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Treble Culture
OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN P A R T I FREQUENCY-RANGE AESTHETICS ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4411 77/9/2007/9/2007 88:21:53:21:53 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4422 77/9/2007/9/2007 88:21:54:21:54 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN CHAPTER 2 TREBLE CULTURE WAYNE MARSHALL We’ve all had those times where we’re stuck on the bus with some insuf- ferable little shit blaring out the freshest off erings from Da Urban Classix Colleckshun Volyoom: 53 (or whatevs) on a tinny set of Walkman phone speakers. I don’t really fi nd that kind of music off ensive, I’m just indiff er- ent towards it but every time I hear something like this it just winds me up how shit it sounds. Does audio quality matter to these kids? I mean, isn’t it nice to actually be able to hear all the diff erent parts of the track going on at a decent level of sound quality rather than it sounding like it was recorded in a pair of socks? —A commenter called “cassette” 1 . do the missing data matter when you’re listening on the train? —Jonathan Sterne (2006a:339) At the end of the fi rst decade of the twenty-fi rst century, with the possibilities for high-fi delity recording at a democratized high and “bass culture” more globally present than ever, we face the irony that people are listening to music, with increasing frequency if not ubiquity, primarily through small plastic -
Nathan Mensah MAMT Thesis.Pdf
Preparing for the future: A description of client music preferences and musical preparedness of music therapists by Nathan A. Mensah, MT-BC A Thesis Submitted in Partial Fulfillment of the Requirement For the Master of Arts Degree Master of Arts in Music Therapy Program in the Departments of Graduate Studies and Music and Theatre Saint Mary-of-the-Woods College Saint Mary-of-the-Woods, Indiana May, 2019 Abstract Music therapists often use client-preferred music in order to build rapport with clients, decrease their anxiety, increase relaxation, and increase overall efficacy of music interventions. The American Music Therapy Association states music therapists are required to play a wide variety of genres for use in sessions. Client’s musical tastes have grown diverse due to music streaming, and some music therapists may not have the musical skills necessary to recreate these styles in sessions. Currently, there is no data to show which genres and music styles are most commonly requested by their clients, or data to show which genres music therapists feel musically prepared or unprepared to use in sessions. A survey was used to collect data from board-certified music therapists to ask about which genres their clients most commonly request, as well as which genres they feel musically prepared using in sessions. The survey’s findings were that client’s most frequently requested Children’s, Classic Country, Classic Rock, Gospel, Hymn, Oldies, and Pop Music. Respondents reported to feeling most musically prepared to use genres that were most frequently requested by their clients. Music therapists reported not feeling musically prepared to use genres associated with World Music cultures or genres requiring use of electronic or synth- based instruments such as Bachata, EDM, Funk, Heavy Metal, Hip Hop/Rap, J-Pop, K-Pop, Latin Hip Hop/Latin Rap, Latin Pop, Merengue, Punk, Reggaeton, Salsa, Ska, Trap, and Video Game Music. -
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
The Best Drum and Bass Songs
The best drum and bass songs Listen to the UK legend's unranked list of the 41 best drum'n'bass songs ever below, and be sure to also check out his latest release "What. When it comes to drum and bass, it doesn't get more iconic than Andy C. Listen to the UK DnB legend's unranked list of the 41 best drum'n'bass. By the end of the noughties Drum & Bass was one of the UK's biggest music scenes, Capital Xtra has complied some of the biggest D&B tracks of all time. feast that not only complimented the massively popular original, but bettered it. Download and listen to new, exclusive, electronic dance music and house tracks. Available on mp3 and wav at the world's largest store for DJs. The legendary producer, DJ, artist, actor and more schools us on some of the best drum and bass has to offer. Read a 10 best list of drum and bass tracks from longstanding DJ, producer, and label- head Doc Scott. Out now, it's the first ever fully drum & bass remix EP Moby has had Ten of the best drum & bass tracks of all time according to Moby himself. Simply the best Drum & Bass tunes of all time as voted and added by Ranker users.I've started us off with 40 of my favorite tracks from across old and new (now. The top 10 Drum and Bass tracks on the website. Best Drum & Bass Mix | Best Party, Dance & DnB Charts Remixes Of Popular Songs by Monkey. -
Exploring Queer Expressions in Mens Underwear Through Post Internet Aesthetic As Vaporwave
Mens underwear :Exploring queer expressions in mens underwear through post internet aesthetic as Vaporwave. Master in fashion design Mario Eurenius 2018.6.09. 1. Abstract This work explores norms of dress design by the use of post internet aesthetics in mens underwear. The exploration of underwear is based on methods formed to create a wider concept of how mens underwear could look like regarding shape, color, material and details. Explorations of stereotypical and significant elements of underwear such as graphics and logotypes has been reworked to create a graphical identity bound to a brand. This is made to contextualize the work aiming to present new options and variety in mens underwear rather than stating examples using symbols or stereotypic elements. In the making of the examples for this work the process goes front and back from digital to physical using different media to create compositions of color, graphic designs and outlines using transfer printer, digital print, and laser cutting machine. Key words: Mens underwear, graphic, colour, norm, identity, post internet, laser cut. P: P: 2 Introduction to the field 3 Method 15 What is underwear? 39 Shape, Rough draping Historical perspective 17 Male underwear and nudity 41 From un-dressed to dressed 18 Graphics in fashion and textiles 42 Illustrator sketching 19 Differencesin type and categories of mensunderwear 43 shape grapich design 2,1 Background 3.1 Developement 45 collection of pictures 49 Colour 20 Vaporwave 50 Rough draping Japanese culture 21 Mucis 55 Rough draping 2 22 -
Garage House Music Whats up with That
Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM. -
Dubplate Literature: Distribution Beyond the Market
Dubplate literature: distribution beyond the market Joshua Mostafa, 2014 Te trajectories of the commercial imperative and of cultural production are often opposed, and at best orthogonal. Te rise of digital media and discounted online sales threatens to upset their fragile compromise. New approaches must be found to sustain literary publishing. I explore options beyond the market: the subscription model, private circulation, and fnally suggest ‘public circulation’ backed by a relationship of patronage and mutual beneft between literary publishers and public libraries. We hardly need reminding that literary book publishing is beset on all sides by hostile forces: the long-term erosion of reading for entertainment by other, shiner, media; aggressive retailer strategies predicated on deep discounts; and the rush to digitisation, with its concomitant depredations—the devaluation of literature when digitally encoded, the never-ending demand for lower prices, the threat of ‘piracy’ or fle sharing, and the shifting of the reader’s economic role from customer to advertising target. Most of these effects are well-rehearsed, but I suspect the last is understood insufficiently widely. Te ebook reader is not simply what it claims, an innocent and convenient device for reading texts. It is more like the two-way television in 1984, which watches you as you watch it.1 Even buying a physical book online is to submit to a degree of behavioural profling: your purchase is added to a bundle of data that allows its advertising algorithm to target you with other products you might like to buy. But that’s merely the tip of the iceberg. -
The Aura of Dubplate Specials in Finnish Reggae Sound System Culture
“Chase Sound Boys Out of Earth”: The Aura of Dubplate Specials in Finnish Reggae Sound System Culture Feature Article Kim Ramstedt Åbo Akademi University (Finland) Abstract This study seeks to expand our understanding of how dubplate specials are produced, circulated, and culturally valued in the international reggae sound system culture of the dub diaspora by analysing the production and performance of “Chase the Devil” (2005), a dubplate special commissioned by the Finnish MPV sound system from Jamaican reggae singer Max Romeo. A dubplate special is a unique recording where, typically, a reggae artist re-records the vocals to one of his or her popular songs with new lyrics that praise the sound system that commissioned the recording. Scholars have previously theorized dubplates using Walter Benjamin’s concept of aura, thereby drawing attention to the exclusivity and uniqueness of these traditionally analog recordings. However, since the advent of digital technologies in both recording and sound system performance, what Benjamin calls the “cult value” of producing and performing dubplates has become increasingly complex and multi-layered, as digital dubplates now remediate prior aesthetic forms of the analog. By turning to ethnographic accounts from the sound system’s DJ selectors, I investigate how digital dubplates are still culturally valued for their aura, even as the very concept of aura falls into question when applied to the recording and performance of digital dubplates. Keywords: aura, dubplate special, DJ, performance, reggae, recording, authenticity Kim Ramstedt is a PhD candidate in musicology at Åbo Akademi University in Finland. In his dissertation project, Ramstedt is studying DJs as cultural intermediaries and the localization of musical cultures through DJ practices. -
The Unreal Estate Guide to Detroit
The Unreal Estate Guide to Detroit Digitalculturebooks, an imprint of the University of Michigan Press, is dedicated to publishing work in new media studies and the emerging field of digital humanities. The Unreal Estate Guide to Detroit Andrew Herscher The University of Michigan Press Ann Arbor Copyright © by Andrew Herscher 2012 Some rights reserved This work is licensed under the Creative Commons Attribution-Noncommercial- No Derivative Works 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2015 2014 2013 2012 4 3 2 1 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-03521-2 (pbk. : alk. paper) ISBN 978-0-472-02917-4 (e-book) “Precisely because physical devastation on such a huge scale boggles the mind, it also frees the imagination … to perceive reality anew; to see vacant lots not as eyesores but as empty spaces inviting the viewer to fill them in with other forms, other structures that presage a new kind of city which will embody and nurture new life-affirming values in sharp contrast to the values of materialism, individualism and competition that have brought us to this denouement.” —Grace Lee Boggs, The Next American Revolution “The world of capitalist culture, economy, -
Q:How Did You Get Involved with Music? How Did It First Start for You?
Q:How did you get involved with music? How did it first start for you? A:Usually like anyone else, I listened to music on the radio. After some time I found some stuff that I liked most and that was around 1983..85, when producers just started to make special 12 inch mixes of normal radio play version of a song. So I thought that’s quite interesting. Later in the ‘80s, some bands were coming up with special, different sounds, like S-Express, Bomb The Bass, Inner City and stuff like that. This was stuff that I started with. After one or two years more, around 1990 I started buying some underground "club" records, but that was when the party scene over here first started. I went to some of these parties and the clubs and I tried to find out what kind of music they were playing, because the music was very different from what you heard in the daytime. I tried to find the records, it took some time, but finally I was able to find them and after a few years time, I started DJing with this "backstock". Q: How did you start producing? A: First I was a record collector for some years, then I thought `there are many common things in a lot of these records... ´. So they must have mostly similar equipment. I was interested more the backgrounds, trying to get some of this equipment. But at the time in ’93 or ’94 it was very difficult to get, even in Germany because it was totally sold out early ‘80s stuff, like the Roland machines, and analog synths, and the people who owned it didn’t want to sell it. -
Bass House Sample Pack Free
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The Freesound Loop Dataset and Annotation Tool
THE FREESOUND LOOP DATASET AND ANNOTATION TOOL António Ramires1 Frederic Font1 Dmitry Bogdanov1 Jordan B. L. Smith2 Yi-Hsuan Yang3 Joann Ching3 Bo-Yu Chen3 Yueh-Kao Wu3 Hsu Wei-Han3 Xavier Serra1 1 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain 2 TikTok, Lodon, United Kingdom 3 Research Center for IT Innovation, Academia Sinica, Taipei, Taiwan [email protected] ABSTRACT tronic music. Currently, large-scale databases of audio of- fer huge collections of audio material for users to work Music loops are essential ingredients in electronic mu- with. Some databases, like Freesound 1 and Looperman 2 , sic production, and there is a high demand for pre-recorded are community-oriented: people upload their sounds so loops in a variety of styles. Several commercial and com- that other users can employ them in their works. More munity databases have been created to meet this demand, commonly, these collections are commercially oriented: but most are not suitable for research due to their strict li- loops are available to paying costumers, either through a censing. We present the Freesound Loop Dataset (FSLD), subscription service (e.g. Sounds.com, 3 Splice 4 ) or by a new large-scale dataset of music loops annotated by ex- allowing customers to buy packs of loops (e.g. Loopmas- perts. The loops originate from Freesound, a community ters, 5 and Prime Loops 6 ). database of audio recordings released under Creative Com- Despite the number of loops available on these mons licenses, so the audio in our dataset may be redis- databases, the technologies used to analyse and navigate tributed.