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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Mr Bulloch Continuing Our Grilling of the Old Guard, We Now Speak to ‘Mr
Issue 4 Email: [email protected] February 2010 1 THE PUPILS’ VOICE Issue 4, February 2010 www.pupilsvoice.com Where in the school is this? See Pg.15 FChairman, Co-editor and layout: Hasan Ali Chief Editor: James Jordan Deputy Editor: Sanjeevan Ghag onse ent praestie con eriustio odolupt Interview with Heidi aka. ‘Really Friendly Dinner Lady’ Hasan Ali, Sanjeevan Ghag, Chris Jones and James Jordan PV: What is your job here? Heidi: To make sure PV: So, do you have the boys are safe at another job outside lunchtime. of Camp Hill? Heidi: Ooh, brownies; PV: What’s your funni- kid’s club. I go from est moment here? here at twenty to two, Heidi: I can’t think and then go over to of any...A lad on the Colmore from three fi eld doing sports – to six, but I’ve just fi n- he played rugby really ished that. I’m a lady well. But he said “I of leisure in the after- could only run half- noon. way round the fi eld and I’d collapse.’ So PV: Did you stop doing he ran halfway round that so you could and he collapsed, that HEIDI’S cheery face is known by current Camphillians and old boys come here more? was the funniest thing. it’s gotta be my husband really. two years before that, so about Heidi: Yep. So I’m cleaning in My children as well. 6 years. the morning and then lunch- PV: Most embarrassing time and then sometimes I do moment? PV: Do you fancy a celebrity? PV: What’s your favourite TV a few exams. -
St. Nick Spotted Near Campus
October 12, 2009 WWW.UNEWS.COM Vol. 77, Issue 8 St. Nick spotted near campus Continuing campus crime posses threat Tyler Allen Assistant News Editor Crime is a looming problem on campus. Last year alone, there were 142 crimes reported at UMKC. “Even though UMKC is sur- rounded by some bad streets I always felt safe here,” student Kelsey Gos- sen said, “but now that I’m hearing about everything going on, I worry and I try to watch my back.” Other students are not too wor- ried. “I’m not concerned about crime on campus, quite simply because I know exactly how to avoid it,” stu- dent Rachael Herndon said. Unfortunately, not everyone on campus can avoid crime. In the past month, there have been two burglaries at 4747 Troost Ave., the building that houses the In- Blistery, cold weather blew into Kansas City stitute for Entrepreneurship and In- novation. The first incident occurred on Saturday morning and along with it around noon on Sept. 21 when a victim’s money was stolen out of his came a jolly Christmas spirit. desk. painted interior and exterior walls, laid The second incident occurred on Alexia Stout-Lang News Editor carpet, pulled weeds and even moved Sept. 25 and involved Cary Clark, some furniture. Sam Walton Fellow and director of pproximately 20 stu- “This is just such a blessing,” Freddie Students in Free Enterprise. dents, staff and faculty from UMKC bundled up Slaughter, one of the homeowners, said and faced the chill to par- as tears ran down her cheeks. “I just don’t “It’s just sort of random ticipate in the second an- know how to thank you all.” crime. -
An Augmented Reality Drum Kit
ISSN (Online) 2278-1021 ISSN (Print) 2319 5940 International Journal of Advanced Research in Computer and Communication Engineering Vol. 4, Issue 10, October 2015 V-Drum: An Augmented Reality Drum Kit Nestor Lobo1 Scholar, Electronics Department, Vivekanand Education Society‟s Institute of Technology, Mumbai, India1 Abstract: Most modern drum kits are large in size and difficult to transport. Similarly, the cost of a fully stocked drum kit is far in excess of what an average enthusiast can afford. The maintenance of such equipment can be expensive and keeping the instruments properly tuned involves a considerable amount of time. All this can discourage many from seriously learning to play percussion instruments. Musicians draw inspiration from the world around them and in many cases are unable to construct a new piece due to the lack of readily available instruments. The V-Drum is a low-cost, portable drum kit whose implementation is based in Augmented Reality. With the V-Drum, any person with interest can learn to play percussion instruments and even construct music with the variety of virtual instruments at their disposal. Keywords: Human Computer Interaction, Image Processing, Musical Instrument, Augmented Reality, Pattern Recognition, Computer Vision. I. INTRODUCTION A. V-Drum Given the absence of the need to physically move A drummer, as a musician, is an integral part of any band. instruments about, the V-Drum can be used in any It is the drummer who provides the band with the beat and environment without any worry about the sound quality of timing which is vital in the creation and performance of the instruments being affected by environmental factors. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 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 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. 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. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Dedicated 10 the Needs of the Music /Record Industry
DEDICATED 10 THE NEEDS OF THE MUSIC /RECORD INDUSTRY SINGLES SLEEPERS ALBUMS THE MIRACLES, "NIGHT LIFE" (prod. by Freddie THIN LIZZY, "THE BOYS ARE BACK IN TOWN" ROLLING STONES, "BLACK AND BLUE." Perren) (Jobete/Grimora, ASCAP). (prod. by John Alcock) (RSO, ASCAP). It's taken almost three years from start "Love Machine" was the group's big- t) One of 1976's brightest prospects is to finish with new friends and direc- .rnmu.rr/ gest across-the-board smash since this Anglo-American quartet that tions. The reggae influence is in full the departure of Smokey Robinson. has come into its own after several evidence ("Hot Stuff," "Cherry O Now they're about to do it all over overlooked outings. With a sound Baby"), along with some straightfor- again with more pulsating rhythms that could be compared to Bruce ward blues ("Melody") and some more and adventurous vocal lines. Instant Springsteen, Thin Lizzy is back in traditional sounding Stones ("Hand of pop/r&b play is assured. Tamla T town and should soon be making its Fate"). A bruiser of an album! Rolling 54268 (Motown). presence felt. Mercury 73786. Stones COC 79104 (Atlantic) (6.98). CAROLE KING, "HIGH OUT OF TIME" (prod. FOOLS GOLD, "RAIN, OH RAIN" (prod. by SEALS & CROFTS, "GET CLOSER." Their by Lou Adler) (Screen Gems -Colum- Glen Frey) (Frank Share/Big Shorty, Christmastime greatest hits package re- bia, ASCAP). An extravagant tapes- ASCAP). The group that recently minded everyone just what Seals & try of sound is woven by Ms. King served as back-up to Dan Fogelberg Crofts are capable of. -
Febbraio 2006.Pdf
1 Periodico di informazione, cultura e curiosità dell’I.S.I.S.S “M. Casagrande” di Pieve di Soligo Anno 4, numero 2, febbraio 2006 Tra le cose più sconvenienti dell’Inverno c’è l’arriva- re a scuola presto il lunedì mattina, soprattutto se il LA DANZA DELLA NEVE proprio banco si trova a più di un metro di distanza dal termo più vicino. Tra le cose più sconvolgenti dell’Inverno c’è come certe studentesse riescano a portare magliettine a reni Sui campi e sulle strade scoperti in pieno Gennaio, soprattutto se la temperatu- ra non sale nemmeno a mezzogiorno sopra gli 0 gradi. silenziosa e lieve Tra le cose più sconcertanti dell’Inverno ci sono le conseguenze che, inevitabilmente, una pancia scoperta volteggiando, la neve in pieno Inverno comporta!! Ma tra le cose più divertenti dell’Inverno c’è sicura- cade.c a d e . mente la neve!! Danza la falda bianca Non mi è mai piaciuto l’Inverno. l’Inverno è così freddo; l’Inverno cala un velo grigio sugli occhi e fa nell'ampio ciel scherzosa, sbiadire tutto, spegne piano piano ogni cosa. Ma quando nell'ampio ciel scherzosa, cade la neve non posso fare a meno di pensare che alla fine vale la pena soffrire un pochino se la ricompensa è Poi sul terren si posa questa!! Quando cade la neve il mondo sembra adeguarsi al placido ritmo con cui scende ogni singolo fiocco, ed stanca.s t a n c a . acquistarne in parte la delicatezza. Quando cade la ne- ve, poi, ogni forma s’ammorbidisce, e il mondo sembra In mille immote forme coprirsi di un candido telo, su cui è possibile ricomincia- re a disegnare tutto, daccapo. -
THE INTERNATIONAL MAGAZINE of the AVEDIS ZILDJIAN COMPANY Welcome To
ZL326 THE INTERNATIONAL MAGAZINE OF THE AVEDIS ZILDJIAN COMPANY welcome to Z Time2011 edition issue 33 2011 Z Time Page two News & Events Page six Greatest Cymbal of All Time Page ten Legends Page fourteen Gen 16 Craigie Zildjian Page sixteen On the Road Page twenty Moving Forward Product Info Intro There are so many exciting new things going on here at Zildjian that I couldn’t wait to share this year’s Z-Time with you. 2011 represents our breakthrough into the digital Page twenty-one music making realm. Our new Gen16 product line is the result of our effort to bring our Cast Cymbals knowledge of cymbals and their sounds to the modern digital environment. You can learn more about this initiative on pages 14 and 15 or at our new website www.zildjian.com. Page fifty-five Sheet Cymbals Whether your music making is acoustic, digital, or both, our desire is to be there no matter where your music takes you. I sincerely hope you enjoy the journey. Page sixty-one Drumsticks Best regards, Page sixty-five Gear Page sixty-eight Scrapbook Craigie & Debbie Zildjian Contributing photographers: Sayre Berman Hadas Naoju Nakamura John Stephens cover artist: Volker Beushausen Heinz Kronberger Kacper Diana Nitschke Levi Tecofsky Dominic Howard - Joris Bulckens Kaminski Jimmy Katz Mario Pires Melissa Terry Muse Tina Korhonen Bernard Rosenberg Andreas Ulvo James Cumpsty photo: Calum Doris Scott Legato Tao Ruspoli JonVanDaal Richard Ecclestone Robert Downs Hyejin, Lee Bianca Scharroo Neil Zlozower Sergey Dudin H.J Lee Ronny Sequeira Ludwig Drums graphic designer: M.v.d. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Treball De Fi De Grau Títol
Facultat de Ciències de la Comunicació Treball de fi de grau Títol Autor/a Tutor/a Departament Grau Tipus de TFG Data Universitat Autònoma de Barcelona Facultat de Ciències de la Comunicació Full resum del TFG Títol del Treball Fi de Grau: Català: Castellà: Anglès: Autor/a: Tutor/a: Curs: Grau: Paraules clau (mínim 3) Català: Castellà: Anglès: Resum del Treball Fi de Grau (extensió màxima 100 paraules) Català: Castellà: Anglès: Universitat Autònoma de Barcelona AGRADECIMIENTOS - En primer lugar a mi familia, por aguantar mis arrebatos de locura pasajera y no tan pasajera durante la confección del trabajo en casa. A mis padres Jordi y Susana y a mi hermano Nil, que han hecho gala de una paciencia sin igual. - A Eric, Roc, Aitor i Pau, por abrir camino juntos en esto del punk siendo unos inexpertos totales. Por las muchas horas pasándolo genial juntos versionando a los más grandes y haciendo música, que es lo que nos apasiona. - A Pau V., por nuestras aventuras juntos por el mundo con las guitarras a cuestas con callos en los dedos y las cuerdas vocales destrozadas. Por muchas más. - A Ru y María, por su ayuda con el tema de los videoclips, gracias por estar allí cuando me ha faltado luz y fuerza. - A toda la gente de las plazas de Gracia, por las noches eternas jugando al gato y al ratón con la policía. A toda la gente del Banc Expropiat, que de forma totalmente altruista llevaba a cabo una función muy importante en el barrio ayudando a los más desfavorecidos y se ha visto injustamente envuelta en un espiral de altercados y violencia policial, ordenada desde arriba. -
Drummer Bracket Template
First Round Second Round Sweet 16 Elite 8 Final Four Championship Final Four Elite 8 Sweet 16 Second Round First Round Peter Criss-Kiss Robert Bourbon-Linkin Park Neal Sanderson-Three Days Grace Neal Sanderson-Three Days Grace Morgan Rose-Sevendust Morgan Rose-Sevendust Matt Sorem-GNR Paul Bostaph-Slayer Clown-Slipknot Charlie Benante-Anthrax Paul Bostaph-Slayer Paul Bostaph-Slayer Morgan Rose-Sevendust Clown-Slipknot Ray Luzier-KoRn Matt McDonough-Mudvayne Neal Peart-Rush Matt Cameron-Pearl Jam Ginger Fish-Manson Ray Luzier-KoRn Winner Matt Cameron-Pearl Jam Joey Kramer-Aerosmith Matt McDonough-Mudvayne Matt McDonough-Mudvayne Neal Peart-Rush Neal Peart-Rush Chad Gracey-Live Matt McDonough-Mudvayne Vinnie Paul-Pantera Neal Peart-Rush Sam Loeffler-Chevelle Lars Ulrich-Metallica Tommy Lee-Motley Crue Shannon Larkin-Godsmack Taylor Hawkins-Foo Roy Mayogra-Stone Sour Lars Ulrich-Metallica Taylor Hawkins-Foo Fighters Ben Anderson-Nothing More Jay Weinberg-Slipknot Jay Weinberg-Slipknot Ron Welty-Offspring Ron Welty-Offspring Alex Shelnett-ADTR Jay Weinberg-Slipknot Taylor Hawkins-Foo Fighters Butch Vig-Garbage Vinnie Paul-Pantera Tre Cool-Green Day Tommy Lee-Motley Crue Shannon Larkin-Godsmack Eric Carr-Kiss John Alfredsson-Avatar Tre Cool-Green Day Neal Peart-Rush Robb Rivera-Nonpoint Robb Rivera-Nonpoint Bill Ward-Black Sabbath Tommy Lee-Motley Crue Shannon Larkin-Godsmack Shannon Larkin-Godsmack Tommy Lee-Motley Crue Chris Adler-Lamb of God Tommy Lee-Motley Crue Neal Peart-Rush Vinnie Paul-Pantera Joey Jordison-Slipknot Sean Kinney-Alice