DOCSLIB.ORG

Freier Download BA 82 Als

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Freier Download BA 82 Als BAD 82 ALCHEMY Es gab die Menschen, die lasen, und es gab die anderen. Ob einer ein Leser war oder ein Nichtleser - man merkte es schnell. Es gab zwischen den Menschen keinen größeren Unterschied als diesen. (Pascal Mercier) Pack up your smiles and soap, abandon all forks and hope, ye überliterati! Repent and understand at last that the Hunting of the Snark is a robinsonade (the mysterious island from whence all Nonsense springs) and that the Mind of the Snark is its pagan god-chieftain at whose feet we pile gifts useful to no one but ourselves ... (Mahendra Singh) Dass ich ein Leser bin, zeigt diesmal: Hannes Binder - Wachtmeister Studer im Tessin Lewis Carroll + Mahendra Singh - The Hunting of the Snark Odysseas Elytis - To Axion Esti Lara Fiorani - Roberto Calasso - Deconstructing mythology. A reading of Le nozze di Cadmo e Armonia -> http://discovery.ucl.ac.uk/18522/1/18522.pdf Ignacio García-Valiño - Der kirschrote Schuh Friedrich Glauser - Wachtmeister Studer; Die Fieberkurve; Matto regiert Friedrich Glauser + Hannes Binder - Knarrende Schuhe Wolf Haas - Der Brenner und der liebe Gott A. F. Th. van der Heijden - Die Schlacht um die Blaubrücke; Das Gefahrendreieck Wolfgang Herrndorf - Sand Konstantin Kavafis - Die Lüge ist nur gealterte Wahrheit Jan Kjærstad - Der Entdecker Orhan Pamuk - Istanbul. Erinnerungen an eine Stadt Jannis Ritsos - Milos geschleift Giorgos Seferis - Alles voller Götter Ahmet Hamdi Tanpınar - Seelenfrieden Jean Vautrin + Moynot - Der Mann der sein Leben ermordete Giuseppe Zironi + Hannes Binder - Antonio Ligabue. Von der Qual eines Künstlerlebens 2 ...and when it all returns to dust, Dinosaur sex is a must Am 27.05.2014 ... 30 Jahre später im gleichen Niemandsland ... beendete FAMILY FODDER ihre Déjà-Déjà-Vu-Tour exakt an gleicher Stelle, wo Alig Pearce schon vor drei Jahrzehnten im Tütü zusammen mit Mick Hobbs und den Mädels von The Lo Yo Yo Glückshormone akti- viert hatte. Nur heißt die Location neuerdings „Kellerperle“. Alig hat beim Wiederhören mit The Lo Yo Yo 1985, mit The Kalahari Surfers 1987 und mit Family Fodder höchstselbst im alten AKW den ersten Eindruck zu einem bleibenden vertieft. Zumindest bei mir und einer Handvoll weiterer ‚Überlebender‘. Und viel mehr sind auch nicht gekommen zu diesem Dino-Meeting. Das in seiner Sexyness freilich die 30 Jahre dazwischen nonchalant ad acta legt. Alig hat sich vom kurzhaarigen Graubart der letztjährigen Fotos zurückverwandelt in sein junges Selbst mit kessem Pferdeschwanz auf dem Scheitel. An seiner Seite trommelt mit dem fezbehüteten Bazz Smith (the one and only, good to animals, good in bed) ein Fod- der-Urtyp. An Gitarren und Bass fetzt, anfänglich gegen giftigen Feedbackwiderstand, der ebenso prä-Monkey Banana Kitchen-bewährte Graham Painting. Der ist vermutlich auch der Link zu Bee Ororo, der neuen Family-Stimme, in deren Band er honkytonkt. Die stößt, während sie bluejeanspropper einen Traubenkeltertanz tanzt, mit glitzerndem Augenauf- schlag die ersten Fodder-Zeilen so automatenhaft aus wie eine aufgedrehte Puppe. Was nach einer Gewöhnungsphase keine schlechte Vermittlung ist für so v-effekthaft Kühles wie The Music is empty / it pleases me / come and see (‘Film Music’). Und auch für This is a new kind of ‘Love Song’ / dududududu (und Painting brummt: What exactly is the point you’re making?). Dazu bietet Alig mit dem schnippischen Uptempostampfer ‘Savoir Faire’ ein weiteres Fodder-Oldie, das prototypisch den aufgekratzten Zeitgeist Mitte der post- punkigen 80er evoziert, und auch ‘Organ Grinder’, das Lied vom Leierkastenmann, darf nicht fehlen. Dazwischen ist Neues gemischt wie das superlativistische ‚The onliest thing’, das der Unmöglichkeit eines Liebesliedes ein Schnippchen schlägt, und (vom letztjährigen Album Variety) reimt Bee Why don’t we do it all again / and take a ‚Hippy Bus To Spain‘. Die Fodders waren zwar eigentlich Wave, Rip-it-up-and-start-again-Pop und proto-Stereolab, aber auch jederzeit in der Lage zu (selbst)-ironischer Zauselei. Zudem sind idiotensichere und meist gerade dadurch verblüffende Reime eine der Stärken dieser Alig-atoren. Einem Rückgriff ins Jahr 1979 und einer unwahrscheinlich heftigen Gitarrenorgie folgt mit dem wieder stakkatohaft deklamierten Prepare yourself / make your defense / we’ll be moving close / like a ‘Silence’ ein weiterer Klassiker. Und als Höhepunkt, na klar, 'Dinosaur Sex': Dinosaur Sex / Dinosaur Sex / You make me feel like a Tyrannosaurus rex. Mit Alig und Bee jetzt an Gitarren, Painting am knurrigen Bass und Bazz mit Kuhglocken, um uns kollektiv auf Dubwellen surfen zu lassen. Als Zugabe gibt es noch einmal ‘Bass adds bass’ / feet after feet / heart over head ... for us to grow together plus ‘The Big Dig’ (Fodders Dubver- sion von Erik Saties Ohrwurm 'Gnossienne Nr 1'!). Bee fühlt sich sichtlich wohl im Dub- groove, einer Vorliebe, die die Family genuin teilte mit Zeit-und Gesinnungsgenossen wie den Slits, New Age Steppers, PIL und Pop Group. Und jetzt bittet sie auch die Sitzenbleiber unbedingt zum Tänzchen. Denn genau das hat sich Family Fodder, damals wie heute, nicht nehmen lassen. Den Verhältnissen auf der Nase rum zu tanzen, mit Spielwitz und Lebens- lust, die sich nicht in Erinnerungen flüchten muss. 3 Freakshow: AVA MENDOZA’S UNNATURAL WAYS Kurz nach 11. Während wir uns verabschieden, zieht sich Ava Mendoza nochmal genieße- risch die von Sommerjasmin- und Lindenduft geschwängerte Würzburger Nachtluft in die Nase. Ich kann nur hoffen, dass es ihr ähnlich geht wie Peter Brötzmann, den, wie man sich erzählt, die gastfreundliche Luft in Weikersheims W71 schon mal als „gefühlter“ Bo- nus für die kleine Gage entschädigte. Hier sind 20 Aficionados zusammengekommen in der Kellerperle für das Gastspiel von AVA MENDOZA’S UNNATURAL WAYS auf dem Zwi- schenstopp von Moers nach Graz. Das ist genau der gleiche Keller, in dem ich 1984 erst- mals Peter Brötzmann tyrannosaurusrexen hörte. Die damals erlebte Vehemenz, die mich bis heute süchtig danach gemacht hat, bestimmt auch die dringliche und nachdrückliche Kakophonie dieser grandiosen Gitarristin und den Bassfuror von Tim Dahl, der uns mit The Hub, Child Abuse und in Quok auch schon mit Ava vertraut ist. Dazu trommelt Nick Podgurski, der mit Secret Life sogar schon Kellerperlen-Luft geschnuppert hat. Die drei spielen so etwas wie eine donnergrollende Brooklyn-Suite, eine derart verwobene jazz- core-bluesige Symphonie einer Großstadt, dass sich keiner von uns Mucksmäuschen getraut, den gewitterfrontalen Spannungsbogen durch Beifall zu stören. Die Montageteile des Sets habe ich mir danach von Ava notieren lassen: Shapeshifters – Harpy – Dogsbo- dies – No Record – Feral Twin – Is This A Joke. Komplett improvisiert ist zuletzt nur die Zugabe, davor ist aber jedes markante Kopfthema ebenfalls nur das Sprungbrett für free- rockig rasante Verfolgungsjagden, mit denen die amerikanische Imagination weltweit Bubenherzen höher schlagen lässt. Was Dahl da schrappel-fetzt und über seine Distor- tion-, Volume- und Delay-Pedale filtert und ringmoduliert, immer wieder mit schnellstmög- lichem Tremolieren und höchstmöglichem Fuzzfaktor und immer wieder mit glissandie- rendem Slide, das vermittelt über die bloße, wenn auch an sich schon stupende Virtuosität dieses Bootsy-Collins-Fans hinaus seine unbändige Lust an raspelzungiger Knutscherei. Der Mann ist Bassmasse und will, dass man ihn spürt. Ava, die in Moers auch noch mit Fred Friths „Gravity Band“ Begeisterung ausgelöst hat, beeindruckt einmal mehr durch die Heftigkeit ihrer Saitentraktate, mit hymnisch dahin stürmendem, fundamental bluesi- gem, dunkel dräuendem oder aufgekratzt hoppendem Duktus. Wenn sie aus ihren konzen- trierten, ungeniert krachigen Tonkaskaden wieder auftaucht, braucht sie nur kurz den Blick zu heben, um ihre wilden Boys fürs Da Capo zu synchronisieren. Für ‚Dogsbodies‘ und ‚Is This A Joke‘ shoutet sie ins Mikrophon wie eine, der streunende Hunde näher sind als Märchenprinzen. Es sind Stunden wie diese, die uns Feldmäusen weltstädtisches Qui- vive lehren. Ava und die Jungs ziehen derweil schon weiter – ihr Weg führt sie danach nach Sardinien (mit Marco Di Gasbarro von Squartet und Ay an ihrer Seite), Dahl wird (zu- sammen mit Weasel Walter) in Lydia Lunchs Retrovirus diverse Organe infizieren. Im Okto- ber darf man eine neue Ava-LP auf New Atlantis erwarten. Oh give us shelter, or we're gonna fade away. Foto: Monika Baus 4 OVER POP UNDER ROCK HUBRO (Haugesund/Oslo) Anders als das in einem Stockholmer Studio eingespielte Debut von MOSKUS, dem Trio der Pianistin Anja Lauvdal, des Bassisten Fredrik Luhr Dietrichson und des Drummers Hans Hulbækmo, entstand Mestertyven (HUBROCD2535) in risikobereiter Spontanität in der Heiliggeistkirche von Risør, der weißen Stadt am Skagerrak. Auch wenn allenfalls 'Tandem med Sankt Peter' das ver- muten lässt, weniger 'Gammel-Erik' und all die andern Titel, die nichts From- mes versprechen. Das Trio gleicht einem normalen Jazztrio wie eine auf den Boden gefallene Teetasse einer ganzen, die Coolness und Abstraktion eines Paul Bley liegt in Scherben. Dafür gehen stramme 4/4 ihren beschwingten Gang, mit perkussivem Flirrakzent und lakonischem Pianino (statt eines Flü- gels wie beim Debut). Der stockende Duktus von 'Yttersvingen' legt nahe, dass svingen nicht Swingen meint, Hulbækmo hackt, statt zu trommeln, Lauvdal probiert verschiedene Sackgassen aus. 'Jag är ett ägg' schleppt sich mit noch größerer Müh und Not, das Pianino zaudert, der Beat hinkt, der Bass fiedelt am Depressionsabgrund entlang. Bei 'Rullings' geben die drei sich dann einen Ruck, mit
Load more

Recommended publications
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • UNSUNG: South African Jazz Musicians Under Apartheidunsung
    UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600.
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • Final Honours School
    FINAL HONOURS SCHOOL DESCRIPTION OF LITERATURE AND LINGUISTICS PAPERS IN FINALS LINGUISTICS PAPERS (PAPERS IV AND V) Paper IV: History of the Greek Language Topics covered include the major developments in phonology, morphology and syntax in the medieval period and later, dialectal variation and the language debate. Five texts are set for detailed study: Ptochoprodromika III (ed. H. Eideneier), Digenis Akritis, E 1501-1599 (ed. E. Jeffreys) Livistros, vv. 1-229 (ed. T. Lendari) Machairas, § 261-267 (ed. R.M. Dawkins) Erotokritos, I, 1-146 and III, 49-180 (ed. St. Alexiou) Useful for introductory reading is: G. Horrocks, Greek: A History of the Language and its Speakers (London 1997). Paper V: Contemporary Greek Topics covered include an examination of the structure of the Greek language as it is spoken and written today and an analysis of spoken and written Greek in terms of its sound system, inflectional system, verbal aspect, syntax and vocabulary. Useful for introductory reading are: P. Mackridge, The Modern Greek Language (Oxford 1985) R. Hesse, Syntax of the Modern Greek Verbal System (2Copenhagen 2003). PERIOD PAPERS (PAPERS VI, VII AND VIII) Paper VI: Byzantine Greek, AD 324 to 1453 The texts studied in this paper are chosen from those written in the learned form of the language, which corresponds very closely to Ancient Greek. Particular attention will be paid to the middle Byzantine period. Prose authors who will be studied include the historians Theophanes, Psellos, Anna Komnene and Niketas Choniates. Verse by writers such Romanos, George of Pisidia, John Geometres, Christopher Mitylenaios, John Mauropous and Theodore Prodromos will also be read, together with epigrams by a variety of authors from a range of periods.
    [Show full text]
  • A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
    A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, 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 Rights 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 Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period.
    [Show full text]
  • Final Thesis.Pdf
    An Investigation of the Impact of Ensemble Interrelationship on Performances of Improvised Music Through Practice Research by Sarah Gail Brand Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract In this thesis I present my investigation into the ways in which the creative and social relationships I have developed with long-term collaborators alter or affect the musical decisions I make in my performances of Improvised Music. The aim of the investigation has been to deepen the understanding of my musical and relational processes as a trombonist through the examination of my artistic practice, which is formed by experiences in range of genres such as Jazz and contemporary music, with a current specialty in Improvised Music performance. By creating an interpretative framework from the theoretical and analytical processes used in music therapy practice, I have introduced a tangible set of concepts that can interpret my Improvised Music performance processes and establish objective perspectives of subjective musical experiences. Chapter one is concerned with recent debates in Improvised Music and music therapy. Particular reference is made to literature that considers interplay between performers. Chapter two focuses on my individual artistic practice and examines the influence of five trombone players from Jazz and Improvised Music performance on my praxis. A recording of one of my solo trombone performances accompanies this section. It concludes with a discussion on my process of making tacit knowledge of Improvised Music performance tangible and explicit and the abstruse nature of subjective feeling states when performing improvisation. This concludes part one of the thesis.
    [Show full text]
  • Goema's Refrain
    Goema’s Refrain: Sonic Anticipation and the Musicking Cape by Valmont Layne Submitted for the Degree of Doctor of Philosophy in History, Faculty of Arts, University of the Western Cape Supervisor: Professor Premesh Lalu http://etd.uwc.ac.za/ http://etd.uwc.ac.za/ 3 Declaration I, Valmont Layne, declare that Goema’s Refrain: Sonic Anticipation and the Musicking Cape is my own work, that it has not been submitted for any degree or examination in any other university, and that all the sources I have used or quoted have been indicated and acknowledged by complete references. Valmont Layne August 2019 http://etd.uwc.ac.za/ 4 Acknowledgements I hereby acknowledge the support of the National Research Foundation (NRF) with an Early Career Fellowship and the Oppenheimer Memorial Trust. I also acknowledge the support of the following individuals (all remaining faults are my own): My supervisor, Premesh Lalu for his support, guidance and wisdom. Tanya Layne, for her love, support and companionship, and Ella Layne, because fatherhood inspires an examined life. Musicians Mike Perry for the lessons and conversations. Luis Giminez, Reza Khota, Dathini Mzayiya, Colin Miller, Rafiq Asmal, Alan Wilcox, Gerald Mac Mckenzie, Hilton Schilder, Alex van Heerden, Robbie Jansen and my fellow travellers with the Raakwys experience namely Andre Sampie, Bruce Kadalie, Ralton Praah, Wayne Dirk, Aki Khan, Wayne Dixon, Wayne Barthies. Also, carnival insiders Melvin Mathews, and Katje Davids, and musical activists Mansoor Jaffer, Adam Haupt, Thulani Nxumalo. Scholars and colleagues The History Department at the University of the Western Cape. The staff and fellows at the CHR – including Lamees Lalken, Micaela Felix, Leslie Witz, Ciraj Rassool, Suren Pillay, Paolo Israel, Nicky Rosseau, Jane Taylor, Aidan Erasmus, Lauren van der Rede, Kim Gurney, Thozama April, Kate Highman, Michelle Smith, Sam Longford, Luis Gimenez, Janne Juhana, Lee Walters, Ross Truscott, Emma Minckley, Reza Kota, and Kristy Stone.
    [Show full text]
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant
    [Show full text]
  • Xango Music Distribution Release #1 – 2016 Pagina | 1
    Xango Music local music from all over the world Office: Singelstraat 1, 3513 BL Utrecht, NL www.xmd.nl - [email protected] - +31 6 50 999 123 Warehouse: Berenkoog 53 C, 1822 BN, Alkmaar (NL) e: [email protected] t: +31 (0)72 - 567 3030 NEW RELEASES NR. 1 – 2016 Ayub Ogada: Kodhi LTR 1501 / 0859714187473 / label: Long Tale Rec. / format: CD / Kenya - Popular Ayub Ogada is a descendant of the Luo people of western Kenya and was influenced by their musical heritage by his parents who were musicians. After leaving school he formed the African Heritage Band and started to perform in the UK. Ayub was invited to take part in one of the ‘recording weeks’ at Peter Gabriel’s Real World Studios, where he recorded his first album En Mana Kuoyo (Just Sand) in 1993 and he toured extensively with Peter Gabriel and WOMAD. Ayub’s music is on the soundtracks of films such as ‘I Dreamed of Africa’ (2000), ‘The Constant Gardener’ (2005) and ‘Samsara’ (2011). Trevor Warren visited Ayub Ogada in Kenya in the Spring of 2012 with the ambitious goal to record an album together in just two weeks. Trevor touched down in Nairobi and met up with his old friend Ayub and the Kenyan musician, Isaac Gem. The three set to work on songs for Kodhi, meaning ‘seed’ in Luo, and this grew rapidly into a fully fledged album. Listen to the title song. Amadou Diagne: Ligéey LTR 1502 / 0643157435925 / label : Long Tale Recordings / format: CD / Senegal – Popular Amadou sings from the heart in this beautiful, soulful record.
    [Show full text]
  • Western Cape Jazz Legends
    Western Cape Jazz Legends Foreword The Western Cape Jazz legends which unveiled on 17 March 2011 pays homage to the rich jazz heritage of the Western Cape. The publishing of the Western Cape Jazz Legends Booklet gives a wider audience access to an appreciation of the contribution of these musicians who often plied their trade under the most difficult circumstances and with very little material reward. The short biographies are informed by existing literature and interviews conducted with family members. The list is by no means comprehensive but it does indicate our resolve to give homage, to acknowledge, to preserve and to promote the rich musical heritage of the Western Cape. Documenting our musical history not only ensures that the impact of the role of these legends on the musical landscape of the Western Cape is captured for posterity, but also that their stories serve as a source of inspiration to aspiring musicians. This booklet represents an important step towards the building of a socially inclusive Western Cape. These Jazz Legends united us around our common love for music and the unique sounds of Cape Town Jazz. Let’s celebrate their achievement and resolve that we will continue to build on this initiative to acknowledge our musicians who created musical melodies which filled us with joy, often leaving us in awe of their amazing talent and with a deep sense of self-worth and cultural warmth. Dr IH Meyer Minister of Cultural Affairs and Sport Western cape Government. Western Cape Jazz Legends 1 2 Western Cape Jazz Legends IntroductIon The Department of Cultural Affairs and Sport has embedded in its vision, “… A socially cohesive and creative Western Cape.” The arts and culture component of the department has embraced this vision and the Western Cape Jazz Legends project is reflective thereof.
    [Show full text]
  • 27 June 07 July
    27 JUNE TO 07 JULY TWENTY NINETEEN Recommended Retail Price: R75 4 Festival Messages 6 Acknowledgements 9 Standard Bank Young Artist Award Winners 16 2018 Featured Artist 20 Curatorial Statement & Curatorial Team 22 Curated Programme 27 Main Programme 155 Fringe Programme 235 Travel and Accommodation 236 Booking Procedures 238 Index 241 Map We will be publishing an update to our Programme which will be available in Grahamstown throughout the Festival, at all of our Box Offices and Information Kiosks. This update will contain the latest possible information on performances and events, changes, cancellations and additional shows, a daily diary, map, local emergency services number, etc and is a must-have for all Festival-goers. Latest Programme changes and updates available at www.nationalartsfestival.co.za Images from left to right: Gas Lands (58), Moonless (31) and Wanderer (63) MAIN MAIN PROGRAMME FRINGE PROGRAMME Cover image: 27 155 Birthing Nureyev by Theatre Theatre leftfoot productions Director: Andre Odendaal Performer: Ignatius van Heerden 39 181 Designer: Gustav Steenkamp (Gustav-Henri Designstudio) Student Theatre Comedy Disclaimer: The Festival organisers have made 43 199 every effort to ensure that Comedy Illusion everything printed in this publication is accurate. However, mistakes and 46 203 changes do occur, and Public Art Family Theatre we do not accept any responsibility for them or for any inaccuracies 48 208 or misinformation within advertisements. Artists Family Theatre Dance provide images, logos and advertisements and we accept no responsibility for 57 214 the quality of reproduction Dance Music Theatre & Cabaret in this publication. 64 218 Visual & Performance Art Music Recital 82 220 Music Contemporary Music 105 224 Jazz Poetry 121 225 Film Festival Film 130 227 Critical Consciousness Visual Art 145 233 Creativate Spiritfest 4 Welcome to the Eastern Cape – the “Home of Legends”! 2019 sees the 45th edition of the National inspired.
    [Show full text]
  • Contextualizing My Self-Idiom
    CONTEXTUALIZING MY SELF-IDIOM: THE MAKING OF TERMINAL by AARON MICHAEL LEVY TIMOTHY FEENEY, COMMITTEE CHAIR CHARLES SNEAD AMIR ZAHERI DON FADER JACOB ADAMS ANDREW RAFFO DEWAR A RECORDING AND MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2019 Copyright Aaron Michael Levy 2019 ALL RIGHTS RESERVED ABSTRACT This document serves as an accompanying manuscript to my improvisational percussion album, Terminal. This music comes after five years of study and performance, and is a recent demonstration of my current sound; three pieces that draw on the influences of stylistic pioneers. Improviser and scholar Mike Bullock labels this method using the term self-idiomatic music. In this concept, a musician develops a unique aesthetic by making decisions in the moment of performance, drawing on a personal vocabulary of sounds, and rules for their deployment. The music recorded on Terminal is based on a culmination of my musical life that blends elements of many genres and styles. I have been inspired by the noise of Jason Lescalleet, the deep listening and stillness of Pauline Oliveros and Morton Feldman, the harmonic clouds of Sarah Hennies, the textures and layers of AMM, the jazz-like improvisation of Anthony Braxton, and the sound installations of Olivia Block, among others. In this paper, I examine writings and compositions by these musicians, and describe how my interactions and experiences with them led me to discover my self-idiom. ii DEDICATION This work is dedicated to Casey, who has been an ongoing voice of encouragement and love during this process.
    [Show full text]