Dancecult 6(1)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks -
Cue Point Aesthetics: the Performing Disc Jockey In
CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago. -
Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers. -
Controllers As Musical Instruments, Controllerism As Musical Practice
Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy. -
Expressions of Resistance: Intersections of Filipino American
EXPRESSIONS OF RESISTANCE: INTERSECTIONS OF FILIPINO AMERICAN IDENTITY, HIP HOP CULTURE, AND SOCIAL JUSTICE By STEPHEN ALAN BISCHOFF A dissertation submitted in partial fulfillment of The requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Program in American Studies APRIL 2012 © Copyright by STEPHEN ALAN BISCHOFF, 2012 All Rights Reserved © Copyright by STEPHEN ALAN BISCHOFF, 2012 All Rights Reserved ii To the Faculty of Washington State University: The members of the committee appointed to examine the dissertation of STEPHEN ALAN BISCHOFF find it satisfactory and recommend that it be accepted. _____________________________________ C. Richard King, Ph.D., Chair _____________________________________ David Leonard, Ph.D. _____________________________________ John Streamas, Ph.D. iii ACKNOWLEDGMENTS This project has been a labor of love. My partner, Rachel Silva-Bischoff, shares in this accomplishment as she gave me an immense amount of love, understanding, and support to finish this work. As I have told others throughout this project, it is our degree. Over the duration of my graduate program, we have been fortunate to have two beautiful sons in Isaiah and Zion. Seeing the three of them keeps me grounded in my priorities and in my drive for improving myself and the world around us. I am extremely grateful for the help, guidance, and support that my committee has given me. I would like to thank my committee chair, Richard King, in helping me stay on track with my writing and my timeline for this work. I would also like to thank the rest of my committee, David Leonard and John Streamas, for their insightful discussions in shaping my research. -
The Future Is History: Hip-Hop in the Aftermath of (Post)Modernity
The Future is History: Hip-hop in the Aftermath of (Post)Modernity Russell A. Potter Rhode Island College From The Resisting Muse: Popular Music and Social Protest, edited by Ian Peddie (Aldershot, Hampshire: Ashgate Publishing, 2006). When hip-hop first broke in on the (academic) scene, it was widely hailed as a boldly irreverent embodiment of the postmodern aesthetics of pastiche, a cut-up method which would slice and dice all those old humanistic truisms which, for some reason, seemed to be gathering strength again as the end of the millennium approached. Today, over a decade after the first academic treatments of hip-hop, both the intellectual sheen of postmodernism and the counter-cultural patina of hip-hip seem a bit tarnished, their glimmerings of resistance swallowed whole by the same ubiquitous culture industry which took the rebellion out of rock 'n' roll and locked it away in an I.M. Pei pyramid. There are hazards in being a young art form, always striving for recognition even while rejecting it Ice Cube's famous phrase ‘Fuck the Grammys’ comes to mind but there are still deeper perils in becoming the single most popular form of music in the world, with a media profile that would make even Rupert Murdoch jealous. In an era when pioneers such as KRS-One, Ice-T, and Chuck D are well over forty and hip-hop ditties about thongs and bling bling dominate the malls and airwaves, it's noticeably harder to locate any points of friction between the microphone commandos and the bourgeois masses they once seemed to terrorize with sonic booms pumping out of speaker-loaded jeeps. -
Politics of Musical Interfaces: Ideologies and Digital Disenchantment Enrique Tomás Interface Culture Lab - University of Art and Design of Linz [email protected]
Politics of Musical Interfaces: Ideologies and Digital Disenchantment Enrique Tomás Interface Culture Lab - University of Art and Design of Linz [email protected] Keywords: musical interface, objectification, controllerism, maximalist interface. 1. Abstract This paper analyzes some of the actual tendencies for musical creation with music controllers laying emphasis on first, the ideologies of interface design through a “maximal versus minimal” dualism; and second, on the actual perception of the inflation of “the digital” which also finds its creative counterpoints in musical practices like controllerism. In the context of a diversity of cultural contexts and socio-political implications within our networked world, specific examples on the artistic use of musical interfaces are analyzed for understanding the profound implications of embracing a particular interface as creative partner. Under the hypothesis that our interfaces are “scripted” with ideologies, we focus our interest on the relevance of understanding their political values as a way of resistance against the actual situation of digital super-abundance and commodification. 2. Introduction: Interface Objectification “Wow, you have to watch this” - posted an university fellow on my facebook wall. It was Coldplay's latest video “Midnight - Live 20141”. The youtube video shows a live performance of an old Coldplay song arranged specifically for electronic instruments. Interestingly, it starts with an impressive close-up of a reacTable2. On the reacTable, only three objects: an audio file player (namely “loop player”) and two more global controllers, the “global output volume” object and the “song settings” object. A few seconds later, a musician begins the interaction with the instrument and we notice him rotating the “output volume” block towards higher values. -
Dancecult 10(1)
Reviews Girl Kandeyce Jorden (dir.) USA: Current Mood Productions, 2018. <https://www.imdb.com/title/tt2624640/> <http://dx.doi.org/10.12801/1947-5403.2018.10.01.05> Maren Hancock York University (Toronto) Most films depicting DJs and their attendant culture—whether documentary or drama— feature predominantly masculine points of view. Girl, a full-length documentary focused on legendary hard house/trance DJ Sandra Collins as well as six other women-identified DJs, offers a unique collection of feminine voices and experiences, making it an important contribution to the history of EDM and the study of DJ culture. Part wish-fulfillment, part confessional, part documentary and part cautionary tale of the push and pull of excessive partying of touring life, Girl covers a lot of ground. Filmmaker, visual artist and actor Kandeyce Jorden notes that it was an enthusiasm for dance music and culture that inspired her to direct this film. Early in the film’s narrative, Jorden states that were she not a filmmaker, she “would secretly want to be a DJ”. Later in the film she expresses a yearning for Collins’ seemingly carefree life as a DJ: “she never made lists, she never returned phone calls … being in the moment … was starting to feel like a drug”. It is no surprise then that, alongside Collin’s narratives, there is a prominent foregrounding of the director herself and the resultant changes to her life experience in the wake of touring with Collins. With regards to structure, the film breaks down into two sections. The front matter outlines Jorden’s background: Jorden narrates via voiceover, first introducing herself before describing her relationship with her film director partner and their success collaborating on a short film together. -
Proceedings Template
MIDI Keyboard Defined DJ Performance System Christopher Dewey Jonathan P. Wakefield Matthew Tindall University of Huddersfield University of Huddersfield University of Huddersfield Queensgate, Huddersfield Queensgate, Huddersfield Queensgate, Huddersfield West Yorkshire, United Kingdom West Yorkshire, United Kingdom West Yorkshire, United Kingdom [email protected] [email protected] [email protected] ABSTRACT 2. MOTIVATION This paper explores the use of the ubiquitous MIDI keyboard to The motivation to use only the piano keys of a two octave MIDI control a DJ performance system. The prototype system uses a two controller as a virtual DJ system interface was: octave keyboard with each octave controlling one audio track. Each 1) Democratisation - MIDI controller keyboards are more audio track has four two-bar loops which play in synchronisation widely available and affordable than hardware interfaces in switchable by its respective octave’s first four black keys. The top commercial virtual DJ systems. Knobs, pads and faders key of the keyboard toggles between frequency filter mode and time which vary between controllers were excluded. slicer mode. In frequency filter mode the white keys provide seven 2) Playability - Inspired by Atlantic Records engineer Tom bands of latched frequency filtering. In time slicer mode the white Dowd who enabled mix engineers to “play the faders like you keys plus black B flat key provide latched on/off control of eight time could play a piano” by replacing the mixing console’s large slices of the loop. The system was informally evaluated by nine rotary knobs with slide-wire faders [2] providing an subjects. -
S-Notation: a Complete Musical Notation System for Scratching and Sample Music Derived from "Theory of Motions"
http://www.diva-portal.org This is the published version of a paper presented at International Conference on Technologies for Music Notation and Representation. Citation for the original published paper: Sonnenfeld, A., Hansen, K F. (2016) S-notation: A complete musical notation system for scratching and sample music derived from "Theory of Motions". In: Proceedings of the International Conference on Technologies for Music Notation and Representation - TENOR2016 (pp. 50-57). Anglia Ruskin University N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215180 S-NOTATION: A COMPLETE MUSICAL NOTATION SYSTEM FOR SCRATCHING AND SAMPLE MUSIC DERIVED FROM “THEORY OF MOTIONS” Alexander Sonnenfeld Kjetil Falkenberg Hansen Qbert Skratch University KTH Royal Institute of Technology [email protected] Södertörn University [email protected] ABSTRACT This design task is complicated further as each style in- volves both hands alternately playing the audio mixer and S-notation In this paper, we present and discuss the turntables. system for sample-based music, and particularly for DJ The S-notation system proposed here has been developed scratching and turntablism. Sonnenfeld developed the sys- by Sonnenfeld since 1999 [4,5]. It represents a recip- tem from his Theory of Motion where scratch music is seen rocation from the progressively simplified graphical nota- as constructions of concurrent musical gestures (motion tion systems to a more elaborate symbolic one that extends parameters), and not only turntable actions. The detailed standard musical notation, see Figure1. Although the ap- symbolic notation was inspired by traditional musical no- pearance is similar to standard notation, there are a few tation, and among its advantages it covers current musical fundamental differences, mainly related to pitch represen- needs, it can be read and played live in performance, it tation, sound to be played, and rendition of onsets. -
Chapter 7 Chapter 7
CHAPTER 7 7 CHAPTER THE FUTURE OF CASSETTE CULTURE At the end of the frst decade of the 2000s, the audiocassette has become the object of a strange anachronous revival in the North American Noise scene. I am handed new cassette releases by Noisicians; tapes are sold at Noise shows, in small stores, and by online distributors; and cassettes are reviewed in fanzines and blogs. Many new Noise recordings are issued on tape only, and several cassette labels have sprung up over the past few years. Dominic Fernow (a.k.a. Prurient) of Hospital Productions argues that cassette tapes are essential to the spirit of Noise: “I can’t imagine ever fully stopping tapes, they are the symbol of the underground. What they represent in terms of availability also ties back into that original Noise ideology. Tapes are precious and sacred items, not disposable. It’s in- credibly personal, it’s not something I want to just have anyone pick up be- cause it’s two dollars and they don’t give a fuck” (Fernow 2006). All of this takes place years after the cassette has vanished from music retail and its playback equipment has become technologically obsolescent.1 Although a very few small independent stores carry newly released cassettes, new Noise tapes are more commonly distributed via mail order or through in- person exchange, most often directly with the artist. Cassettes, too, are everywhere in contemporary visual arts and fashion, both as nostalgic CHAPTER 7 CHAPTER symbols of 1980s pop culture and as iconic forms of new independent de- sign. -
Remixing Music Copyright to Better Protect Mashup Artists Kerri Eble
EBLE.DOCX (DO NOT DELETE) 3/29/2013 2:34 PM THIS IS A REMIX: REMIXING MUSIC COPYRIGHT TO BETTER PROTECT MASHUP ARTISTS KERRI EBLE Modern copyright law has strayed from its original purpose as set out in the Constitution and is ill-equipped to protect and foster new forms of artistic expression. Since the last major amendment to the Copyright Act, new art forms have arisen, particularly “mashup music.” This type of music combines elements of other artists’ songs with other sounds to create a new artistic work. Under modern copy- right law, various courts treat this type of music inconsistently, creat- ing uncertainty among mashup artists and stifling this new artistic ex- pression. In addition, copyright law, as applied to music, unduly favors primary artists, sacrificing the Copyright Clause’s focus on preserving the public domain. This Note discusses the history of mashup music and its increas- ing popularity in the United States, as well as the relevant history of copyright law. This Note then discusses current safe harbors that ex- ist under copyright law for secondary artists and analyzes why mashups do not fit within these safe harbors. This Note concludes by recommending that the fair use exception be expanded to protect mashup artists by adding a safe harbor for “recontextualized” or “re- designed” artworks. I. INTRODUCTION Everything is breaking down in a good way. Once upon a time . there was a line. You know, the edge of the stage was there. The performers are on one side. The audience is on the oth- er side, and never the twain shall meet.