VARIATIONS #4 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
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Russell-Mills-Credits1
Russell Mills 1) Bob Marley: Dreams of Freedom (Ambient Dub translations of Bob Marley in Dub) by Bill Laswell 1997 Island Records Art and design: Russell Mills (shed) Design assistance, image melts: Michael Webster (storm) Paintings: Russell Mills 2) The Cocteau Twins: BBC Sessions 1999 Bella Union Records Art and design: Russell Mills (shed) Design assistance and image melts: Michael Webster (storm) 3) Gavin Bryars: The Sinking Of The Titanic / Jesus' Blood Never Failed Me Yet 1998 Virgin Records Art and design: Russell Mills Design assistance and image melts: Michael Webster (storm) Paintings and assemblages: Russell Mills 4) Gigi: Illuminated Audio 2003 Palm Pictures Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Photography: Jean Baptiste Mondino 5) Pharoah Sanders and Graham Haynes: With a Heartbeat - full digipak 2003 Gravity Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Paintings and assemblages: Russell Mills 6) Hector Zazou: Songs From The Cold Seas 1995 Sony/Columbia Art and design: Russell Mills and Dave Coppenhall (mc2) Design assistance: Maggi Smith and Michael Webster 7) Hugo Largo: Mettle 1989 Land Records Art and design: Russell Mills Design assistance: Dave Coppenhall Photography: Adam Peacock 8) Lori Carson: The Finest Thing - digipak front and back 2004 Meta Records Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Photography: Lori Carson 9) Toru Takemitsu: Riverrun 1991 Virgin Classics Art & design: Russell Mills Cover -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
The Acoustics and Performance of DJ Scratching. Analysis and Modelling
The acoustics and performance of DJ scratching Analysis and modeling KJETIL FALKENBERG HANSEN Doctoral Thesis Stockholm, Sweden 2010 TRITA-CSC-A 2010:01 ISSN 1653-5723 KTH School of Computer Science and Communication ISRN KTH/CSC/A–10/01-SE SE-100 44 Stockholm ISBN 978-91-7415-541-9 SWEDEN Akademisk avhandling som med tillst˚andav Kungl Tekniska h¨ogskolan framl¨agges till offentlig granskning f¨or avl¨aggande av teknologie doktorsexamen i datalogi Fredagen den 12 februari 2010 klockan 10:00 i F2, Kungl Tekniska H¨ogskolan, Lindstedtsv¨agen 26, Stockholm. © Kjetil Falkenberg Hansen, February 2010 Tryck: Universitetsservice US AB iii Abstract This thesis focuses on the analysis and modeling of scratching, in other words, the DJ (disk jockey) practice of using the turntable as a musical instru- ment. There has been experimental use of turntables as musical instruments since their invention, but the use is now mainly ascribed to the musical genre hip-hop and the playing style known as scratching. Scratching has developed to become a skillful instrument-playing practice with complex musical output performed by DJs. The impact on popular music culture has been significant, and for many, the DJ set-up of turntables and a mixer is now a natural instru- ment choice for undertaking a creative music activity. Six papers are included in this thesis, where the first three approach the acoustics and performance of scratching, and the second three approach scratch modeling and the DJ interface. Additional studies included here expand on the scope of the papers. For the acoustics and performance studies, DJs were recorded playing both demonstrations of standard performance techniques, and expressive perfor- mances on sensor-equipped instruments. -
Sound Design - Wikipedia, the Free Encyclopedia 8/25/10 3:38 PM
Sound design - Wikipedia, the free encyclopedia 8/25/10 3:38 PM Sound design From Wikipedia, the free encyclopedia Sound design is the process of specifying, acquiring and manipulating audio elements. It is employed in a variety of disciplines including film, theatre, music recording, live music performance, and computer game software development. Sound design most commonly involves the manipulation of previously composed audio, such as previously recorded music and sound effects. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood. A Sound Designer is one who practices the art of sound design. Contents 1 History 1.1 Recorded sound 1.2 Digital technology 2 Film 3 Theatre 3.1 Technical vs. conceptual design 3.2 Professional organizations 4 Music 5 Awards 6 Notable sound designers 7 See also 8 External links 9 References History The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. At its earliest, it was used in religious practices for healing or just for fun.[1] In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance.[2] Plays were performed in medieval times in a form of theatre called Commedia dell'arte, which used music and sound effects to enhance performances. The use of music http://en.wikipedia.org/wiki/Sound_design Page 1 of 7 Sound design - Wikipedia, the free encyclopedia 8/25/10 3:38 PM and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off stage using devices such as bells, whistles, and horns. -
Coke Studio Pakistan: an Ode to Eastern Music with a Western Touch
ISSN (Online) - 2349-8846 Coke Studio Pakistan: An Ode to Eastern Music with a Western Touch SHAHWAR KIBRIA Shahwar Kibria ([email protected]) is a research scholar at the School of Arts and Aesthetics at the Jawaharlal Nehru University, New Delhi. Vol. 55, Issue No. 12, 21 Mar, 2020 Since it was first aired in 2008, Coke Studio Pakistan has emerged as an unprecedented musical movement in South Asia. It has revitalised traditional and Eastern classical music of South Asia by incorporating contemporary Western music instrumentation and new-age production elements. Under the religious nationalism of military dictator Muhammad Zia-ul-Haq, the production and dissemination of creative arts were curtailed in Pakistan between 1977 and 1988. Incidentally, the censure against artistic and creative practice also coincided with the transnational movement of qawwali art form as prominent qawwals began carrying it outside Pakistan. American audiences were first exposed to qawwali in 1978 when Gulam Farid Sabri and Maqbool Ahmed Sabri performed at New York’s iconic Carnegie Hall. The performance was referred to as the “aural equivalent of the dancing dervishes” in the New York Times (Rockwell 1979). However, it was not until Nusrat Fateh Ali Khan’s performance at the popular World of Music, Arts and Dance (WOMAD) festival in 1985 in Colchester, England, following his collaboration with Peter Gabriel, that qawwali became evident in the global music cultures. Khan pioneered the fusion of Eastern vocals and Western instrumentation, and such a coming together of different musical elements was witnessed in several albums he worked for subsequently. Some of them include "Mustt Mustt" in 1990 ISSN (Online) - 2349-8846 and "Night Song" in 1996 with Canadian musician Michael Brook, the music score for the film The Last Temptation of Christ (1988) and a soundtrack album for the film Dead Man Walking (1996) with Peter Gabriel, and a collaborative project with Eddie Vedder of the rock band Pearl Jam. -
John Powell Face Off Music Album Download Face/Off
john powell face off music album download Face/Off. Face/Off adheres far too closely to the bombastic Media Ventures filmscoring aesthetic pioneered by John Powell's mentor Hans Zimmer -- with its reliance on signature Zimmer elements like classical chord progressions, synthetic strings and explosive percussion, the score is so derivative that one begins to wonder if the two composers swapped identities in keeping with director John Woo 's far-fetched action narrative. Powell too often mistakes frenzy for frisson, employing splatters of sound virtually bereft of cohesion -- it's pure sonic overkill, and it makes for awkward, grating listening. The Italian Job. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $8.99. The Italian Job. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then $14.99/ month. Jason Smith, Drums, AssociatedPerformer - Dave Carpenter, Bass Guitar, AssociatedPerformer - Michael Fisher, Percussion, AssociatedPerformer - Luis Conte, Percussion, AssociatedPerformer - John Powell, Guitar, MainArtist, AssociatedPerformer, ComposerLyricist - Alex Acuna, Percussion, AssociatedPerformer - George Doering, Guitar, AssociatedPerformer - Michael Brook, Guitar, AssociatedPerformer - Dave Channing, Guitar, AssociatedPerformer - Germaine Franco, Percussion, AssociatedPerformer -
Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in -
Gigs and Other Significant Events, 1977 – 2019
Tom Djll: Performances (and some private sessions) Date Venue Details recorded 2019 3/23 3/17 TAC, Oakland Doors That Only Open in Silence #51 y 3/13 New Nothing Theater, SF Euphotic w/Leonard, Day ?/v https://www.youtube.com/watch?v=8IOe8E9XMl0 3/1 Gold Lion Arts, Sacto Kinda Green w/Perkis y/v 2/17 TAC, Oakland Doors That Only Open in Silence #50 y 2/15 TAC, Oakland Trio with Bill Hsu and Gino Robair y 2/9 KZSU-FM, Stanford Day of Noise: Unpopular Electronics w/Gino Robair y/v https://youtu.be/P4U5MynK0fg 2/5 Octopus Literary Salon, Oak Bugs In the Borderlands w/Lisa Margonelli, author 1/27 VAMP, Oakland 6th Year Fundraiser w/ KOKUO (Bruckmann, Nishi-Smith, Heule, Djll) y/v https://youtu.be/aZtAiYrD6HM 1/23 Tom’s Place, Berk Martini Mix w/Tania, Barb Golden, Jon Raskin y 1/22 Mills College Recording DIPW with Walton, Perkis, Ingalls, eng. Phil Perkins y 1/7 Makeout Room, SF Revenant, w/ Karl Evangelista, Brett Carson, Nava Dunkelman n 1/6 Soundwave Studios, Oakl Resonant Frequencies #13 y/v 2018 12/16 TAC, Oakland Doors That Only Open in Silence #48 y 11/20 TAC, Oakland Doors That Only Open in Silence #47 y 11/13 KZSU Stanford Bloop Quack Radio Hour w/Doug Lynner, R Duck y 10/25 Luggage Store, SF Runcible Spoon Fight, w/Clarke Robinson y 10/21 TAC, Oakland Doors That Only Open in Silence #46 y 10/20 Robotspeak, SF 16th Anniversary show: https://youtu.be/3bOfhZT_ep8 y/v 10/12 CNM, SF Visualizing Music: Scores of Brian Lucas w/Samas, Robair, Leonard, Day, Greenlief, Nunn 10/6 Tom’s Place, Berk David Toop/Gino/Wobbly/Djll n Y/n/? = yes/no/don’t -
Hybridity and the Political Economy of Culture
National Library Bibliothèque nationale m./.I of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OnawaON KiAON4 O(rawaOCJ KlAON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, dismbuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. TABLE OF CONTENTS Title Page .. .. .. ..-. ..i .- Abstract .. - .. .- . - .. -11 .. TabIe of Contents. .. - .. -111 Acknowledgments. .. .iv Dedication. .. .v Introduction.. .. ... .. .. .. .... 1 -.. -Chapterl...................................-..19 Chapter 2. .. -. ..46 Chapter 3... - ..74 Conclusion.............................. Conclusion. .. Conclusion.............................. Conclusion..............................Conclusion.............................. Conclusion..............................Conclusion..............................Conclusion..............................Conclusion..............................Conclusion..............................Conclusion............................. -
Senza Titolo 9
www.Timeoutintensiva.it OTT 2008, Recensioni-B.Eno. N° 7 Brian ENO: Discografia e filmografia (colonne sonore): Discografia * (1972) Roxy Music (da Roxy Music) * (1973) For Your Pleasure (da Roxy Music) * (1973) No Pussyfooting (con Robert Fripp) * (1973) Portsmouth Sinfonia Plays the Popular Classics (con la Portsmouth Sinfonia) * (1973) Here Come The Warm Jets * (1974) Taking Tiger Mountain (By Strategy) * (1975) Evening Star (con Robert Fripp) * (1975) Another Green World * (1975) Discreet Music * (1977) Cluster & Eno (con i Cluster) * (1978) Before and After Science * (1978) Ambient #1 / Music for Airports * (1978) Music for Films * (1978) After the Heat (con Roedelius e Dieter Moebius, alias Cluster) * (1979) In a Land of Clear Colors (con Pete Sinfield che recita un racconto di Robert Sheckley) * (1980) Ambient #2 / The Plateaux of Mirror (con Harold Budd) * (1980) Fourth World, Vol. 1: Possible Musics (con Jon Hassell) * (1980) Ambient #3 / Day of Radiance (da Laraaji con Eno producing) * (1981) My Life in the Bush of Ghosts (con David Byrne) * (1982) Ambient #4 / On Land * (1983) Apollo: Atmospheres and Soundtracks * (1984) The Pearl (con Harold Budd) * (1985) Thursday Afternoon (per una galleria di arte video) * (1985) Hybrid (con Daniel Lanois e Michael Brook) * (1988) Music from Films III (con Daniel Lanois, Michael Brook e Roger Eno) * (1989) Textures (raccolta di brani editi e inediti riservata ai film-makers) * (1990) The Shutov Assembly (All Saints Records) * (1990) Wrong Way Up (con John Cale) (All Saints Records) * (1992) Nerve Net (All Saints Records) * (1993) Neroli (All Saints Records) * (1995) Spinner (con Jah Wobble) (All Saints Records) * (1995) Original Soundtracks No. -
DANIEL LANOIS Goodbye to Language Album Press - Sept 2016
DANIEL LANOIS Goodbye To Language album press - Sept 2016. http://pitchfork.com/reviews/albums/22289-goodbye-to-language/ http://www.dailynews.com/arts-and-entertainment/20160908/how-u2-dylan-producer- daniel-lanois-created-new-album http://www.sonicscoop.com/2016/09/08/music-production-legends-daniel-lanois-magic- melody-starting-small/ http://www.npr.org/2016/09/01/491517830/first-listen-daniel-lanois-goodbye-to-language? utm_campaign=storyshare&utm_source=facebook.com&utm_medium=social “A deeply beautiful record that redefines the word meditative and shimmers with breathtaking passages” Popmatters says of Daniel Lanois’ new album Goodbye to Language, “it represents that childish notion that music can be pretty much whatever you want it to be—a thought that too many professionals easily abandon.” The album, out now, powerfully demonstrates what happens when a visionary artist tosses aside preconceived limitations of song and/or language to explore the emotional resonance of pure soundscapes. Goodbye to Language was constructed entirely from the sounds of the pedal steel guitar, Daniel on the steel and his mate Rocco Deluca on the lap steel with compositional rigour that recalls the 20th century dreamscapes of Ravel and Debussy merged with a sense of sonic futurism. A profoundly expressive work, Goodbye to Language recalls Lanois’ pivotal work with Eno as well as the sounds he used to form iconic albums like Bob Dylan’s Time Out of Mind, U2’s pivotal Achtung Baby, and works by Peter Gabriel, Emmylou Harris and others, as well his own last album Flesh And Machine. Early Acclaim for Goodby to Language "His genius is to seize sounds that appear commonly in the language of song (weepy gospel cadences, clipped rock chords, the ever-graceful sound of the steel guitar) and then fracture them into bits and gorgeously shimmering droplets, removed from their usual narrative context. -
Scales of Sustain and Decay: Making Music in Deep Time
Popular Music (2020) Volume 39/1. © The Author(s), 2020. Published by Cambridge University Press, pp. 108–120 This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creative commons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. 10.1017/S0261143019000588 Scales of sustain and decay: making music in deep time PHILIPP KOHL Department of Slavic Languages and Literatures, Ludwig Maximilian University of Munich, Schellingstr 33, 80799 Munich, Germany [email protected] Abstract This article explores the relationship between the human time of music making and the temporal layers that pervade the natural resources of musical instruments. It therefore offers case studies on two of popular music’s most common instruments, the electric guitar and the synthesiser, and their symbolic and material temporalities: guitar players’ quest for ‘infinite sustain’ from Santana to today’s effects manufacturers and the ‘psychogeophysical’ approach by artist and theorist Martin Howse, who developed a synthesiser module using radioactive material in order to determine musical events by nuclear decay. While language uses metaphors of sustain and decay as figurative ways to express both musical and planetary dimensions, practices of music offer alternative ecologies of relating the seemingly unrelatable scales of deep time and musical time. If in the Anthropocene humankind becomes aware of its role as a geophysical force, thinking about making music in the Anthropocene requires an awareness for the temporalities involved in the materials at hand. Besides an ecological perspective, the article looks at various media (magazines, ads, and manuals) and thus positions economical mechanisms of the musical instrument manufacturing market as a small-scale experimental setting for larger-scale industrial processes.