An Introduction to Prog Rock Prof

Total Page:16

File Type:pdf, Size:1020Kb

An Introduction to Prog Rock Prof An Introduction to Prog Rock Prof. J. Paradiso – MIT Media Lab Session 1: Intro - Things your dad should have told you about Prog Session 2; Canterbury Session 3: Rock in Opposition Session 4: Zeuhl Session 5: Space Rock and Neopsychedelia Session 6: French & Quebecois Prog Session 7: Rock Progressivo Italiano Session 8: Germany, Berlin, and Krautrock (perhaps some Scandavania too) Session 9: Japanese Prog Lecture 4 – The Canterbury Bands …and a few fascinating detours! IAP 2018 The City of Canterbury London Up Here An amazingly creative bunch of emerging musicians hung out at Robert Wyatt’s House & environs in the mid 60s Memories Brian & Hugh Hopper, Richard Sinclair, Kevin Ayers formed The Wilde Flowers in the early 1960s – Daevid Allen, David Sinclair, Richard Coughlin, etc. in the mix too Leading to Soft Machine, Caravan, Gong, and Kevin Ayers solo career Enter Soft Machine! Robert Wyatt, Hugh Hopper, Mike Ratledge (Daevid Allen, Kevin Ayers) Jimi was their colleague, friend, and fan He gave them their sound… We Did It Again Early Soft Machine 1968 1969 Why Are We Sleeping? As Long as he Lies Perfectly Still Hung out and toured with Jimi Hendrix Fuzzbox and pedals on organ are iconic in Canterbury Music Very intense live band Hope for Happiness (Live @ Middle Earth Club) - 1967 Live in France - 1968 Kevin Ayers splits for his solo career 1969 1970 1972 1974 Rheinhardt And Geraldine / Colores Para Dolores (1970) The Confessions Of Doctor Dream: Irreversible Neural Damage (1974) Becoming a (psychedelic) Jazz Band 1970 1971 1972 Last album with Robert Wyatt Third was a breakthrough in psych jazz!! Live in Brussels 1971 6:18 Robert Wyatt splits to get back to rock with Matching Mole 1972 1972 With Phil Miller, David Sinclair, Bill MacCormick, David McRae Matching Mole Live in France, 1972 Robert Wyatt post Matching Mole, post accident 1974 1975 Little Red Riding Hood Hit the Road (1974) Pigs (In There) - 1982 Released strong records, often with political overtones, through 2010 Later Soft Machine – Enter Karl Jenkins & Alan Holdsworth 1973 1973 1975 1976 Alan Holdsworth guitar John Etheredge guitar The Soft Weed Factor (1973) Nettle Bed (1973) Still together as Soft Machine Legacy Bundles (1975) (Etheredge, Babbington, et al) Caravan 1971 1972 1973 1975 Nine Feet Underground Memory Lain, Hugh Richard Sinclair, David Sinclair, Pye Hastings, Richard Coughlan… Uriel Arzachel (1969) Garden of Earthly Delights 1972 release By Hillage, Stewart, etc. David Stewart, Mont Campbell, Clive Brooks, Steve Hillage Egg Egg - 1970 The Polite Force - 1971 The Civil Surface - 1974 The Metronomical Society 2007 A Visit to the Newport Hospital (1971) Show Business… David Stewart, Mont Campbell, Clive Brooks David Stewart was in ‘The Ottawa Company’ with Chris Cutler after Egg and before… Enter Virgin records!! Richard Branson’s then Prog Label launches in 1972 Hatfield and The North 1973 1975 Son Of 'There's No Place Like Homerton’ (1973) Big John Wayne Socks Psychology on the Jaw, Chaos at the Greasy Spoon, The Yes/No Interlude (1975) Phil Miller, David Stewart, Richard Sinclair, Pip Pyle (& many friends) National Health 1982 1978 1977 See Also Tenemos Roads (1977) Gilgamesh The Bryden 2 Step (for Amphibians) Part 1 (1978) Phil Miller, David Stewart, John Greaves, Pip Pyle (Alan Gowen, Georgie Born, etc.) Bruford Solo Albums 1978 1979 1980 Hells Bells (1979) Bill Bruford, David Stewart, Alan Holdsworth, Jeff Berlin See also UK (Bruford, Holdsworth, Eddie Jobson, John Wetton) David Stewart & Barbara Gaskin 1986 1990 1991 2009 2009 Henry and James (1986) Barbara was from the Northettes and Spyro Gyra (70s Canterbury) Supersister (Netherlands) Memories Are New (1970) A Girl Named You (1971) Judy Goes on Holiday (1972) R.J. Stips and friends The Muffins (USA) 1978 1981 1993 (1975) 1977-1980 The Adventures of Captain Boomerang (1978) Zoom Resume (1981) The Muffins Reformed several times over the next decades and issued great subsequent records! Dave Newhouse, Tom Scott, Billy Swan, Paul Sears (and many friends) Kojiro Yamashita (Japan) 2010 1985 Untitled (Track 2) Pondes Ete Ain Soph (Japan) Mizzle HenryTennis (Japan) 2006 Luster Brain MIA. (Argentina) 1976 1977 Cornonstipicum (1978) Crifana Y Tamilstenes Schnauser (UK) Protein For Everyone - 2014 Band from Bath, Alan Strawbridge’s follow-up to The Lucky Bishops. Strong Canterbury moments, especially around the time of this album National Grid (goes Canterbury midway through) Syd Arthur (UK) 2012 2014 2016 Singularity Garden of Time Young ‘Canterbury’ Band Interlude – Wild new mathrocky ’prog’ bands from central France! Ni PoiL Pryapisme Chromb! Ni – Butor (see video next slide from Burg Herzberg 2015) PoiL - Trouille cosmique Pryapisme - Boudin Blanc Et Blan Boudin Chromb! - Des Francis En Quinconce Perhaps a legacy in Etron Fou Leloublan, Albert Marcoeur, Moving Gelatine Plates… Daevid Allen & Gong Formed in France by Daevid Allen & Gilli Smythe in 1967 after he was unable to return to the UK with Soft Machine (visa issues) Gong Live on French TV 1973 Prime Early Classic-Period Gong 1971 1973 1973 1974 Zero The Hero and the Witch’s Spell (Flying Teapot) Planet Gong Castle in the Clouds (Angel’s Egg) Trilogy Master Builder (You) Daevid Allen, Gilli Smythe, Steve Hillage, Tim Blake, Miguette Grandy, Pierre Morelin, Mike Howlett, Didier Mallerbe, Pip Pyle…. Transition of Gong to Hillage then Pierre Morelin 1975 1976 1978 1979 1979 Expresso (1976) Alan Holdsworth replacing Hillage post Shamal Great albums, but not Allen-driven psychedelia – more jazz fusion Steve Hillage Launches Solo Career 1975 1976 1977 1978 1979 (w. Rundgren/Utopia) Sea Nature (1978) Subsequent albums got funkier Steve went on to reinvent himself in Techno/EDM as ’System 7’ Daevid Allen in NYC The Zu Festival October 1978 Organized by Giorgio Gomelsky Daevid Allen & Gilli Smythe (Gong) Chris Cutler (Henry Cow) Yochk’o Seffer & Neffish Music The Muffins Bill Laswell and Pre-Material musicians First appearance by No-Wave Bands in afternoon Glen Branca, John Zorn, etc…. …I was there…. This event launched the ‘Downtown’ scene Daevid re-emerges as New York Gong w. Laswell & Material 1990 1979 1982 O My Photograph (NY Gong) Daevid returns to Australia after, drives cab, lives on beach, etc. but puts out interesting records Collaborations with Here & Now, Kramer, Makoto, Robson, etc. 1978 (punky) 1992 - w. Kramer 1999 - Brainville 2003 w. AMT Alphaville Beach (Brainville) 1992 …Then reforms ‘classic’ Gong 2000 2009 2014 The Eternal Wheel Spins (2014) RIP Daevid Allen (March 2015) & Gilli Smyth ( August 2016) Posthumous Release 2016 4/08 JAP Watch These! ‘Romantic Warriors’ DVD set by Adele Schmidt & José Zegarra Holder In MIT’s Music Library Krautrock documentary in progress – Italian prog and perhaps space rock, etc. coming…. 44 ResEnv Research Update 4/16 Joe Paradiso.
Recommended publications
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Download This List As PDF Here
    QuadraphonicQuad Multichannel Engineers of 5.1 SACD, DVD-Audio and Blu-Ray Surround Discs JULY 2021 UPDATED 2021-7-16 Engineer Year Artist Title Format Notes 5.1 Production Live… Greetins From The Flow Dishwalla Services, State Abraham, Josh 2003 Staind 14 Shades of Grey DVD-A with Ryan Williams Acquah, Ebby Depeche Mode 101 Live SACD Ahern, Brian 2003 Emmylou Harris Producer’s Cut DVD-A Ainlay, Chuck David Alan David Alan DVD-A Ainlay, Chuck 2005 Dire Straits Brothers In Arms DVD-A DualDisc/SACD Ainlay, Chuck Dire Straits Alchemy Live DVD/BD-V Ainlay, Chuck Everclear So Much for the Afterglow DVD-A Ainlay, Chuck George Strait One Step at a Time DTS CD Ainlay, Chuck George Strait Honkytonkville DVD-A/SACD Ainlay, Chuck 2005 Mark Knopfler Sailing To Philadelphia DVD-A DualDisc Ainlay, Chuck 2005 Mark Knopfler Shangri La DVD-A DualDisc/SACD Ainlay, Chuck Mavericks, The Trampoline DTS CD Ainlay, Chuck Olivia Newton John Back With a Heart DTS CD Ainlay, Chuck Pacific Coast Highway Pacific Coast Highway DTS CD Ainlay, Chuck Peter Frampton Frampton Comes Alive! DVD-A/SACD Ainlay, Chuck Trisha Yearwood Where Your Road Leads DTS CD Ainlay, Chuck Vince Gill High Lonesome Sound DTS CD/DVD-A/SACD Anderson, Jim Donna Byrne Licensed to Thrill SACD Anderson, Jim Jane Ira Bloom Sixteen Sunsets BD-A 2018 Grammy Winner: Anderson, Jim 2018 Jane Ira Bloom Early Americans BD-A Best Surround Album Wild Lines: Improvising on Emily Anderson, Jim 2020 Jane Ira Bloom DSD/DXD Download Dickinson Jazz Ambassadors/Sammy Anderson, Jim The Sammy Sessions BD-A Nestico Masur/Stavanger Symphony Anderson, Jim Kverndokk: Symphonic Dances BD-A Orchestra Anderson, Jim Patricia Barber Modern Cool BD-A SACD/DSD & DXD Anderson, Jim 2020 Patricia Barber Higher with Ulrike Schwarz Download SACD/DSD & DXD Anderson, Jim 2021 Patricia Barber Clique Download Svilvay/Stavanger Symphony Anderson, Jim Mortensen: Symphony Op.
    [Show full text]
  • Gonzo Weekly #165
    Subscribe to Gonzo Weekly http://eepurl.com/r-VTD Subscribe to Gonzo Daily http://eepurl.com/OvPez Gonzo Facebook Group https://www.facebook.com/groups/287744711294595/ Gonzo Weekly on Twitter https://twitter.com/gonzoweekly Gonzo Multimedia (UK) http://www.gonzomultimedia.co.uk/ Gonzo Multimedia (USA) http://www.gonzomultimedia.com/ 3 gave it, when we said that it was his best album since Scary Monsters back in 1980. Yes, I think that it probably was, although the 2002 album Heathen gives it a run for its money, but with the benefit of hindsight, it still lacked the hallmarks of a classic David Bowie album, mainly because it didn't break new ground. Between 1969 and 1980 Bowie released thirteen studio albums which basically defined the decade. With the possible exception of Lodger which was basically bollocks, IMHO, each of these albums not only broke new ground, but was a significant advance upon the one that came before it. Bowie defined the concept of the rock star as artist, and where he led many others followed. Each of his stylistic changes spawned a hundred imitators. In the wake of Ziggy Stardust and Aladdin Sane came dozens of glam bands, most of them totally missing the point, and schoolboys across the United My dear friends, Kingdom sported Ziggy haircuts. His plastic soul period not only persuaded his loyal legions that Luther Vandross was where it was at, but also meant that the 2016 is only a couple of weeks old, but we already high street outfitters were full of Oxford Bags and have the first major cultural event of the year.
    [Show full text]
  • Time & Motion Press Release
    Bio information: RADIO MASSACRE INTERNATIONAL Title: TIME & MOTION (Cuneiform Rune 298-299) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: ELECTRONIC / COSMIC MUSIC “RMI's Steve Dinsdale, Duncan Goddard, and Gary Houghton know how to coax all sorts of nuances from their machines, and they function as a live, interactive trio, with each member responding to the others' riffs and musical motifs. In a word, Radio Massacre International nail the vintage electronic music sound, but the band is simply more "nimble" than the first generation models, which greatly enhances the listening pleasure of the suitably attuned listener...if you're a musical novice unacquainted with RMI's sources, this music will serve as a stellar introduction to the form.”– Bill Tilland, All Music Guide “Frankly there isn't anyone out there doing this kind of music better… If you have a yearning for the glory days of the Berlin school, this is where you should be going.” – Spacerock.co.uk Radio Massacre International (RMI) is an electronic improvising trio that is carving out new ground in the genres of electronic space music and space rock. Composed of Steve Dinsdale (keyboards, electronics, drums), Duncan Goddard (keyboards, electronics, bass) and Gary Houghton (guitar, keyboards), the trio improvises with a mixture of vintage and modern analogue and digital equipment to create massive, shifting electronic soundscapes. Instantly recognizable, RMI’s organic, visceral, and at times rough-edged explorations in space music transport the genre popularized by Pink Floyd, Tangerine Dream, Ash Ra Tempel/Manuel Gottsching and Klaus Schulze in the 1970s into the 21st century.
    [Show full text]
  • ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
    Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime.
    [Show full text]
  • Ffanzeen: Rock'n'roll Attitude with Integrity: DVD Review: “Eric Clapton: the 1960S
    FFanzeen: Rock'n'Roll Attitude With Integrity: DVD Review: “Eric Clapton: The 1960s ... Page 1 of 5 Share Report Abuse Next Blog» Create Blog Sign In FFanzeen: Rock'n'Roll Attitude With Integrity Through the writings and photography of Robert Barry Francos, a view of the arts and culture, including everyday life. FRIDAY, SEPTEMBER 24, 2010 Blog Archive DVD Review: “Eric Clapton: The 1960s Review” ▼ 2010 (116) ▼ September (15) Text © Robert Barry Francos/FFanzeen, 2010 DVD Review: “The Rolling Images from the Internet Stones, 1969-1974: The Mi... Rock’n’Roll Heroes, by Carolyn Lee Boyd DVD Review: “Eric Clapton: The 1960s Review” DVD Review: “Orlok, the Vampire” in 3D, dir FW Mur... Book Review: “A Dead Boy’s Tale” by Cheetah Chrome... Oh, How They Danced... DVD Review: “I Need That Record!” DVD Review: “Night of the Living Dead: Reanimated”... Road Trip to Yellowknife, Day 9: Lac La Biche to S... Eric Clapton: The 1960s Review Directed by Alex Westbrook Road Trip to Yellowknife, Day Sexy Intellectual, 2010 8: Peace River to La... 120 minutes, USD $19.95 DVD Review: “Leonard Cohen’s Chromedreams.co.uk.com Lonesome Heroes” MVDvisual.com Road Trip to Yellowknife, Day 7: Louise Falls, NWT... When I was in school during the early ‘70s, there was some standard DVD Review: “F.A.R.T.: The bathroom graffiti, such as “Frodo Lives”, “I Grok Spock,” and “Clapton Movie” IS God.” At the time I wasn’t into Middle Earth, being a Stranger in a DVD Review: “The Monster and Strange Land, or music that much (that would start in 1975), so they the Ape” were all lost on me back then.
    [Show full text]
  • Here to Be Objectively Apprehended
    UMCSEET UNEARTHING THE MUSIC Creative Sound and Experimentation under European Totalitarianism 1957-1989 Foreword: “Did somebody say totalitarianism?” /// Pág. 04 “No Right Turn: Eastern Europe Revisited” Chris Bohn /// Pág. 10 “Looking back” by Chris Cutler /// Pág. 16 Russian electronic music: László Hortobágyi People and Instruments interview by Alexei Borisov Lucia Udvardyova /// Pág. 22 /// Pág. 32 Martin Machovec interview Anna Kukatova /// Pág. 46 “New tribalism against the new Man” by Daniel Muzyczuk /// Pág. 56 UMCSEET Creative Sound and Experimentation UNEARTHING THE MUSIC under European Totalitarianism 1957-1989 “Did 4 somebody say total- itarian- ism?” Foreword by Rui Pedro Dâmaso*1 Did somebody say “Totalitarianism”* Nietzsche famously (well, not that famously...) intuited the mechanisms of simplification and falsification that are operative at all our levels of dealing with reality – from the simplification and metaphorization through our senses in response to an excess of stimuli (visual, tactile, auditive, etc), to the flattening normalisation processes effected by language and reason through words and concepts which are not really much more than metaphors of metaphors. Words and concepts are common denominators and not – as we'd wish and believe to – precise representations of something that's there to be objectively apprehended. Did We do live through and with words though, and even if we realize their subjectivity and 5 relativity it is only just that we should pay the closest attention to them and try to use them knowingly – as we can reasonably acknowledge that the world at large does not adhere to Nietzsche’s insight - we do relate words to facts and to expressions of reality.
    [Show full text]
  • Chris Cutler, Loops Analogiques, Digitales, À L'unisson, Déphasées, Multipistes, Échantillonnées Ou Improvisées. Les Usage
    Culture, le magazine culturel en ligne de l'Université de Liège Chris Cutler, Loops Analogiques, digitales, à l'unisson, déphasées, multipistes, échantillonnées ou improvisées. Les usages que revêtent les boucles musicales sont multiples. Elles se déploient dans les studios d'enregistrement, envahissent les radios, tournent dans les supermarchés, ou accompagnent les jeux vidéo. On les a d'abord entendues chez Pierre Schaeffer et Karlheinz Stockhausen, ou peut-être avant dans les premiers synthétiseurs, voire en appelant les premières horloges parlantes. On les entendait surtout lorsque les disques se rayaient depuis le début du 19 e siècle. Elles ont conquis Steve Reich et Terry Riley, puis Brian Eno et Kraftwerk, Grandmaster Flash et Boards of Canada. Il était même des humains pour les imiter : Glenn Branca, Rhys Chatham avec leurs armées de guitares en premier. Boucles et répétitions semblent avoir bel et bien assujetti le monde à l'aube du 21 e siècle. C'est afin d'interroger les multiples usages et sens de la boucle et de distinguer cette structure des autres formes de répétition dans son rapport au temps et à l'espace qu'est né le projet « Understanding the Loop » sous les auspices du CIPA (Centre Interdisciplinaire de Poétique Appliquée). Ce projet prend également en considération de façon historique les techniques et spécificités historiques propres aux différentes formes d'art où on lui reconnaît un rôle prépondérant ; tout comme de rendre compte des manières distinctes de moduler la répétition qui dépassent le simple argument trop souvent avancé de la logique « non linéaire » qui serait mise en place par la boucle.
    [Show full text]
  • 22Nd International Congress on Acoustics ICA 2016
    Page intentionaly left blank 22nd International Congress on Acoustics ICA 2016 PROCEEDINGS Editors: Federico Miyara Ernesto Accolti Vivian Pasch Nilda Vechiatti X Congreso Iberoamericano de Acústica XIV Congreso Argentino de Acústica XXVI Encontro da Sociedade Brasileira de Acústica 22nd International Congress on Acoustics ICA 2016 : Proceedings / Federico Miyara ... [et al.] ; compilado por Federico Miyara ; Ernesto Accolti. - 1a ed . - Gonnet : Asociación de Acústicos Argentinos, 2016. Libro digital, PDF Archivo Digital: descarga y online ISBN 978-987-24713-6-1 1. Acústica. 2. Acústica Arquitectónica. 3. Electroacústica. I. Miyara, Federico II. Miyara, Federico, comp. III. Accolti, Ernesto, comp. CDD 690.22 ISBN 978-987-24713-6-1 © Asociación de Acústicos Argentinos Hecho el depósito que marca la ley 11.723 Disclaimer: The material, information, results, opinions, and/or views in this publication, as well as the claim for authorship and originality, are the sole responsibility of the respective author(s) of each paper, not the International Commission for Acoustics, the Federación Iberoamaricana de Acústica, the Asociación de Acústicos Argentinos or any of their employees, members, authorities, or editors. Except for the cases in which it is expressly stated, the papers have not been subject to peer review. The editors have attempted to accomplish a uniform presentation for all papers and the authors have been given the opportunity to correct detected formatting non-compliances Hecho en Argentina Made in Argentina Asociación de Acústicos Argentinos, AdAA Camino Centenario y 5006, Gonnet, Buenos Aires, Argentina http://www.adaa.org.ar Proceedings of the 22th International Congress on Acoustics ICA 2016 5-9 September 2016 Catholic University of Argentina, Buenos Aires, Argentina ICA 2016 has been organised by the Ibero-american Federation of Acoustics (FIA) and the Argentinian Acousticians Association (AdAA) on behalf of the International Commission for Acoustics.
    [Show full text]
  • Svět Jiné Hudby
    Zdeněk K. Slabý, Petr Slabý Kniha vychází s laskavou podporou a za finančního přispění Ministerstva kultury České republiky © Zdeněk K. Slabý, Petr Slabý, 2007 © VOLVOX GLOBATOR, 2007 ISBN 978-80-7511-183-8 Vydalo nakladatelství & vydavatelství Volvox Globator Štítného 17, 130 00 Praha 3 www.volvox.cz jako svou 781. publikaci Obálka a grafická úprava Karel Haloun Odpovědný redaktor Ondřej Sýkora E-knihahttps://purehtml.cz Vydání první, Praha 2007 Adresa knihkupectví Volvox Globator: Štítného 16, 13000 Praha 3-Žižkov Předmluva aneb Alternativní verze doslovu Na počátku mé práce na tomto dílu Světa jiné hudby byla dvě slova. A ta slova byla Sun Ra. O něm jsem místopřísežně v nejrůznějších médiích slíbil, že ve druhém dílu napíšu stěžejní článek, a vrátilo se mi to jako bumerang. Toho jsem tedy dosáhl, i když by si tento zcela zásadní muzikant zasloužil celou knihu o několika tisících stránek. Přesto studium jeho odkazu pro mě znamenalo otevření dalších dimenzí pro další bádání a pochopení zcela nových věcí. Řada textů vznikla díky možnosti navštívit některé věhlasné světové festivaly, které se věnují alternativní hudbě a neberou ji jako okrajovou záležitost, ale šanci pro poznávání současných trendů. Byla to příležitost blíže poznat řadu umělců a v neposlední řadě pochopit fakt, že takzvaná „alternativa“ je otevřena každé vstřícné duši. A věřte, že na tyto akce v Rakousku či Francii chodí číratí punkáči i zasloužilí důchodci v oblecích a vytváří společnou komunitu lidí, kteří v jakémkoliv věku hledají nové impulsy a mají mnoho společného - totiž právě ono hledání. Tímto bych chtěl poděkovat jejich organizátorům. Opět se čtenáři i kritici budou ptát, proč zde to a tohle zrovna chybí, i když je to trendy nebo klasika nos plus ultra, a proč jsou zde zastoupeni relativně marginální muzikanti či soubory a proč zde relativně malý prostor dostala tentokrát domácí scéna.
    [Show full text]
  • Freier Download BA 58 Als
    BAD 58 ALCHEMY 1 STEINER: ... Die Musik besiegt den Tod, aber dann besiegt das Mysterium tremendum die Musik. Orpheus stirbt, von den Mänaden zerrissen. Dann kommt etwas, das für uns heute abend wichtig ist: Der Körper blutet aus, aber, das ist eine archaische Überlieferung, der Kopf singt weiter. Aus dem Mund des toten Orpheus strömt Musik. Das zweite Thema ist Marsyas, dieser grausame, furchtbare Mythos vom Kampf zwischen ihm und Apollon, in dem Marsyas geschändet wird. Auf Tizians berühmtem Gemälde finden wir alle Motive unseres heutigen Gesprächs. Es ist das größte seiner Bilder, und auch das grausamste. Worum ging es in dem Kampf? In dem Logos Apollons heißt es: Musik ist das Ornament der Sprache. Und Marsyas sagt: Der Wind ist Musik, der Vogel singt Musik, das Meeresrauschen ist Musik. Die Sprache ist ein später Gast und ein falscher. Dann das Sirenen-Motiv. Der Gesang tötet, er hält ganz mysteriös das Versprechen. Was sagen die Sirenen? Wir können dir sagen, was in der Welt war, was in der Welt ist und was in ihr sein wird. Die Verheißung des Alten Testa- ments. Die Verheißung des Baums im Paradies, des Baums der Wissenschaft, des Wissens. Hör unserem Gesang zu. Odysseus überlebt, er segelt weiter. Das war der letzte Moment, wo der Mensch in der Musik die Urkraft der Schöpfung hören konnte. Aber die Warnung war da: Musik ist übermenschlich, aber auch unmenschlich. Schopenhauer sagt: Auch wenn die Welt nicht wäre, könnte die Musik bestehen. Ich bin sicher, der Satz stimmt. Zuerst sind wir Gäste der Musik. Vielleicht kommt die Sprache erst viel später.
    [Show full text]
  • Psaudio Copper
    Issue 107 MARCH 23RD, 2020 Cover: violinist Jascha Heifetz (1901 - 1987). Many consider him to be the greatest violinist ever. He was one of the most influential performing artists of all time and in his later years became a teacher and an advocate of causes he believed in, including clean air and the establishment of 911 as an emergency phone number. Stay safe. Be careful out there. Maintain social distancing. Wash your hands frequently. Familiar phrases in these tough times. To those I’d add: listen to music. Read a book or magazine. Watch a movie. Play your instrument. Surf the web. Don’t let the endless barrage of TV news make you crazy. Ignore (except to debunk) misinformation on Facebook and social media. Call or video chat with a family member, friend or loved one. Though we may be temporarily separated, we’re all in this together and we’ll help each other stay strong. In this issue: Anne E. Johnson gives us incisive looks into two of the modern era’s greatest artists: Frank Sinatra and the Kinks! John Seetoo contributes his CanJam NYC 2020 Part Two report. J.I. Agnew continues his series on linearity in audio, with clear explanations of this technical topic. Tom Gibbs gives unrestrained opinions on Brandy Clark, King Crimson, Charlie Parker and Tame Impala. Professor Larry Schenbeck enthuses about Sanctuary Road, a new oratorio. Dan Schwartz asks: why don’t musicians use audiophile speakers? Veteran broadcaster Bob Wood shakes his head over the state of today’s commercial radio. Wayne Robins provides a step by step operating manual for Miss Anthropocene by Grimes.
    [Show full text]