2.2.6 Timbre 73 2.2.7 Summary 73 2.3 How extra-musical aspects facilitate the transcendent experience in performing experimental popular music. 75 2.3.1 Performance Preparation 75 2.3.2 Performance Context 76 2.3.3 Relationship to Instrument 77 2.3.4 Intra-Ensemble Relationships 78 2.3.5 States of Mind 81 2.3.6 Summary 83 5 2.4 How a musician/researcher articulates their own transcendent experience within their practice of music making 84 2.4.1 Ineffability 88 2.5 Literature Review Summary 91 Chapter 3: Methodology 94 3.1 Research Design 98 3.2 Phenomenological Enquiry 101 3.2.1 Heuristic Enquiry 108 3.2.2 Embodied Enquiry 110 3.2.3 Sensory Ethnography 113 3.3 Grounded Theory 115 3.3.1 Process of Grounded Theory 117 3.4 Participants 119 3.4.1 Background to Performers 120 3.5 Data Collection 125 3.5.1 Main Interview Questions 125 3.5.2 Interview Technique 126 3.5.3 Other Sources of Data 129 3.6 Validity of Methodology and Summary 131 6 3.6.1 Synthesis of Qualitative Approaches 136 3.6.2 Data Analysis 138 3.7 Ethics 139 3.8 Summary 140 Chapter 4: Findings Part 1 141 4.1 How transcendent experiences manifest in contemporary, experimental popular music 142 4.1.1 Form and dynamics 142 4.1.2 States of mind 159 4.1.3 Physicality of Transcendent Experiences 168 4.1.4 Negative experiences 173 4.1.5 Detractors from Transcendent Experience 174 4.1.6 Significance of Transcendent Experiences 177 4.2 Summary 184 Chapter 5: Findings Part 2 187 5.1 Structure 187 5.1.1 Repetition 192 5.1.2 Complexity/Simplicity 196 5.2 Time 198 7 5.2.1 Rhythm 199 5.2.2 Polyrhythm 201 5.2.3 Polymetrics 204 5.3 Dynamics 207 5.4 Timbre 212 5.5 Harmony 214 5.5.1 Harmonic Movement 215 5.5.2 Drone 216 5.5.3 Melody 218 5.6 Vocals 219 5.7 Improvisation 220 5.7.1 Versus composed music 227 5.7.2 Notated Music 228 5.8 Summary 229 Chapter 6: Findings Part 3 232 6.1 Relationship Within Ensemble 232 6.2 Musical Style 236 6.3 States of Mind 238 6.3.1 Stress 240 8 6.3.2 Comfort 241 6.4 Approach to Music Making 242 6.4.1 Group Ethos 248 6.4.2 Role in Ensemble 249 6.4.3 Intra-band Dynamics 250 6.4.4 Performance Strategies 253 6.4.5 Relationship to One’s Instrument 254 6.4.6 Playing Technique 263 6.4.7 The Spiritual 267 6.4.8 Connection to Sound 272 6.4.9 Composition 273 6.4.10 Humour 275 6.4.11 Making Mistakes 276 6.5 The Live Performance Environment 278 6.5.1 Performance Preparation 279 6.5.2 Live Performance 281 6.5.3 Acoustics 281 6.5.4 Live Sound Reinforcement 285 6.5.5 The Audience 286 9 6.5.6 Watching Live Music 290 6.6 Other Musical Contexts 291 6.6.1 Listening to music 291 6.6.2 Teaching 293 6.6.3 In The Studio 294 6.6.4 Practising 296 6.7 Detractors from Transcendent Experiences 298 6.8 Summary 298 Chapter 7: Findings Part 4 300 7.1 Articulating Transcendent Experiences 300 7.2 Interview Process and Recalling Transcendent Experiences 304 7.2.1 Establishing a dialogue on transcendence 312 7.2.2 Reflecting on Musical Career 316 7.3 Summary 319 Chapter 8: Discussion 321 8.1 How does transcendent experience manifest itself in contemporary, experimental popular music performance? 322 8.1.1 Models of Transcendence 325 8.1.2 Climbing Towards Divinity 329 10 8.1.3 States of Mind 330 8.2 How do musical aspects facilitate the transcendent experience in performing experimental popular music? 331 8.2.1 Transcendence of sonic parameters 332 8.2.2 Rhythm/Time/Repetition 332 8.2.3 Dynamics 333 8.2.4 Improvisation 333 8.3 How do extra-musical aspects facilitate the transcendent experience in experimental popular music performance? 334 8.3.1 Performance Environment 335 8.3.2 Physicality of Performance 336 8.3.3 Approach to Music-Making 337 8.3.4 Detractors from Transcendent Experience 338 8.4 How can a musician/researcher discuss their own transcendent experience within their practice of music making? 340 8.4.1 Heuristic Enquiry 342 8.4.2 The Challenges and Creativity of the Interview Process 343 8.5 Final Thoughts 346 8.5.1 Significance of Research 346 8.5.2 Implications and Further Research 348 11 8.5.3 Reflections 351 Appendix 1 – Interview Questions 353 References 355 12 List of Tables and Figures Table 1 – Penman & Becker’s Model of Meditation and Trance (2009) p.50 56 Table 2 - Representations in the Literature 62 Table 3 – Musical features linked to transcendent experience 74 Table 4 – Extra-musical aspects of Transcendent Experience 83 Table 5 – How Transcendent Experience Manifests 185 Table 6 - Musical Features in Transcendent Experience 230 Table 7 - Extramusical Elements of Transcendent Experience 299 Table 8 – Issues and benefits of interviewing 320 Table 9 – A model of the Transcendent Experience 329 Figure 1 – Overall Research Design 99 13 Chapter 1: Introduction This thesis is an investigation into the way experiences of transcendence manifest in experimental popular music performance. Transcendence is understood as including “the property of rising out of or above things” (Adams, 1995) as well as “existence beyond; independent existence… held to exist beyond space, time, the physical world or experience – in some non-spatial sense of ‘beyond’” (Priest, 2005). It is these experiences that are spoken of as a movement through human acts and beyond them and transcending as mediated by human acts while putting us in direct contact with this ‘beyond’ (Roy, 2001). Whether ‘beyond’ or ‘above’, these ‘things’ include a sense of self, sense of time and sense of place.
Load more

Recommended publications
  • SBS Chill 12:00 AM Sunday, 31 March 2019 Start Title Artist 00:07 When're You Gonna Break My Heart Silver Ray
    SBS Chill 12:00 AM Sunday, 31 March 2019 Start Title Artist 00:07 When're You Gonna Break My Heart Silver Ray 12:58 Oriental Folk Song La Funk Mob 16:46 Heidi Bruehl Tosca 21:35 Do We Lose 21 Grams? Gustavo Santaolalla 24:03 Fanfare Of Life Leftfield 30:10 Round Blue Glasses Pretz 36:30 The Deadly Nightshade Daniel Lanois 40:33 Healing Sangre De La Tierra 45:30 Held (Hence Therefore remix) Pendant 49:16 The Way You Look Tonight Air 53:03 Honeytrap Leo Abrahams 58:07 Beach Fair Liminal Drifter Powergold Music Scheduling Total Time In Hour: 63:59 Total Music In Hour: 63:32 Licensed to SBS SBS Chill 1:00 AM Sunday, 31 March 2019 Start Title Artist 00:08 Unfinished Business Lounge Conjunction 06:52 Avant que je m'ennuie Mathieu Boogaerts 10:16 Clockwise Operetta Tomás Dvorák 14:16 Mindless Moments Grenade Tonight Bedroo... Sven Van Paapen 19:08 Down The Burning Rope James Vincent McM... 24:02 Pilots Goldfrapp 28:25 For Berlin Jens Buchert 33:58 Dag Nabbit Unitone 38:51 Days Remi Selles 43:13 Streetwalkin' By Myself Don Julin & Harry Pf... 47:13 Noctuary Bonobo 52:41 Broken Light Solomon Grey 55:39 Camioux Boozou Bajou 61:13 Solar Eclipse DJ Rob Tech Powergold Music Scheduling Total Time In Hour: 66:36 Total Music In Hour: 66:06 Licensed to SBS SBS Chill 2:00 AM Sunday, 31 March 2019 Start Title Artist 00:05 Turtle (Bonobo Mix) Pilote 05:16 To the grain Junip 09:09 Late Night Voyages Guilty Ghosts 14:36 Shelter A.J.
    [Show full text]
  • Vivid Sydney Media Coverage 1 April-24 May
    Vivid Sydney media coverage 1 April-24 May 24/05/2009 Festival sets the city aglow Clip Ref: 00051767088 Sunday Telegraph, 24/05/09, General News, Page 2 391 words By: None Type: News Item Photo: Yes A SPECTACLE of light, sound and creativity is about to showcase Sydney to the world. Vivid Sydney, developed by Events NSW and City of Sydney Council, starts on Tuesday when the city comes alive with the biggest international music and light extravaganza in the southern hemisphere. Keywords: Brian(1), Circular Quay(1), creative(3), Eno(2), festival(3), Fire Water(1), House(4), Light Walk(3), Luminous(2), Observatory Hill(1), Opera(4), Smart Light(1), Sydney(15), Vivid(6), vividsydney(1) Looking on the bright side Clip Ref: 00051771227 Sunday Herald Sun, 24/05/09, Escape, Page 31 419 words By: Nicky Park Type: Feature Photo: Yes As I sip on a sparkling Lindauer Bitt from New Zealand, my eyes are drawn to her cleavage. I m up on the 32nd floor of the Intercontinental in Sydney enjoying the harbour views, dominated by the sails of the Opera House. Keywords: 77 Million Paintings(1), Brian(1), Eno(5), Festival(8), House(5), Opera(5), Smart Light(1), sydney(10), Vivid(6), vividsydney(1) Glow with the flow Clip Ref: 00051766352 Sun Herald, 24/05/09, S-Diary, Page 11 54 words By: None Type: News Item Photo: Yes How many festivals does it take to change a coloured light bulb? On Tuesday night Brian Eno turns on the pretty lights for the three-week Vivic Festival.
    [Show full text]
  • Cigarettesaftersex Biog2017 Copy
    ! ! BIOGRAPHY 2017 ! ! On August 18th 2017, Ghostpoet aka Obaro Ejimiwe returns with his eagerly anticipated fourth album. As the title suggests, Dark Days & Canapés is a record that siphons the sense of unease hanging in the air throughout the time of its creation and uses it as a fuel source. It’s also a record that dramatically fore- grounds the continuing evolution of twice- Mercury nominated Obaro as one of our most perspicacious and original songwriters. In the wake of 2015’s universally acclaimed Shedding Skin – an album which found him moving away from the beats-driven arrangements of the first two records – Dark Days & Canapés completes the transition to a fuller band sound. Integral to that transition was Obaro’s choice of producer for the record. “On previous records, the production side of things has run along 50:50 lines,” he explains, “But this time around, I wanted to see what would happen if I relaxed that a little.” Early in the process, he hooked up with producer/writer/ guitarist Leo Abrahams, perhaps best known for his work with Brian Eno and Jon Hopkins (Small Craft On A Milk Sea) and Wild Beasts (Present Tense) as well as his own feted solo albums. The two clicked immediately. “I went to his studio in East London,” recalls Obaro, “And the thing that struck me about him was that he was impossible to faze. I was de- scribing the mood I was after in quite fanciful, surreal terms, and yet he knew exactly how to translate !that into music.” The results of those early sessions - which saw guitarist Joe Newman assisting, fleshing out guitar parts on the early demos -quickly established the momentum of what followed.
    [Show full text]
  • Downbeat.Com March 2014 U.K. £3.50
    £3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene
    [Show full text]
  • Post-9/11 Brown and the Politics of Intercultural Improvisation A
    UNIVERSITY OF CALIFORNIA RIVERSIDE “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Dhirendra Mikhail Panikker September 2019 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Robin D.G. Kelley Dr. René T.A. Lysloff Dr. Liz Przybylski Copyright by Dhirendra Mikhail Panikker 2019 The Dissertation of Dhirendra Mikhail Panikker is approved: Committee Chairperson University of California, Riverside Acknowledgments Writing can feel like a solitary pursuit. It is a form of intellectual labor that demands individual willpower and sheer mental grit. But like improvisation, it is also a fundamentally social act. Writing this dissertation has been a collaborative process emerging through countless interactions across musical, academic, and familial circles. This work exceeds my role as individual author. It is the creative product of many voices. First and foremost, I want to thank my advisor, Professor Deborah Wong. I can’t possibly express how much she has done for me. Deborah has helped deepen my critical and ethnographic chops through thoughtful guidance and collaborative study. She models the kind of engaged and political work we all should be doing as scholars. But it all of the unseen moments of selfless labor that defines her commitment as a mentor: countless letters of recommendations, conference paper coachings, last minute grant reminders. Deborah’s voice can be found across every page. I am indebted to the musicians without whom my dissertation would not be possible. Priya Gopal, Vijay Iyer, Amir ElSaffar, and Hafez Modirzadeh gave so much of their time and energy to this project.
    [Show full text]
  • Vision Festival 21 Brochure
    THE CREATIVE OPTION TOGETHER WE CONTINUE TO MAKE VISIONS REAL Our goal is to keep alive, in hearts and minds, the idealism, integrity and sense of responsibility that has inspired generations. We support the Present by remembering & respecting the Past & Prepare a Future where Improvisation and Freedom have a place. THIS IS ONLY POSSIBLE WITH YOUR HELP Charlotte Ka, ‘Dance a Celebration of Life’ Arts for Art presents Free Jazz as a sacred art-form, based in the Ideals of Freedom, Artist Info Page 24 Marcy Rosenblat, ‘Reveal’ Justice and Excellence. The art expresses our sense of hope and belief in the possibility of freedom, A Freedom to be our most unique self. So we push ourselves to do more, to redefine our self, our art and our communities. The music was built by self-determination. Where the artist defines, presents their work, not waiting for permission. Hope, Freedom, Self-determination are powerful ideas in any time, and particularly in this time. VISUAL ART AT VISION 21 AT ART VISUAL What we do or don’t do – does matter. We make a difference in our world and in our Lives by supporting what feeds our Souls. Bill Mazza, If the Vision Festival and the Work of Arts for Art feeds Souls then you should support it. ‘Vision 20, Day 5, Set 3, Wadada Leo Smith/Aruan Ortiz Duo’’ Our Humanity and Creativity needs a community of supporters who share our ideals. Jonas Hidalgo ENSURE ARTS FOR ART’S FUTURE ■ BE A MEMBER / DONATE TO ARTS FOR ART ■ BECOME ACTIVE IN THE AFA COMMUNITY Visit: www.artsforart.org/support or stop by the Arts for Art table at the Vision Festival.
    [Show full text]
  • 1978-05-22 P MACHO MAN Village People RCA 7" Vinyl Single 103106 1978-05-22 P MORE LIKE in the MOVIES Dr
    1978-05-22 P MACHO MAN Village People RCA 7" vinyl single 103106 1978-05-22 P MORE LIKE IN THE MOVIES Dr. Hook EMI 7" vinyl single CP 11706 1978-05-22 P COUNT ON ME Jefferson Starship RCA 7" vinyl single 103070 1978-05-22 P THE STRANGER Billy Joel CBS 7" vinyl single BA 222406 1978-05-22 P YANKEE DOODLE DANDY Paul Jabara AST 7" vinyl single NB 005 1978-05-22 P BABY HOLD ON Eddie Money CBS 7" vinyl single BA 222383 1978-05-22 P RIVERS OF BABYLON Boney M WEA 7" vinyl single 45-1872 1978-05-22 P WEREWOLVES OF LONDON Warren Zevon WEA 7" vinyl single E 45472 1978-05-22 P BAT OUT OF HELL Meat Loaf CBS 7" vinyl single ES 280 1978-05-22 P THIS TIME I'M IN IT FOR LOVE Player POL 7" vinyl single 6078 902 1978-05-22 P TWO DOORS DOWN Dolly Parton RCA 7" vinyl single 103100 1978-05-22 P MR. BLUE SKY Electric Light Orchestra (ELO) FES 7" vinyl single K 7039 1978-05-22 P HEY LORD, DON'T ASK ME QUESTIONS Graham Parker & the Rumour POL 7" vinyl single 6059 199 1978-05-22 P DUST IN THE WIND Kansas CBS 7" vinyl single ES 278 1978-05-22 P SORRY, I'M A LADY Baccara RCA 7" vinyl single 102991 1978-05-22 P WORDS ARE NOT ENOUGH Jon English POL 7" vinyl single 2079 121 1978-05-22 P I WAS ONLY JOKING Rod Stewart WEA 7" vinyl single WB 6865 1978-05-22 P MATCHSTALK MEN AND MATCHTALK CATS AND DOGS Brian and Michael AST 7" vinyl single AP 1961 1978-05-22 P IT'S SO EASY Linda Ronstadt WEA 7" vinyl single EF 90042 1978-05-22 P HERE AM I Bonnie Tyler RCA 7" vinyl single 1031126 1978-05-22 P IMAGINATION Marcia Hines POL 7" vinyl single MS 513 1978-05-29 P BBBBBBBBBBBBBOOGIE
    [Show full text]
  • High Concept Music for Low Concept Minds
    High concept music for low concept minds Music | Bittles’ Magazine: The music column from the end of the world: August/September New albums reviewed Part 1 Music doesn’t challenge anymore! It doesn’t ask questions, or stimulate. Institutions like the X-Factor, Spotify, EDM and landfill pop chameleons are dominating an important area of culture by churning out identikit pop clones with nothing of substance to say. Opinion is not only frowned upon, it is taboo! By JOHN BITTLES This is why we need musicians like The Black Dog, people who make angry, bitter compositions, highlighting inequality and how fucked we really are. Their new album Neither/Neither is a sonically dense and thrilling listen, capturing the brutal erosion of individuality in an increasingly technological and state-controlled world. In doing so they have somehow created one of the most mesmerising and important albums of the year. Music isn’t just about challenging the system though. Great music comes in a wide variety of formats. Something proven all too well in the rest of the albums reviewed this month. For instance, we also have the experimental pop of Georgia, the hazy chill-out of Nils Frahm, the Vangelis-style urban futurism of Auscultation, the dense electronica of Mueller Roedelius, the deep house grooves of Seb Wildblood and lots, lots more. Somehow though, it seems only fitting to start with the chilling reflection on the modern day systems of state control that is the latest work by UK electronic veterans The Black Dog. Their new album has, seemingly, been created in an attempt to give the dispossessed and repressed the knowledge of who and what the enemy is so they may arm themselves and fight back.
    [Show full text]
  • A Study of Microtones in Pop Music
    University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion.
    [Show full text]
  • Nr Kat Artysta Tytuł Title Supplement Nośnik Liczba Nośników Data
    nr kat artysta tytuł title nośnik liczba data supplement nośników premiery 9985841 '77 Nothing's Gonna Stop Us black LP+CD LP / Longplay 2 2015-10-30 9985848 '77 Nothing's Gonna Stop Us Ltd. Edition CD / Longplay 1 2015-10-30 88697636262 *NSYNC The Collection CD / Longplay 1 2010-02-01 88875025882 *NSYNC The Essential *NSYNC Essential Rebrand CD / Longplay 2 2014-11-11 88875143462 12 Cellisten der Hora Cero CD / Longplay 1 2016-06-10 88697919802 2CELLOSBerliner Phil 2CELLOS Three Language CD / Longplay 1 2011-07-04 88843087812 2CELLOS Celloverse Booklet Version CD / Longplay 1 2015-01-27 88875052342 2CELLOS Celloverse Deluxe Version CD / Longplay 2 2015-01-27 88725409442 2CELLOS In2ition CD / Longplay 1 2013-01-08 88883745419 2CELLOS Live at Arena Zagreb DVD-V / Video 1 2013-11-05 88985349122 2CELLOS Score CD / Longplay 1 2017-03-17 0506582 65daysofstatic Wild Light CD / Longplay 1 2013-09-13 0506588 65daysofstatic Wild Light Ltd. Edition CD / Longplay 1 2013-09-13 88985330932 9ELECTRIC The Damaged Ones CD Digipak CD / Longplay 1 2016-07-15 82876535732 A Flock Of Seagulls The Best Of CD / Longplay 1 2003-08-18 88883770552 A Great Big World Is There Anybody Out There? CD / Longplay 1 2014-01-28 88875138782 A Great Big World When the Morning Comes CD / Longplay 1 2015-11-13 82876535502 A Tribe Called Quest Midnight Marauders CD / Longplay 1 2003-08-18 82876535512 A Tribe Called Quest People's Instinctive Travels And CD / Longplay 1 2003-08-18 88875157852 A Tribe Called Quest People'sThe Paths Instinctive Of Rhythm Travels and the CD / Longplay 1 2015-11-20 82876535492 A Tribe Called Quest ThePaths Low of RhythmEnd Theory (25th Anniversary CD / Longplay 1 2003-08-18 88985377872 A Tribe Called Quest We got it from Here..
    [Show full text]
  • Vijay Iyer, Hermesensemble, E-XXI Geen Jazz Light 16 Februari 2011 Desingel, Antwerpen
    Klik hier en beluister alle tracks van januari Zoek AUDIO CD-BESPREKINGEN INTERVIEWS REPORTAGES AANKONDIGINGEN CONCERTAGENDA MAGAZINES WEDSTRIJDEN EINDEJAARSLIJSTJES Vijay Iyer, HERMESensemble, e-XXI Geen jazz light 16 februari 2011 deSingel, Antwerpen Door Koen Van Meel | Toegevoegd op 31 januari 2011 Goedkope muzieklessen Bladmuziek Klassieke Muziek Email Bespaar tot 70% in Antwerpen op Op zoek naar Bladmuziek? U vindt het lessen voor alle instrumenten! hier! Favorieten www.GROUPON.be/_Muzieklessen goudengids.truvo.be/muziekinstrumen Afdrukken Facebook De pianist Vijay Iyer is bij jazzliefhebbers geen onbekende meer, maar hoe Twitter zit het met zijn gedaante als “klassiek” componist? Deze nog minder Netlog bekende kant wordt op 16 februari belicht door het HERMESensemble, e- Meer... XXI en Iyer zelf. Vijay Iyer is hot, niet in het minst in België. Concerten met zijn trio (Gent Jazz), solo of in duo met saxofonist Rudresh Mahantahappa kunnen gegarandeerd op enthousiaste reacties rekenen. Iyer (1971) is een Amerikaanse componist en pianist met een sterk gevarieerde achtergrond. Zijn Agenda muziek is stevig verankerd in de jazz, maar lonkt graag naar elektronica, moderne klassiek, Concertagenda hiphop, rock en Indische muziek. Het mooie is dat hij die verschillende invloeden er niet breed 16 februari 2011 opsmeert, maar ze weet samen te brengen tot een organisch geheel. Het kan dan ook niet Vijay Iyer, verbazen dat zijn biografie een brede waaier aan muzikale partners bevat, gaande van Steve HERMESensemble, Coleman, Roscoe Mitchell, Wadada Leo Smith en Butch Morris over John Zorn en Craig Taborn e-XXI, Steven tot Talvin Singh, DJ Spooky en High Priest (Anti-Pop Consortium). Verhaert 3 maart 2011 In de VS (Iyer is de zoon van Tamil-immigranten) geldt hij momenteel als een van de rijzende DeFilharmonie, pianosterren.
    [Show full text]
  • The Necks Come to Castlemaine As Part of Their Australian Tour
    IMPROVISATION GENIUSES THE NECKS COME TO CASTLEMAINE AS PART OF THEIR AUSTRALIAN TOUR Already on the road, the world famous improvising legends and one of Australia’s great cult bands THE NECKS return home for their much-anticipated annual Australian tour. Renowned for creating immersive, hypnotic concert experiences over two completely improvised one-hour sets, Chris Abrahams (piano), Lloyd Swanton (bass) and Tony Buck (drums/percussion) slowly conjure sound mountains out of thin air that leave audiences mesmerised. From humble beginnings over a quarter of a century ago as a private jamming project, The Necks now count Brian Eno and Nick Cave among their legions of fans. They have released 16 albums and have played packed concerts everywhere from the Sydney Opera House to The Barbican in London and Roulette in New York. More recently, in 2012, they completed two tours of Europe and the UK, garnering outstanding UK reviews from The Guardian, The Telegraph and The Financial Times, with The Telegraph’s Ivan Hewitt describing “A vast sound-mass suspended in vibrating, seething stillness, its colour and luminosity changing slowly, like a landscape observed from a car...”. 2012 also saw The Necks’ album ‘AETHER’ added to The Australian National Registry of Recorded Sound, and their legendary first album ‘SEX’ re-released through FUSE. The Necks’ commitment to the simple concept of truly “letting the music take care of itself” is at the core of their unique sound and their ability to constantly create exciting, engrossing music for themselves and their audiences. No two Necks concerts are ever the same.
    [Show full text]