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Exploiting Prior Knowledge During Automatic Key and Chord Estimation from Musical Audio
Exploitatie van voorkennis bij het automatisch afleiden van toonaarden en akkoorden uit muzikale audio Exploiting Prior Knowledge during Automatic Key and Chord Estimation from Musical Audio Johan Pauwels Promotoren: prof. dr. ir. J.-P. Martens, prof. dr. M. Leman Proefschrift ingediend tot het behalen van de graad van Doctor in de Ingenieurswetenschappen Vakgroep Elektronica en Informatiesystemen Voorzitter: prof. dr. ir. R. Van de Walle Faculteit Ingenieurswetenschappen en Architectuur Academiejaar 2015 - 2016 ISBN 978-90-8578-883-6 NUR 962, 965 Wettelijk depot: D/2016/10.500/15 Abstract Chords and keys are two ways of describing music. They are exemplary of a general class of symbolic notations that musicians use to exchange in- formation about a music piece. This information can range from simple tempo indications such as “allegro” to precise instructions for a performer of the music. Concretely, both keys and chords are timed labels that de- scribe the harmony during certain time intervals, where harmony refers to the way music notes sound together. Chords describe the local harmony, whereas keys offer a more global overview and consequently cover a se- quence of multiple chords. Common to all music notations is that certain characteristics of the mu- sic are described while others are ignored. The adopted level of detail de- pends on the purpose of the intended information exchange. A simple de- scription such as “menuet”, for example, only serves to roughly describe the character of a music piece. Sheet music on the other hand contains precise information about the pitch, discretised information pertaining to timing and limited information about the timbre. -
Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms. -
Quentin Couldn't
The Arts and Entertainment Supplement to the Daily Nexus, for April 13th through April 19th. 1995 Quentin couldn't: make it, but we got the inside scoop» on Destiny- Turns on tJie Ftedio from his co-stars Dylan McDermott and Nancy Travis, along with director Jack Bar an. See pages 4A-5A. 2A Thursday, April 13,1993 Daily Nexus bars of cage / you see scars, much ease — thus “Strug results of my rage.” That’s glin’,” tire soul food, hip- another thing about this hop blues, demi-epic of debut album. In Tricky’s the album. (The “epic” Massive and Unparalleled world, everything is a cage, track would probably be without any hope of re the seven-minute exten prieve. Even love is a sti sion of their first single, T ricky posedly one of 'fricky’s landic woman named any of them out from the fling, repressive activity “Aftermath.”) Amid creak M axinquaye nonsense words, sort of Ragga (again, no last scrapyard beats, hip-hop and sex is the violent ing doors, screeching 4th S t Broadway/I gland based around the name of name) and Alison Gold- breaks, soul slides and means of expressing one’s saxes, cocking rifles and his mother. frapp, who was most re thick, dark atm osphere anger. ambulance wails, Tricky This is almost too dense While we’re on names, cently heard on Orbital’s that just oozes out all over Witness “Abbaon Fat mutters like a junkie com a record for one head to Tricky’s real one is Adrian last album. -
Authority Attacks M40 Format Switch by Emmanuel Legrand Intended to Play an Active Role Proposals to Increase CLT's In- in M40 As a Shareholder
NEWS RADIO MUSIC AIRPLAY CHARTS SALESCHARTS SPECIAL REPORTS Cranberries Reap Hot 100 Sales Breakers Awards VOLUME 11. ISSUE 5 . FEBRUARY 4, 1995 £2.95 DM8 FFR25 US$5 Authority Attacks M40 Format Switch by Emmanuel Legrand intended to play an active role proposals to increase CLT's in- in M40 as a shareholder. vestment in M40 were re- PARIS - A decision by CLT to Thegroup'ssubsequent jected, the CSA "cannot autho- suddenly change the name and decision to alter the name and rise the change in the net's format of FM network M40 format ofM40 without name," a move which requires has resulted in a violent clash informing the CSA has exact- the authority's approval. with the French broadcasting eda prompt-and stern- Sources at the CSA explain authority CSA. response from the Authority. the name switch implies CLT Spanish national classical station Sinfo Radio has namedone of On January 18, the format The CSA has urged CLT has become owner of the net. its studios after the country's most important living classical com- of M40 changed from EHR to "tobroadcast programming Atpresstime,CLT had poser Rodriguez. During the opening ceremony, Cadena SER ACE/news and the network's similar to that agreed by the failedtocomply withthe directorgeneralAugustoDelkaderthanked94 -year -old name was switched to RTL1 licensing convention" instead CSA's request to revert to the Rodriguez, who was in attendance. In its first six monthson air, without any notice. ofthenew -formatRTL1 old M40 format and name. Sinfo Radio has notched up a daily average of 116.000 listeners. -
SNICK - Round 10
SNICK - Round 10 1. A stuffed animal from this man's childhood inspired a supposedly super-cool character that he voiced in the short-lived Fox Kids cartoon C-Bear and Jamal. A banker named Biderman utterly baffles a criminal played by this man by telling him things like "the horse is in the barn" and "the chicken is in the pot" in the film Blank Check; that character is named Juice. This man voiced a goanna lizard who sings "If I'm Gonna Eat Somebody (It Might As Well Be You)" in (*) FernGully two years before he played Emilio, a Miami cop who assists the title character of Ace Ventura: Pet Detective. For 10 points, name this raspy-voiced man who also rapped the hits "Wild Thing" and "Funky Cold Medina." ANSWER: Tone Lōc (loke) (or Anthony (Terrell) Smith) <Vopava, Trends/Miscellany> 2. One song on this album was re-recorded with vocals by William S. Burroughs for an X-Files soundtrack. Initial printings of this album unusually had a translucent yellow disc tray. A song on this album quickly repeats the phrase "call me when you try to wake her" and is based on (*) "The Lion Sleeps Tonight." This album's original name, Star, referenced an ornament that appears on its cover, though it was ultimately named for the slogan of Weaver D's, a restaurant in Athens, Georgia. A single from this album describes "when the day is long, and the night is yours alone," while another poses numerous questions to Andy Kaufmann. "Man on the Moon" and "Everybody Hurts" appear on, for 10 points, what 1992 album by R.E.M.? ANSWER: Automatic for the People <Nelson, Music> 3. -
The Arts and Entertainment Supplement to the Daily Nexus, For
4 The Arts and Entertainment Supplement to the Daily Nexus, for December 1st through December 7th, 1994 1 Textures. Rhythms. nute due to pressure from Beats. These three things the police department. are important attributes to Are you used to that kind any song. But how are of thing? Discuss the cur these characteristics coal rent state of dance culture esced? In the world of in England. dance music, hardly any Paul Hartnoll: Oh, one does this as well as Or there’s loads of rubbish bital. Their recent show at going on in England, isn’t the Shrine Auditorium there.... Unless you do ev proved that not only are erything well above board, they the premiere house/ you’re really setting your techno group, but further self up for trouble, and if proved that die emergence you get away with it, it’s of underground dance lucky, with underground music is a force steadily be parties where it’s not coming impossible to ig strictly organized.... Even nore as we approach the if you hire the place off of next century, coupled with someone, you might have the imminent death of a license to have that many rock music. Artsweek'% people in it. You’ve got to Monty Luke cornered Phil be lucky to get away with and Paul Hartnoll of Orbi it. tal in Los Angeles to dis Especially now with the cuss music, politics and criminal justice bill gone spiders. through, if you get caught Artsweek: 1 under doing something like that, stand the venue for Satur day[ night's'. -
Bristol Massive
Bristol Massive 1.1 1) Intro (edited short version, Smith & Mighty:: Big World Small World, 2000) 2) Walk on By (Smith & Mighty:: Dj Kicks, 2001) 3) Unfinished Sympathy (Massive Attack:: Blue Line, 1991) 4) Down in Rwanda (Smith & Mighty:: Bass is Maternal, 1995) 5) Five Man Army (Massive Attack: Blue Lines, 1991) 6) Karmacoma (Massive Attack: Protection , 1996) 7) Overcome (Tricky:: Maxinquaye, w/Martina, 1995) 8) Glory Box (Portishead:: Dummy, 1994) 9) Hell is Around the Corner (Tricky:: Maxinquaye, 1995) 10) It Could Be Sweet (Portishead:: Dummy, 1994) 11) Christiansands (Tricky:: Pre-millennial Tension, 1996) 12) Three (Massive Attack:: Protection/ feat. Nicollete, 1994) 13) Mysterions (Portishead:: Dummy, 1994) 14) All Mine (Portishead:: Portishead, 1998) 15) Rain (Alpha:: Come From Heaven, 1998) 16) Delaney (Alpha:: ComeFromHeaven, 1998) 17) Trust Me (Roni Size/Reprazent:: New Forms, 1998) 18) Bass is Maternal (Smith & Mighty, Bass is Maternal, 1995) 19) U-Dub (Smithy & Mighty, Bass is Maternal, 1995) tracks selected by Jerry Saturn @ The Masthead, 2004 Bristol Massive 1.2 1) Closer (Smith & Mighty:: Bass is Maternal, 1995) 2) Jungle Man Corner (Smith & Mighty:: Bass is Maternal, 1995) 3) Spying Glass (Massive Attack:: Protection, w/ Horace Andy, 1996) 4) No Justice (Smith & Mighty:: Big World, Small World, 2000) 5) Be Thankful For What You Got (Massive Attack:: Blue Lines, 1991) 6) Sour Times (Portishead:: Dummy, 1994) 7) With (Alpha:: ComeFromHeaven, 1998) 8) Undenied (Portishead:: Portishead, 1998) 9) Move You Run (Smith & Mighty:: -
Joint Meeting with IASPM Canada
IASPM-US & IASPM-Canada 2007 Joint Conference Program & Schedule of Events Thursday April 26 1 Friday April 27 1 Saturday April 28 5 Sunday April 29 8 Abstracts 10 Index of Presenters 57 Acknowledgments 58 All events are scheduled in the Curry Student Center, as are the book display and auction. 2007 IASPM-US / IASPM-Canada Joint Conference Program Committee: Jacqueline Warwick, Chair Holly Everett Ellie Hisama David Todd Lawrence Tom McCourt Paul Théberge Thursday April 26 3:00 – 5:30 PM Registration Curry Student Center IASPM-US EC Board Meeting (Room 435) IASPM-Canada EC Board Meeting (Room 433) 7:30 – 11:00 PM Opening Reception (Curry Center Ballroom) Book signing: Reebee Garofalo Rockin’ Out: Popular Music in the U.S.A. (4th Edition) Sponsored by Prentice Hall Publishing Entertainment featuring Peter Narvaez, the Blue Suede Boppers, and DJ Shyne Friday April 27 All Day Book/Media Display 8:00-8:30 AM Continental breakfast sponsored by the Canadian Consulate General, Boston 8:45 – 10:00 AM Plenary Session (Curry Center Ballroom) Welcome; Keynote address by Susan Fast, McMaster University, “On Limits, Peripheries, Edges and Popular Music” 10:15 – 12:00 PM Panel Session 1 1) Negotiations of the Cultural (Room 322) Moderator: Dale Chapman, Bates College 10:15 Imagining the Spiritual and Absolute in John Coltrane’s Love Supreme — Gregory Erickson, Mannes College of Music 10:35 Afro-Dominicans, Fusión Musicians and a New Social Movement in the Dominican Republic — Angelina Tallaj, CUNY Graduate Center 10:55 From Utopia to Engagement: Bruce -
1995 Fall Program Guide
~Dnfs@@ ~© @®K§ ®@@ @®@@§o ®@@ OO©K@ o o o hJ I ~ @ ~ p [§s I @J @ ~ ~ ~ @J c:::::, \C ro=-. ~ ~ @ \C ~o Fl Ul ~ Ci@ ~ ~ ~ ~ @8 (1 ~o 0~ -e ~ ~ =~ 00 I ~o=-· z ro CIQ ~ c:::::, e ~ ~ ~ @'j) ~ &J I 1 =e, @ = 1 @ I = e, ~ ~ 9 ~ ~ '< ~o 0~ @ &J ~ @) ~ L7@c2®~111 ~@~®cir ®LQ]~ L7Jlc2@~@®~ Lhlh~~ LQ]~ 100 • ', WM C N. ·')~·,.:'. .. 91. 7 FM Clc1-,:-p . :: .. Ct.. o.. FF. • .. ::... ~••s:. '1-·· ··' C....,KrE . .· .. ·.,.· · 1'\.,::) WMCN Executive Staff Fall 1995 General Manager Promotions Director New Music Directors Chris Herrington Pete Bayard Joanna Curtis Eric Hausken News/PSA Directors Assistant Promotions Directors Kara Fiegenschuh Jenni Undis Michelle Hayes Hip Hop Director Curtis Stauffer Jenny Ahern MattArlyck Style Consultant/Live Bands World/Reggae Director Jazz/Blues Director Peter "Tigger" Lunney Kyan Thornton Abe Wheeler Production Assistant Metal Director Country Director Mike Storey Mike Hourigan Nate Sparks Office Manager Engineer Cory Walker Ethan Torrey ~ ~ cqi ll11 (9 ~ 1t IL fl Iffi (9 Macalester College (Q)~(O)=(O)] li 2 1600 Grand Ave. (Q)ffn~t9 IL1tiffit9 St. Paul, MN, 55105 Co)~ (0) = (0) (0) ~2 2 Who we are and what we do: a listener's guide i. I'm Chris Herrington, the general manager Our other special block is World/R&B from 6-8 of WMCN, and I'd like to welcome you to p.m. weekdays. From Dancehall to African to H another great year of broadcasting at the best, Caribbean to Ska to R&B, it's all here. Kyan Thornton's if least recognized, radio station in the Twin Cities. -
The Knife Music Snobs Inc
The Knife Music Snobs Inc. A collection of expert witnesses making sweeping generalizations about the scene. Facebook Talk to The Knife A few years ago in a dimly lit living room in Bangalore, amid an assembly of projectors and new friends late at night, Rahul Giri would meet Tanvi Rao. Lounge Piranha guitarist Abhijeet Tambe would host these mini house parties, periodically throwing into a room an abundance of burgeoning talent, and they subconsciously became the messingaround ground for a subscene. Vocalists met producers met writers met opera singers, and into the early hours of the morning, collaborations would appear and disappear, occasionally leaving behind something that would last far longer. Those nebulous evenings caused the intermingling of some of the most spectacular music in the country illustrated alt rock from Lounge Piranha, volatile operaticpop from Sridhar/Thayil, fragments of future psychedelic bands, and the evaporative electronica of Sulk Station. Till You Appear is mellowdramatic/downtempo act Sulk Station’s long awaited debut, a sweeping fifty minutes of rainwashed music that slowly drips bluegrey all over your surroundings. It’s been on loop since its release four days ago, we’re all waiting to get sick of it, but it just isn’t happening. Giri has built an ominous castle of echoes to surround Rao’s glassy vocals, a crystalline presage. With its recurring themes of lostness, Till You Appear soundtracks an unhurried yet frantic timelapse of a life spent in yearning. By virtue of its own distinct sound, different music exists at different altitudes; rock and roll was always closer home and earthly, dirty when at its best. -
Portisheads Dummy Ebook, Epub
PORTISHEADS DUMMY PDF, EPUB, EBOOK Rj Wheaton | 144 pages | 07 Dec 2011 | Continuum Publishing Corporation | 9781441194497 | English | New York, United States Portisheads Dummy PDF Book Learn how to enable JavaScript on your browser. Massive Attack came out of eight years of work in sound systems, and had a strong Caribbean identity. It was really awkward. Alain Badiou is undoubtedly the most exciting and influential voice in contemporary French philosophy and one of the most important theorists at work today. He could make his organ just go from barely audible to absolutely take your head off. You played the really wobbly bass stuff, which is the majority of it. And in Gibbons it offered a bleak, twisted and completely novel vision of what a blues singer could be. Utley: I think that's really super cool. The track opens with nearly a full minute of dark, spacious chords ringing out from a Fender Rhodes electric piano through a Fender Twin , with the bass cranked with the onboard tremolo cranked to deliver the pulsing vibe that gives the song its underlying rhythm. You've worked out the weird kind of chords that she had. Continue on UK site. They said that the snare drum sounds like a tin can. In fact, one of the first sounds you hear on the record—that ethereal, Theremin-like lead on "Mysterons"—was actually conjured out of the SH Initially created as an affordable and somewhat simplified alternative to Roland's more advanced synthesizers, the SH has attracted a loyal following since its release in So how did Portishead craft the signature sound of Dummy? People must have told you they use this music for all kinds of situations. -
View / Open Musselman Oregon 0171A 12918
FAITH AND CHANGE IN COMMUNITIES OF PERIL by MALORI ANN MUSSELMAN A DISSERTATION Presented to the Department of PolitiCal SCience and the Graduate SChool of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy DeCember 2020 DISSERTATION APPROVAL PAGE Student: Malori Ann Musselman Title: Faith and Change in Communities of Peril This dissertation has been aCCepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of PolitiCal SCience by: Joseph Lowndes Chairperson Anita Chari Core Member Gerald Berk Core Member Marsha Weisiger Institutional Representative and Kate Mondloch Interim ViCe Provost and Dean of the Graduate SChool Original approval signatures are on file with the University of Oregon Graduate SChool. Degree awarded DeCember 2020 ii © 2020 Malori Ann Musselman iii DISSERTATION ABSTRACT Malori Ann Musselman Doctor of Philosophy Department of PolitiCal SCience DeCember 2020 Title: Faith and Change in Communities of Peril While social and climate sCientists alike have attempted to present the crucial faCts of climate change, their urgent warnings have seemingly resulted in comparatively little politiCal aCtion. In this projeCt, I investigate the interseCtions of faith, environmental justiCe, and speCulative futures in both Christian and popular literature and media in the US. Utilizing analysis based in interpretive methodologies and my own experience as a politiCal educator and organizer, I analyze speCifiC narratives in works of faith and fiCtion—eaCh attempting to address environmental apocalypse, colleCtive struggles for survival, and the processes of building livable futures—as works of politiCal theory. I examine literary and cultural texts and consider ideas, values, beliefs, and strategies for surviving and adapting in the faCe of varying potent apocalypses.