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French Pop Music Remakes in Turkey
French pop music remakes in Turkey A cognitive semiotic inquiry into cultural transfer Azize Güneş Supervisor: Göran Sonesson Centre for Languages and Literature, Lund University MA in Languages and Literature, Cognitive Semiotics SPVR01 Languages and Linguistics: Degree Project – Master’s (Two years) Thesis, 30 credits May 2017 Abstract In this thesis, the importation, transformation and distribution of French popular music in Turkey during the 20th century have been investigated as a case study of cultural transfer. By using theories and methods within a cognitive semiotic framework, this study provides an overview of the phenomenon of French pop music remakes in Turkey by accounting for the initial situation of communication of remade pop music through recorded materials, and by providing an analysis of the changes made to the songs when transformed from French to Turkish, as well as the linguistic meanings that were made available to the Turkish public in this process. Meaning making procedures in connection to pop music have been considered by analyzing components of pop music, the cognitive capacities of human beings to understand pop music, and procedures of cultural communication enabling the integration of new artefacts in a culture. According to the results of this thesis, 160 Turkish language remakes of songs originally performed in French have been produced and distributed in Turkey between 1961- 1991. The most concentrated period of production occurred during a 10-year period between 1967-1977, with a considerable peak in 1968-1969. Of the songs produced during the peak of 1968-1969, 25% account for the original French song lyrics either as “song translations” or “adaptations” of their original French versions, transferring linguistic meanings to the Turkish target culture. -
Yé-Yé Girls of '60S French Pop Online
bGfrC [Download pdf ebook] Yé-Yé Girls of '60s French Pop Online [bGfrC.ebook] Yé-Yé Girls of '60s French Pop Pdf Free Jean-Emmanuel Deluxe audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #955816 in Books 2014-03-31Original language:EnglishPDF # 1 8.00 x 8.00 x .50l, 1.65 #File Name: 193623971X256 pages | File size: 66.Mb Jean-Emmanuel Deluxe : Yé-Yé Girls of '60s French Pop before purchasing it in order to gage whether or not it would be worth my time, and all praised Yé-Yé Girls of '60s French Pop: 0 of 0 people found the following review helpful. Perfectly captures the spirit of the style!By M. D. GrayThis book is groundbreaking, beautiful, and one of the gems of my bookshelf. I find the authorial POV entertaining, his scholarship research very informative, and the end result is a magnificent document chronicling one of the most vibrant eras in the popular artistry of any country in the world.All of this does not deter me from hoping that a 2nd edition will address the glaring omissions of certain artists (Sheila) who certainly deserve recognition for the influence their body of work had over the emerging style, even if not a revival of their popularity :)0 of 0 people found the following review helpful. Five StarsBy David TerralavoroGreat reading,. photos for everybody!0 of 0 people found the following review helpful. Get this book if you love Yeye or 60sBy juliet jonesAmazing book. Full of information on Yeyes international. Yé-Yé is a delightful style of pop music featuring young female -
Mindy Latour O'brien Contact
UC Center Program Courses - Fall 2014 PCC 34. French Popular Music Instructor: Mindy LaTour O’Brien contact: [email protected] Lecture Office Hours Wednesday 4:00 pm – 5:30 pm TBA and by appointment Thursday 1:00 pm – 2:30 pm COURSE DESCRIPTION This course offers a survey of French popular music production and consumption from the twentieth century to the present. Beginning with mid-century icons of “la chanson” such as Édith Piaf, Georges Brassens, and Charles Trenet, we will then consider a range of popular music trends---from 1960s girl groups to Afropop and the transnational explosion of French language rap and hip-hop. We will consider the American invasion of pop aesthetics as well as French strategies of resistance to this sonic globalization. Through this course, students will learn critical skills for analyzing popular music, from a basic technical understanding of sound production in the recording studio to fundamental elements of popular music aesthetics. The primary texts for this course will be recorded music, song lyrics, and music videos. By the end of the course, students will have constructed a critical apparatus for exploring the broader socio-cultural issues at stake in the production, performance, and consumption of popular music in France. No prior musical experience is required! COURSE MATERIALS Looseley, David, Popular Music in Contemporary France: Authenticity, Politics, Debate, 2003. Course Reader ([CR] hereafter) MAJOR COURSE THEMES -Americanization of pop music and French strategies of resistance -relationship -
Classical & Instrumental
MUSIC PROGRAM GUIDE MOOD:MEDIA TABLE OF CONTENTS + Core Programs + Elements (Mixes) moodmedia.com | harmony.moodmedia.com 3 CORE PROGRAMS Hot FM Pop Hot Adult Contemporary Hits Sample Artists: Ed Sheeran, Alessia Cara, Maroon 5, Vance Joy, Imagine Dragons, Colbie Caillat, Andy Grammer, Shawn Be-Tween Mendes, Jess Glynne, Jason Mraz Kid-friendly, Modern Pop Hits Sample Artists: 5 Seconds of Summer, Sabrina Carpenter, Metro Alessia Cara, NOTD, Taylor Swift, The Vamps, Troye Sivan, R5, Chic Metropolitan Blend Shawn Mendes, Carly Rae Jepsen Sample Artists: Little Dragon, Rhye, Disclosure, Jungle, Maggie Rogers, Roosevelt, Christine and The Queens, Flight Cashmere Facilities, Maribou State, Poolside Warm Cosmopolitan Vocals Sample Artists: Emily King, Chaka Khan, Durand Jones & The Pop Style Indications, Sam Smith, Maggie Rogers, Teskey Brothers, Youthful Pop Hits Diplomats of Solid Sound, Norah Jones, Jason Mraz, Cat Sample Artists: Justin Bieber, Taylor Swift, DNCE, Troye Sivan, Power Ellie Goulding, Ariana Grande, Charlie Puth, Kygo, The Vamps, Sabrina Carpenter Divas Dynamic Female Vocals Reflections Sample Artists: Chaka Khan, Amy Winehouse, Aretha Franklin, Mature Pop and Classic Jazz Vocals Ariana Grande, Betty Wright, Madonna, Mary J. Blige, ZZ Sample Artists: Johnny Hartman, Josh Rouse, Sam and Dave, Ward, Diana Ross, Christine And The Queens, Janelle Monae Hilary McRae, Keely Smith, James Torme, Eagle-Eye Cherry, Nancy Wilson, Vance Joy, Maddie Poppe FM1 ‡ Adult Contemporary Hits Shine Sample Artists: Hootie and The Blowfish, Rob -
Some Faithful Attempts at Covering Bob Dylan Songs in French
Oral Tradition, 22/1 (2007): 175-196 Nothing’s Been Changed, Except the Words: Some Faithful Attempts at Covering Bob Dylan Songs in French Nicolas Froeliger As a professor, I would like to, one day, manage a course the way Dylan organizes a song, as a stunning producer rather than an author. And it would start just like he does, all at once, with his clown mask, with a mastery of each concerted detail, and yet improvised. The opposite of a plagiarist, but also the opposite of a master or a model. A very lengthy preparation, but no methods, no rules, no recipes. (Deleuze 1977:14-15) The above quotation, written by one of France’s foremost twentieth- century philosophers reflects a typical French approach to Bob Dylan’s works in that it makes room for everything but the lyrics. Even for those native French-speakers who value his works to the point of obsession, such a barrier is always present; it is not the words, but the way they are sung, that truly matters. So what happens when someone tries to put those songs that are so much more than words into another language, for someone to sing them? As in other countries, attempts to interpret Dylan’s songs in a foreign language have been made on many occasions over the years, including three full- length albums: two by Hugues Aufray (1965b and 1995) and a more obscure one by Serge Kerval (1971).1 Most of the more scattered recordings are unavailable today. A few, on the other hand, now belong to the French musical landscape. -
To Help Flood Victims
08120 z á m JULY 8, 1972 $1.25 á F A 3 BILLBOARD PUBLICATION 1'V SEVENTY -EIGHTH YEAR z The International r,.III Music- RecordTape Newsweekly TAPE /AUDIO /VIDEO PAGE 28 HOT 100 PAGE 56 I C) TOP LP'S PAGES 58, 60 FCC's Ray To Clear NARM Spearheads Drive Payola Air At Forum LOS ANGELES -William B. Ray, chief of the complaints and To Help Flood Victims compliances division of the Federal Communications Commission, By PAUL ACKERMAN will clear the air on the topic of payola as a speaker of the fifth annual Billboard Radio Programming Forum which will be held here NEW YORK-A massive all - ing closely with the record manu- working out these plans in con- Aug. 17 -19 at the Century Plaza Hotel. Ray will be luncheon speaker industry drive to aid record and facturers, vendors of fixtures and junction with representatives of all on Aug. 18. tape retailers whose businesses accessories, even pressing plants industry segments. He indicated have been partially or totally wiped and we are drawing that final decisions would be up Seven other new up a speakers, including new commissioner Ben out by the recent floods is being plan whereby damaged stock and to branches. local distributors. rack - Hooks of the FCC, have been slated for the three -day Forum, the spearheaded by NARM executive fixtures may be replenished at jobbers. rather than a central largest educational radio programming meeting of its kind. Also director Jules Malamud, NARM cost. We are also hopeful that group. speaking will be Paul Drew, programming consultant from Wash- president Dave Press and the or- the victimized businesses will be Overall Plan ington, D.C.; Pat O'Day, general manager of KJR, Seattle; Sonny ganization's board of directors. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Musical pastiche, embodiment, and intersubjectivity : listening in the second degree Permalink https://escholarship.org/uc/item/92c7n0db Author Tonelli, Christopher Joseph Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Musical Pastiche, Embodiment, and Intersubjectivity: Listening in the Second Degree. A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Christopher Joseph Tonelli Committee in Charge: Professor Jann Pasler, Chair Professor Norman Bryson Professor Michael Davidson Professor Jocelyne Guilbault Professor Mitchell Morris 2011 Copyright Christopher Joseph Tonelli, 2011 All rights reserved This Dissertation of Christopher Joseph Tonelli is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2011 iii TABLE OF CONTENTS Signature Page ……………………………………………………………….……....iii Table of Contents ……………………………………………………………….…....iv List of Tables………………………………………………………………………....vi Acknowledgment ……………………………………………………………………vii Vita …………………………………………………………………………………...ix Abstract…………………………………………………………………………..…....x Introduction…………………………………………………………………..….…….1 0.1 Pastiche and Mimesis…………………………………………………….. 3 0.2 Pastiche and Other Forms of Imitative Practice………………………...…8 0.3 Popular Music and Pastiche: -
MUS8A: Music History Study Guide for Test 2 What Is Covered: Part Two
MUS8A: Music History Study Guide for Test 2 What is covered: Part Two Introduction. Chapters 5 8 Put Kyrie and Credos side by side be able to tell them apart. Note which ones are for keyboards. Find a way to Identify Masses apart. Listen to similar ones find differences. Madrigals: Separate into three classes. Early, Middle(txt painting) and Late(chromatic). What to study: • Your notes on the lecture from the classes • Notes you took on the textbook reading • Timelines • Outlines on Study Space website (www.wwnorton.comlmusichistorv) • Listening Selections. Chapter Quizzes and Flashcards on Study Space LISTENING • Sumer is icumen in (a medieval rota) Singing Cu cu. Rota(latin for Wheel) goes round. Cannon. • Quam pulchra es (motet) by John Dunstable • De plus en plus (chanson-rondeau) by Binchois • Se la face ay' pale (chanson-ballade) by Guillaume Du Fay • Christe, redemptor omnium (hymn fauxbourdon style) by Du Fay • Kyrie from Missa prolationum (canon mass) by Jean de Ockeghem (early 15th cent) • Kyrie and Credo excerpt from Missa pangelingua (paraphrase mass) by Josquin des Prez(clear) • Mille regretz; (chanson) by Josquin des Prez • Mille regretz; (lute intabulation Ch. 7) by Luys de Naravaez • Ave Maria ... virgo serena (motet) by Josquin des Prez • Lo non compro piu speranza (frottola) by Marco Cara • Da Ie belle contrade d'oritente (madrigal) Cipriano de Rore • Solo e pensoso (madrigal) Luca Marenzio • "lo parto" e non pui dissi (madrigal) Carlo Gesualdo • Cruda Amarilli (madrigal) Claudio Monteverdi • Tant que vivray (chanson) Claudin de Sermisy • My bonny lass she smileth (madrigal ballet) Thomas Morley (fa lala refrain.) • As Vesta Was (madrigal from The Triumphs of Oriana) Thomas Weelkes • Flow My Tears (air / lute song) John Dowland (Lute Accompaniment.) • Pavana Lachrymae (stylized dance for keyboard.