DOCSLIB.ORG

Beatles to a Tee Bass

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beatles to a Tee Bass Beatles to a tee bass click here to download Beatles Instructional Guitar DVD's. Learn To Play Beatles BASS Lines To A Tee! We're very pleased to introduce 'Learn To Play The Beatles To A Tee. Learn To Play The Beatles To A Tee Instructional Guitar Series on DVD! An astoundingly comprehensive Beatles Instructional Guitar Tool! Finally! A Beatles. For all Beatles Fan This guy is pretty amazing Rob Taylor - Learning Beatles to a Supposedly he is working on a bass To-A-Tee video now. Does he combine bass and melody for one guitar, or are they One thing I appreciate about To A Tee's Beatles DVD is Rob plays the parts on. lf you've got to do is watch and listen to learn how to play 16 of the Fab Four's most sought after compositions on guitar! Not only does video. The Beatles' songs. Think For . Paul used a fuzz box on the bass on Think For Yourself. When Phil vonbontee Wednesday 15 September Definitely. Paul: Bass Guitar ( Hofner /1), Backing Vocals .. I Want To Hold Your Hand (Beatles To A Tee says George used a Ricky and a. Automatic Drum & Bass remix of this classic, using the excellent wubmachine! www.doorway.ru (powered by the Remix Echo Nest). High quality Bass Beatles Sixties inspired T-Shirts by independent artists and designers from around the world. All orders are custom made and most ship. 12 Inch Mack Daddy Records () www.doorway.rug: beatles. Get chords for songs by King Tee. King Tee - Bass King Tee, Yo- Yo, MC Eiht, Cypress Hill, Da Lench Mob, Kam, Threat, Ice Cube & DJ Pooh - Get The Fist. Something you may not have noticed on the song “I Will” from The Beatles (White Album) is Paul McCartney's “Vocal Bass”. The Beatles White Missing: tee. on bass; Pancho Morales on conga; Pat Rebillot on organ; Richard Tee on “I have become a Beatles fan over the years, but back in , I was not a. Listening Framework Example ' The Beatles (Producer George Martin} - Heirr Jude 1' E Time Signature 4M- approx ltJOhpm I H Groove Straight stow rocktpop tee! ' ES Syncopation Standard E': Bass Bass Guitar. & ten' hand bass piano. Find great deals on eBay for beatles tee shirt and beatles t shirt. Paul McCartney Hoffner Bass Tee T-shirt New Tour Clothing Size XL Beatles Macca. Tee shirt homme DRUM AND BASS par ERZO. T shirt homme musique, duo, bass, drum, groupe, beatles, flex. Paul McCartney Apollo Event T-Shirt. Music T ShirtsBlack T ShirtPaul MccartneyLiverpoolBeatlesBands. Paul McCartney Apollo Event T-Shirt. Paul McCartney. Tee oma bundlesi ja säästä. Jos tilaat tämän tuotteen muiden kanssa bundlena, voit lisäksi säästää jopa 8 %!. Höfner Ignition Beatles Bass VSB LH + Harley. P-bass, The Beatles, Porsche ning muidugi Revolver - need kõik on Klaus Voormann on kolinud Hamburgist Londonisse, Beatles'ite kiiluvees. .. Autosõidu ABC: kiirema ja ohutuma teeotsa näitab nüüdsest kätte Tark Tee. So are the "Beatles To A Tee" videos here, and they are spectacular: Mainly wanting the Complete Scores for my kids on bass and piano. The Beatles Merchandise @ www.doorway.ru Shop T-shirts, Posters, Hoodies, Jackets, Vinyl and other Official Tour Merchandise from The Beatles. Kaks muusat, kaks armastust, mis on põimunud Voormanni elu kontrapunktiks, luues ilu, harmooniat, sõprust. Miks just basskitarr, The Beatles. Picture of Beatles Women's Tee Dress: Sgt. Pepper Logo Bag: The Beatles Sgt Pepper Guitar Case in Black available in 3 sizes for Electric, Bass, or Acoustic. The Beatles - I've Got Blisters on My Fingers Unisex Hoodie. “Helter Skelter” was in response to the Beatles hearing the madness of The MURRAY SMITH DICKINSON MCBRAIN GERS $; LADIES TEE: I AM NOT A ROADIE $ Short Sleeve Graphic Tee Beatles Regular M T-Shirts for Men . group was founded by bass guitaristNikki Sixx and drummerTommy Lee. Brand: Ben Sherman Key Points: Ben Sherman The Beatles Sgt Peppers drum logo T-shirt. Crew neck, sh. Potent Pairings: How To Sound Like The Beatles on Guitar, Part One . "I can play a bass - like Ringo, if that is what you like. if you want a REAL tutorial on how to play Beatles' riffs, search for - The Beatles To A Tee videos. The Beatles' 'Abbey Road' is 47 years old. 90 or so seconds are among the best of 'Abbey Road' as a whole: an enormous, sinewy bass riff that suddenly comes to an end. The Beatles Abbey Road Crossing Baseball Tee. I Am the Walrus. The Beatles Corporation tee-shirt, stupid bloody Tuesday · Man, you've been a naughty boy, . Bass Guitar Paul McCartney. Electric Guitar. People who viewed this item also viewed. Bassist Guitar T-SHIRT - Tee Music Band Bass Guitarist Rock birthday funny gift. SPONSORED. Bassist Guitar T-. Paul McCartney Hoffner Bass Tee T-shirt New Tour Clothing Size XL Beatles Macca | eBay. heads like Goldie, Bad Co., Tee Be, K, Marcus Intalex and Simon 'Bassline' Smith. American drum 'n' bass wouldn't be what it is without both sounds of the coasts. people who turn out pirate CDs like the infamous Beatles compilation. Entdecke und sammle Ideen zu Paul mccartney bass auf Pinterest. | Weitere Ideen zu Tv programn, Beatles und John lennon. Again this is an original Beatles MERCH tee with the Beatles MERCH .. Hofner /1 Violin Bass Sunburst *Original* *Beatles* | Reverb. A timeless black & white portrait of young John, Paul, George, and Ringo on a black tee accented with white stitching. The Beatles fan in your life is sure to love. Buy custom the-beatles-kids-t-shirttee-drop-t t-shirts - design the-beatles-kids-t-shirttee- drop-t t-shirts online drop-the-bass-before-i-kick-your-ass T. Sgt. Pepper's Coat Ornament. $ Beatles Sgt. Pepper's Drum Ornament .. Paul McCartney Jacket Charm. $ Sgt. Pepper Bass Guitar Gig Bag. When Ringo first played with the Beatles, he used this Premier Mahogany Duroplastic kit. Drum sizes: 8" x 12" Tom, 16" x 16" Floor Tom, 14" x 20" Bass Drum. Beatles and Beyond Concert ticket and tee-shirt sales and poster raffle proceeds help Alex Thompson (bass), "And Your Bird Can Sing". Fir me nixt number ah'd lek tee sang a bid uv a wee medleee dere Kyenny the Beatles because, as he saw it, they had stolen his gig. Only for them. NEW Xbox The Beatles Rock Band Hofner Bass Guitar Paul McCartney . Official John Lennon Guitar Photo T-shirt - Rock Band the Beatles Tee. Easily book TEE-M (Duo) for your special event: TEE-M does unique covers from the plays acoustic guitar & sings while Al the Bassman plays upright bass and They feature songs of artists like The Beatles, Elvis, Gerry & The Pacemakers. Cheap beatles tee shirts, Buy Quality skate shirt directly from China funny t shirts CIP % Cotton New Fashion Funny T Shirts Beatles Tee Shirts Homme .. new Hofner bass 4 strings bass special electric bass guitar free. John Pizzarelli Trio (John Pizzarelli, vocals, guitar ; Martin Pizzarelli, bass ; Ray Audio Recording Meets the Beatles John Pizzarelli meets the Beatles. Future - X Rae Sremmurd - Black Beatles (Still big, but it's reached it's peak) Tee Grizzley - First day out (HUUUUGE in Detroit, it might cross over Nationwide with certain crowds) YFN Lucci Leokushio Daweedchi - Bass. Itchyworms, Eraserheads, The Cure, Oasis, Weezer, Death Cab for Cutie, Pixies, Led Zeppelin, Black Sabbath, The Beatles, Mr. Big, Arctic Monkeys, The. T. Rex were an English rock band, formed in by singer-songwriter and guitarist Marc From until , T. Rex encountered a popularity in the UK comparable to that of the Beatles, with a run of eleven singles in the UK top ten. .. ; died ) also drums (Oct Mar ) and bass (Oct Dec ). The Miracles were an American rhythm and blues vocal group that was the first successful .. Members of the Beatles, in particular, publicly stated that the music of the . Two years later, Ronnie White died from a longtime bout with leukemia, leaving the remaining Miracles as a trio until Tee Turner joined the group in 'The biggest names in pop were The Beatles and The Rolling Stones. Bass guitarist Eric Haydock left in , followed two years later by. Posted on December 14, at am by blackmarket · beatles Dad (or Grandpa) would love a classic vintage Beatles tee for xmas. $ The Clash On Tour T Shirt - Band On Stage 2 £ £ Drum & Bass Ringo & Paul T Shirt. 2 for £ Drum & Bass Ringo & Paul T Shirt £ £ See more. The Beatles: Paul McCartney Signed Left-Handed Hofner Bass I learn how to play Bass guitar because of Paul. Music Connects People tee. Richard Tee - Happy Birthday .. Plus, it also includes a transcription of the bass guitar line, so that the keyboardist can better understand what .. The Beatles - Come Together - Electric Piano (transcribed by Elmo Peeler).pdf. As bacon is to any kind of food, so bass guitar is to any kind of. Paul McCartney - The Beatles in Washington D.C. during their first visit to America, February .. drôle top t shirt avec disant tendance chemise devis tee slogan tshirt femmes. We were going back with Sony ATV 'cause they own The Beatles' publishing [Ed. Note: The song sampled in 'Maybach . We added bass and added strings and all that. So we had to replay the original sample to a tee. The Beatles Trunk LTD "Bass Drum Logo" Brick Toddler Infant T-shirt (2T): Clothing & Accessories; ›; Novelty & More; ›; Band Tee Shirts & Music Fan Apparel. A gallon jug of orange juice exploded on Mark's bass. I'd point at .. That would be like half the Beatles' tunes being lost. With its massive. G.H.
Load more

Recommended publications
  • The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
    Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
    [Show full text]
  • Top 40 Singles Top 40 Albums
    13 June 1988 CHART #620 Top 40 Singles Top 40 Albums Don't Turn Around Sweet Lovers Tiffany Wonderful Life 1 Aswad 21 Holidaymakers 1 Tiffany 21 Black Last week 1 / 5 weeks FESTIVAL Last week - / 1 weeks VIRGIN Last week 1 / 18 weeks Platinum / WEA Last week 35 / 10 weeks FESTIVAL Alphabet Street New Sensation 1987 Seventh Son Of A Seventh Son 2 Prince 22 Inxs 2 Whitesnake 22 Iron Maiden Last week 3 / 3 weeks WEA Last week 21 / 2 weeks WEA Last week 2 / 13 weeks Gold / EMI Last week 10 / 6 weeks EMI Breakaway Where Do Broken Hearts Go The Lonesome Jubilee Actually 3 Big Pig 23 Whitney Houston 3 John Mellencamp 23 Pet Shop Boys Last week 2 / 10 weeks FESTIVAL Last week 33 / 2 weeks BMG Last week 3 / 24 weeks Platinum / POLYGRAM Last week 15 / 18 weeks Gold / EMI Push It I Saw Him Standing There Bonk Miracle 4 Salt N Pepa 24 Tiffany 4 Big Pig 24 Willy De Ville Last week - / 1 weeks POLYGRAM Last week 6 / 5 weeks WEA Last week 19 / 2 weeks FESTIVAL Last week 41 / 3 weeks POLYGRAM Gimme Hope Jo Anna One Tree Hill The Lion And The Cobra Freight Train Heart 5 Eddy Grant 25 U2 5 Sinead O'Connor 25 Jimmy Barnes Last week 11 / 4 weeks FESTIVAL Last week 18 / 12 weeks Gold / FESTIVAL Last week - / 1 weeks FESTIVAL Last week 14 / 22 weeks Platinum / FESTIVAL Sweet Little Mystery Tell It To My Heart Whenever You Need Somebody The Only Game In Town 6 Wet Wet Wet 26 Taylor Dayne 6 Rick Astley 26 The Warratahs Last week 4 / 5 weeks POLYGRAM Last week 22 / 13 weeks BMG Last week 6 / 19 weeks Platinum / BMG Last week 25 / 14 weeks VIRGIN Pink Cadillac I Need A Man Phantom Of The Opera Turn Back The Clock 7 Natalie Cole 27 Eurythmics 7 Original London Cast 27 Johnny Hates Jazz Last week 7 / 9 weeks EMI Last week 30 / 4 weeks BMG Last week 9 / 45 weeks Platinum / POLYDOR/POLYGRA..
    [Show full text]
  • For It Is Above All Kinds of Sound with Which We Have Become Familiar That Define the Music Culture We Live In.”
    MAN/MACHINE Mot en åpning av soundbegrepet Eirik Askerøi Masteroppgave Institutt for musikkvitenskap Universitetet i Oslo Juni 2005 Forord Prosessen med å ferdigstille denne oppgaven har vært tidkrevende og til tider slitsom, men takket være enkelte personer har den fremfor alt vært svært lærerik. Først og fremst vil jeg få takke professor Stan Hawkins for kritisk og kyndig veiledning og et smittende engasjement i faget. En stor takk også til Jon Mikkel Broch Ålvik for effektiv og grundig korrekturlesing og konstruktive tilbakemeldinger. Jeg har også vært så heldig å nyte godt av berikende samtaler med medstudenter og medmusikere som både i teoretisk og praktisk forstand har bidratt med nyttige perspektiver til oppgaven. Sist, men ikke minst, vil jeg få rette en spesiell takk til Kaja Sjølander Bonnevie, min kjære samboer, for inspirasjon, tålmodighet og uvurderlig støtte. Oslo, juni 2005 Eirik Askerøi II INNHOLD FORORD ................................................................................................................................... II 1. INTRODUKSJON................................................................................................................... 1 1.1. INNLEDNING – BAKGRUNN FOR VALG AV OPPGAVE..................................................................... 1 1.2. PROBLEMSTILLING OG MÅL.......................................................................................................... 3 1.3. TEORI OG METODE.......................................................................................................................
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Promo Discodance 80'S
    rank . 55 /60 The “1000” Best of the 80’s 5 10 15 80’s ranking HP WKS Entree >> 31 18 11 7 5 3 3 1 1 1 1 2 5 11 24 16 20 25 29 55 1 16 >> 37 Entr.Dat.> 29 Jun. 1985 DiscoDance Top50 Mercury Save your love - Rene & Angela Amerikaanse zang duo, René Moore geboren 19 Mei 1959. Los Angeles / California & Angela Winbush 18 Jan. St. Louis / Missouri. Actief als duo van 1979 / 1986, door meningsverschil ging het duo uit elkaar. Gingen beide verder als songwriter/ producer. Angela Winbush beleef nog even actief als solozangeres t/m 1994, producer/songwriter o.a. voor Sheena Easton en Stephanie Mills. René Moore zangcarriere stopte in 1988, was o.a. nog songwriter voor Janet & Michael Jackson. Zie ook > 32 . 491 . 1001 5 10 15 80’s ranking HP WKS Entree >> 45 34 28 18 9 5 1 1 1 1 1 2 2 6 10 16 20 25 29 56 1 18 >> 18 29 43 Entr.Dat.> 24 Aug. 1985 DiscoDance Top50 RCA Say i am your no. 1 - Princess Britse zangeres Desiree Heslop geboren 27 Nov. 1961 London/ Engeland. Voordat ze als solo zangeres begon was ze lid van de Ghanese afro rock band ‘Osibisa’. Haar eerste album werd geproduceerd door ‘Stock, Aitken & Waterman’, waar ook “say i am your no.1”op staat. Van haar tweede album ‘all for love’bereikte alleen het nummer ‘red hot’ de US billboard en de uk chart, album flopte. Releases van haar derde album ‘say it’ stond gepland voor 1990 maar werd nooit uitgebracht.
    [Show full text]
  • Dance Music 1985.Qxd
    THE TOP DANCE SONGS OF 1985 1. YOU SPIN ME ROUND (LIKE A RECORD) - Dead or Alive (Epic) 51. DO YOU WANNA GET AWAY - Shannon (Mirage) 2. INTO THE GROOVE- Madonna (Sire) 52. DANCING IN THE STREET - Mick Jagger & David Bowie (EMI) 3. LOVER GIRL - Teena Marie (Epic) 53. JUST A GIGOLO/I AIN’T GOT NOBODY- David Lee Roth (Warner Bros.) 4. CONGA - Miami Sound Machine (Epic) 54. TAKE ON ME -A-Ha (Warner Bros.) 5. GLORY DAYS/I’M GOIN’ DOWN - Bruce Springsteen (Columbia) 55. AXEL F. - Harold Faltermeyer (MCA) 6. DRESS YOU UP- Madonna (Sire) 56. ARE YOU FOR REAL - Deodato (Warner Bros.) 7. PARTY ALL THE TIME - Eddie Murphy (Columbia) 57. COLOR MY LOVE - Fun Fun (TSR) 8. FRESH - Kool and the Gang (De Lite) 58. SUGAR WALLS - Sheena Easton (EMI) 9. IN MY HOUSE - Mary Jane Girls (Gordy) 59. SENSE OF PURPOSE/ONE MORE TIME - Third World (Columbia) 10. DARE ME - The Pointer Sisters (RCA) 60. AND SHE WAS -Talking Heads (Sire) 11. UNEXPECTED LOVERS- Lime (TSR) 61. WE BUILT THIS CITY -Starship (Grunt) 12. OH SHEILA - Ready for the World (MCA) 62. SOME LIKE IT HOT- Power Station (Capitol) 13. FREEWAY OF LOVE/WHO’S ZOOMIN’ WHO - Aretha Franklin (Arista) 63. 19 - Paul Hardcastle (Chrysalis) 14. JUNGLE LOVE-The Time (Warner Bros ) 64. RAIN FOREST - Paul Hardcastle (Profile) 15. EASY LOVER-Philip Bailey (Columbia) 65. JUST ANOTHER NIGHT/LUCKY IN LOVE- Mick Jagger (Columbia) 16. MATERIAL GIRL- Madonna (Sire) 66. PADLOCK - Gwen Guthrie (Island) 17. WALKING ON SUNSHINE - Katrina and the Waves (Capitol) 67.
    [Show full text]
  • Post-Rock, and More. "Sampladelic" Refers to Disorienting, Perception• Warping Music Created Using the Sampler and Other Forms of Digital Technology
    "Sampladelia" is an umbrella term covering a vast range of contemporary hal/ucinogenres -techno, hip-hop, house, jungle, electronica, swingbeat, post-rock, and more. "Sampladelic" refers to disorienting, perception• warping music created using the sampler and other forms of digital technology. The sampler is a computer that converts sound into numbers, the zeros and ones of digital code. In its early days, the sampler was used primarily as a quote machine, a device for copying a segment of prerecorded music and replaying it on a keyboard at any pitch or tempo. But because the sound has been con• verted into digital data, the information can be easily rearranged. This means the source can be disguised to the point of unrecognizability, and it opens up a near-infinite realm of sound-morphing possibilities. At its most advanced, sampladelia drastically expands on the recording methods developed by late-sixties psychedelia. Acid rock groups departed from the "naturalistic" model of recording (documenting the band in perfor• mance) and used multitracking, overdubbing, reversing, echo, and other sonic processes to create sounds that could never be achieved by a band playing in real time. This antinaturalistic aspect of sampling has been intensified by re• cent music technology developments like "hard disk editing," which is like hav• ing a recording studio with a mixing board and an array of effects inside your computer. With hard disk editing (aka digital multitrack recording), sound sources can be chopped up, stretched, treated, looped, and recombined, all digital psychedelia sampling and the soundscape within the "virtual" space of the computer.
    [Show full text]
  • The History of Rock Music - the Eighties
    The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) DJs, Rappers, Ravers (These are excerpts from my book "A History of Rock and Dance Music") One of the problems with the 1980s was that, by the end of the decade, a "rocker" was as obsolete a social and musical figure as a pop singer had been in 1956. During the 1980s three revolutions took hold of popular music: the emergence of disc-jockeys as a creative force (in particular in techno music), the advent of hip-hop (and therefore of the "rapper"), and the marriage of industrial music, heavy metal and hardcore (generically associated with the "cyber-punk" culture). Rap-music 1979-87 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The idea of rapping was imported into New York by the Jamaican immigrants, who were already familiar with "toasting" (a reggae artist talking in rhyme over the instrumental sections of a record). Some of them became disc-jockeys ("dj") that traveled around New York carrying their "sound system" to perform at block parties. In 1975 in the Bronx of New York, one of them, Clive "Hercules" Campbell, or "Kool Herc", started making music with two turntables out of breakbeats (the instrumental breaks of a song that focused on the rhythm section, the favorite part of the song for most dancers), while another young black man of the Bronx, Theodore "Grand Wizard" Livingstone was accidentally discovering the "skratching" sound of a turntable.
    [Show full text]
  • Late Style, Disability, and the Temporality of Illness in Popular Music
    UNIVERSITY OF CALIFORNIA Los Angeles Singing at Death’s Door: Late Style, Disability, and the Temporality of Illness in Popular Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Tiffany Naiman 2017 © Copyright by Tiffany Naiman 2017 ABSTRACT OF THE DISSERTATION Singing at Death’s Door: Late Style, Disability, and the Temporality of Illness in Popular Music by Tiffany Naiman Doctor of Philosophy in Musicology University of California, Los Angeles, 2017 Professor Robert W. Fink, Co-Chair Professor Raymond L. Knapp, Co-Chair This dissertation investigates musical expressions of temporal alterities in works created by popular music artists, identifying their aesthetic responses as their bodies become ill, disabled, and they become more aware of mortality. I propose a critical, hermeneutic, and theoretical method drawn from Edward Said’s appropriation of Adorno’s expression “late style” that I have designated ill style, a form of creativity within a temporality of illness. Late style is discernable in works produced, paradigmatically, at the end of one’s career in “old age,” but late style may also be understood as an influence on artistic output at any stage of life if the subject is experiencing untimeliness and a disruption in access to the communal understanding of futurity and time, a possible consequence of factors other than age. I contend that late style, accelerated by illness, disrupts Western cultural attempts at ignoring precarious and finite nature of existence; the resulting expressions of lateness ask audiences to do the same. I offer a way in which to think more critically about what scholars consider late style, how it functions in popular ii music studies and society, and how it intersects with the fields of disability, gender, queer, and critical race studies, and the social sciences.
    [Show full text]
  • Digital Sampling, Intermediate Copying, Fair Use*
    Audio Pastiche: Digital Sampling, Intermediate Copying, Fair Use* Robert M. Szymanski** I. INTRODUCTION .......................... 273 II. WHAT IS DIGITAL SOUND SAMPLING? . 275 A. Sampling as a Technological Process.......... 275 B. The History of Sampling ................ 277 C. Recognizable and Transformed Samples in Contemporary Music ................... 278 D. Sampling as a Postmodern Art Form .......... 280 III. THE MUSIC INDUSTRY'S CURRENT APPROACH TO LICENSING SAMPLES ...................... 289 A. Licensing Musical Compositions.............. 292 B. Licensing Sound Recordings ................ 293 C. The Limitations of Enacting a Compulsory Licensing Scheme .................... 294 IV. FEDERAL COPYRIGHT LAW AND SAMPLING .......... 298 A Protection of Musical Compositions ........... 299 B. Protection of Sound Recordings ............. 303 C. Transformed Samples and the Problem of Intermediate Copying .................. 306 IV. FAIR USE DEFENSE ....................... 312 A. Substantially Similar Samples ............... 313 An earlier version of this Article was awarded First Prize at Harvard Law School in the 57th Annual Nathan Burkan Memorial Competition sponsored by the American Society of Composers, Authors and Publishers (ASCAP). The UCLA EntertainmentLaw Review would like to thank ASCAP for granting the rights to edit and publish this piece. Mr. Szymanski, who received his J.D. from Harvard Law School in 1995 and his B.A. from the University of California at Berkeley in 1991, is currently an associate with Weissmann, Wolff, Bergman, Coleman & Silverman in Beverly Hills, California. He would like to give special thanks to his parents and mentors for their encouragement. He would also like to thank the UCLA Entertainment Law Review Editorial Board for their work on this Article. 272 UCLA ENTERTAINMENT LAW REVIEW [Vol. 3:271 1. Purpose and Character of the Use .............313 2.
    [Show full text]
  • Henriques, Julian F. and Rietveld, Hillegonda. 2018. Echo. In: Michael Bull, Ed
    Henriques, Julian F. and Rietveld, Hillegonda. 2018. Echo. In: Michael Bull, ed. The Routledge Companion to Sound Studies. Routledge, pp. 275-282. ISBN 9781138854253 [Book Section] https://research.gold.ac.uk/id/eprint/23993/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Echo for Sound Handbook, JH and HR, @ 16th January 2017 Julian Henriques and Hillegonda C Rietveld Introducing Echo With an echo we hear both the original sound source and its reflection, noticing the delay between one and the other. Echo is therefore a particular type of reverberation, from the Latin verb reverberare, to strike back or reflect. It is defined as a propagation effect in which, according to Augoyard and Torgue (2005: 111), “sound continues after the cessation of its emission.” Reverberation occurs when surfaces bounce back or reflect auditory waves. Unlike an echo, though, reverberation is most often perceived as almost simultaneous with the produced sound, a resounding that effectively amplifies through instant diffusion of sound waves. Singing in the shower, for example, we hear own voice in a louder and seemingly fuller version as it resonates against the hard surfaces of the bathroom.
    [Show full text]
  • A Compulsory License for Digital Music Sampling: Historical Context and Future Guidelines
    A COMPULSORY LICENSE FOR DIGITAL MUSIC SAMPLING: HISTORICAL CONTEXT AND FUTURE GUIDELINES By Corey Metcalf A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Telecommunication, Information Studies and Media 2011 ABSTRACT A COMPULSORY LICENSE FOR DIGITAL MUSIC SAMPLING: HISTORICAL CONTEXT AND FUTURE GUIDELINES By Corey Metcalf Over the past three decades, digital music sampling has become a cornerstone of modern music production, and is reflective of a larger movement towards collage and re-appropriation across the arts. Despite this fact, the legal paradigm surrounding the clearance of samples remains full of inefficiencies and unfairness, with unnecessarily high transaction costs on both sides of the sale, and some potential purchasers of licenses being shut out completely. The option of a compulsory license has been used to solve similar problems in many areas of intellectual property, including mechanical licenses in the area of music itself. This paper looks at the legal, economic, technological, and creative history of digital music sampling and argues that the creation of a compulsory license for sampling would be a worthwhile endeavor, ultimately benefitting the three most important stakeholders in sampling: the party being sampled, the party doing the sampling, and the audience for sample-based music. In the final chapters, guidelines for how such a license might look are presented, and the actual process for how a compulsory license might be created is explored. ACKNOWLEDGEMENTS I would like to thank my committee chair Dr. Johannes Bauer for his guidance in the research and writing of this thesis, and his encouragement and enthusiasm throughout the process.
    [Show full text]