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Kronos Quartet
CAL PERFORMANCES PRESENTS Sunday, April 6, 2014, 7pm Hertz Hall CAL PERFORMANCES :89;–:89< ARTIST IN RESIDENCE Kronos Quartet David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello Brian H. Scott, lighting supervisor Scott Fraser, sound engineer Brian Mohr, technical associate PROGRAM Prelude to a Black Hole Byzantine Chant Eternal Memory to the Virtuous † (arr. Aleksandra Vrebalov) Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) Dance Eccentric Canticle Geeshie Wiley Last Kind Words † (arr. Jacob Garchik) Tanburi Cemil Bey (1873–1916) Eviç Taksim † (arr. Stephen Prutsman) Maurice Ravel (1875–1937) Trois beaux oiseaux du Paradis† (1914–1915) (arr. JJ Hollingsworth) Traditional Smyrneiko Minore † (arr. Jacob Garchik) PLAYBILL CAL PERFORMANCES PRESENTS Anton Webern (1883–1945) Six Bagatelles, Op. 9 (1911–1913) Mäßig Leicht bewegt Ziemlich fließend Sehr langsam Äußerst langsam Fließend Charles Ives (1874–1954) They Are There! Fighting for the People’s New Free World (1917) Serge Rachmaninoff ( 1873–1943 ) Nunc Dimittis, from All-Night Vigil † (1915 ) (arr. Kronos) Beyond Zero: 9@9<–9@9? * A new work for quartet with film World premi ère Aleksandra Vrebalov (b. 1970 ), composer Bill Morrison (b. 1965 ), filmmaker David Harrington and Drew Cameron, creative consultants Janet Cowperthwaite, producer Kronos Performing Arts Association, production management Played without pause * Written for Kronos † Arranged for Kronos Beyond Zero: 1914–1918 , with music by Aleksandra Vrebalov and film by Bill Morrison, is supported, in part, by an award to the Kronos Performing Arts Association from the National Endowment for the Arts. Art Works. Additional funding for the project is provided by The MAP Fund, supported by the Doris Duke Charitable Foundation and the Andrew W. -
A History of the First Fifty Years of Biology at York
Department of Biology 2013 A History of the first fifty years of Biology at York edited by Mark Williamson & David White A History of the first fifty years of Biology at York J B A D S F P E M K Q L H Frontispiece AerialAerial view view of the of departmentthe department taken in takenSeptember in September 2003, looking 2003,across thelooki lakeng to acrossthe east. the lake to the east. A: Teaching Laboratories; B: Old concourse and lecture theatres; D: Research Wing D; E: Services (Stores and Workshops) F: Research Wing F; A:H: originalTeaching IFAB Laboratories; building being refurbished B: Old concourseto make the first and CIIlecture building theatres; (see Q); J: D:Research Research Laboratories, Wing originallyD; E: Services the Plant (StoresLaboratory and and Workshops)p53; K: Main administration F: Research (HoD Wing & Finance) F; H: andoriginal Technology IFAB Facility; building L and beingM; new refurbishedResearch Wings; to P: make Glasshouses the first and PreparationCII building rooms; (see Q);Q: approximate J: Research position Laboratories, of the new CII originally building completed the Plant and occupiedLaboratory in September and p53; 2010. K: Since Main then administration CII have occupied (HoDboth H and& Finance)Q; S: Suite of PortaKabins built for BioCode, now staff offices. and Technology Facility; L and M; new Research Wings; P: Glasshouses and Preparation rooms; Q: approximate position of the new CII building completed and occupied in September 2010. Since then CII have occupied both H and Q; S: Suite of PortaKabins built for BioCode, now staff offices. 2 N.b. The photograph is not yet modified for location of Q. -
Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture
Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture Feature Article Christopher Charles University of Bristol (UK) Abstract Digital technology has changed the way in which genre terms are used in today’s musical cultures. Web 2.0 services have given musicians greater control over how their music is categorised than in previous eras, and the tagging systems they contain have created a non-hierarchical environment in which musical genres, descriptive terms, and a wide range of other metadata can be deployed in combination, allowing musicians to describe their musical output with greater subtlety than before. This article looks at these changes in the context of psyculture, an international EDM culture characterised by a wide vocabulary of stylistic terms, highlighting the significance of these changes for modern-day music careers. Profiles are given of two artists, and their use of genre on social media platforms is outlined. The article focuses on two genres which have thus far been peripheral to the literature on psyculture, forest psytrance and psydub. It also touches on related genres and some novel concepts employed by participants (”morning forest” and ”tundra”). Keywords: psyculture; genre; internet; forest psytrance; psydub Christopher Charles is a musician and researcher from Bristol, UK. His recent PhD thesis (2019) looked at the careers of psychedelic musicians in Bristol with chapters on event promotion, digital music distribution, and online learning. He produces and performs psydub music under the name Geoglyph, and forest psytrance under the name Espertine. Email: <[email protected]>. Dancecult: Journal of Electronic Dance Music Culture 12(1): 22–47 ISSN 1947-5403 ©2020 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2020.12.01.09 Charles | Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture 23 Introduction The internet has brought about important changes to the nature and function of genre in today’s musical cultures. -
394 GLOSSARY Acid Jazz Late 1980S and 1990S
GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture. -
2016 May Rise Grand Island!
Click to view this email in a browser May 2016 Volume 1, Number 3 Alumni Newsletters | Alumni Reunions | GISH Website | GIPS Foundation Website Rise Grand Island! Sections In this issue of Rise Welcome to the May 2016 edition of “Rise Pure Gold Grand Island,” the alumni newsletter for Grand Island Senior High published every At the Top other month by the Grand Island Public Schools Foundation. “Rise” is where we Our feature story for the issue, connect with thousands of Islanders across with an eye toward alums the globe, keeping you and them up to date on what’s happening in Purple and Gold whose star is rising. land, and reminiscing a little bit as well. We also really enjoy hearing from you, Islander alums who find “Rise” in their in-box every other month. Give us a shout, especially if you or a GISH alum you know has a done something newsy or noteworthy. You can reach us at the email addresses on the front page. A Couple of Guys Our feature story in this issue is by and about Sandy Philips Van Pelt, from the Class of 1966, who has been watching the Class of 2009’s Hannah Neighborhood Huston kill it on “The Voice” with an insider’s eye … or should I say ear. I've Been Thinking Sandy had her own “run” on musical talent shows nearly 45 years ago and her drive and passion to perform remains strong. Her story starts George Ayoub's latest the newsletter “At the Top.” observation or bemusement Our “Distant Mirror” correspondent, Mike Monk, Class of 1967, explains about life – obviously seen exactly why his and my columns are under the a section called “A through the eyes of a Senior Couple Guys from the Neighborhood.” He writes of our “Wonder Years” High alum. -
From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2010 From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs. Ambrose Colombo Claremont McKenna College Recommended Citation Colombo, Ambrose, "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." (2010). CMC Senior Theses. Paper 83. http://scholarship.claremont.edu/cmc_theses/83 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Table of Contents I. Introduction 1 II. Disco: New York, Philadelphia, Chicago, and Detroit in the 1970s 3 III. Sound and Technology 13 IV. Chicago House 17 V. Drugs and the UK Acid House Scene 24 VI. Acid house parties: the precursor to raves 32 VII. New genres and exportation to the US 44 VIII. Middle America and Large Festivals 52 IX. Conclusion 57 I. Introduction There are many beginnings to the history of Electronic Dance Music (EDM). It would be a mistake to exclude the impact that disco had upon house, techno, acid house, and dance music in general. While disco evolved mostly in the dance capital of America (New York), it proposed the idea that danceable songs could be mixed smoothly together, allowing for long term dancing to previously recorded music. Prior to the disco era, nightlife dancing was restricted to bands or jukeboxes, which limited variety and options of songs and genres. The selections of the DJs mattered more than their technical excellence at mixing. -
Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica
Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica Kyle Lindstrom Schirmann A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of Arts and Sciences Department of Middle Eastern, South Asian, and African Studies Columbia University New York, New York May 1, 2015 © 2015 Kyle Lindstrom Schirmann All rights reserved ABSTRACT Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica Kyle Lindstrom Schirmann Ravi Sundaram’s conception of recycled, or pirate, modernity was first deployed to explain the extralegal circuits of production and consumption of pirated and counterfeit goods, particularly in India. This thesis argues that the production, performance, distribution, and consumption of South Asian electronic music can be read under the specter of an aestheticization of the circuits of pirate modernity. Through sampling, glitching, and remixing artifacts, sometimes with pirated software or counterfeit hardware, South Asian electronica situates itself in youth culture as an underground form of sound. This is a music that concerns itself with futurity and futurism, doubly so by its links to the diaspora and to Afrofuturist readings, and with the physicality of the sound wave. The thesis also suggests a shift in the economic and political import of pirate modernity wrought by this aestheticization, examining how it has been appropriated for profit and mobilized for political use. Table of Contents Acknowledgements and Dedication .............................................................................................................. iii Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica ............................ 1 Hardware, Greyware, and Pirate Markets ............................................................................................... -
Torres Strait Islanders by Anna Shnukal
Torres Strait Islanders by Anna Shnukal From: Brandle, Maximilian (ed.) Multilcutlural Queensland 2001: 100 years, 100 communities, A century of contributions, Brisbane, The State of Queensland (Department of Premier and Cabinet), 2001. Introduction Torres Strait Islanders are the second group of Indigenous Australians and a minority within a minority. Torres Strait, which lies between Cape York and Papua New Guinea, is legally part of Queensland. Its islands were annexed comparatively late: those within 60 nautical miles (97 kilometres) of the coast in 1872, the remainder in 1879. At annexation, the Islanders became British subjects and their islands became Crown lands. At Federation they became Australian citizens although until comparatively recently they were denied rights and benefits which their fellow Australians took for granted. Torres Strait Islanders are not mainland Aboriginal people who inhabit the islands of Torres Strait. They are a separate people in origin, history and way of life. From the waters of the Strait, where the Coral and Arafura Seas meet in one of the most fragile and intricate waterways in the world, rise hundreds of islands, islets, cays, reefs and sandbanks. All these are traditionally named, owned and used. No two islands are identical, each being shaped by its unique landscape, stories and history. In the past many more islands were inhabited. Islanders live today in 18 permanent communities on 17 islands although they continue to visit their traditionally owned islands for fishing, gardening, food collecting, camping and picnicking. The first European settlement was established at Somerset, Cape York, in 1863. It was removed to Port Kennedy on Waiben (Thursday Island) in 1877 and, since then, Thursday Island has been the administrative and commercial ‘capital’ of Torres Strait. -
Comedian Jo Koy Announces Funny Is Funny World Tour Coming to Brand New Ubs Arena on Friday, April 15
FOR IMMEDIATE RELEASE COMEDIAN JO KOY ANNOUNCES FUNNY IS FUNNY WORLD TOUR COMING TO BRAND NEW UBS ARENA ON FRIDAY, APRIL 15 Tickets Go On-Sale Friday, August 13 at 10 AM (Belmont Park, NY – August 9, 2021) ––– Due to overwhelming demand, Comedian Jo Koy will bring his Funny Is Funny World Tour to the brand new UBS Arena, located on the border of Queens and Nassau County in Belmont Park, NY, on Friday, April 15, 2022. The arena pre-sale begins Thursday, August 12 from 10 AM ET through 10 PM ET with code COMEDY. Remaining tickets will then go on-sale Friday, August 13 at 10 AM. UBS Arena is a $1.1 billion multi purpose venue under construction adjacent to the Belmont Park racetrack. The world class entertainment venue, with its timeless and classic design, will bridge its iconic past with today’s advanced technology and amenities. In addition to being the new home to the famed New York Islanders Hockey Club, UBS Arena is designed with a sharp focus on music and will create special experiences for both artists and audiences. The state of the art arena, opening in the fall, will deliver an unmatched live entertainment experience with clear sightlines and premier acoustics to even more guests than ever before. As one of today’s premiere stand-up comics Jo Koy has come a long way from his modest beginnings performing at a Las Vegas coffee house to now selling out the world’s most prestigious venues including Radio City Music Hall (New York), Chase Center (San Francisco), The Forum (Los Angeles), Mall of Asia Arena (Manila, PH), Coca-Cola Arena (Dubai) and ICC Theatre (Sydney, AU). -
Issue No. 72 August 2021 Table of Contents
Brands Offering Helping Hands: Support for Up-and-Coming Artists Your Monthly Masked Wolf Music Forecast! Chase Atlantic Griff Oliver Tree ...and more! ISSUE NO. 72 AUGUST 2021 TABLE OF CONTENTS 4 EYE OF THE STORM Brands Offering Helping Hands: Support for Up-and-Coming Artists 6 STORM TRACKER Peach Tree Rascals, Blackpink, and Wolf Alice 7 STORM FORECAST The Oscars of Fashion: The Met Gala 2021, Governors Ball Music Festival, H.E.R.'s Lights On Festival, and more! 8 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. ON THE COVER: Audrey Nuna Photo by Khufu Najee ©2021 ABOUT THE LETTER FROM STORM REPORT THE EDITOR STORM = Strategic Tracking Of Relevant Media One of the most rewarding parts of my job is connecting brands to music artists—particularly The STORM Report is a compilation of up-and-coming bands and artists who are worth emerging artists who are on the brink of breaking. watching. Only those showing the most promising potential for future commercial And it’s no small feat to “make it” as an artist success make it onto our monthly list. in 2021. Musicians today face a mountain of challenges—low revenue from streaming, How do we know? expensive tours, cancelled gigs, and more. This issue of the memBrain STORM Report explores Through correspondence with industry insiders and our own ravenous media brands who have created programs that help young consumption, we spend our month gathering names of artists who are “bubbling artists with financing, equipment, and marketing under." We then extensively vet this information, analyzing an artist’s print & digital support when they need it the most. -
1 Hip-Hop, Ambient Music, and Genre Ancestry
Hip-Hop, Ambient Music, and Genre Ancestry [12 lines from top of page, centered] by Mauro Miller [6 lines from title, centered] A thesis submitted in partial fulfillment of the requirements for the degree, Bachelor of Arts, Music [6 lines from author’s name, centered] The Colorado College [3 lines from degree statement] April 11, 2021 [3 lines from institution statement] Approved by ___________________________________ Date: _____________________ Iddo Aharony, Assistant Professor of Music [6 lines from Date] ___________________________________ Date: April 24, 2021________ Ryan Bañagale, Associate Professor of Music[3 lines from 1st faculty name] 1 As time passes, the lines between different types of music have become blurred and more blurred. No longer is it simple to assign a song to just jazz, classical, or rock. Almost every day, a new genre is invented (Söderman 2004). So how does one go about making sense of this every-expanding soundscape? Well, in order to truly comprehend a genre of music, one must do a deep dive into its history and one must look to understand its predecessors. For example, one must study the blues and gospel music to fully understand rock. Likewise, anyone would gain a lot out of examining the sounds of Detroit Techno and Chicago House before attempting to write a dubstep song. In order to understand some of my favorite genres of music like trip-hop and bedroom pop, I studied their ancestors: ambient music and hip-hop. Yes, these two genres are different in many ways, but they overlap in modern music quite often and they have quite a few similarities. -
The Antebellum "Piano Girl" in the American South Candace Bailey
Performance Practice Review Volume 13 | Number 1 Article 1 The Antebellum "Piano Girl" in the American South Candace Bailey Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Bailey, Candace (2008) "The Antebellum "Piano Girl" in the American South," Performance Practice Review: Vol. 13: No. 1, Article 1. DOI: 10.5642/perfpr.200813.01.01 Available at: http://scholarship.claremont.edu/ppr/vol13/iss1/1 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Antebellum “Piano Girl” in the American South Practice in private music far more difficult than that you play in general society. “Mems for Musical Misses,” Harper’s New Monthly Magazine Candace Bailey Copyright © 2008 Claremont Graduate University Throughout the nineteenth century, the education of young gentlewomen almost always included music lessons, with piano lessons being the most frequently recommended. The social context for these young women pianists, “piano girls,” has been described in several modern works, particularly since Arthur Loesser’s seminal work Men, Women, and Pianos: A Social History.1 In the 1980s, Judith Tick made the term “piano girl” a familiar one in musicological studies, and since that time the idea of the piano girl and her role in society has been explored by others.2 Most of these studies describe the social phenomenon of the piano girl, but how she played, whether the repertory differed based on occasion, and the extent of application has yet to be fully considered.