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Burkina Electric
BURKINA ELECTRIC FUSION / ELECTRONICA (BURKINA FASO - AUSTRIA -US - IVORY COAST) “An irresistible brew of West African music and electronica” - New York Times DISCOGRAPHY: Hailed by the New York Times as an “irresistible brew of West African PASPANGA music and electronica,” Burkina Electric is the first electronic music 2009, CANTALOUPE RECORDS group from Burkina Faso, in the deep interior of West Africa. ”The band’s energy onstage is infectious” - Based in Ouagadougou, Burkina Faso’s capital, it is, at the same time, Songlines Magazine an international band, with members living in New York, U.S.A. and Ouaga. STREAMING: Burkina Electric’s music combines the traditions and rhythms of • soundcloud.com/burkina-electric Burkina Faso with contemporary electronic dance culture, making it a trailblazer in electronic world music. A diverse and talented group con- sisting of four musicians and two dancers, they collectively participate in the creative process and represent disparate musical genres and Booking Scandinavia: d to the sounds from across the globe. on le c f Marisa Segala e t S +45 / 25 61 82 82 Rather than recycling well-known rock and funk rhythms, Burkina [email protected] Electric seeks to enrich the fabric of electronic dance music by using www.secondtotheleft.com unusual rhythms that are rarely heard and little-known even in much of Skype: marisa.segala.bennett Africa. This includes ancient rhythms of the Sahel, such as the Mossi peoples’ Ouaraba and Ouenega, but also new grooves of their own creation. The band invites you to discover that these exotic rhythms groove at least as powerfully as disco, house, or drum & bass! The group creates a unique and refreshing musical world that is all their own by incorporating sounds of traditional instruments and found sounds recorded in Burkina Faso. -
Musikprotokoll 1999 Programmbuch
STEIERMARK mo -x -o Xe u,% u, % !I!!! 0 ITI ITI_,, ,:: Z;u !!:u Zu, u,o ~~ n-1 G)~ ::c 0 . ITI :::-;: zo !"~ ::c r o· ITI r ,:: cn :u -1 ITI m O:!I u, mm ... ITI % ,0 :um ,0 ITI :u österreichischer Rundfunk Landesstudio Steiermark Marburgerstraße 20 A-8042 Graz Österreich 1 Argentinierstraße 30a A-1040 Wien ORF Landesstudio Steiermark Radio Österreich 1 Intendant Dr. Edgar Sterbenz KARTEN RESERVIERUNG ORF Landesstudio Steiermark E-mail: [email protected] Alfred Treiber Radio Österreich 1 KARTEN PREISE: Einzelkonzerte: ATS 100,- bis ATS 180, PRODUKTIONSTEAM Tages paß: ATS 300,- bis ATS 400, Programm: Christian Scheib Festivalpaß: ATS 1180,:- Organisation: Rosalinde Vidic 50 % Ermäßigung für Studenten, Schüler, Organisationsassistenz: Sandra Nöst Arbeitslose Internet-Redaktion: Franz Josef Kerstinger, Harald Domitner Musikprotokoll•Programmbuch: ATS 80,- Redaktionsassistenz Programmbuch: Musikprotokoll-Buch Form: ATS 80,- Fränk Zimmer Opernlibretto Dust: ATS 80,- Redaktion und Herausgeberin Form-Buch: Christian Scheib und Sabine Sanio VERANSTALTUNGSORTE Technische Leitung: Gernot Katzer Grazer Congress, Meßdienst-Leitung: Christian Zagler Sparkassenplatz 1, A-8010 Graz Bühnentechnik und Aufbau: Johannes THEATRO, Neubaugasse 6, A-8020 Graz Harpf, Gunter Kögl, Stephan Pichler, Culturcentrum Wolkenstein, Patrick Suppan, Bernd Sracnik Bahnhofstraße 110, A-8950 Stainach Lichttechnik: Thomas Bock Büro im Grazer Congress: IN FORMATION Eingang Albrechtgasse 3, 1. Stock ORF Steiermark - musikprotokoll Telefon: ++43/316 8049-38 Tel.: ++43/316 -
Popular Viennese Electronic Music, 1990–2015 a Cultural History
Popular Viennese Electronic Music, 1990–2015 A Cultural History Ewa Mazierska First published 2019 ISBN: 978-1-138-71391-8 (hbk) ISBN: 978-1-315-23062-7 (ebk) 4 Kruder and Dorfmeister The studio(us) remixers (CC BY-NC-ND 4.0) First published 2019 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 Ewa Mazierska The right of Ewa Mazierska to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. With the exception of Chapter 4 and 8, no part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Chapter 4 and 8 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Mazierska, Ewa, author. -
The Jazz and Improvised Music Scene in Vienna After Ossiach (1971-2011)
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) Thomas Albert Zlabinger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1684 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FREE FROM JAZZ: THE JAZZ AND IMPROVISED MUSIC SCENE IN VIENNA AFTER OSSIACH (1971-2011) by THOMAS ALBERT ZLABINGER A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2013 ii 2013 THOMAS ALBERT ZLABINGER All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Jeffrey Taylor Date Chair of Examining Committee Prof. David Olan Date Executive Officer Prof. Peter Manuel Prof. Stephen Blum Prof. Reinhold Wagnleitner (Universität Salzburg) Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) by Thomas Albert Zlabinger Advisor: Prof. Peter Manuel Focusing on a diverse and eclectic scene that is under-documented, this dissertation investigates the historical, social, and cultural aspects of jazz and improvised music in Vienna over the last four decades. -
Leonardo Music Journal 25: "Politics of Sound Art"
introduction The Politics of Sound Art I am interested in a political art, that is to say an art Many of our contributors addressed aspects of field of ambiguity, contradiction, uncompleted gestures and recording in this issue of LMJ. With its quasi-documen- uncertain endings, an art (and a politics) in which tary mandate, the emergent field of phonography abounds optimism is kept in check and nihilism at bay. with political content and implications, from recordings —William Kentridge [1]. of street protests (Christopher DeLaurenti and Christo- If In 1968 someone had asked the 14-year-old me to pher Wood), to ecological advocacy (Tom Kohut, Alison define “sound art” I probably would have pointed to the Pezanoski-Browne), to compositions based on the voices megaphones that sprouted that spring across the Colum- of Cuban street vendors (Neil Leonard), to analyses of the bia University campus (see this issue’s cover). They were genre itself in terms of political agency (Gerald Fiebig, ubiquitous and frequently mishandled or malfunction- Tullis Rennie). ing: words were interlaced with feedback and obscured Political agency begins with access, and several authors by distortion. Amplifying one’s voice to address a handful focus on the role of new technologies in increasing acces- of friendly comrades under a tree seemed more of a con- sibility to music and sound. Helen R. Mitchell reports on ceptual statement than an acoustic necessity. the use of biometric computer games in the diagnosis In that turbulent year the inflection of art by politics and treatment of dementia, while Koichi Samuels reviews seemed natural, and music was one of the most conspicu- designs for “open” musical interfaces that can be easily ous vehicles of expression. -
Edgar Arceneaux LIVE N' ACTION with Live Soundtrack by Ray 7 (Underground Resistance) & Rupert Huber (TOSCA)
Vienna, October 4, 2016 21er Haus Museum of Contemporary Art Quartier Belvedere Arsenalstraße 1 1030 Vienna, Austria Museum Hours: Tu: 11 am – 6 pm We: 11 am – 9 pm Th – Su: 11 am – 6 pm open on public holidays Press Downloads: 21erHaus.at/21h_en/press Contact: Press 21er Haus +43 1 795 57-338 [email protected] Edgar Arceneaux, Until, Until, Until…, 2015. Performance view, Three-Legged Dog, New York, November, 2015. Frank Lawson. Photo: Paula Court. Edgar Arceneaux LIVE N' ACTION with live soundtrack by Ray 7 (Underground Resistance) & Rupert Huber (TOSCA) October 25 & 26, 2016 University of Applied Arts Vienna & 21er Haus SCREENING AND PERFORMANCE October 26, 2016 | 5 pm Until, Until, Until… A Performa Commission Filmscreening with Q&A by Claudia Slanar (in English) Blickle Kino at 21er Haus | Screening: 5 Euro October 26, 2016 | 8 pm A Time to Break Silence Performance with live soundtrack by Ray 7 (Underground Resistance) & Rupert Huber (TOSCA). With a guest appearance by Renée von Herzen. 21er Haus | Performance admission free with valid ticket | Combined ticket: 10 Euro October 26, 2016 | 10 pm Afterparty with DJ-Set by Ray 7 (UR) FLUC | Ticket: 7 Euro or 5 Euro with 21er Haus ticket On October 26 the 21er Haus will be celebrating American artist Edgar Arceneaux’s Europe film premiere of Until, Until, Until…, which was produced from footage of his first live performance with the same title. The play was commissioned by Performa, New York City’s performance biennial, in November 2015 and won the biennial’s Malcolm McLaren-Price. Until, Until, Until… investigates the infamous 1981 performance of Broadway legend Ben Vereen, televised nationally as part of Ronald Reagan's inaugural celebration. -
Sonic Process Une Nouvelle Géographie Des Sons
Sonic Process Une nouvelle géographie des sons 16 octobre 2002 – 6 janvier 2003 www.centrepompidou.fr / www.sonic-process.org Direction sommaire de la communication 75 191 Paris cedex 04 attachée de presse 1 Communiqué de presse page 2 Aurélie Gevrey téléphone 00 33 (0)1 44 78 49 87 2 Informations pratiques page 5 télécopie 00 33 (0)1 44 78 13 02 3 Plan de l’exposition page 6 e-mail [email protected] 4 Glossaire page 7 5 Notices des œuvres page 15 6 Bio-bibliographies des artistes page 22 7 Calendrier des concerts et des performances page 40 8 L’Electronic Lounge page 41 9 Les Nouveaux Médias page 44 10 Les Spectacles Vivants page 45 11 Conférences et débats 1- Ircam : Résonances, Premières rencontres internationales des technologies pour la musique page 48 2- Les Revues parlées page 50 12 Les Editions page 53 13 Extrait du catalogue page 55 14 Visuels disponibles pour la presse page 61 Sonic Process Une nouvelle géographie des sons 16 octobre 2002 – 6 janvier 2003 www.centrepompidou.fr / www.sonic-process.org Direction Exposition Doug Aitken, Mathieu Briand, Coldcut/Headspace, Richard Dorfmeister, Flow Motion, de la communication Renée Green, Martí Guixé, Rupert Huber, Mike Kelley, Gabriel Orozco, Scanner, David Shea. 75 191 Paris cedex 04 Performances Mathieu Briand et Cerclerouge (Babylon Joke, Les Boucles étranges, attachée de presse Crystal Distorsion, Ixindamix), Cylens, Coldcut & Headspace, Vincent Epplay, Hallucinator, Opak, Aurélie Gevrey Phagz, Marc Piéra, Ro3 (Röm), Scanner, David Shea, Ultra Milkmaids, xo195/ (Cédric Pigot). téléphone 00 33 (0)1 44 78 49 87 télécopie 00 33 (0)1 44 78 13 02 Sonic Process, une nouvelle géographie des sons, est la première manifestation consacrée e-mail par le Centre Pompidou à la musique électronique. -
Itunes Album Listing 22/5/18, 19:19
iTunes Album Listing 22/5/18, 19:19 Album Artist Year Tracks Time 1962-1966 (Red Album) [Disc 2] The Beatles 2005 31:39 Sly & Robbie meet Nils Petter Nils Petter Molvær feat. Sly & 2015 3:01:32 Molvær - Live at Warsaw Robbie Summer Jazz Days 2015 …and They Have Escaped the Ólafur Arnalds 2010 9 43:33 Weight of Darkness ...But Seriously Phil Collins 1989 12 59:46 ...Zzzipp! - Live [2000] [1] Tab Two 2000 10 45:11 ...Zzzipp! - Live [2000] [2] Tab Two 2000 10 59:43 …zzzipp! extended Tab Two 2013 28 2:32:55 "Addictions" Volume 1 Robert Palmer 1989 13 51:40 + Ed Sheeran 2012 13 49:58 + Novo De Novo Moska 2007 18 1:14:22 0 Damien Rice 13 1:13:40 007: Quantum of Solace Jack White & Alicia Keys 2008 24 04:23 (Original Motion Picture Soundtrack) 1's Destiny's Child 57:40 1/1 Nils Petter Molvær, Moritz von 2013 8 1:07:42 Oswald 1+1 Herbie Hancock & Wayne Shorter 1997 10 1:01:48 1+1=X Various Artists 2018 20 1:48:40 10 From 6 Bad Company 47:20 10 Years Mercedes-Benz Mixed Jazzanova 2014 34:28 Tape 1000 Kilometers Oregon 2007 12 1:02:07 100th Window Massive Attack 2003 9 1:13:55 12 Herbert Grönemeyer 2007 12 48:47 14 Greatest Hits Hot Chocolate 1970 14 53:59 15 Years Enjoy Jazz Various Artists 2013 15 1:18:11 19 Adele 2008 12 43:39 1962-1966 (Red Album) [Disc 1] The Beatles 2005 31:02 1970 - Live at Au Grès du Jazz Avishai Cohen 2017 3:28:24 2017-08-07 1984 Van Halen 33:28 2.11.14 Hauschka 2014 2 43:06 20 Years Metroplex: 1985-2005 Various Artists 2005 11 2:10:54 2000 - 2008: Best Of Laith Al-Deen 2008 17 1:14:40 2000, Destroyer Sessions, Ryan Adams -
Situating Sound Installation Art Since 1958 a Dissertation
UNIVERSITY OF CALIFORNIA, SAN DIEGO Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958 A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Gascia Ouzounian Committee in charge: Professor Anthony Davis, Co-Chair Professor Jann Pasler, Co-Chair Professor Adriene Jenik Professor George Lewis Professor Lev Manovich 2008 Copyright Gascia Ouzounian, 2008 All rights reserved. The Dissertation of Gascia Ouzounian is approved, and it is acceptable in quality and form for publication on microfilm: __________________________________________________________ __________________________________________________________ __________________________________________________________ __________________________________________________________ Co-Chair __________________________________________________________ Co-Chair University of California, San Diego 2008 iii TABLE OF CONTENTS Signature Page…………………………………………………………………..…iii Table of Contents……………………………………………………………….…iv List of Figures………………………………………………………………………..vii Acknowledgments………………………………………………………………....x Vita………………………………………………………………………………......xiii Abstract………………………………………………………….…………………xix Chapter One SITUATED SPACES 1.1 Traces………………………………………………………………….....1 1.2 Spatial Practices………………………………………………………..9 1.3 Situated Knowledges…………………………………………..……11 1.4 Roots……………………………………………………………..……...14 1.5 Spatial Productions…………………………………………….…….17 1.6 Sound and the Production of Place……………………….……..19 1.7 Situated Sonic Practices………………………………………….…23 -
Thesis Lukas Ligeti Final 9Dec2019 REVISED FINAL 31May2020
HAND IN HAND INTO THE UNKNOWN: The Potential of Experimental Intercultural Collaboration in Music in Africa LUKAS LIGETI A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Music Composition 9 December 2019 FINAL SUBMISSION: 1 June 2020 DECLARATION I declare that this thesis is my own unaided work. It is submitted in partial fulfilment of the degree of Doctor of Philosophy in Music Composition at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university, and no section has been previously presented or published. LUKAS LIGETI 9 December 2019 ii ACKNOWLEDGEMENTS I wish to thank my wife, Ilke Alexander, and my mother, Dr. Vera Ligeti, for their moral and intellectual support. I thank all of the musicians mentioned in this thesis – my collaborators across political, geographical, and cultural boundaries; without them, this work would not have been possible. And I thank Prof. Jeanne Zaidel-Rudolph, my supervisor, for her patience, advice, and support. I also thank Nikki Richard for her help with formatting, as well as Prof. Grant Olwage and Prof. Brett Pyper for their help in navigating the bureaucratic obstacles that occasionally presented themselves. iii TABLE OF CONTENTS Declaration i Acknowledgements ii Table of Contents iv INTRODUCTION 1 CHAPTER 1: Personal Background and Early Interactions with African Music 4 1.1: Personal -
Akte Grüninger Die Geschichte Eines Grenzgängers
BUENA VISTA INTERNATIONAL präsentiert eine Produktion AKTE GRÜNINGER DIE GESCHICHTE EINES GRENZGÄNGERS EIN FILM VON ALAIN GSPONER DREHBUCH: BERND LANGE PRESSEHEFT www.grueninger-film.com Pressekontakt: THE WALT DISNEY COMPANY (SWITZERLAND) GMBH Marco Schärer Publicity Coordinator Sony Pictures Höschgasse 45 CH-8008 Zürich Telefon +41 44 289 22 42, Telefax +41 44 289 22 34 E-Mail: [email protected] INHALT v VORWORT v KURZINHALT v INTRO SCHWEIZER FERNSEHEN v PROJEKTÜBERSICHT v CAST v BIO- FILMOGRAFIEN CAST & CREW - Stefan Kurt als „Paul Grüninger“ - Max Simonischek als „Robert Frei“ - Anatole Taubman als „Sidney Dreifuss“ - Alain Gsponer, Regisseur - Bernd Lange, Drehbuchautor - Matthias Fleischer, Director of Photography (bvk) - Michael „Pogo“ Kreiner, Musikkomponist - Richard Dorfmeister, Musikkomponist - Anne Walser, Produzentin - Filmproduktionsfirma C-Films AG - Golli Marboe, Produzent - Filmproduktionsfirma makido film GmbH v ALLGEMEINE KONTAKTE 90’ Alexa, Dolby Digital 5.1 Originalversion: Deutsch, Schweizerdeutsch Versionen / Untertitel: Deutsche Synchronfassung, Deutsche / Englische / Französische UT Filmstart Schweiz: 30. Januar 2014 Festivals: Eröffnungsfilm 49. Solothurner Filmtage, 23. Januar 2014 © 2014 - Eine Produktion von Schweizer Radio und Fernsehen, ARTE und C-Films AG in Koproduktion mit Makido Film und Mecom München PRESSDOKUMENTATION „AKTE GRÜNINGER°“ - Seite 2 von 23 *** VORWORT*** Nachdem sich bereits ein preisgekrönter Dokumentarfilm („Grüningers Fall“ 1997, Regie: Richard Dindo) und mehrere Sachbücher (u.a. „Grüningers Fall“ von Stefan Keller) mit Paul Grüninger befasst haben, macht „AKTE GRÜNINGER“ das Schicksal des St. Galler Polizeihauptmanns erstmals zum Gegenstand eines Kinospielfilms. Der Film „AKTE GRÜNINGER“ ist einerseits ein klassisches Reenactment, d.h. eine filmische Aufarbeitung der von den Nazis systematisierten Verfolgung der Juden vor und während des Zweiten Weltkrieges – der grösste Genozid der Menschheitsgeschichte, welcher auch die Schweiz nachhaltig tangierte.