Pink Floyd Et Le Rock Progressif

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Pink Floyd et le rock progressif. Le rock progressif (ou rock expérimental) présente un style plus libre, qui expérimente d’autres influences musicales venant du jazz, du classique, de l'électroacoustique et de la musique ethno. Cette nouvelle approche est directement visible sur la forme : à la place d’une structure habituelle de chanson - primauté de la mélodie, rythme simple, alternance couplet-refrain, durée courte -, les compositions sont plus longues, plus libres dans leur structure, souvent instrumentales. Pink Floyd : Le groupe. Le nom du groupe vient des Il se compose de : prénoms de 2 bluesmen : Roger Waters : basse, chant Pink Anderson Nick Mason : batterie, percussions + Floyd Council Richard Wright : claviers, chant (Syd Barret), remplacé dès 68 par = Pink Floyd. David Gilmour : guitare, chant Atom Heart Mother (1970) La formation C'est le 5e album du groupe. Il s'inscrit dans la lignée des groupes qui, à cette époque, expérimentent le domaine de la musique orchestrale. Aux 4 musiciens du groupe se rajoutent des cuivres, un Violoncelle - Cuivres - Chœur mixte violoncelle et un chœur mixte (sans paroles). Ces parties ont été écrites par Ron Geesin, musicien expérimental qui a Guitare - Basse - Clavier - Batterie collaboré au projet. La forme 1. Father's Shout Par sa forme, Atom renvoie à la suite : un enchainement de 2. Breast Milky parties plus ou moins contrastées, sauf qu’ici, les parties 3.Mother Fore s’enchainent de manière continue, sans interruption. 4.Funky Dung Il s’agit du plus long morceau de Pink Floyd. 5.Mind Your Throats Please 6.Remergence Le titre A la création de l'œuvre, le titre choisi fut Amazing Pudding (Pudding étonnant). Le titre définitif d'Atom Heart Mother fut inspiré d'un article d'un quotidien britannique intitulé: "Nuclear drive for woman's heart" [Le cœur d'une femme fonctionne à l'énergie nucléaire]. De même que pour les titres des différentes parties, ce titre n'a aucun lien direct avec les sensations évoquées par la musique ! La pochette Après la vogue du psychédélisme, proche du pop art, qui a notamment inspiré les pochettes délirantes et hyper colorées de nombreux albums, celle d'Atom étonne par : - sa simplicité - son sujet inattendu et sans rapport avec le contenu de l'album (une vache dans un pré, "Lulubelle") - et le fait qu'elle ne porte aucune inscription, même pas le nom du groupe ! Elle contribuera de manière non négligeable au succès de l'album… Andy Warhol (pop art) .

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Pink Floyd ‘The Early Years 1965-1972’
PINK FLOYD ‘THE EARLY YEARS 1965-1972’ †previously unreleased 1965-67 CAMBRIDGE ST/ATION CD 1: CD 2: 1965 Recordings*: Live in Stockholm 1967: † 1. Lucy Leave* 2.57 1. Introduction 0.25 2. Reaction in G† 7.18 2. Double O Bo* 2.57 † 3. Remember Me* 2.46 3. Matilda Mother 5.34 4. Pow R. Toc H.† 11.56 4. Walk With Me Sydney* 3.11 5. Scream Thy Last Scream† 4.00 5. Butterfly* 3.00 † 6. I’m A King Bee* 3.13 6. Set The Controls For The Heart Of The Sun 7.17 7. See Emily Play† 3.16 7. Arnold Layne 2.57 † 8. See Emily Play 2.55 8. Interstellar Overdrive 8.57 9. Apples And Oranges 3.05 10. Candy And A Currant Bun 2.45 Please note: the above tracks feature vocals recorded at a less than optimum level 11. Paintbox 3.48 12. Matilda Mother (2010 mix) 4.01 † John Latham (studio recordings 1967) 13. Jugband Blues (2010 mix) 3.01 † † 9. John Latham Version 1 4.32 14. In The Beechwoods (2010 mix) 4.43 † † 10. John Latham Version 2 5.06 15. Vegetable Man (2010 mix) 2.32 † 16. Scream Thy Last Scream (2010 mix)† 4.43 11. John Latham Version 3 3.45 12. John Latham Version 4† 2.59 † Total: 52 mins, 24 secs approx. 13. John Latham Version 5 2.48 † Tracks 1-11 mono. 14. John Latham Version 6 3.17 15. John Latham Version 7† 2.36 Tracks 12-16 stereo † 16.
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Harvest Records Discography
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CD 010 Intro.Pdf
Copyright © 2003-2012 Hans Gerlitz. All rights reserved. www.pinkfloyd-forum.de/discography [email protected] This discography is a reference guide, not a book on the artwork of Pink Floyd. The photos of the artworks are used solely for the purposes of distinguishing the differences between the releases. The product names used in this document are for identification purposes only. All trademarks and registered trademarks are the property of their respective owners. Permission is granted to download and print this document for personal use. Any other use including but not limited to commercial or profitable purposes or uploading to any publicly accessibly web site is expressly forbidden without prior written consent of the author. I want to express my thanks to all participants. This discography could not be realised without their help. The contributors are in alphabetic order: Maximilian Almeida, Uruguay Lucilio Batini, Italy (www.batini.com) Charles Beterams, Holland (www.floydstuff.com) Marek Borkowski, Poland † Ingo Brode, Germany Sam Calder, Australia (www.minilps.net) Roberto Cattaneo, Italy Gavin Costar, New Zealand (www.pinkfloydcd.com) Brian Currin, South Africa (www.rock.co.za) Robert van Diggele, Holland (www.pinkfloyddiscography.org) Jean-Manuel Esnault, France (http://pig.floyd.free.fr) Vernon Fitch, USA (http://pinkfloydarchives.com) Tore Frøland, Norway Michael Grantham, USA (www.mofi.com) Jacek Gretszel, Poland (www.roio.gretszel.pl) Werner Haider, Austria (www.pulse-and-spirit.com) Richard Hermann, Brazil Bert van Kalker,
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Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett Onesj
Graduate Theses, Dissertations, and Problem Reports 2017 Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett onesJ Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Jones, Christopher Everett, "Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd" (2017). Graduate Theses, Dissertations, and Problem Reports. 7098. https://researchrepository.wvu.edu/etd/7098 This Dissertation is brought to you for free and open access by The Research Repository @ WVU. It has been accepted for inclusion in Graduate Theses, Dissertations, and Problem Reports by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett Jones Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts David Taddie, Ph.D., Chair Evan MacCarthy, Ph.D. Matthew Heap, Ph.D. Andrea Houde, M.M. Beth Royall, M.L.I.S., M.M. School of Music Morgantown, West Virginia 2017 Keywords: Music, Pink Floyd, Analysis, Rock music, Progressive Rock, Progressive Rock Analysis Copyright 2017 Abstract Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett Jones This document examines the harmonic and melodic content of four albums by English Progressive Rock band Pink Floyd: Meddle (1971), The Dark Side of the Moon (1973), Wish You Were Here (1975), and The Wall (1979). Each of these albums presents a coherent discourse that is typical of the art music tradition.
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Pink Floyd the Early Years 1966-1967 Cambridge St/Ation Pfrey1
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Obscured by Clouds (Vinyl-Reissue)
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MUSC 424 Pink Floyd Syllabus
Iconic Figures of Popular Music: Pink Floyd Spring 2019 Course no. MUSC 424 Section no. 47229R Units: 2 Time: Wednesdays 10:00-11:50am Room: KDC 241 Course instructor: Bill Biersach Instructor’s office: MUS 316 Instructor’s office hours: MW 9 – 9:30 am, 12 – 1 pm Office phone: (213) 740-7416 Instructor’s email: [email protected] The Premise From schoolyard friends to superstars to squabbling artists to fading stars, we will follow the course of these intense musicians through the intriguing twists and turns of their rise to fame and their eventual demise as a group and, unfortunately, as friends. Along the way, one of their founding members bailed due to mental problems—yet his unintended influence on the band remained eerily active. In their use of complex recording techniques and newly-invented electronic instruments, they were decades ahead of their time. The amazing visuals, both projected and animatronic, became an integral part of their stage presentation. Their albums were more than collections of musical tracks, and their concerts became more than mere performances of their music. Everything they did was larger than life, but the vicissitudes of life eventually tore the band apart. Course Goal In this course we will examine the career arc of this band from several perspectives. We will read the autobiography of a band member, Nick Mason, but also review the story from an outsider’s perspective, journalist Mark Blake. The class will also divide into small groups who will review and present the musical material, album by album, according to guidelines of their choosing.
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10 Replicating the Black
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Pink Floyd. Which One's Pink?
ALEXANDRE HIGOUNET PINK FLOYD WHICH ONE’S PINK? ALEXANDRE HIGOUNET PINK FLOYD PINK WHICH ONE’S PINK? LE MOT ET LE RESTE ALEXANDRE HIGOUNET PINK FLOYD which one’s pink? le mot et le reste 2018 INTRODUCTION Si son succès planétaire s’est d’abord bâti sur des chansons comme « Money » ou « Another Brick In The Wall part 2 », Pink Floyd, dans l’imaginaire du grand public, est avant tout un groupe « spatial ». Ce n’est pas sans justification. Du psychédé- lisme pop de The Piper At The Gate Of Dawn à l’instru mental The Endless River, la musique du Floyd a régulièrement pris de la hauteur et laissé de l’espace… au temps 1. Dans le numéro de Disc And Music Echo en date du 22 novembre 1969, David 1. Petit rappel historique. En 1966-1967, Pink Floyd (Syd Barrett, guitare chant ; Roger Waters, basse chant ; Rick Wright, claviers chant ; Nick Mason, batterie) rencontre une première phase de succès dans l’under- ground londonien, grâce aux compositions de Syd Barrett, remplacé par David Gilmour (guitare chant) début 1968 du fait de problèmes mentaux, après une tentative avortée d’un mois en formation à cinq. Dans sa forma- tion Waters-Gilmour-Wright-Mason, Pink Floyd devient un groupe plané- taire grâce à Dark Side Of The Moon en 1973. Roger Waters augmente son emprise sur le quatuor au point d’en devenir le leader absolu à la fin des années soixante-dix. Il décide de quitter le groupe en 1985 pensant déclarer son arrêt de mort. Pas pour David Gilmour, qui remet Pink Floyd en marche de 1986 à 1994 avec Nick Mason et Rick Wright, avec deux albums à la clé.
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Pink Floyd and the Making of Atom Heart Mother. Joe Geesin
to mixing desk, for everyone’s safety. It worked, small boxed EMI logo above ‘Harvest’ on the in the main, with drummer Nick Mason label, and the removal of the label rim text admitting years later that the band had learnt a lot beginning ‘The Gramophone ...’. A about innovative recording techniques ‘on-the- subsequent Quadraphonic mix was issued cheap’ from Ron. That said, a misunderstanding in 1974, on the crest of the short-lived new between Ron and Nicky (as he was then) over the technology. Two editions see the quad logo either lead beat in the funky section, and a small chunk on the outside sleeve or inside the gatefold. of the 23-minute track, left the band and choir a The striking sleeve, with the Cow front and W beat out of sync. HOLY CO more cows on the back, was one of the first to This was only rectified for the recent Chelsea feature no mention of band or album title, Pink Floyd and the making of Atom Heart Mother. Joe Geesin celebrates the performances, with the erroneous segment played although some reissues and international editions band’s most controversial album. twice; correctly (by the record) out of step and added this in a variety of fonts. The opening incorrectly (or as intended) in step. Add to that gatefold artwork was, where present, always black two new cello parts and the work extended past and white. The Hipgnosis designed sleeve features ink Floyd’s 1970 album Atom Heart by Matt Johns, editor of Brain Damage (www. was ‘The Amazing Pudding’.
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CD 010 Intro.Pdf
Copyright © 2003-2010 Hans Gerlitz. All rights reserved. www.pinkfloyd-forum.de/discography [email protected] This discography is a reference guide, not a book on the artwork of Pink Floyd. The photos of the artworks are used solely for the purposes of distinguishing the differences between the releases. The product names used in this document are for identification purposes only. All trademarks and registered trademarks are the property of their respective owners. Permission is granted to download and print this document for personal use. Any other use including but not limited to commercial or profitable purposes or uploading to any publicly accessibly web site is expressly forbidden without prior written consent of the author. I want to express my thanks to all participants. They have contributed by providing information, giving useful hints or sharing their knowledge with me. This discography could not be realised without their help. The contributors are in alphabetic order: Lucilio Batini, Italy (www.batini.com) Charles Beterams, Holland (www.floydstuff.com) Marek Borkowski, Poland Ingo Brode, Germany Sam Calder, Australia (www.minilps.net) Roberto Cattaneo, Italy Gavin Costar, New Zealand (www.pinkfloydcd.com) Brian Currin, South Africa (www.rock.co.za) Robert van Diggele, Holland (www.pinkfloyddiscography.org) Jean-Manuel Esnault, France (http://pig.floyd.free.fr) Vernon Fitch, USA (http://pinkfloydarchives.com) Tore Frøland, Norway Michael Grantham, USA (www.mofi.com) Jacek Gretszel, Poland (www.roio.gretszel.pl) Werner Haider,
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