DOCSLIB.ORG

Portfolio of Original Compositions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PORTFOLIO OF ORIGINAL COMPOSITIONS A thesis submitted to the University of Manchester for the Degree of Doctor of Philosophy in the Faculty of Humanities 2019 RICHARD P. SCOTT School of Arts, Languages and Cultures Contents PORTFOLIO OF MUSICAL WORKS 5 USB STICK CONTENT 6 Portfolio of Musical Works 6 Appendix 1 — Supporting Material #1: Recordings of Group Improvisation 6 Appendix 2 — Supporting Material #2: Etudes, Versions, Transitional Pieces and Other 6 ABSTRACT 7 DECLARATION 8 COPYRIGHT STATEMENT 8 TECHNICAL INFORMATION 9 ACKNOWLEDGEMENTS 10 1. INTRODUCTION 11 1.1 Portfolio Contents 12 1.2 Research Enquiry 12 2. BACKGROUND AND CONTEXT 15 2.1 Introduction 15 2.1 Artistic Context 16 2.2 Basic Concepts of Synthesis and Voltage Control 17 2.2.1 SYNTHESISER AS INSTRUMENT 17 2.2.2 SYNTHESISER AS SOUND LIBRARY 18 2.2.3 SYNTHESISER AS COMPUTER OR PATCH PROGRAMMER 18 2.2.4 SYNTHESISER AS INTERACTIVE ALGORITHM 20 2.2.5 SYNTHESISER AS ENSEMBLE: MALLEABILITY AND THE PARADOX OF CONTROL 20 2 2.3 Final Comments on Background and Context 21 3. COMMENTARY ON THE COMPOSITIONS 23 3.1 Several Circles (April 2014) 23 3.1.1 COMPOSITIONAL STRUCTURE 24 3.1.2 DURATION FREED FROM GESTURE 25 3.1.3 EMERGENCE OF “MOLECULAR” ASPECTS, CONCEPTS AND PROCESSES 26 3.2 Song for Ghosts (July 2014) 29 3.2.1 PATCH-PROGRAMMED ALGORITHMIC VARIATIONS 29 3.3 Spertions (2014) 30 3.3.1 INTERACTIONS OF THREE TYPES OF PHRASING 30 3.3.2 COMMENTARY: THRESHOLDS OF CONTROL 32 3.4 Klangwelt (February 2015) 32 3.4.1 COMPOSITIONAL STRUCTURE 32 3.4.2 COMMENTARY: DISLOCATION BETWEEN RECORDING AND COMPOSING 33 3.5 Music Floats Upwards (June 2015) 34 3.5.1 DUAL TENDENCIES 34 3.5.2 COMMENTARY: BECOMING MOLECULAR 35 3.6 Flowers for Antonin (August 2016) 36 3.6.1 COMPOSITIONAL STRUCTURE 37 3.6.2 THE INFLUENCE OF ANTONIN ARTAUD 38 3.6.3 COMMENTARY: ENSEMBLE COMPOSING AND LINEAR RESOLUTION 38 3.7 Tales from the Voodoo Box Suite (May 2017): Pigeon Toad; Clara at the Worm Disco; At the Hop 39 3.7.1 OVERVIEW 39 3.7.2 FORM, RHYTHM AND SONORITIES 40 3.8 Thunder, Actually Bicycles… (August 2018) 41 3.8.1 COMPOSITIONAL STRUCTURE AND ANALYSIS 41 3.8.2 COMMENTARY: SOUND SOURCES AND LETTING THE MATERIALS “HAVE THEIR SAY” 42 3.9 Everything is Always at Once (September 2018) 44 3.9.1 COMPOSITIONAL STRUCTURE 44 3.9.2 COMMENTARY: MOLECULAR INTERACTIONS AND THE INTEGRATION OF DISPARATE MATERIALS 45 3 3.10 On the Surface, Crying to the Moon (February 2019) 46 3.10.1 COMPOSITIONAL STRUCTURE 47 3.10.2 COMMENTARY: UNITY OF SOUND MATERIALS, FLUIDITY BETWEEN IMPROVISATION AND COMPOSITION 48 4. CONCLUSION 49 4.1 Addressing Research Questions 49 4.2 Research Contribution 52 4.3 Future Work 54 BIBLIOGRAPHY AND DISCOGRAPHY 56 APPENDICES 66 Appendix 1 — Supporting Material #1: Recordings of Group Improvisation 66 A1.1 SCATTER (MARCH 2015), BY RICHARD SCOTT’S LIGHTNING ENSEMBLE 66 A1.2 ABRUS (JANUARY 2015), BY PARAK.EETS 67 A1.3 HAUCH MIT (FEBRUARY 2015), BY VORFELD, SCOTT, GRATKOWSKI 68 A1.4 HEAD IV (AUGUST 2015), BY AXEL DÖRNER AND RICHARD SCOTT 69 A1.5 THAT’S A MORAY (AUGUST 2015), BY AUDREY CHEN AND RICHARD SCOTT 70 A1.6 LIVE IN BERLIN (JANUARY 2016), BY AUDREY CHEN AND RICHARD SCOTT [VIDEO] 70 A1.7 N (JANUARY 2016), BY ALEXANDER FRANGENHEIM, NIKOLAUS NEUSER, RICHARD SCOTT 71 Appendix 2 — Supporting Material #2: Etudes, Alternative Versions and Other 73 A2.1 WISDOM AND NONSENSE 73 A2.2 A SPARK IGNITES, CATHEDRALS TUMBLE 73 A2.3 SPERTIONS [STUDIO VERSION] 74 A2.4 MUSIC FLOATS UPWARDS LIVE AT SLT LEEDS 2016 [VIDEO] 74 A2.5 RICHARD SCOTT LIVE AT ELECTRIC SPRING 2017 [VIDEO, COMPLETE CONCERT] 75 A2.6 EVERYDAY ARITHMETIC (IN 13 PARTS) [BROADCAST] 76 A2.7.1 RESONATING SOUND OBJECTS [VIDEO] 76 A2.7.2 NOT LIKE YOUR FUNK [VIDEO] 77 A2.7.3 HORDIJK BOUNCY SPACE BALLS [VIDEO] 77 A2.7.4 HORDIJK NOCTURNE [VIDEO] 77 A2.7.5 ELECTROACOUSTIC PERFORMANCE [VIDEO] 77 Appendix 3 — Supporting Texts 78 A3.1 RESEARCH DIARY EXTRACTS AND DISCUSSION 78 4 A3.2 THANKS 80 [Word count: 15,656] Portfolio of Musical Works 1. Several Circles (April 2014 / 11:31) 2. Song for Ghosts (July 2014 / 3:58) 3. Spertions (live at iFIMPaC 2014 / 4:51) [video] 4. Klangwelt (February 2015 / 8:23) 5. Music Floats Upwards (June 2015 / 11:38) 6. Flowers for Antonin (August 2016 / 11:07) 7. Tales from the Voodoo Box suite (May 2017) 7.1 Pigeon Toad (2:34) 7.2 Clara at the Worm Disco (4:04) 7.3 At the Hop (2:19) 8. Thunder, Actually Bicycles… (August 2018 / 12:27) 9. Everything is Always at Once (September 2018 / 14:29) 10. On the Surface, Crying to the Moon (February 2019 / 17:52) Total Time: 1h45m13s 5 USB Stick Content Portfolio of Musical Works 1. Several Circles 2. Song for Ghosts 3. Spertions 4. Klangwelt 5. Music Floats Upwards 6. Flowers for Antonin 7.1. Pigeon Toad (Tales from the Voodoo Box) 7.2. Clara at the Worm Disco (Tales from the Voodoo Box) 7.3. At the Hop (Tales from the Voodoo Box) 8. Thunder, Actually Bicycles… 9. Everything is Always at Once 10. On the Surface, Crying to the Moon Appendix 1 — Supporting Material #1: Recordings of Group Improvisation A.1.1 Scatter (March 2015), by Richard Scott’s Lightning Ensemble A1.2 Abrus (January 2015), by Parak.eets A1.3 Hauch Mit (February 2015), by Vorfeld, Scott, Gratkowski A1.4 Head IV (August 2015), by Axel Dörner and Richard Scott A1.5 That’s a Moray (August 2015), by Audrey Chen and Richard Scott A1.6 Live in Berlin (January 2016), by Audrey Chen and Richard Scott [video] A1.7 n (January 2016), by Alexander Frangenheim, Nikolaus Neuser, Richard Scott Appendix 2 — Supporting Material #2: Etudes, Versions, Transitional Pieces and Other A2.1 Wisdom and Nonsense A2.2 A Spark Ignites, Cathedrals Tumble A2.3 Spertions [studio version] A2.4 Music Floats Upwards Live at SLT Leeds 2016 [video] A2.5 Richard Scott Live at Electric Spring 2017 [video, complete concert] A2.6 Everyday Arithmetic (in 13 parts) [broadcast] A2.7.1 Resonating Sound Objects [video] A2.7.2 Not Like your Funk [video] A2.7.3 Hordijk Bouncy Space Balls [video] A2.7.4 Hordijk Nocturne [video] A2.7.5 Electroacoustic Performance [video] 6 Abstract The portfolio represents an artistic investigation into the applications and consequences of voltage-controlled analogue (modular) synthesis as a tool for composition and performance in the contexts of electronic musical composition and of freely improvised (i.e. not scored or notated) performance. The thesis consists of a portfolio of ten electronic music compositions, a commentary on each piece and supporting documentation and appendices. Various initial and emergent questions are explored, including different uses and perceptions of modular synthesis, compositional process, free improvisation and the concept of the “molecular” nature of composition and dialogic listening. 7 Declaration I confirm that no portion of the work referred to in this thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements which the University has from time to time. This page must form part of any such copies made. iii. The ownership of certain Copyright, patents, designs, trademarks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property and/or Reproductions. iv. Further information on the conditions under which disclosure, publication and commercialisation of this thesis, the Copyright and any Intellectual Property and/or Reproductions described in it may take place is available in the University IP Policy in any relevant Thesis restriction declarations deposited in the University Library, The University Library’s and in The University’s policy on Presentation of Theses. 8 Technical Information The compositions discussed in this thesis are presented both in the form of stereo WAV files in 44.1 kHz / 16 bit and in the original (and preferable) 88.2 kHz / 24 bit formats. Video files are presented in variety of formats; when possible they are presented in the original format they were shot in. 9 Acknowledgements Many thanks are due to Professor Ricardo Climent, Doctor Richard Whalley, Doctor Kevin Malone, Professor David Berezan, Axel Dörner, Rob Hordijk, Jef Chippewa and Beatriz Ferreyra. There are many others to thank who are listed on page 62/63. 10 1. Introduction Any sound whatsoever can be the starting point for a musical composition. The ways in which this sound can be transformed are limited only by the imagination of the composer.
Recommended publications
  • Autechre Confield Mp3, Flac, Wma

    Autechre Confield Mp3, Flac, Wma

    Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code
  • Smith, Troy African & African American Studies Department

    Smith, Troy African & African American Studies Department

    Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 2-3-2006 Smith, Troy African & African American Studies Department. Troy Smith Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Smith, Troy. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewer: Mark Naison, Andrew Tiedt Interviewee: Troy Smith February 3, 2006 - 1 - Transcriber: Laura Kelly Mark Naison (MN): Hello, this is the 143rd interview of the Bronx African American History Project. It’s February 3, 2006. We’re at Fordham University with Troy Smith who is one of the major collectors of early hip hop materials in the United States and the lead interviewer is Andrew Tiedt, graduate assistant for the Bronx African American History Project. Andrew Tiedt (AT): Okay Troy, first I wanna say thanks for coming in, we appreciate it. Your archive of tapes is probably one of the most impressive I’ve ever seen and especially for this era. Well before we get into that though, I was wondering if you could just tell us a little bit about where you’re from. Where did you grow up? Troy Smith (TS): I grew up in Harlem on 123rd and Amsterdam, the Grant projects, 1966, I’m 39 years old now.
  • Generative Rhythmic Models

    Generative Rhythmic Models

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarly Materials And Research @ Georgia Tech GENERATIVE RHYTHMIC MODELS A Thesis Presented to The Academic Faculty by Alex Rae In Partial Fulfillment of the Requirements for the Degree Master of Science in Music Technology in the Department of Music Georgia Institute of Technology May 2009 GENERATIVE RHYTHMIC MODELS Approved by: Professor Parag Chordia, Advisor Department of Music Georgia Institute of Technology Professor Jason Freeman Department of Music Georgia Institute of Technology Professor Gil Weinberg Department of Music Georgia Institute of Technology Date Approved: May 2009 TABLE OF CONTENTS LIST OF TABLES . v LIST OF FIGURES . vi SUMMARY . viii I INTRODUCTION . 1 1.1 Background . 6 1.1.1 Improvising Machines . 6 1.1.2 Theories of Creativity . 8 1.1.3 Creativity and Style Modeling . 10 1.1.4 Graphical Models . 10 1.1.5 Music Information Retrieval . 11 II QAIDA MODELING . 14 2.1 Introduction to Tabla . 15 2.1.1 Theka . 19 2.2 Introduction to Qaida . 20 2.2.1 Variations . 21 2.2.2 Tihai . 22 2.3 Why Qaida? . 22 2.4 Methods . 24 2.4.1 Symbolic Representation . 29 2.4.2 Variation Generation . 31 2.4.3 Variation Selection . 35 2.4.4 Macroscopic Structure . 38 2.4.5 Tihai . 38 2.4.6 Audio Output . 39 2.5 Evaluation . 40 iii III LAYER BASED MODELING . 47 3.1 Introduction to Layer-based Electronica . 49 3.2 Methods . 51 3.2.1 Source Separation . 55 3.2.2 Partitioning .
  • ED329635.Pdf

    ED329635.Pdf

    DOCUMENT RESUME ED 329 635 UD 027 947 AUTHOR Padilla, Amado M., Ed.; And Others TITLE Bilingual Education: Issues and Strategies. REPORT NO ISBN-0-8039-3639-7 PUB DATE 90 NOTE 259p. AVAILABLE FROM Sage Publications/Corwin Press, 2455 Teller Road, Newbury Park, CA 91320 ($17.95--paperback; ISBN-0-8039-3638-9, $36.00--hardcover). PUB TYPE Books (010) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Bilingual Education; *Bilingual Education Programs; *Classroom Techniques; Elementary Secondary Education; *English (Second Language); Higher Education; Immersion Programs; Instructional Innovation; *Politics of Education; Program Design; Program Evaluation; Research Problems; *Second Language Instruction IDENTIFIERS Content Area Teaching ABSTRACT This collection of 16 studies examines the wide variety of issues surrounding bilingual education and reviews program design, evaluation, and classroom strategies. The following chapters review the 20-year history of bilingual education and concomitant political issues:(1) "Bilingual Education: Issues and Perspectives" (A. M. Padilla); and (2) "History of Language Minority Education in the United States" (M. Malakoff and K. Hakuta). The following chapters provide a generally nontechnical review of the major issues involved in conducting research in language education:(3) "Language and Cognition in Bilingual Children" (K. Hakuta);(4) "Rationales for Native Language Instruction: Evidence from Research" (C. E. Snow); and (5) "African American Dialects and Schooling: A Review" (H. H. Fairchild and S. Edwards-Evans). The following chapters deal with the development and evaluation of bilingual programs:(6) "Bilingual Immersion Education: Criteria for Program Development" (K. J. Lindholm);(7) "Development of a Bilingual Education Plan" (C. M. Valdez and C.
  • Your Local Parks Addressing National Issues

    Your Local Parks Addressing National Issues

    Bi-monthly Employee Newsletter of the Richland County Recreation Commission -- April 2015 IN THIS ISSUE: Proven Impact: Your Local Parks PROVEN IMPACT: YOUR LOCAL PARKS Addressing National Issues ADDRESSING NATIONAL ISSUES 1-2 Kenya Bryant, Assistant Executive Director SANKOFA AFRICAN AMERICAN TRAVELLING EXHIBIT 2 The National Recreation and Parks Association (NRPA) has identified three THE ADAPTIVE RECREATION’S ROUND UP 3 key ways that local parks make a significant impact in solving the nation’s DIVAS DISCO! 4-5 toughest issues. By ensuring there is Social Equity in all programs and activities; DISTRACTED DRIVING 6-7 providing Health and Wellness opportunities; and engaging in effective BEATS FOR THE SWEETS ON PARKLANE 7 Conservation practices, local parks are uniquely positioned to positively affect their communities. WOTSIT PHRASES 8 WOMEN’S KICKBALL LEAGUE 9 APRIL/MAY CALENDAR 9 NRPA’s Three Pillars Defined MISSION STATEMENT Social Equity Dedicated to enriching lives and Ensuring all people have access to the benefits of local connecting communities through parks and recreation. True to the very philosophy of public diverse recreational oppourtunities. parks and recreation is the idea that all people – no matter the color of their skin, age, income level or ability – has access to programs, facilities, places and spaces that make their lives and communities great. Continued on page 2 2 --Richland County Recreation Commission -- Enriching Lives & Connecting Communities Continued from page 1 practices. In today’s world, where the guide you will find symbols that conservation and environmental will identify a program that meets the Health and stewardship is on everyone’s minds, criteria of each or all of the “Three public parks and lands are viewed as Pillars”.
  • Newslist Drone Records 31. January 2009

    Newslist Drone Records 31. January 2009

    DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes.
  • Critic-2013-7.Pdf

    Critic-2013-7.Pdf

    Student Tickets $79 (+BF) WIN YOURSELF SOME TICKETS! TWO AWESOME CHANCES TO GET YOURSELF TO THE GIG THETHE QUESTQUEST FORFOR. THETHE ULTIMATEULTIMATE AEROGUITARSMITHAEROGUITARSMITH Thursday 18th April 12pm at Market Day RECREATERECREATE ANAN AEROSMITHAEROSMITH ANTHEMANTHEM and win your at tickets to the concert check out OUSA Facebook for details on how to win. STUDENT TICKETS $79(+BF) LIMITED NUMBERS AVAILABLE AT THIS PRICE, BOOK NOW AT FORSYTH BARR 2 | STADIUM, fb.com/critictearohi REGENT THEATRE OR THE EDGAR CENTER WITH STUDENT ID. EDITOR Callum Fredric [email protected] Issue 07 | April 15, 2013 | critic.co.nz DEPUTY EDITOR Zane Pocock [email protected] TECHNICAL EDITOR Sam Clark DESIGNER Dan Blackball 16 FEATURE WRITERS Loulou Callister-Baker, Maddy Phillipps NEWS FEATURES NEWS TEAM Zane Pocock, Claudia Herron, 06 | Anonymous Jerk Knocks 16 | Evidence of a Mid-Life Crisis Bella Macdonald Over Cones Loulou Callister-Baker discovers boxes in the attic containing evidence of a SECTION EDITORS 07 | Lord Monckton man’s mid-life crisis, complete with nude Sam McChesney, Basti Menkes, sketches and low-quality weed. Baz Macdonald, Josef Alton, 08 | Racist Danish Runs Gus Gawn, Tristan Keillor Rampant 20 | Three Fables of Dunedin’s Forgotten Flatters 09 | Driver admits liability in Shamelessly stealing Loulou’s idea, CONTRIBUTORS cycle death Callum Fredric tells three untold stories Thomas Stevenson, Josie Cochrane, from Dunedin’s past based on books and Sarah Bayly, Thomas Raethel, documents found at a friend’s flat. Sara Lamb-Miller, Jamie Breen, Catherine Poon, Nick Jolly, 26 | The Little Foetus in the Lucy Hunter, Gerard Barbalich, Pink Knitted Cap Campbell Ecklein, Jess Cole, A poem by Maddy Phillipps in memory Phoebe Harrop, Elsie Stone, of the little foetus in the pink knitted cap.
  • Discovery III Multimedia Installation

    Discovery III Multimedia Installation

    Land Rover Discovery 3 Extending the multimedia capabilities of the Discovery III An installation guide to add a GVIF interface, a rear view camera and a DVD player to your Discovery III. A www.disco3.co.uk resource Version 1.1 © Copyright discoBizz Disclaimer: this guide is for information and illustration ONLY. Any work you do on your car, either explicitly or implicitly following this guide, is at your own risk and with the understanding the steps followed below have worked for me, in my car, at my own risk and given my own knowledge of the matter and with my own disregard to potential consequences on the vehicle’s warranty. Neither the author, the website WWW.DISCO3.CO.UK, Martin Lewis or and other website forum members mentioned in this document will be held liable for any warranty consequences or any damage of any severity caused on your vehicle as a result of you choosing to follow this fictional procedure. Any trademarks, copyright or references to words or actions of individuals other than the author, are hereby acknowledged to be the property of their respective owners. The author is simply an enthusiast, with no training at all in electrical or mechanical engineering and as such some of the methods and procedures used may be far from best practice in each respective field. N.B. The modifications/additions in this document can be done separately and in varying ways/locations. I have chosen to put everything together as I did most of the work in one go. My vehicle is an HSE model, which means it was already fitted with the factory SatNav screen and the auxiliary audio input in the rear of the centre console, the wires of which I taped into to feed the head unit with the audio output from my AV sources.
  • Bodsy's Brake Bible

    Bodsy's Brake Bible

    Land Rover Discovery 3 Bodsy’s Brake Bible Ian Bodsworth Disco3Club.co.uk June 2010 Version 1.2a Change Record DATE Revision Update Notes Made By May 2010 1.2 Amended Torque Figures and bolt Ian Bodsworth sizes, cleaned up photo areas. Updated text. June 2010 1.2a Re-worded EPB adjust procedure, Ian Bodsworth updated EBP Allen key size. Added Change record © Copyright Ian Bodsworth 2010. All descriptions and photo’s contained within remain the property of the Author. Commercial images of products with copyrights acknowledged. E&OE. - Created by Bodsy – D3C Page 2 of 28 Table of Contents 1. Introduction ................................................................................................................................................................. 4 2. Tools that may be required ...................................................................................................................................... 5 3. Jacking Points and Axle Stands ............................................................................................................................... 6 4. How to change the Brake Pads - Front .................................................................................................................. 9 5. How to change the Brake Pads – Rear ................................................................................................................. 13 6. How to change the Brake Disks – Front ..............................................................................................................
  • Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay

    Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay

    Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music.
  • JELLYBEAN JAM Songlist Medleys

    JELLYBEAN JAM Songlist Medleys

    JELLYBEAN JAM songlist Medleys (Please note Medleys cannot be broken down in form) 80s- Born To Be Alive, Shake Your Groove Thing, Don’t Leave me This way, Jessie’s Girl, Video Killed The Radio Star, Its Raining Men, You Spin me Round, Love Shack, We Built This City, My Sharona 80s2- Girls Just Wanna Have Fun, Venus, Just Can’t Get Enough, Xanadu, Hungry Like The Wolf , Funky Town. Chicks- Holiday, Step Back in Time, Lets Hear It for the Boy, Express Yourself, Finally, Better the Devil You Know Disco 1 - Blame it on the Boogie, Disco Inferno, Car Wash, Celebration, We are Family, Le Freak. Disco 2 - Jungle Boogie, Upside Down, Can’t Stand the Rain, Get down on it, Funky Music, Everyone's a Winner, Can’t Get Enough of Your Love, Tragedy, Lady Marmalade, Love Is in the Air, Kung Fu Fighting Disco 3 – Give It Up, Long Train Running, That’s the Way I like It, If I Can’t Have You, Don’t Stop Till You Get Enough, Can You Feel It Disco 4 - I will survive, You should be dancing, Got To be real, Young Hearts Run Free, Do Ya think I'm Sexy, September, Hot Stuff, Boogie Wonderland. Jacko- Thriller, Shake Your Body, Billie Jean, Rock with You, Black or White, Wanna Be Starting Something, Bad Abba- Dancing Queen, SOS, Money Money Money, Ring Ring, Mamma Mia Latin – I Go To Rio, Conga, Hot Hot Hot, Copacabana, The Love Boat Mambo- Tequila, Yeh Yeh, Mambo no 5 Motown - Uptight, can’t help myself, same ole song, dancing in the street, aint too proud to beg, joy to the world, get ready , stop, its my party, never can say good bye Movie- Flashdance, fame,
  • [Amok] S/N: 1299275 a Smaller Note 99 2.08 Firstname

    [Amok] S/N: 1299275 a Smaller Note 99 2.08 Firstname

    LETRA A A Real Validator 1.01 Name: ubique.daemon [AmoK] s/n: 1299275 A Smaller Note 99 2.08 FirstName: ViKiNG LastName: Crackz Company: private Street: ViKiNG Zip: 11111 City: Crackz Code: 19147950 Order: 97234397 A.I.D 2.1 s/n: AD6778-A2G0 A.I.D. 2.0.2 s/n: AD6778-A2G0T A+ Math 1.0 Name: (Anything) s/n: 8826829 A+ MathMAT 1.0.0 Name: TEAM ElilA s/n: 8826829 A-1 Image Screen Saver 4.1 s/n: B5K7ij49p2 A1 Text Finder 4.02 s/n: PCSLT3248034 ABCPager 1.6.4 Name: Sara s/n: 1DQDSSSSSSSS ABCPager Plus 5.0.5 Name: Sara s/n: M5N5SSSSSSSS Ability Office 2000 2.0.007 Name: Ben Hooks s/n: 12878044-01034-40997 Ability Office 2000 2.0.005 Name:Nemesis] Organization:TNT s/n: 15155445-37898- 08511 Ablaze Quick Viewer 1.6 Name: Hazard s/n: 81261184XXXXXXX Abritus Business 2000 3.02 Name/Company: (Anything) s/n: 1034-314-102 Abritus Business 2000 3.02 Name/Company: (Anything) s/n: 1034-314-102 Absolute Fast Taskbar 1.01 Name: (Anything) s/n: nxpwvy Absolute Security 3.6 Name: Evil Ernie 2K [SCB] s/n: GMKKRAPZBJRRXQP Absolute Security Pro 3.3 Name: C0ke2000 s/n: GPBKTCNKYZKWQPJ Absolute Security Standard 3.4 Name: Hazard 2000 s/n: ECHVNZQRCYEHHBB or Name: PhatAzz [e!] s/n: RBFXPLUMBPGDFYW Absolute Security Standard 3.5 Name: embla of phrozen crew s/n: LTPDTDMAEHNKNTR AbsoluteFTP 1.0 beta 6 Name: CORE/JES Company: CORE s/n: 00-00-000000 Exp: never Key: 1074 2875 9697 3324 3564 AbsoluteFTP 1.0 Final Name: CORE/JES Company: CORE s/n: 00-00-000000 Exp: Never Key: 1074 2875 9697 3324 3564 AbsoluteFTP 1.0 RC 11 Name: _RudeBoy_ Company: Phrozen Crew s/n: 02-01-