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Funkids Amb La Black Music Big Band & Brodas Junior
Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès. -
2017 Catalog
2017 Special Acknowledgments to all the directors, producers and distributors whose films are screened in BIEFF 2017 and to the following persons and institutions: THEME PROGRAMS 6 Concept 64 ARSENAL INSTITUT FOR FILM AND VIDEO ART AND Alessandro Raja – Festival Scope Emanuela Cuciuc-Nacu – Agercont Matt Carter – LUX Artists’ Moving Image BERLINALE FORUM Alina Cantacuzino – Cervantes Institute Emil Truță – Journey Pub Miguel Dias – Agência da Curta Metragem Alexander Nanau – Film Monitor Association Eric Poppe – Wallonie-Bruxelles International, Miguel Valverde – Portugal Film & IndieLisboa 8 Festival Board EXPANDED: NOSTALGIA FOR THE FUTURE Alexandre Peyre-Dutrey – Embassy of Sweden in Bucharest Delegation International Independent Film Festival Bucharest Evelin Hust – Goethe-Institut Bucharest Mihai Chirilov – Transilvania International Film 10 Festival Team 70 ROTTERDAM FILM FESTIVAL: PAINTING WITH HISTORY Adina-Ioana Șuteu – French Institute Bucharest Ezio Peraro – Italian Cultural Institute Festival Ana Mișu – Hotel Venezia François Bonenfant – Le Fresnoy Studio National Mihai Ciubotariu – Canopy 11 UNATC / UNARTE Presentation 76 CINEDANS AMSTERDAM: EMOTIONAL BODIES Anca Brezeanu – Sky Tour des Arts Contemporains Mihai Crăiță – Eventbook Anca Damian – Film Monitor Association Gabriela Albu – Peasant’s Museum Cinema Mihai Leontescu – Embassy of Sweden in Anca Mitran – Romanian National Film Center Gabriela Dobre – Wallonie-Bruxelles Bucharest 12 Partner Festivals 84 GOLDEN SHORTS: BEST FILMS IN MAJOR FESTIVALS Andra Bellu – SCPA Pârvu -
Thehard DATA Summer 2015 A.D
FFREE.REE. TheHARD DATA Summer 2015 A.D. EEDCDC LLASAS VEGASVEGAS BASSCONBASSCON & AAMERICANMERICAN GGABBERFESTABBERFEST REPORTSREPORTS NNOIZEOIZE SUPPRESSORSUPPRESSOR INTERVIEWINTERVIEW TTHEHE VISUALVISUAL ARTART OFOF TRAUMA!TRAUMA! DDARKMATTERARKMATTER 1414 YEARYEAR BASHBASH hhttp://theharddata.comttp://theharddata.com HARDSTYLE & HARDCORE TRACK REVIEWS, EVENT CALENDAR1 & MORE! EDITORIAL Contents Tales of Distro... page 3 Last issue’s feature on Los Angeles Hardcore American Gabberfest 2015 Report... page 4 stirred a lot of feelings, good and bad. Th ere were several reasons for hardcore’s comatose period Basscon Wasteland Report...page 5 which were out of the scene’s control. But two DigiTrack Reviews... page 6 factors stood out to me that were in its control, Noize Suppressor Interview... page 8 “elitism” and “moshing.” Th e Visual Art of Trauma... page 9 Some hardcore afi cionados in the 1990’s Q&A w/ CIK, CAP, YOKE1... page 10 would denounce things as “not hardcore enough,” Darkmatter 14 Years... page 12 “soft ,” etc. Th is sort of elitism was 100% anti- thetical to the rave idea that generated hardcore. Event Calendar... page 15 Hardcore and its sub-genres were born from the PHOTO CREDITS rave. Hardcore was made by combining several Cover, pages 5,8,11,12: Joel Bevacqua music scenes and genres. Unfortunately, a few Pages 4, 14, 15: Austin Jimenez hardcore heads forgot (or didn’t know) they came Page 9: Sid Zuber from a tradition of acceptance and unity. Granted, other scenes disrespected hardcore, but two The THD DISTRO TEAM wrongs don’t make a right. It messes up the scene Distro Co-ordinator: D.Bene for everyone and creativity and fun are the fi rst Arcid - Archon - Brandon Adams - Cap - Colby X. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Carte Blanche (La)Horde Marine Brutti / Jonathan Debrouwer / Arthur Harel
CARTE BLANCHE (LA)HORDE MARINE BRUTTI / JONATHAN DEBROUWER / ARTHUR HAREL Artistes associés à la MAC Les vendredi 2 et samedi 3 février 2018 MAC - Maison des Arts Créteil TO DA BONE Création 2017 – Pièce chorégraphique vendredi 2 et samedi 3 février 2018 / 20h NOVACIÉRIES - Film vandredi 2 et samedi 3 février 2018 / 21h 150 BPM FREE PARTY – Performance participative samedi 3 février 2018 / 22h Tarifs To Da Bone : 10 à 20 euros Tarifs Novaciéries : 10 euros Tarifs 150 BPM Free Party : gratuit (avec un billet spectacle) MAC –Maison des Arts Créteil Place Salvador Allende - 94000 Creteil réservation 01 45 13 19 19 – www.maccreteil.com Contact Presse / MYRA Rémi Fort et Valentine Arnaud 01 40 33 79 13 / [email protected] Danse, performance, installation, cinéma, vidéo : (LA)HORDE impose le rythme d’une tornade. Amis, puis compagnons de création, Marine Brutti, Jonathan Debrouwer et Arthur Harel forment un jeune trio assez hétérodoxe qui tranche encore dans un paysage artistique déjà en mouvement. Aux manettes de ce projet polysémique, ils signent leurs œuvres du seul nom de (LA)HORDE sauvage, offensif, résolument collectif. Artistes Associés de la Maison des Arts, carte blanche leur est donnée pour composer au moment de la création, plusieurs temps forts emblématiques de leur projet polymorphe et indisciplinaire. Avec (LA)HORDE, « post-internet », emprunté à l’art contemporain, s’impose à la danse et change le périmètre de ses codes. Comme pour le hip-hop hier, l’effervescence de la rue est inspirante, puissante tandis que les réseaux sociaux explosent, engrangent, référencent et archivent des milliers de corps et de gestes en mouvement partout dans le monde. -
English Songs
English Songs 18000 04 55-Vũ Luân-Thoại My 18001 1 2 3-Gloria Estefan 18002 1 Sweet Day-Mariah Carey Boyz Ii M 18003 10,000 Promises-Backstreet Boys 18004 1999-Prince 18005 1everytime I Close My Eyes-Backstr 18006 2 Become 1-Spice Girls 18007 2 Become 1-Unknown 18008 2 Unlimited-No Limit 18009 25 Minutes-Michael Learns To Rock 18010 25 Minutes-Unknown 18011 4 gio 55-Wynners 18012 4 Seasons Of Lonelyness-Boyz Ii Me 18013 50 Ways To Leave Your Lover-Paul S 18014 500 Miles Away From Home-Peter Pau 18015 500 Miles-Man 18016 500 Miles-Peter Paul-Mary 18017 500 Miles-Unknown 18018 59th Street Bridge Song-Classic 18019 6 8 12-Brian McKnight 18020 7 Seconds-Unknown 18021 7-Prince 18022 9999999 Tears-Unknown 18023 A Better Love Next Time-Cruise-Pa 18024 A Certain Smile-Unknown 18025 A Christmas Carol-Jose Mari Chan 18026 A Christmas Greeting-Jeremiah 18027 A Day In The Life-Beatles-The 18028 A dear John Letter Lounge-Cardwell 18029 A dear John Letter-Jean Sheard Fer 18030 A dear John Letter-Skeeter Davis 18031 A dear Johns Letter-Foxtrot 18032 A Different Beat-Boyzone 18033 A Different Beat-Unknown 18034 A Different Corner-Barbra Streisan 18035 A Different Corner-George Michael 18036 A Foggy Day-Unknown 18037 A Girll Like You-Unknown 18038 A Groovy Kind Of Love-Phil Collins 18039 A Guy Is A Guy-Unknown 18040 A Hard Day S Night-The Beatle 18041 A Hard Days Night-The Beatles 18042 A Horse With No Name-America 18043 À La Même Heure Dans deux Ans-Fema 18044 A Lesson Of Love-Unknown 18045 A Little Bit Of Love Goes A Long W- 18046 A Little Bit-Jessica -
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. -
Introduction to Rave Culture
"God Is A DJ" This is my church This is where I heal my hurt It's a natural grace Of watching young life shape It's in minor keys Solutions and remedies Enemies becoming friends When bitterness ends This is my church This is my church This is where I heal my hurt It's in the world I become Content in the hum Between voice and drum It's in change The poetic justice of cause and effect Respect, love, compassion This is my church This is where I heal my hurt For tonight God is a DJ This is my church - Faithless, 1998 Table of Contents Introduction .............................................................................................................................. 4 Chapter 1: Introduction to Rave Culture .............................................................................. 6 1.1 Techno and house music .......................................................................................................................................... 6 1.2 UK acid house and the birth of rave culture .................................................................................................... 8 1.3 Elements of rave culture ....................................................................................................................................... 11 1.4 Social reactions .......................................................................................................................................................... 13 1.5 Rave culture in the Netherlands ....................................................................................................................... -
Affective Encounters Rethinking Embodiment in Feminist Media Studies
Conference proceedings for affective encounters rethinking embodiment in feminist media studies EDITED BY ANU KOIVUNEN & SUSANNA PAASONEN Anu Koivunen & Susanna Paasonen (eds) Conference proceedings for affective encounters rethinking embodiment in feminist media studies University of Turku School of Art, Literature and Music Media Studies Series A, N:o 49 ISBN 951-29-2237-1 E-book at [http://www.utu./hum/mediatutkimus/affective/proceedings.pdf] Media Studies, Turku 2000 Design by Minna Rainio Published in association with the Finnish Society for Cinema Studies (SETS ry) _affective encounters_ Contents Anu Koivunen Preface: The Affective Turn? 7 Sara Ahmed Communities that feel: Intensity, Difference and Attachment 10 Ana Paula Baltazar Architecture as Interface: Forming and Informing Spaces and Subjects 25 Jennifer Lyon Bell Character and Cognition in Modern Pornography 36 Rosemary Betterton Spaces of Memory: Photographic Practices of Home and Exile 43 Joanna Bouldin The Body, Animation and The Real: Race, Reality and the Rotoscope in Betty Boop 48 Hannu Eerikäinen Love Your Prosthesis Like Yourself: ‘Sex’, Text and the Body in Cyber Discourse 55 Taru Elfving The Girl in Space-time Encounters with and within Eija-liisa Ahtila’s Video Installations 75 Amy Herzog Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the Futures of Feminist Film Theory 83 Katarina Jungar and Elina Oinas Inventing “African Solutions”, HIV Prevention and Medical Media 89 Sanna Karkulehto Effects and Affects of Queer as Folk 101 Martta Kaukonen ”I Must Reveal a Shocking Secret” Transvestites in American Talk Shows 107 Jane Kilby Tracking Shock: Some Thoughts on TV, Trauma, Testimony 112 Emmy Kurjenpuu Women’s Magazines Meet Feminist Philosophy 118 Minna Lahti “I Thought I Would Become a Millionaire” – Desire and Disillusionment in Silicon Valley, California 123 Mari-Elina Laukkanen Ladies for Sale. -
Interactive Animation Dance Game
Interactive Dance Game Name:_______________ Interactive: interacting with a human user, often in a conversational way, to obtain data or commands and to give immediate results or updated information. Dance: to move one's feet or body, or both, rhythmically in a pattern of steps, especially to the accompaniment of music. STEP ONE: RESEARCH at least 3 Dance Styles/Moves by looking at the attached “Dance Styles Categories” sheet and then ANSWER the attached sheet “ Researching Dance Styles & Moves.” STEP TWO: DRAW 3 conceptual designs of possible character designs for your one dance figure. STEP THREE: SCAN your character design into the computer and/or create digitally in Adobe Photoshop or directly in Macromedia Flash. Character Design Graphic Names STEP FOUR: BREAK UP the pieces of your digital character design like the above Character Design Graphic Names . If creating in Adobe Photoshop ensure you save each piece of your digital character with a TRANSPARENT BACKGROUND and save each separately as PSD files . STEP FIVE: IMPORT your character design (approved by teacher) into the program Macromedia Flash – piece by piece by OPENING Macromedia Flash then SELECT from the top of menu -> WINDOW -> SHOW LIBRARY -> STEP SIX: DOUBLE CLICK on the specific Character Design Graphic piece you want to IMPORT (SEE the above photo for specific names of body parts i.e. right arm upper graphic) STEP SEVEN: DELETE the template graphic part and PASTE or choose FILE IMPORT in the one you designed on paper or Adobe Photoshop . (head etc..) STEP EIGHT: RESIZE specific Character Design graphic pieces by RIGHT MOUSE CLICKing on the graphic and choose FREE TRANFORM to scale up or down. -
GENTLE GIANTS Hercules & Love Affair Expand Their Sound on Thoughtful New Album, ‘Omnion’
MUSIC RATE THAT CHOON Reviewing the month’s biggest tracks p.110 LENGTHY BUSINESS August’s albums analysed p.144 COMPILATION COMPETITION Mixes and collections broken down p.148 GENTLE GIANTS Hercules & Love Affair expand their sound on thoughtful new album, ‘Omnion’... p.144 djmag.com 117 SOONEY HOT CREATIONS DJ DEEP DEEPLY ROOTED HOUSE HOUSE BEN ARNOLD as the title might suggest, has echoes of raves gone by, dropping QUICKIES into a clattering breakbeat in the mid-section. Meanwhile, 'Drug Will Saul & Tee Mango present Dilling' finds label-chum DJ Tennis Primitive Trust [email protected] on the vocals, tripping out over Power On EP deep, throbbing tech, while the Aus Music legendary DJ Bone takes things 7. 5 on a friskier, more angular tip with Highly recommended, this new collab between his remix. Millionhands boss Tee Mango and Aus main man Will Saul. 'Power On' is all lovely pads and bleeps. Sebastopol Nothing not to like there. Gahalowood Kompakt Matuss 8.0 Absence Seizure 008 Frenchman and Hypercolour Absence Seizure alumnus Sebastien Bouchet 7. 5 returns to Köln's most stately Beautifully crafted, cerebral house music from New Kompakt under his new alias, York via Ukraine's Julia Matuss. With its warbling Sebastopol, with three tracks Rhodes, 'Fairy Dust' is a delight, while 'Faramant' of largesse. ‘Gahalowood’ is delves deep. something of a monstrous proposition, with shoe-gaze Inland Knights vocals coupled with epic, big-room Subway reverberations. On the flip, there's Drop Music the wonderfully tripped-out ‘Flash 8.0 MONEY Pool’, a wonky, off-kilter mash-up Two tracks of irresistible funk from the legendary Letherette SHOT! of pulsing synths and cowbells. -
Development and Initial Evaluation of the Psychometric Properties of an Ecstasy Craving Questionnaire
DEVELOPMENT AND INITIAL EVALUATION OF THE PSYCHOMETRIC PROPERTIES OF AN ECSTASY CRAVING QUESTIONNAIRE Alan Kooi Davis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Harold Rosenberg, Advisor Robert Carels John Tisak © 2012 Alan Kooi Davis All Rights Reserved iii ABSTRACT Harold Rosenberg, Advisor Numerous questionnaires have been published to assess craving for a wide variety of drugs, but no such instrument has been developed to assess craving for MDMA/ecstasy. Therefore, this study was designed to develop and evaluate the psychometric properties of such a questionnaire. First, I developed a pool of 19 potential items by modifying questions from other instruments assessing craving for other substances and writing new items that applied specifically to MDMA/Ecstasy. Next, using three websites (bluelight.ru, pillreports.com, facebook.com), I recruited 217 regular users of MDMA/ecstasy to complete a series of ecstasy- related questionnaires. Following an initial rating of their agreement with 19 craving items, participants watched one of two 3-minute cue-exposure videos: (a) dancing plus music at a club/rave with interspersed photos of ecstasy pills or (b) marching band on a football field and music with interspersed photos of peanuts. Following cue-exposure, subjects re-rated their agreement with the same 19 items, and completed questionnaires to assess their motivations for using ecstasy, refusal self-efficacy, obsessive/harmonious engagement in ecstasy use, drug/alcohol use and problems, and demographic information. Based on a conceptualization of craving that emphasized current desire, intention to consume and loss of control, I eliminated 11 potential items that appeared redundant or assessed outcome expectancies to yield the final 8- item version of the Ecstasy Craving Questionnaire-Current Craving (ECQ-CC).