Dance Vs House Music
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Music-Week-1993-05-0
4 Morechoice 8 Town crier 10 Wisdom Kenyon'smaintain vowR3's to Take This Town Vintage comic is musical range visitsCroydon the streets active Marketsurprise Preview star of ■ ^ • H itmsKweek For Everyone in the Business of Music 1 MAY 1993 £2.65 iiistargetCO mftl17 Adestroy forced the eut foundationsin CD prices ofcould the half-hourtives were grillinggiven a lastone-and-a- week. wholeliamentary music selectindustry, committee the par- MalcolmManaging Field, director repeating hisSir toldexaraining this week. CD pricing will be reducecall for dealer manufacturers prices by £2,to twoSenior largest executives and two from of the "cosy"denied relationshipthat his group with had sup- a thesmallest UK will record argue companies that pricing in pliera and defended its support investingchanges willin theprevent new talentthem RichardOur Price Handover managing conceded director thatleader has in mademusic. the UK a world Kaufman adjudicates (centre) as Perry (left) and Ames (right) head EMI and PolyGram délégations atelythat his passed chain hadon thenot immedi-reduced claimsTheir alreadyarguments made will at echolast businesspeople rather without see athose classical fine Tradingmoned. has also been sum- industryPrivately profitability. witnesses who Warnerdealer Musicprice inintroduced 1988. by Goulden,week's hearing. managing Retailer director Alan of recordingsdards for years that ?" set the stan- RobinTemple Morton, managing whose director label othershave alreadyyet to appearedappear admit and managingIn the nextdirector session BrianHMV Discountclassical Centre,specialist warned Music the tionThe was record strengthened companies' posi-last says,spécialisés "We're intrying Scottish to put folk, out teedeep members concem thatalready the commit-believe lowerMcLaughlin prices saidbut addedhe favoured HMV thecommittee music against industry singling for outa independentsweek with the late inclusionHyperion of erwise.music that l'm won't putting be heard oth-out CDsLast to beweek overpriced, committee chair- hadly high" experienced CD sales. -
Master Thesis the Changes in the Dutch Dance Music Industry Value
Master thesis The changes in the Dutch dance music industry value chain due to the digitalization of the music industry University of Groningen, faculty of Management & Organization Msc in Business Administration: Strategy & Innovation Author: Meike Biesma Student number: 1677756 Supervisor: Iván Orosa Paleo Date: 11 May 2009 Abstract During this research, the Dutch dance music industry was investigated. Because of the changes in the music industry, that are caused by the internet, the Dutch dance music industry has changed accordingly. By means of a qualitative research design, a literature study was done as well as personal interviews were performed in order to investigate what changes occurred in the Dutch dance music industry value chain. Where the Dutch dance music industry used to be a physical oriented industry, the digital music format has replaced the physical product. This has had major implications for actors in the industry, because the digital sales have not compensated the losses that were caused by the decrease in physical sales. The main trigger is music piracy. Digital music is difficult to protect, and it was found that almost 99% of all music available on the internet was illegal. Because of the decline in music sales revenues, actors in the industry have had to change their strategies to remain profitable. New actors have emerged, like digital music retailers and digital music distributors. Also, record companies have changed their business model by vertically integrating other tasks within the dance music industry value chain to be able to stay profitable. It was concluded that the value chain of the Dutch dance music industry has changed drastically because of the digitalization of the industry. -
Treble Culture
OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN P A R T I FREQUENCY-RANGE AESTHETICS ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4411 77/9/2007/9/2007 88:21:53:21:53 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4422 77/9/2007/9/2007 88:21:54:21:54 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN CHAPTER 2 TREBLE CULTURE WAYNE MARSHALL We’ve all had those times where we’re stuck on the bus with some insuf- ferable little shit blaring out the freshest off erings from Da Urban Classix Colleckshun Volyoom: 53 (or whatevs) on a tinny set of Walkman phone speakers. I don’t really fi nd that kind of music off ensive, I’m just indiff er- ent towards it but every time I hear something like this it just winds me up how shit it sounds. Does audio quality matter to these kids? I mean, isn’t it nice to actually be able to hear all the diff erent parts of the track going on at a decent level of sound quality rather than it sounding like it was recorded in a pair of socks? —A commenter called “cassette” 1 . do the missing data matter when you’re listening on the train? —Jonathan Sterne (2006a:339) At the end of the fi rst decade of the twenty-fi rst century, with the possibilities for high-fi delity recording at a democratized high and “bass culture” more globally present than ever, we face the irony that people are listening to music, with increasing frequency if not ubiquity, primarily through small plastic -
Nathan Mensah MAMT Thesis.Pdf
Preparing for the future: A description of client music preferences and musical preparedness of music therapists by Nathan A. Mensah, MT-BC A Thesis Submitted in Partial Fulfillment of the Requirement For the Master of Arts Degree Master of Arts in Music Therapy Program in the Departments of Graduate Studies and Music and Theatre Saint Mary-of-the-Woods College Saint Mary-of-the-Woods, Indiana May, 2019 Abstract Music therapists often use client-preferred music in order to build rapport with clients, decrease their anxiety, increase relaxation, and increase overall efficacy of music interventions. The American Music Therapy Association states music therapists are required to play a wide variety of genres for use in sessions. Client’s musical tastes have grown diverse due to music streaming, and some music therapists may not have the musical skills necessary to recreate these styles in sessions. Currently, there is no data to show which genres and music styles are most commonly requested by their clients, or data to show which genres music therapists feel musically prepared or unprepared to use in sessions. A survey was used to collect data from board-certified music therapists to ask about which genres their clients most commonly request, as well as which genres they feel musically prepared using in sessions. The survey’s findings were that client’s most frequently requested Children’s, Classic Country, Classic Rock, Gospel, Hymn, Oldies, and Pop Music. Respondents reported to feeling most musically prepared to use genres that were most frequently requested by their clients. Music therapists reported not feeling musically prepared to use genres associated with World Music cultures or genres requiring use of electronic or synth- based instruments such as Bachata, EDM, Funk, Heavy Metal, Hip Hop/Rap, J-Pop, K-Pop, Latin Hip Hop/Latin Rap, Latin Pop, Merengue, Punk, Reggaeton, Salsa, Ska, Trap, and Video Game Music. -
Exploring Queer Expressions in Mens Underwear Through Post Internet Aesthetic As Vaporwave
Mens underwear :Exploring queer expressions in mens underwear through post internet aesthetic as Vaporwave. Master in fashion design Mario Eurenius 2018.6.09. 1. Abstract This work explores norms of dress design by the use of post internet aesthetics in mens underwear. The exploration of underwear is based on methods formed to create a wider concept of how mens underwear could look like regarding shape, color, material and details. Explorations of stereotypical and significant elements of underwear such as graphics and logotypes has been reworked to create a graphical identity bound to a brand. This is made to contextualize the work aiming to present new options and variety in mens underwear rather than stating examples using symbols or stereotypic elements. In the making of the examples for this work the process goes front and back from digital to physical using different media to create compositions of color, graphic designs and outlines using transfer printer, digital print, and laser cutting machine. Key words: Mens underwear, graphic, colour, norm, identity, post internet, laser cut. P: P: 2 Introduction to the field 3 Method 15 What is underwear? 39 Shape, Rough draping Historical perspective 17 Male underwear and nudity 41 From un-dressed to dressed 18 Graphics in fashion and textiles 42 Illustrator sketching 19 Differencesin type and categories of mensunderwear 43 shape grapich design 2,1 Background 3.1 Developement 45 collection of pictures 49 Colour 20 Vaporwave 50 Rough draping Japanese culture 21 Mucis 55 Rough draping 2 22 -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
The Psytrance Party
THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Free 70S Disco Samples
Free 70s disco samples The royalty free 70s disco loops, samples and sounds listed here have been kindly uploaded by other users and are free to use in your project. If you use any of. Disco music loops, stock samples, royalty free downloads. Acid, FL Studio Download bpm Disco Drum by rasputin - 70s Disco Beat-- Highly Swung. KVR Forum Topic: 'Funk/70's Disco Samples ' - Hi all, I want to "disco-fy" my sound. Does anyone know where I can get any kind of disco sas disco drum kit? (Topic in the 'Samplers, Sampling. The glory years of disco may have been in the late '70s and early '80s, but its dancefloor friendly sound has never really gone away. Here some of the classic disco drums we've used over the years. Perfect for filling up your drums and giving them that live drum feel. All samples were sampled. True Disco by Loopmasters is on Splice Sounds. collection of royalty free disco samples since Jon Travolta hung up his flares. True Disco is an electrifying collection of Live instrument loops recorded through Worry no more about Licencing issues with those dodgy samples of old Disco records, get the full 70s Vibe here. Inject your music with authentic disco flavours with the hottest royalty-free sample packs, loops, MIDI, patches and presets - all available to audition instantly and. Download FREE Disco sounds - royalty-free! Find the Disco sound you are looking for in seconds. Free Soul sample pack downloads from Samplephonics. Check the website for a huge range of free Soul drum loops, instrument samples, sounds & sample libraries. -
The Freesound Loop Dataset and Annotation Tool
THE FREESOUND LOOP DATASET AND ANNOTATION TOOL António Ramires1 Frederic Font1 Dmitry Bogdanov1 Jordan B. L. Smith2 Yi-Hsuan Yang3 Joann Ching3 Bo-Yu Chen3 Yueh-Kao Wu3 Hsu Wei-Han3 Xavier Serra1 1 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain 2 TikTok, Lodon, United Kingdom 3 Research Center for IT Innovation, Academia Sinica, Taipei, Taiwan [email protected] ABSTRACT tronic music. Currently, large-scale databases of audio of- fer huge collections of audio material for users to work Music loops are essential ingredients in electronic mu- with. Some databases, like Freesound 1 and Looperman 2 , sic production, and there is a high demand for pre-recorded are community-oriented: people upload their sounds so loops in a variety of styles. Several commercial and com- that other users can employ them in their works. More munity databases have been created to meet this demand, commonly, these collections are commercially oriented: but most are not suitable for research due to their strict li- loops are available to paying costumers, either through a censing. We present the Freesound Loop Dataset (FSLD), subscription service (e.g. Sounds.com, 3 Splice 4 ) or by a new large-scale dataset of music loops annotated by ex- allowing customers to buy packs of loops (e.g. Loopmas- perts. The loops originate from Freesound, a community ters, 5 and Prime Loops 6 ). database of audio recordings released under Creative Com- Despite the number of loops available on these mons licenses, so the audio in our dataset may be redis- databases, the technologies used to analyse and navigate tributed. -
The Vocal Booth Is
For... With... Of... With... For... The Vocal Booth Weekender is an event that brings together like-minded, open hearted music lovers from around the globe. The diversity of the crowd matches For... the diversity of the music, yet there’s one thing that connects it all: soul. This community was started 10 years ago and has With... grown by word of mouth, creating an inclusive and intimate atmosphere that has people returning year- The Story Of on-year. Of... The vibe is reminiscent of clubbing back in the day, yet the broad range of DJs keeps the music fresh and current. The love of music is the glue that bonds this family together and the shared memories keep people Booth Weekender Vocal coming back for more. ANDY WARD The Story Of The Vocal Booth Cover photos: Andy Ward & Martin Clark Cover design: Andy Ward Weekender For... With... Of... With... For... The Vocal Booth Weekender is an event that brings together like-minded, open hearted music lovers from around the globe. The diversity of the crowd matches For... the diversity of the music, yet there’s one thing that connects it all: soul. This community was started 10 years ago and has With... grown by word of mouth, creating an inclusive and intimate atmosphere that has people returning year- The Story Of on-year. Of... The vibe is reminiscent of clubbing back in the day, yet the broad range of DJs keeps the music fresh and current. The love of music is the glue that bonds this family together and the shared memories keep people Booth Weekender Vocal coming back for more. -
De Dj Als Superster Universiteit Universiteit Van Utrecht Auteur J.H
Titel doctoraalscriptie De dj als superster Universiteit Universiteit van Utrecht Auteur J.H. Meeuwissen Studierichting Taal en Cultuurstudies Adres Waalstraat 93hs Specialisatie Kunstbeleid en Management Woonplaats Amsterdam Eerste lezer drs. Ingmar Leijen Telefoon 06-51819744 Tweede lezer dr. Kees Vuyk Studentnummer 0067016 Datum mei 2007 - de dj als superster - 2 Samenvatting In De dj als superster wordt een vergelijking getrokken tussen de superster uit de popmuziek en de dj uit de dancewereld. De thesis legt overeenkomsten en verschillen in marketingtechnieken tussen de popmuziekwereld en de dancemuziekwereld bloot. De opkomst en creatie van de superster in de jaren tachtig worden bestudeerd, alsmede de geschiedenis van dancemuziek en marketingtechnieken in de dancescene. Hierdoor komen ook enkele fundamentele verschillen tussen deze twee muziekwerelden aan het licht. De dj is aan het einde van de 20 e eeuw het middelpunt geworden van de dancescene. Het uitgebreide takenpakket van een dj vertoont overeenkomsten met het takenpakket van een superster in de popmuziek. Ook op het gebied van de marketing zijn er diverse overeenkomsten gevonden in dit onderzoek. Hier zijn echter ook belangrijke verschillen aan het licht gekomen. Uit de interviews met specialisten uit de dancewereld blijkt dat de marketingmethodes die zij gebruiken, voor een groot deel overeenkomen met de benodigdheden die gevonden werden voor het bereiken van de supersterstatus in de popmuziek in de jaren tachtig. Vier van die zeven benodigdheden, te weten het verzorgen van optredens, wereldwijde distributie, cross-overs en weinig aanbod op het gebied van optredens, worden volledig identiek ook toegepast in de marketing van dj’s. Slechts met één punt, het bezitten van sex appeal, wordt op dit moment niets gedaan door de specialisten uit de dance-industrie.