DOCSLIB.ORG

Musical Influence Network Analysis and Rank of Sample-Based Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Influence Network Analysis and Rank of Sample-Based Music Musical Influence Network Analysis and Rank of Sample-Based Music Nicholas J. Bryan and Ge Wang Stanford University | CCRMA ISMIR 2011 Introduction • Influence Network Analysis and Rank • Understand how songs, artist, and genres interact within the musical practice of sample-based music • Sampled-Based Music • A musical work that borrows material from another source, whether it be direct manipulation of a recorded sound or less direct transcribed material as decided from a user community “Amen Break” “Theme From Lilies of the Field (Amen)” by Jester Hairston A “We’re a Winner” “Theme From Lilies of the Field (Amen)” by The Impressions by The Impressions B1 B2 C “Amen, Brother” by The Winstons “Amen Break” “Theme From Lilies of the Field (Amen)” by Jester Hairston A “We’re a Winner” “Theme From Lilies of the Field (Amen)” by The Impressions by The Impressions B1 B2 C “Amen, Brother” by The Winstons . F D “Straight Outta Compton” by NWA “Rustic Raver” E by Squarepusher “The Perfect Drug” by Nine Inch Nails “Amen Break” “Theme From Lilies of the Field (Amen)” by Jester Hairston A “We’re a Winner” “Theme From Lilies of the Field (Amen)” by The Impressions by The Impressions B1 B2 Gospel C “Amen, Brother” by The Winstons Soul / Funk / Disco Electronic / Dance Rock / Pop . F Hip-Hop / R&B D “Straight Outta Compton” by NWA “Rustic Raver” E by Squarepusher “The Perfect Drug” by Nine Inch Nails Today • Unique Dataset • User community generated sample-based music data • Initial analysis and trends • Network Analysis • Degree centrality & distribution • Song-, Artist-, and Genre-level influence networks popular music (e.g. Rolling Stone Magazine). We present work towards this goal by studying influence found within 1 popular musicsample-based (e.g. Rolling music. Stone Magazine).Directed influence We present graphs are con- popular musicstructed (e.g. Rolling using a Stone dataset Magazine). from WhoSampled.com We present [8], a music popular music (e.g.popular Rolling music Stone (e.g. Magazine). Rolling Stone Wework present Magazine). towards this We goal present by studying influence found within popular music (e.g. Rollingwork Stone towards Magazine).website this goal that by1 We chronicles studying present influence sampling found behavior within via a community popular music (e.g. Rollingwork Stone towards Magazine). this goal by We studying present influence foundsample-based within music.1 Directed influence graphs are con- popular music (e.g. Rollingworkwork towards Stone towards Magazine). this this goal goal by studying bysample-based We studying present influence influence music. found foundDirected within within influence graphs are con- work towardspopular this goal music bysample-based (e.g. studyingpopular Rolling influence music. music Stone1 popularDirected found (e.g. Magazine). Rolling within music influence We1 (e.g. Stone graphs present Rolling Magazine).structed are con- Stone usingof We contributors. a Magazine). dataset present from Network WhoSampled.com We present analysis metrics [8], a music and visualization popular music (e.g. Rolling Stone Magazine).sample-basedsample-based We music. present music.Directed1 structedDirected influence using influence a graphsdataset graphs fromare con- are WhoSampled.com con- [8], a music sample-basedwork music. towardswork1 towardsDirectedstructed this goalwork this using influence by goal towards a studying dataset by graphs studyingwork from this influence WhoSampled.com goal are towards influence con- by found studying this goalfound within [8], influencewebsite by a within music studying thatsuch found chronicles influence as Fig.within sampling 1 are found employed behavior within on via song, a community artist, and genre influ- popular music (e.g. Rollingwork Stone towards Magazine). this goal We by studying present1 influencestructed using found a dataset within fromwebsite WhoSampled.com1 that chronicles [8], sampling a music behavior via a community structed usingsample-based a datasetsample-basedpopular fromwebsite music. WhoSampled.com musicsample-based music. that1 Directed chronicles (e.g.Directed Rollingstructed influencesample-based sampling music. [8], Stone influence a using1 music behavior graphsDirected Magazine). a dataset music. graphs via are influencefrom a con- communityof are WeDirected WhoSampled.com contributors. con- present graphsence influence Network graphs are [8],con- ingraphs a analysis anmusic effort are metrics to con- gain and musicological visualization understand- popular musicwork (e.g. towards Rolling this Stone goal by Magazine).sample-based studying influence We music. present1 foundDirected within influencewebsite graphs that chronicles are con- samplingof contributors. behavior via Network a community analysis metrics and visualization popular music (e.g. Rolling Stone Magazine). We presentstructedworkof using towards contributors.popularstructed a dataset this musicNetwork usinggoal fromwebsite bystructed a (e.g.popular WhoSampled.com analysisdataset studying Rolling that music using frommetrics chronicles influence (e.g. a Stone WhoSampled.com dataset and Rolling sampling[8], visualization Magazine). found from a music Stone behavior withinWhoSampled.com Magazine).ing We [8], of via present a the music a community compositional We present [8], a music act of sampling. In addition, a sample-based music.website1 popularDirected thatstructedpopular musicchronicles influence (e.g. using music samplinggraphs Rolling a (e.g. dataset are Rolling behaviorStone con-from Magazine). WhoSampled.com Stoneof via contributors. a Magazine). community We Network present [8], We a analysis present musicsuchsuch as metrics Fig. as Fig. 1 are and 1 are employed visualization employed on on song, song, artist, artist, and and genre genre influ- influ- workwork towards towards this goal this goal by studying by studying influencestructed influence found using found withinwebsite a datasetsample-based within that from chronicleswork WhoSampled.com music. towards sampling1 ofwebsite thisDirectedwork contributors. goal behavior towards [8], that byinfluence a music chroniclesstudying this Network via goal a graphs community by analysisinfluence sampling studying are metrics con- foundmethod influence behavior and within of visualization found influence via a within community rank and analysis is proposed to help 1 popularof music contributors.work (e.g. towardswebsite Rolling Network this that Stone goal chroniclessuch analysis by Magazine). as studyingwebsite Fig. metrics sampling 1 are that influence employed We and chronicles behavior present visualization on found song, via sampling within artist, a community and behavior genreence influ- graphs via a in community an effort to gain musicological understand- sample-basedstructed music.1 usingDirected a dataset influence from WhoSampled.comwork graphs towards are con- this [8], goal a music by studyingsuch as Fig.influence 1 are employed found1 withinence on song, graphs artist, in an and effort genre to influ- gain musicological understand- sample-based music. Directedwork influence towardswebsite graphs this goal that are by chroniclesof con- studying contributors.structedence1 sampling influence using graphssample-basedof Network contributors. a in dataset behavior an found effort analysis fromsuch music.of withinsample-based tovia Network contributors. gainas WhoSampled.com a Fig. metrics community musicologicalDirected 1 analysisare music. and employed Network visualizationinfluence metrics understand-Directed [8], on analysis song, a and graphsmusic influence artist,unify visualization metrics are and song-level graphs con- genre and are influ-visualization networks con- to higher-level artist and genre website that chroniclespopularsuch samplingsample-based as music Fig.ofsample-based (e.g. 1 behavior arecontributors. Rollingemployed music. via Stonea music. Networkcommunity onDirected song, Magazine).1 Directed analysisartist, influence and We influence metrics genregraphs present influ- and are graphs visualization con- areing con-ing of of the the compositional compositional act act of of sampling. sampling. In Inaddition, addition, a a structedstructed using using a dataset a dataset from from WhoSampled.com WhoSampled.comof contributors. [8],1 a [8],musicsuch a Networkwebsite music asing Fig. of that analysis1structed the are chronicles compositional employed metrics usingence samplingence asuch graphsonstructed anddataset act song, graphs as visualization of in Fig. using fromsampling. behavior an artist, in effort1 an a areWhoSampled.com dataset effort and to employed via In gaingenre from to addition, a communitygain musicological WhoSampled.com influ- musicological on a song,networks [8], a artist,understand- music understand-via [8], and a a collapse-and-sum music genre influ- approach. Empirical re- sample-basedencestructed graphs music.suchstructed using in an asDirected a effort Fig. dataset using 1 to are a influence from gain dataset employedsuch musicological WhoSampled.com from graphs as Fig. on WhoSampled.com song, 1are are understand- con- artist, employed [8], and a music [8],genre on song, a music influ-methodmethod artist, of andof influence influence genre rank influ- rank and and analysis analysis is proposed is proposed to help to help websitewebsite that chroniclesthatof chronicles contributors. sampling sampling Network behaviorwork behavior towardssuch analysisvia a as communityvia this Fig. metrics a goal community 1 are by and employed studyingmethod visualizationwebsite of on influence influence song, thating
Load more

Recommended publications
  • The Sound of an Album Cover: Probabilistic Multimedia and IR
    The Sound of an Album Cover: Probabilistic Multimedia and IR Eric Brochu Nando de Freitas Kejie Bao Department of Computer Science Department of Computer Science Department of Computer Science University of British Columbia University of British Columbia University of British Columbia Vancouver, BC, Canada Vancouver, BC, Canada Vancouver, BC, Canada [email protected] [email protected] [email protected] Abstract We present a novel, flexible, statistical approach to modeling music, images and text jointly. The technique is based on multi-modal mixture mod- els and efficient computation using online EM. The learned models can be used to browse mul- timedia databases, to query on a multimedia database using any combination of music, im- ages and text (lyrics and other contextual infor- mation), to annotate documents with music and images, and to find documents in a database sim- ilar to input text, music and/or graphics files. 1 INTRODUCTION An essential part of human psychology is the ability to Figure 1: The CD cover art for “Singles” by The Smiths. identify music, text, images or other information based on Using this image as input, our querying method returns associations provided by contextual information of differ- the songs “How Soon is Now?” and “Bigmouth Strikes ent media. Think no further than a well-chosen image on Again” – also by The Smiths – by probabilistically cluster- a book cover, which can instantly establish for the reader ing the query image, finding database images with similar the contents of the book, or how the lyrics to a familiar histograms, and returning songs associated with those im- song can instantly bring the song’s melody to mind.
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • Soul Top 1000
    UUR 1: 14 april 9 uur JAAP 1000 Isley Brothers It’s Your Thing 999 Jacksons Enjoy Yourself 998 Eric Benet & Faith Evans Georgy Porgy 997 Delfonics Ready Or Not Here I Come 996 Janet Jackson What Have Your Done For Me Lately 995 Michelle David & The Gospel Sessions Love 994 Temptations Ain’t Too Proud To Beg 993 Alain Clark Blow Me Away 992 Patti Labelle & Michael McDonald On My Own 991 King Floyd Groove Me 990 Bill Withers Soul Shadows UUR 2: 14 april 10 uur NON-STOP 989 Michael Kiwanuka & Tom Misch Money 988 Gloria Jones Tainted Love 987 Toni Braxton He Wasn’t Man Enough 986 John Legend & The Roots Our Generation 985 Sister Sledge All American Girls 984 Jamiroquai Alright 983 Carl Carlton She’s A Bad Mama Jama 982 Sharon Jones & The Dap-Kings Better Things 981 Anita Baker You’re My Everything 980 Jon Batiste I Need You 979 Kool & The Gang Let’s Go Dancing 978 Lizz Wright My Heart 977 Bran van 3000 Astounded 976 Johnnie Taylor What About My Love UUR 3: 14 april 11 uur NON-STOP 975 Des’ree You Gotta Be 974 Craig David Fill Me In 973 Linda Lyndell What A Man 972 Giovanca How Does It Feel 971 Alexander O’ Neal Criticize 970 Marcus King Band Homesick 969 Joss Stone Don’t Cha Wanna Ride 1 968 Candi Staton He Called Me Baby 967 Jamiroquai Seven Days In Sunny June 966 D’Angelo Sugar Daddy 965 Bill Withers In The Name Of Love 964 Michael Kiwanuka One More Night 963 India Arie Can I Walk With You UUR 4: 14 april 12 uur NON-STOP 962 Anthony Hamilton Woo 961 Etta James Tell Mama 960 Erykah Badu Apple Tree 959 Stevie Wonder My Cherie Amour 958 DJ Shadow This Time (I’m Gonna Try It My Way) 957 Alicia Keys A Woman’s Worth 956 Billy Ocean Nights (Feel Like Gettin' Down) 955 Aretha Franklin One Step Ahead 954 Will Smith Men In Black 953 Ray Charles Hallelujah I Love Her So 952 John Legend This Time 951 Blu Cantrell Hit' m Up Style 950 Johnny Pate Shaft In Africa 949 Mary J.
    [Show full text]
  • Feb-Mar. 1969, Vol. 13 No. 05-06
    Published bi-monthly by the Daughters of Biiitis, Inc., a non-profit corporation, 1005 Market Street, Room 208, San Francisco, California 94103. THE purpose off the VOLUME XIII, NUMBER V & VI LADDER FEBRUARY— MARCH 1969 “Dtui^^tenA 0^ B i L IT IS NATIONAL OFFl lERS, DAUGHTERS OF BILITIS, INC. President, Rita Laporte A WOMtS’S ORC.\SIZMI0\ FOR THE FlIRPOSE OF PROMOTING Vice President, East, Joan Kent THE INTEGRATION OF THE HOMOSEXUAL INTO SOCIETY BY: Vice President, West, Rinalda Reagan Secretary, Lynd James Treasurer, Lois Williams Chapter Presidents are also included on The Board THE LADDER STAFF Editor, Gene Damon Production Assistant, Lyn Collins Education of the Lesbian, enabling her to understand herself Production Manager, Helen Sanders and to make her adjustment to society in all its social, civic, Secretary to the Editor, Maura McCullough and economic implications - by establishing and maintaining Circulation Manager, Priscilla Cochran a library of both fiction and non-fiction literature on the sex Staff Assistants, Karen Wilson, Sten Russell, Ben Cat deviant theme; by sponsoring public meetings on pertinent THE LADDER is regarded as a sounding board for various points o f view subjects to be conducted by leading members of the legal, on the homophile and related subjects, and does not necessarily reflect the psychiatric, religious and other professions; by providing the Lesbian a forum for the interchange of ideas within her own opinion o f the organization except such opinions as are specifically ac­ group. knowledged by the
    [Show full text]
  • State of Bass
    First published by Velocity Press 2020 velocitypress.uk Copyright © Martin James 2020 Cover design: Designment designment.studio Typesetting: Paul Baillie-Lane pblpublishing.co.uk Photography: Cleveland Aaron, Andy Cotterill, Courtney Hamilton, Tristan O’Neill Martin James has asserted his right under the Copyright, Designs and Patents Act 1988 to be identied as the author of this work All rights reserved. No part of this publication may be reproduced, in any form or by any means, without permission from the publisher While the publishers have made every reasonable eort to trace the copyright owners for some of the photographs in this book, there may be omissions of credits, for which we apologise. ISBN: 9781913231026 1: Ag’A THE JUNGLISTS NAMING THE SOUND, LOCATING THE SCENE ‘It always has been such a terrible name. I’ve never known any other type of music to get so misconstrued by its name.’ (Rob Playford, 1996) Of all of the dance music genres, none has been surrounded with quite so much controversy over its name than jungle. No sooner had it been coined than exponents of the scene were up in arms about the racist implications. Arguments raged over who rst used the term and many others simply refused to acknowledge the existence of the moniker. It wasn’t the rst time that jungle had been used as a way to describe a sound. Kool and the Gang had called their 1973 funk standard Jungle Boogie, while an instrumental version with an overdubbed ute part and additional percussion instruments was titled Jungle Jazz. The song ends with a Tarzan yell and features grunting, panting and scatting throughout.
    [Show full text]
  • 3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
    “3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums.
    [Show full text]
  • Musical Influence Network Analysis and Rank of Sample-Based Music
    12th International Society for Music Information Retrieval Conference (ISMIR 2011) MUSICAL INFLUENCE NETWORK ANALYSIS AND RANK OF SAMPLE-BASED MUSIC Nicholas J. Bryan and Ge Wang Center for Computer Research in Music and Acoustics, Department of Music, Stanford University {njb, ge}@ccrma.stanford.edu ABSTRACT recommendation systems. Further work of Jacobson [3, 4] and Fields [5,6] continued to show applications of automatic Computational analysis of musical influence networks and playlist generation, artist community detection, musicology, rank of sample-based music is presented with a unique out- and sociology. Most recently, Collins investigated what is side examination of the WhoSampled.com dataset. The ex- presumably the first computational analysis of musical in- emplary dataset maintains a large collection of artist-to-artist fluence using web scraping, web services, and audio simi- relationships of sample-based music, specifying the origins larity to construct influence graphs of a collection of synth of borrowed or sampled material on a song-by-song basis. pop music [7]. The work outlines the difficulty of construct- Directed song, artist, and musical genre networks are cre- ing influence networks and motivates further investigation. ated from the data, allowing the application of social net- work metrics to quantify various trends and characteristics. In addition, a method of influence rank is proposed, unify- ing song-level networks to higher-level artist and genre net- works via a collapse-and-sum approach. Such metrics are used to help interpret and describe interesting patterns of musical influence in sample-based music suitable for mu- sicological analysis. Empirical results and visualizations are also presented, suggesting that sampled-based influence networks follow a power-law degree distribution; heavy in- fluence of funk, soul, and disco music on modern hip-hop, R&B, and electronic music; and other musicological results.
    [Show full text]
  • Lyn Collins Check Me out If You Don't Know Me by Now Mp3, Flac, Wma
    Lyn Collins Check Me Out If You Don't Know Me By Now mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Check Me Out If You Don't Know Me By Now Country: US Released: 1975 Style: Soul, Funk MP3 version RAR size: 1511 mb FLAC version RAR size: 1208 mb WMA version RAR size: 1686 mb Rating: 4.7 Votes: 436 Other Formats: AAC MP1 RA DTS AIFF ADX MP1 Tracklist Hide Credits A Foggy Day A1 4:02 Written-By – I. Gershwin-G. Gershwin* To Each His Own A2 3:08 Written-By – James Brown, Lyn Collins Put It On The Line A3 3:25 Written-By – James Brown, Lyn Collins Mr. Big Stuff A4 3:59 Written-By – C. Washington*, J. Broussard*, R. Williams* How Long Can I Keep It Up A5 5:30 Written-By – Charles Bobbit, Fred Wesley, James Brown, Lyn Collins Baby Don't Do It B1 3:25 Written-By – L. Pauling* Backstabbers B2 5:40 Written-By – Leon Huff, John Whitehead-G. McFadden* Rock Me Again & Again & Again & Again... B3 3:28 Written-By – James Brown, L. Austin* Try A Little Tenderness B4 3:10 Written-By – H. Woods*, J. Campbell*, Reg Connelly* If You Don't Know Me By Now B5 5:22 Written-By – K. Gamble-L. Huff* Companies, etc. Recorded At – Sound Ideas Studios Recorded At – A&R Studios Recorded At – Wally Heider Studios Mixed At – Sound Ideas Studios Mastered At – Frankford/Wayne Mastering Labs Manufactured By – Polydor Incorporated Distributed By – Polydor Incorporated Pressed By – PRC Recording Company, Richmond, IN Phonographic Copyright (p) – Polydor Incorporated Copyright (c) – Polydor Incorporated Credits Design – Paula Bisacca Engineer [Assistant] – David Stone, Major Little Engineer, Supervised By [Production] – Bob Both Mastered By – SJR* Performer – The Female Preacher Photography By – Michael Dakota Producer, Other [Minister Of New New Super Heavy Funk] – James Brown Notes The back cover and labels credit the artist as "Lyn Collins (The Female Preacher)".
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • Variations #6
    Curatorial > VARIATIONS VARIATIONS #6 With this section, RWM continues a line of programmes devoted to exploring the complex map of sound art from The Library different points of view organised in curatorial series. We encounter the establishment of sound libraries, collections explicitly curated 'Variation' is the formal term for a musical composition based for further use: sound objects presented as authorless, unfinished ingredients. on a previous musical work, and many of those traditional Though some libraries contain newly commissioned generic sounds, specifically methods (changing the key, meter, rhythm, harmonies or designed for maximum flexibility, the most widely used sounds are often sourced tempi of a piece) are used in much the same manner today from commercial recordings, freed from their original context to propagate across by sampling musicians. But the practice of sampling is more dozens to hundreds of songs. From presets for digital samplers to data CD-ROMs than a simple modernization or expansion of the number of to hip-hop battle records, sounds increasingly detach from their sources, used options available to those who seek their inspiration in the less as references to any original moment, and more as objects in a continuous refinement of previous composition. The history of this music public domain. traces nearly as far back as the advent of recording, and its As hip-hop undergoes a conservative retrenchment in the wake of the early emergence and development mirrors the increasingly self- nineties sampling lawsuits, a widening variety of composers and groups expand conscious relationship of society to its experience of music. the practice of appropriative audio collage as a formal discipline.
    [Show full text]
  • World and Time
    z World and Time A Short Trip Around The Musical Globe z Jamaica . Reggae is a musical genre originating from Jamaica, through the expansion of two existing styles, Ska and Rocksteady. It has associations with the Rastafarian religious movement . Lyrics are often delivered in differing forms of Jamaican English (local dialect known as ‘patois’), with subjects based around the Rastafarian movement, social injustice, racism, peace and love. It is characterised by melodies played on the bass guitar, rhythmic stabs (known as ‘skank’) played on guitar/keyboards, and three drum grooves that feature syncopation, which means accenting weak beats of the bar – the one drop, rockers and steppers. The ‘One Drop’ groove z . Listen to the song ‘Get Up Stand Up’ by Bob Marley, the most famous exponent of the Reggae genre: https://www.youtube.com/watch?v=Tg97JiBn1kE . Here is a sample of the drum groove in notation . Below is the groove isolated for you to play – Look at the notation and listen to the groove – notice how the bass drum is missing from the start of beats 1 and 3, which is uncommon in most other pop music genres. Try to count along – it’s difficult without the bass drum on 1 and 3! Cubaz . Afro-Cuban music is comprised of a number of styles, including montuno, cha cha cha and mambo. These styles gave birth to a huge sub-genre of Latin music known as Salsa. This was pioneered by Cuban musicians who had migrated to New York City in USA. Salsa lyrics can range from romantic affairs of the heart, to political subject matter (based around communism).
    [Show full text]
  • Record Dedicated to Serving the Needs of the Music & Record Worldindustry
    record Dedicated To Serving The Needs Of The Music & Record worldIndustry May 11, 1969 60c In the opinion of the editors, this week the following records are the WHO IN SINGLE PICKS OF THE WEEK THE WORLD -.A.11111111." LOVE MI TONIGHT TON TOWS Tom Jones, clicking on Young -HoltUnlimited have JerryButlerhas a spicy Bob Dylan sings his pretty stateside TV these days, a new and funky ditty and moodyfollow-up in "I Threw ftAll Away" (Big shouldscoreveryheavily called "Young and Holtful" "Moody Woman" (Gold Sky, ASCAP), which has with"Love Me Tonight" (Dakar - BRC, BMI), which Forever-Parabut, BMI(,pro- caused muchtalkinthe (Duchess, BMI)(Parrot hassomejazzandLatin duced by Gamble -Huff (Mer- "NashvilleSkyline"elpee 40038(. init (Brunswick 755410). cury 72929). (Columbia 4-448261. SLEEPER PICKS OF THE WEEK TELLING ALRIGHT AM JOE COCKER COLOR HIM FATHER THE WINSTONS Joe Cocker sings the nifty The Winstons are new and Roy Clark recalls his youth TheFive Americans geta Traffic ditty that Dave will make quite a name for on the wistful Charles Az- lot funkier and funnier with Mason wrote, "FeelingAl- themselveswith"Color navour - Herbert Kretzmer, "IgnertWoman" (Jetstar, right" (Almo, ASCAP). Denny Him Father"(Holly Bee, "Yesterday,When I Was BMI(, which the five guys Cordell produced (A&M BMI), A DonCarrollPra- Young"(TRO - Dartmouth, wrote (Abnak 137(. 1063). duction (Metromedia117). ASCAP) (Dot 17246). ALBUM PICKS OF THE WEEK ONUTISNINF lUICICCIENS GOLD "Don Kirshner Cuts 'Hair' " RogerWilliams plays "MacKenna's Gold," one of Larry Santos is a newcomer is just what the title says "HappyHeart" andalso the big summer movies, has with a big,huskyvoice I hree Records from 'Hair' withHerbBernsteinsup- getsmuchivorymileage a scorebyQuincy Jones and a good way with tune- plying arrangements and from "Those Were the and singing byJoseFeli- smithing.
    [Show full text]