Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
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TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!
THOMAS FRASER I #79/168 AUGUST 2003 REVIEWS rQr> rÿ p rQ n œ œ œ œ (or not) Nancy Apple Big AI Downing Wayne Hancock Howard Kalish The 100 Greatest Songs Of REAL Country Music JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #48 ROOTS BIRTHS & DEATHS s_________________________________________________________ / TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S "TURBINADO ri TEXAS ROUND-UP YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! #1 TMRU BESTSELLERS!!! ■ 1 hr F .ilia C s TUP81NA0Q First solo release by the acclaimed Austin guitarist and member of ’90s. roots favorites Loose Diamonds. Scrappy Jud has performed and/or recorded with artists like the ' Resentments [w/Stephen Bruton and Jon Dee Graham), Ian McLagah, Dan Stuart, Toni Price, Bob • Schneider and Beaver Nelson. • "Wall delivers one of the best start-to-finish collections of outlaw country since Wayton Jennings' H o n k y T o n k H e r o e s " -Texas Music Magazine ■‘Super Heroes m akes Nelson's" d e b u t, T h e Last Hurrah’àhd .foltowr-up, üflfe'8ra!ftèr>'critieat "Chris Wall is Dyian in a cowboy hat and muddy successes both - tookjike.^ O boots, except that he sings better." -Twangzirtc ;w o tk s o f a m e re m o rta l.’ ^ - -Austin Chronlch : LEGENDS o»tw SUPER HEROES wvyw.chriswatlmusic.com THE NEW ALBUM FROM AUSTIN'S PREMIER COUNTRY BAND an neu mu - w™.mm GARY CLAXTON • acoustic fhytftm , »orals KEVIN SMITH - acoustic bass, vocals TON LEWIS - drums and cymbals sud Spedai td truth of Oerrifi Stout s debut CD is ContinentaUVE i! so much. -
Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
How All This Came About
Innovation. Amplified. Chapter 1 How All This Came About by Hartley Peavey s most of you know, electronics have been direction (i.e. a “check valve” that allows electrons to A around a very long time. In the latter part of the flow in only one direction). It had been long known 1800s, Thomas Edison perfected the incandescent that electrons possess a “negative” (-) charge and lightbulb. Edison experimented with thousands of therefore are attracted to anything having a positive combinations of materials before he finally found (+) charge. So the flow of electrons is (and will al- that a small Tungsten filament inside an “evacuated” ways be) from negative to positive. glass container would convert electricity into light. These early bulbs suffered a number of problems, The aforementioned “Edison effect” became widely but generally were perfected enough for general known, and various labs on both sides of the Atlantic use by the early 1890s... After extended use, it was performed extensive research. The modern vacuum discovered that the inside of the clear glass “bulbs” tube utilizes three or more “electrodes” whose effect would gradually darken, thus absorbing much of was discovered in 1903 by an American named Lee the light generated by the incandescent filament. DeForrest. He discovered that if an electrode with Various schemes were tried to reduce this, includ- a negative charge was inserted between the incan- ing introduction of various “Noble” gases, as well descent filament and a positively charged electrode as insertion of other metal conductors in attempts (anode), that the flow of current could be controlled to “drain off” whatever was causing the inside of (modulated), thus causing the device to act like an Edison’s bulbs to blacken after extended periods of “electronic valve”… This is why most of the world use. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman
ABSTRACT Tinkering has long figured prominently in the history of the electric guitar. During the late 1970s and early 1980s, two guitarists based in the burgeoning Southern California hard rock scene adapted technological tinkering to their musical endeavors. Edward Van Halen, lead guitarist for Van Halen, became the most celebrated rock guitar virtuoso of the 1980s, but was just as noted amongst guitar aficionados for his tinkering with the electric guitar, designing his own instruments out of the remains of guitars that he had dismembered in his own workshop. Greg Ginn, guitarist for Black Flag, ran his own amateur radio supply shop before forming the band, and named his noted independent record label, SST, after the solid state transistors that he used in his own tinkering. This paper explores the ways in which music-based tinkering played a part in the construction of virtuosity around the figure of Van Halen, and the definition of artistic ‘independence’ for the more confrontational Black Flag. It further posits that tinkering in popular music cuts across musical genres, and joins music to broader cultural currents around technology, such as technological enthusiasm, the do-it-yourself (DIY) ethos, and the use of technology for the purposes of fortifying masculinity. Keywords do-it-yourself, electric guitar, masculinity, popular music, technology, sound California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman Tinkering has long been a part of the history of the electric guitar. Indeed, much of the work of electric guitar design, from refinements in body shape to alterations in electronics, could be loosely classified as tinkering. -
Guitar Resonator GR-Junior II
Guitar Resonator GR-Junior II User Manual Copyright © by Vibesware, all rights reserved. www.vibesware.com Rev. 1.0 Contents 1 Introduction ...............................................................................................1 1.1 How does it work ? ...............................................................................1 1.2 Differences to the EBow and well known Sustainers ............................2 2 Fields of application .................................................................................3 2.1 Feedback playing everywhere / composing / recording ........................3 2.2 On stage ...............................................................................................3 2.3 New ways of playing .............................................................................4 3 Start-Up of the GR-Junior .........................................................................5 4 Playing techniques ...................................................................................5 4.1 Basics ...................................................................................................5 4.2 Harmonics control by positioning the Resonator ...................................6 4.3 Changing harmonics by phase shifting .................................................6 4.4 Some string vibration basics .................................................................6 4.5 Feedback of multiple strings .................................................................9 4.6 Limits of playing, pickup selection, -
Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Pure Acoustic
A TAYLOR GUITARS QUARTERLY PUBLICATION • VOLUME 47 • WINTER 2006 pure acoustic THE GS SERIES TAKES SHAPE I’m a 30-year-old mother and wife who Jorma Kaukonen, Bert Jansch, Leo Kottke, 1959 Harmony Sovereign to a collector, loves to play guitar. I currently own two Reverend Gary Davis, and others, and my I will buy that Taylor 110, or even a 200 Letters Fenders. But after seeing you recognize listeners tell me I am better than before series model, which are priced right. my kind of player, my next guitar will be the “incident”. That’s a long story about John-Hans Melcher a Taylor (keeping my fingers crossed for a great guitar saving my hand, my music, (former percussionist for Christmas). Thanks for thinking of me. and my job. Thanks for building your Elvis Presley and Ann-Margret) Via e-mail Bonnie Manning product like I build mine — with pride Via e-mail and quality materials. By the way, I saw Artie Traum conduct After many years of searching and try- Aloha, Mahalo Nui a workshop here in Wakefield and it was ing all manner of quality instruments in Loa, A Hui Hou a very good time. Artie is a fine musician order to improve on the sound and feel Aloha from Maui! I met David Hosler, and a real down-to-earth guy — my kind of, would you believe, a 1966 Harmony Rob Magargal, and David Kaye at Bounty of people. Sovereign, I’ve done it! It’s called a Taylor Music on Maui last August, and I hope Bob “Slice” Crawford 710ce-L9. -
B Alk Anisms Ne W S Uite of B Al K an D Anc Es F Or Guit Ar
BALKANISMS NEW SUITE OF BALKAN DANCES FOR GUITAR AND ORCHESTRA Mak plays classical guitar, lute, Touted as a “gifted young guitarist” by the New York Times, acoustic guitar, electric guitar, and “a guitarist to keep an eye on” by the Washington Post, Mak Grgić is emerging as a star on the worldwide stage. fretless guitar, banjo, luca, An expansive and adventurous repertoire attests to his guitar with prepared frets. versatility and wide-ranging interests: from the Baroque and Renaissance to music of the cinema; from ethnic music of his native Balkans to extreme avant-garde and microtonal music, Mak’s extraordinary talents and tastes as soloist, collaborator, and recording artist are fueled by his curiosity, imagination, and boundless energy. BIO GRAPHY : MAK GRGIĆ [GER-gich] The New York Times “Gifted, imaginative, expressive playing.” → RE VIEWS The Washington Post “A guitarist to keep an eye on!” → Kulturwoche “As part of his “Cinema Verismo” project, Mak performed Austria film classics with fabulous mastery ... There is a saying in the → film Forrest Gump: “Life is a box of chocolates. You never know what you’re gonna get.” In this case, Mak’s playing is as “sweet” as chocolate. It is also clear that where Mak goes, quality follows. Mak’s playing sparkled with intense fire, giving life to even the smallest notes in the music. His musical approach is multifold and tends to diverse musical styles and genres with playful beauty.” San Francisco “Mak’s playing combined excellent technique with a wide Classical Voice range of emotional expression, he brought expansive warmth → and delicate elegance to the Baroque pieces.” Yengcheng Newspaper “Mak’s playing sparkled with intense fire, giving life to even China the smallest notes in the music.