Electric Relaxation”: an Analysis of the Blurred Line Between Instruments and Technology
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Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes. -
Jazz Et Hip-Hop : Check the Rhime in Bfcee
Jazz et hip-hop : Check The Rhime in BFCee Crédit photo : Radio Kaizman par Florian Jannot-Caeilleté / JSL Guillaume Malvoisin Dans les papiers précédents de ce dossier, Mathieu Durand prenait 1998 et The Dawn, album d’Erik Truffaz paru chez Blue Note, comme repère d’une première œuvre majeure à sceller l’union entre jazz et hip-hop. De l’aveu de Truffaz, même : « des grooves très tranquilles, mais très difficiles à faire. » On quitte ainsi le domaine des «faiseurs d’instrumentaux qui piochent dans le répertoire du jazz » pour aller visiter celui « des instrumentistes qui écrivent, réinventent et s’approprient cette nouvelle culture musicale et poétique. » De la niche dans la niche. Précieux, complexe et fascinant. Si on considère que la TV s’est allumée en Bourgogne-Franche- Comté en même temps qu’ailleurs dans l’hexagone, on peut retenir que le hip hop s’est invité dans les maisons par son show achipé-achopé de Sidney, millésimé TF1 de 1981. On pourrait retenir qu’il s’est infiltré, aussi, deux ans plus tard, par les salves de synthèse du Rock It servies par Herbie Hancock en 1983. Ce peut être, pour faire très bref, les années d’allumage de ceux qui le pratiquent aujourd’hui dans la grande région. Cela, mais aussi, dix ans plus tard le jazz- rap sabré par A Tribe Called Quest sur Midnight Marauders, par exemple. Ce peut être, pour faire très court, les années de formation de ceux qui le pratiquent aujourd’hui dans la grande région. Sidney, la Tribe et Truffaz. Une possible trinité pour les prods régionales. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Volume 12 2016-2017
DIALOGUES@RU EDITORIAL BOARD SPRING 2017 FALL 2017 Emily Bliss Kelly Allen Lingyi Chen Amy Barenboim Wendy Chen Dustin He Steven Land Wei Yen Heng Kimberly Livingston Devika Kishore Valerie Mayzelshteyn Jasminy Martinez Daphne Millard Shannon McIntyre Keoni Nguyen Michele Mesi Ilana Shaiman Kalina Nissen Chad Stewart Jillian Pastor Abigail Stroebel Kassandra Rhoads Yashi Yadav Syeda Saad Cheyenne Terry Aurora Tormey EDITORS Tracy Budd Lynda Dexheimer COVER DESIGN & TYPESETTING Mike Barbetta © Copyright 2017 by Dialogues@RU All rights reserved. Printed in U.S.A. ii. CONTENTS Foreword • v Natasha Almanzar-Sanchez, Civil Disobedience and the First Amendment: The Subjective Constitutional Validity • 1 Vijay Anand, The Significance of Environmental Influences on an Individual’s Creativity • 12 Kiran Arshi, Divide and Conquer: The Role of Identity in Intergroup Conflicts • 25 Kaila Banguilan, Challenges in Maternal Health for Sub-Saharan Africa • 35 Courtney S. Beard, Discrimination against the Transgender Population and Recommendations for a Trans-inclusive Environment in the U.S. Military • 44 Brian Chang, CRISPR: Genetic Therapy, Enhancement, and Why It Matters • 57 Emilia Dabek, Prescription Drug Monitoring Programs for Early Detection of Drug Abuse: A Better Prognosis and Higher Survival Rate • 67 Josh Finkelstein, Night-Walkers in the Neruons • 79 Danielle Heaney, “Best Used By”: Labeling the Blame for Consumer Level Food Waste in the United States • 91 Ralston Hough, A Legalized Evil: The Usefulness of Just War Theory in Contemporary Politics • 103 Amy Hu, The Role of Pharmacogenomics in Racialized Medicine • 117 Taylor Jones, Sexuality, Sexual Identification, and Success: The Troubles and Consequences of Choosing to Stay in or Come Out of the Closet • 131 iii. -
Fascicule S4E5 Mai/Juin 2015 (Pdf, 7095Ko)
à découper et à mettre sur son frigo son sur à mettre et à découper AGENDA DE FRIGO AU DOS AU FRIGO DE AGENDA SOMMAIRE Agenda de Frigo................. 2 Edito.................................... 3 Le programme.................... 5 Le poster de Terreur Graphique............... 32 Les actions culturelles........ 34 Le centre ressource............ 37 Le coin des studios.................38 L’instant scientifique...............40 La fiche utile du Docteur Fred.................. 42 Rewind................................. 51 Chez les copains................; 63 Les infos très pratiques du Temps Machine................64 AGENDA DE FRIGO LE TEMPS MACHINE CooRdonnées EDITO Le Temps Machine Parvis Miles Davis BP 134 37301 JOUÉ-LÈS-TOURS CEDEX Tel : 02 47 48 90 60 Courriel : [email protected] www.letempsmachine.com www.facebook.com/letempsmachine DANS LES FAITS ! Horaires Les Bureaux Du lundi au vendredi : Le Temps Machine - l’Espace Musiques murs l’actualité musicale et l’avant-garde, nous 10h00 / 12h30 & 14h00 / 18h00 LE Centre Actuelles de l’Agglomération de Tours - s’inscrit changerons d’atmosphère. Du mardi au vendredi : 10h00 / 13h00 et 14h00 / 18h00 dans le réseau d’une ville, d’un territoire. Il Samedi (uniquement quand concert le soir) : 14h00 / 17h00 Dans les faits ! En juin. Place à un laboratoire ; est destiné au plus grand nombre, ouvert à Et les soirs de concerts de 20h30 à 21h30 à ciel ouvert. Quand les beaux jours arrivent, Les soirs de concerts tous, s’adresse à tous, se construit et s’alimente Ouverture du bar : 20h30 comme vous, Le Temps Machine a des envies Ouverture de la billetterie : 20h30 par l’action de tous. Nos missions d’intérêt d’évasion. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
2020 Promo & Rates Pkg (LD)
Contributed to over 30 million albums sold worldwide Contributed to over 6 million singles sold worldwide For over a decade, Dwele has been one of R&B's most Multi Grammy Award Nominee & 1 Participatory Win Reliable Stars. Album after album, he brings nothing 2x Platinum Single Feature, Power w/ Kanye West but great music along with top tier, live performances Worldwide. From critically acclaimed releases and Platinum Single Feature, Flashing Lights w/ Kanye West! collaborations, he has proven to be an intrinsic force in urban pop culture with no signs of slowing down. His sophisticated & affluent fan-base makes him a true winner that will exceed your every expectation. Dwele is…“one of Big R&B’s, Best Kept Secrets” - Wendy Williams The Artistry TM Who is the man that consistently sells out all of the sophisticated & chic venues throughout North America like City Winery and legendary venues all around Europe like The Jazz Café in London for several consecutive nights? Dwele (pronounced dwell-lā ) hails from the legendary music mecca of Detroit, lives a life in song. From stirring melodies composed on piano keys, he writes poignant music, performs with natural grace and captivates with his clear, silky tone. He is a songwriter, producer, multi instrument musician and vocalist carrying on a Motown-inspired tradition instilled in another era. Yet Dwele has cultivated his own spirited road with five critically acclaimed albums “Subject”, “Some Kinda”, “Sketches Of A Man”, “W.ants W.orld W.omen” and “Greater Than One” behind him. His Motor City story in sounds and upbringing resonates with genuine soul and heʼs in full stride of scribing his own musical legacy." " Dwele was brought up in a highly musical family that was tragically pared down to his mother and younger brother, once his father was gunned down outside their home. -
Hip Hop –Komppeja Rumpusetille
Eliel Viitala Hip hop –komppeja rumpusetille Lähtökohtana A Tribe Called Questin rumpukompit Metropolia Ammattikorkeakoulu Musiikkipedagogi (AMK) Pop/jazz-musiikin koulutusohjelma Opinnäytetyö 19.5.2013 Tiivistelmä Tekijä Eliel Viitala Otsikko Hip hop –komppeja rumpusetille Sivumäärä 35 sivua + 2 liitettä Aika 19.5.2013 Tutkinto Musiikkipedagogi (AMK) Koulutusohjelma Pop/jazz-musiikin koulutusohjelma Suuntautumisvaihtoehto Soitonopettaja, rummut Ohjaaja(t) Lehtori Jukka Väisänen Lehtori Tomi Salesvuo Opinnäytetyön tarkoituksena on selvittää, miten hip hop –musiikkia soitetaan rumpusetillä. Työn lähtökohtana on käytetty legendaarisen hip hop -yhtye A Tribe Called Questin rum- pukomppeja, joiden pohjalta on laadittu myös harjoituksia rumpusetille. Kuunteluanalyysin lisäksi työssä on käytetty apuna alan kirjallisuutta, rumpujensoiton oppi- kirjoja, dokumenttielokuvia ja internetistä löytyviä videoita sekä alaan liittyviä lehti- ja inter- net-julkaisuja. Tutkimuskysymykset olivat: 1) Minkälaisia rumpukomppeja A Tribe Called Questin äänit- teillä on ja voiko niitä soittaa rumpusetillä? 2) Minkälaisia rumpusoundeja A Tribe Called Questin äänitteillä on ja voiko niitä toteuttaa rumpusetillä? 3) Mikä on olennaista hip hop – musiikin soittamisessa? 4) Minkälaisten harjoitteiden avulla voi harjoitella hip hop – komppien soittamista? Transkriptioista johdetut harjoitukset keskittyvät bassorummun, virvelirummun ja hi-hat – symbaalien monipuoliseen hallintaan. Harjoitukset etenevät rumpusetin osa kerrallaan. Lopuksi osakokonaisuuksia on tarkoitus yhdistää toisiinsa. Harjoituksista on laadittu myös ääninäytteitä. Avainsanat Hip hop, Rummut, A Tribe Called Quest Abstract Author Eliel Viitala Title Hip Hop Beats for Drumset Number of Pages 35 pages + 2 appendices Date 19 May 2013 Degree Bachelor of Music Education Degree Programme Pop & Jazz Music Specialisation option Music pedagogy, drums Instructor(s) Jukka Väisänen, MMus. Tomi Salesvuo, MMus. The purpose of my thesis is to explore how hip hop music is played on a drum set. -
Abstract Humanities Jordan Iii, Augustus W. B.S. Florida
ABSTRACT HUMANITIES JORDAN III, AUGUSTUS W. B.S. FLORIDA A&M UNIVERSITY, 1994 M.A. CLARK ATLANTA UNIVERSITY, 1998 THE IDEOLOGICAL AND NARRATIVE STRUCTURES OF HIP-HOP MUSIC: A STUDY OF SELECTED HIP-HOP ARTISTS Advisor: Dr. Viktor Osinubi Dissertation Dated May 2009 This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough ofNew York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyrics of New York artists Shawn Carter (Jay Z), Nasir Jones (Nas), and southern artists Clifford Harris II (T.I.) and Wesley Weston (Lii’ Flip). The artists were selected on the basis of geographical spread and diversity. Although Hip-Hop was again founded in New York City, it has now spread to other parts of the United States and worldwide. The study investigated the biography of the artists to illuminate their struggles with poverty, family dysfunction, aggression, and intimidation. 1 The artists were found to engage in lyrical battles; therefore, their competitive discourses were analyzed in specific Hip-Hop selections to investigate their claims of authorship, imitation, and authenticity, including their use of sexual discourse and artistic rivalry, to gain competitive advantage. -
Yerba Buena Center for the Arts and Undercover Present a Tribute to a Tribe Called Quest’S Midnight Marauders
FOR IMMEDIATE RELEASE Media Contacts Voleine Amilcar: 415.321.8687; [email protected] Harley Wong: 415.321.1349; [email protected] Yerba Buena Center for the Arts and UnderCover Present A Tribute to A Tribe Called Quest’s Midnight Marauders Featuring over 13 local Bay Area bands, UnderCover returns to YBCA to pay tribute to one of the most influential hip-hop albums of all time Image courtesy Rich Black May 16–18, 2019 | 7:30pm YBCA Forum, 701 Mission Street, San Francisco SAN FRANCISCO (April 23, 2019)—Yerba Buena Center for the Arts (YBCA) is pleased to announce A Tribute to A Tribe Called Quest’s Midnight Marauders with UnderCover Presents. In celebration of Midnight Marauders’ and YBCA’s twenty-fifth anniversaries, UnderCover has invited local acts to re-interpret the classic album that bridged the gap between hip-hop and jazz. A Tribute to A Tribe Called Quest’s Midnight Marauders takes place May 16–18, 2019, at the YBCA Forum. YBCA and UnderCover aim to reflect the spirit of Midnight Marauders by collaborating with GRAMMY-nominated music producer Starita, who has worked with Phife Dawg and A Tribe Called Quest in the past. The show incorporates elements from all four pillars of hip-hop: DJing, MCing, writing (graffiti), and B-Boying (breakdancing), along with the minimalism and free-form nature of jazz instrumentation. Through this tribute, YBCA and UnderCover invite the audience to think about how hip-hop can break down barriers to foster equality and unity. The concept is simple, one distinctive band per song reinterpreting an entire classic album from start to finish. -
Schooltime Performance Series Beats, Rhymes and Tap Shoes
teacher resource guide schooltime performance series beats, rhymes and tap shoes with Maurice Chestnut about the performance Explosive, rhythmic, soulful, and beautiful. Lincoln Center’s Jazz for Young People (JFYP) program. and Midnight Marauders. ATCQ’s debut was heralded Beats, Rhymes and Tap Shoes with Maurice Chestnut is For Lincoln Center’s JALCYO (Jazz at Lincoln Center as groundbreaking and revolutionary. They brought an innovative journey through tap dance, celebrating Youth Orchestra) programs, he is an instructor and a laid-back, playful element to rap while widening the the music of the seminal rap group A Tribe Called Quest. ensemble leader. For Jazz House Kids, a New Jersey vocabulary and emotional landscape that rappers Created by Newark, New Jersey native and dance community arts organization dedicated to educating could inhabit. They did not have a tough-guy image impresario Maurice Chestnut, and with musical direction children through jazz, he is also a drum instructor and compared to other groups and hip-hop artists at the by Jerome Jennings, this interactive performance highlights ensemble leader. At NJPAC, Jennings is a teen mentor, time. The group was having fun and didn’t seem to the jazz sampling that is part of A Tribe Called Quest’s ensemble coach and drum instructor. take themselves too seriously in songs like “I Left DNA. The performance by tap dancers and a live band As a drummer, he has performed at every major jazz My Wallet in El Segundo.” The group also brought will also explore the social issues of today, which are club in the New York City area: the Village Vanguard, in samples from jazz, R&B, and rock artists—like Lou present in the songs of this classic hip-hop unit.