DOCSLIB.ORG

Zenon Dance Zone Fall 2020 Showcase

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zenon Dance Zone Fall 2020 Showcase ZENON DANCE ZONE SHOWCASE MADELYN BURNHAM JESSE NEUMANN-PETERSON MARY WILLMENG GUESTS ALTERNATIVE MOTION PROJECT DANCEBARN COLLECTIVE TAMARA OBER and JULIE JOHNSON DEC 19, 2020 | 7:30PM ZenONLINE FREE ZENONDANCE.ORG/ZONE ZENON DANCE ZONE FALL 2020 SHOWCASE 03/25 Choreographer/s: Madelyn Burnham in collaboration with dancers Videography: Dancers Music: Ivory Black by Oliver Riot Dancers: Paige Nelson, Sarah Brennecke, Rebecca Tanner Costumes provided by dancers March 25th, a day that changed Minnesotans forever. Each life was changed and shifted in a unique and different way. COVID-19 has left its mark on us and is continuing to do so day by day. We hope to evoke your thoughts and experiences of COVID-19 while watching this piece. No journey is the same, and that is what you will see when watching, but we all come together and unite to get through this day by day. Fall Excerpt from Now is the Time Now is the Time was created in 2013 ~ A dance/film/live music performance that takes you on a journey through the four seasons. Full show available here: julieflute.net/store Music created and performed by Julie Johnson Dance/Video created and performed by Tamara Ober Now is the Time was originally created as a live performance piece integrating music, dance and film. It has been made into a video show for these COVID times. It offers a beautiful and uplifting journey through the four seasons. Images from all over the state of Minnesota offer a sense of travel through space and time. The piece also reflects the human heart and human nature as it cycles through its own seasons. I'm here Choreographer: Mary Willmeng with movement invention from the dancers Videography: Mary Willmeng Music: Hypocrite by Jean-Michel Blais and CFCF Costumes: provided by the dancers Dancers: Sarah Brennecke, Debra Bulluck, Jasmine Comens, Meredith Keith-Chirch, Paige Nelson ZENON DANCE ZONE FALL 2020 SHOWCASE What Never Was What Never Was (2020) is a 9-minute work made to honor and re-imagine the creative work of Alternative Motion Project’s canceled 9th Season Performance. While this film draws inspiration from the work that never got to see the stage, we did not set out to simply recreate choreography that already existed and put it on camera. We wanted to build a new creation that has its own unique identity. Produced by - Kristin Howe + Joanna Lees Directed and Edited by - Joanna Lees Assistant Director - Kristin Howe Cinematography by - V. Paul Virtucio Lighting Design by - Tony Stoeri Movement by - The Performers in collaboration with Kristin Howe, Joanna Lees, Erinn Liebhard, Brenna Mosser Performed by Alternative Motion Project - Stephanie Flanagan, Harper Foote, Karin Jarvise, Laura K Johnson, Julia Moser-Hardy, Brenna Mosser, Jesse Schmitz-Boyd, Addie Smith, Bridgett Tegen, + Lauren Vanchina Music Score Composed by Michael Wall Sound Mixing + Design by - Joanna Lees Filmed on location on stolen land at - The Lab Theater, Minneapolis, MN Special Thanks to - Metropolitan Regional Arts Council, The Lab Theater, E'lise Jumes, Mary Kelley Leer, Bobby Snyder, Jessie Storovich, + Michael Wall This activity is made possible by the voters of Minnesota through a grant from the Metropolitan Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund. Cygnus Directed by Cara Hagan and Robert Uehlin Choreography and performance by Cara Hagan Cinematography and editing by Robert Uehlin Music by Michael Wall Presented by DanceBARN Collective A short screendance filmed on location on Battle Lake, MN. Cygnus invites us to revel in the beauty of the sunrise over calm waters as the moon slips behind the horizon. A celebration of the earth, the body, and their kinship. ZENON DANCE ZONE FALL 2020 SHOWCASE RAINBOW RETURNS WE BEGIN AGAIN Directed/Choreographed by Jesse Neumann-Peterson, Jess Forest Works Filmed by the performers with assistance from Patricia Brennecke, Charles Capistrano, and Lydia Kittleson and Snaggletooth the dog Performances by Sarah Brennecke, Debra Bulluck, Jasmine Comens BIOS Zenon Dance Zone Dancers Meredith Keith-Chirch's first exposure to dance was through various jazz styles such as street jazz and funk, as well as hip-hop dance of the 80s and 90s, which she learned through dancing socially. She found she loved branching out into other forms of dance, and has experienced rhythm tap, West African, Bhangra, modern, contemporary, ballet, and Middle Eastern dance. She is passionate about raising awareness of vernacular jazz dance and its largely forgotten history. She thinks that jazz dance could be the answer to world peace, and she's secretly hoping that there will soon be a resurgence of The Fly Girls. Jasmine Comens lives and works in South Minneapolis. She studied Theatre/Dance at Luther College and has been deepening her dance practice for 2 years with Zenon Dance School. She is exceptionally grateful to have had the opportunity to continue to take class and make art with the incredible teachers, choreographers, and dancers at Zenon Dance School and the Zone program during a time of many changes and challenges. Sarah Brennecke started dancing at the age of 5 and dance has been a part of her life ever since. She has been taking classes at Zenon for many years, but this is her time performing with the Zone program; first time performing at all since high school! Debra Bulluck has had a passion for dance even before taking her first class at 15 years old. She was first introduced to Modern dance at Berea College (Berea, KY) and from there continues to integrate dance where ever she goes. Dancing and performing through the pandemic has cultivated an underrated super power in her, vulnerability. To explore the juxtaposition of dancing together while alone has been revolutionary; a unique gift that she will take with her beyond the dance floor. Paige Nelson Rebecca Tanner ZENON DANCE ZONE FALL 2020 SHOWCASE Zone Choreographers Madelyn Burnham is from Mayer, Minnesota where she attended Mayer Lutheran High School. Before college, Maddie attended PAC where she received her first modern dance exposure. She has a Theatre and Dance Honors major from Gustavus Adolphus College. At Gustavus, Madelyn has been exposed to multiple forms of movement including continuum, modern, jazz, ballet, and many more. She has had many opportunities to create work. She is currently teaching at Waconia Center for Dance Arts for their musical theatre and modern courses and was an assistant dance club coach at Holy Family Dance Team this Fall. She has created her own company, 8:20 Dance Company, that has been a very strong outlet to create work amidst the current circumstances. She was empowered and humbled by the Zenon Dance Zone program by creating the screen dance performance. Jesse Neumann-Peterson, Jess Forest Works, is a visual artist, choreographer, and performer residing in Minneapolis. He has been a nationally touring repertory performer and teacher with Stuart Pimsler Dance & Theater for eight seasons. He has performed with Flying Foot Forum, Rosy Simas, Sharon Picasso, Vanessa Voskuil, and many other independent choreographers and dance companies. Jesse is a 2014 Sage Award recipient for outstanding dance performance. He is currently working on an evening length work for the 2020 Right Here Showcase. Mary Willmeng is an independent choreographer, teacher, and dancer living in Minneapolis since 2019. She danced professionally in Chicago, IL with Mordine and Company Dance Theater, the 58 Group, Breakbone Dance Company, Adriana Durant Dance, and Ayako Kato before relocating to Colorado in 2009. During her time in Colorado, she performed with Cindy Brandle Dance Company, Mary Wohl Haan, and Rachel Oliver Young. Her own work has been performed at the Dairy Center for the Arts in Boulder, the Colorado Conservatory of Dance, the Dance Center of Columbia College, Links Hall, the UIC Theater, and Stage 773. She has set her work on Simantikos Dance Chicago and Trifecta Dance Collective. She is extremely grateful for this opportunity to create with the dancers of Zenon Dance Zone! Guest Artists Alternative Motion Project alternativemotionproject.org Kristin Howe (Co-Artistic Director) received her Bachelor’s degree in Performing Arts, with an emphasis in Dance, from Colorado State University in 2005. During her time with CSU, she studied with Toronto Dance Theatre and at the American Dance Festival (Durham, NC). She has performed with Korzatkowski Contemporary Dance, Rebound Dance, The Sonic Inertia Performance Group, Labor Force Dances, Wicked Sister Dance Theatre, We Dance (Erin Drummond), Joanna Lees, Jennifer Mack, Kelly Radermacher, and Strange and Liebhard New Music and Dance Ensemble. Kristin’s choreography has been shown at the American College Dance Festival (Long Beach, CA), New Visions Dance Festival (Fort Collins, CO) Rebound Dance Festival (Chicago, IL) The Dance Lab (Minneapolis, MN), Alaska Center for the Performing Arts, (Anchorage, AK) Kinetic Kitchen (Minneapolis, ZENON DANCE ZONE FALL 2020 SHOWCASE MN) and with Moving Collective (Louisville, KY). In 2011, she co-founded Alternative Motion Project (AMP) alongside Joanna Lees in her home of Minneapolis, MN. Since AMP’s beginning, Kristin has choreographed 11 world premieres and co- produced 7 evening-length dance performances. As a choreographer, she enjoys collaborating with live musicians that have included Steve Howe (beat boxer), Alyssa Anderson (vocalist), Dameun Strange (composer/musician/performer), and Richard Haglund (composer/musician/percussionist). Kristin is thankful for her husband Steve, her boys, Ethan and Clayton, and her family for their continued support. Joanna Lees (Executive + Co-Artistic Director) is an emerging choreographer out of Minneapolis, MN. Originally from the Washington, D.C. area, Joanna graduated cum laude with distinction in 2007 with a BFA in Dance and a minor in Business from The Ohio State University (Columbus, OH) where she was also an Arts Scholar and the recipient of the Denman Undergraduate Research Forum Scholarship.
Load more

Recommended publications
  • How to Re-Shine Depeche Mode on Album Covers
    Sociology Study, December 2015, Vol. 5, No. 12, 920‐930 D doi: 10.17265/2159‐5526/2015.12.003 DAVID PUBLISHING Simple but Dominant: How to Re­shine Depeche Mode on Album Covers After 80’s Cinla Sekera Abstract The aim of this paper is to analyze the album covers of English band Depeche Mode after 80’s according to the principles of graphic design. Established in 1980, the musical style of the band was turned from synth‐pop to new wave, from new wave to electronic, dance, and alternative‐rock in decades, but their message stayed as it was: A non‐hypocritical, humanist, and decent manner against what is wrong and in love sincerely. As a graphic design product, album covers are pre‐print design solutions of two dimensional surfaces. Graphic design, as a design field, has its own elements and principles. Visual elements and typography are the two components which should unite with the help of the six main principles which are: unity/harmony; balance; hierarchy; scale/proportion; dominance/emphasis; and similarity and contrast. All album covers of Depeche Mode after 80’s were designed in a simple but dominant way in order to form a unique style. On every album cover, there are huge color, size, tone, and location contrasts which concluded in simple domination; domination of a non‐hypocritical, humanist, and decent manner against what is wrong and in love sincerely. Keywords Graphic design, album cover, design principles, dominance, Depeche Mode Design is the formal and functional features graphic design are line, shape, color, value, texture, determination process, made before the production of and space.
    [Show full text]
  • Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
    MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas
    [Show full text]
  • A Content Analysis of Sexual References in Popular Music Meghan Terry Brigham Young University, [email protected]
    Brigham Young University BYU ScholarsArchive FHSS Mentored Research Conference Family, Home, and Social Sciences 2016-04-07 Popular Music: Sexually Saturated? A Content Analysis of Sexual References in Popular Music Meghan Terry Brigham Young University, [email protected] Mariah Ramage Brigham Young University, [email protected] Crystal Gardner Brigham Young University, [email protected] Jessica Van Alfen Brigham Young University, [email protected] Emilee Gregson Brigham Young University, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/fhssconference_studentpub Part of the Family, Life Course, and Society Commons BYU ScholarsArchive Citation Terry, Meghan; Ramage, Mariah; Gardner, Crystal; Van Alfen, Jessica; and Gregson, Emilee, "Popular Music: Sexually Saturated? A Content Analysis of Sexual References in Popular Music" (2016). FHSS Mentored Research Conference. 294. https://scholarsarchive.byu.edu/fhssconference_studentpub/294 This Poster is brought to you for free and open access by the Family, Home, and Social Sciences at BYU ScholarsArchive. It has been accepted for inclusion in FHSS Mentored Research Conference by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Popular Music: sexually saturated? A Content Analysis of Sexual References in Popular Music Introduction Results 57% of songs had at least one sexual reference. 85% of hip-hop/rap songs, 82% of R&B/soul songs, and “Music is more important than any other media type in managing mood and expressing identity” (Lonsdale 57% of pop songs had sexual references. & North, 2011). Because of this, musical artists have a great power to influence the listeners on an A two-way chi square analysis revealed that there were more hip-hop/rap, pop, and R&B/soul songs with individual and group basis and share messages about life, society, and even sexuality (Selfhout et al., 2009).
    [Show full text]
  • “House and Techno Broke Them Barriers Down”: Exploring Exclusion Through Diversity in Berlin's Electronic Dance Music Nigh
    Gender Studies Department of Thematic Studies Linköping University “House and Techno Broke Them Barriers Down”: Exploring Exclusion through Diversity in Berlin’s Electronic Dance Music Nightclubs Naomi Alice Rodgers Supervisor name: Silje Lundgren Gender Studies, LiU Master’s Programme Gender Studies – Intersectionality and Change Master’s thesis 30 ECTS credits ISRN: LIU-TEMA G/GSIC2-A—15/003—SE 1 ABSTRACT Berlin is heralded worldwide as being a city that is open, innovative and diverse: a true multicultural metropolis. Music plays a central role in the city’s claim to this title. Go to any one of Berlin’s many notorious alternative nightclubs and you will hear techno, house and electronic dance music blasting out to hoards of enthusiastic partygoers. Many of these clubs and their participants claim that these parties represent diversity, acceptance, equality and tolerance: Spaces within which social divisions are suspended, difference is overcome and people are united. This ubiquitous discursive assertion is referred to in this thesis as a “diversity discourse”. This “diversity discourse” will be deconstructed and situated within a wider political context, with a specific focus on perceptions of race, ethnicity, sexuality and gender. Engaging with theories of intersectionality, post-colonial theory (looking specifically at Jasbir Puar’s important work on homonationalism) and employing qualitative methods such as in-depth interviews and autoethnographic inquiry, it will be argued that the “diversity discourse” works as a mask to conceal a reality of social segregation. Far from being sites of equality and diversity, it will be suggested that access to these nightclubs is premised on the possession of societal privilege.
    [Show full text]
  • Xiami Music Genre 文档
    xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop .........................................
    [Show full text]
  • Analyzing Genre in Post-Millennial Popular Music
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire.
    [Show full text]
  • DJ-MATIC Genres - Algemene Indeling Van De Tracks
    DJ-MATIC Genres - algemene indeling van de tracks Ambiance Chanson Funk Pop Latin Thema Jingle Après Ski Chanson Funk Rock Alternative Pop Bachata Carnaval Apès ski Café Classical Jazz-Funk Easy Listening Bossanova Halloween Cabaret Schlager Classic Jazz Electro pop Cuban Kerst Dieren Volksmusik Opera Acid Jazz Love songs Merengue Nieuwjaar Effecten Beats Popular Classic Big Band New wave Salsa Piratenhits Huishoudelijk Acid House Symphony Jazz Bossa Nova Pop Samba Sinterklaas Kermis Alternative Dance Vocal Classic Jazz Dixieland Reggae Soul Songfestival Klokken Bubbling Comedy Jazz Modern Dancehall Gospel Verjaardag Kreten Club/Groove Blues Jazz Traditional Reggae Motown Voetbal Oorlog Dance Blues Smooth Jazz Ska Soul Zomers Seizoen Deep House Blues Funky Swing Rock Urban Other/Special Speciaal Disco Blues Jazzy Lounge Alternative Rock R&B Evergreens Sport Disco Nouveau Blues Rock Ambient Ballad Rap Finals/Afsluiters Uitspraken Drum & Bass Country Chill-Out Gothic Reggaeton Karaoke Verjaardag Electro House Country Ethnic Hard Rock Vocal National Anthems Verkeer Eurodance Dance styles Lounge Indie Vocal Popcorn oldies Voetbal Happy Hardcore Quickstep New Age Metal World Performing Arts Weer Hardcore Tango Nu-Jazz Psychedelic Arabe Cabaret House Folk Mixes Punk World Kleinkunst Jumpstyle Folk Dance Rock Movie/Soundtrack New Beat Feest Symphonic Rock Musical Techno Lounge Rock & Roll Comedy Trance Mixes Rock & Roll Comedy Urban Kids .
    [Show full text]
  • Daytona Beach, FL Results
    Daytona Beach, FL REGIONALS APRIL 30 - MAY 2, 2021 OVERALL RESULTS RECOGNITION OF SPECIAL PERFORMANCES Perseverance #23 Halo IndepenDANCE Studio Shooting Stars School Of Personality Plus #3 Dance Monkey Performing Arts Dynamic Dancer #26 Soldier Alternative Dance Centre GRAND FINALS SCHOLARSHIP Ava Mulligan Alternative Dance Centre DISCOVERY SPOTLIGHT SCHOLARSHIP Annabella Vilaro IndepenDANCE Studio DISCOVERY SPOTLIGHT Southern Strut Dance SCHOLARSHIP Kayleigh Mae Breese Center Independent Dance RECREATIONAL TOP PETITE SOLO 5TH OVERALL #4 Princess Collective 4TH OVERALL #2 Woman Alternative Dance Centre Shooting Stars School Of 3RD OVERALL #14 I Like To Fuss Performing Arts Shooting Stars School Of 2ND OVERALL #6 BabyI'm A Star Performing Arts Shooting Stars School Of 1ST OVERALL #9 A Note To God Performing Arts #9 A Note To God - Zariah Shooting Stars School Of PETITE MISS ENCORE DCS WINNER Williams Performing Arts Southern Strut Dance TOP PETITE DUET/TRIO 1ST OVERALL #34 Dream Center COMPETITIVE TOP PETITE SOLO 5TH OVERALL #25 Rainbow IndepenDANCE Studio #27 I Wanna Be A 4TH OVERALL Rockette IndepenDANCE Studio 3RD OVERALL #19 No Tears Left To Cry IndepenDANCE Studio 2ND OVERALL #20 Fabulous IndepenDANCE Studio 1ST OVERALL #26 Soldier Alternative Dance Centre Shooting Stars School Of TOP PETITE SUPER SOLOIST 1ST OVERALL Finley Forrester Performing Arts #26.5 I Wanna Be A Shooting Stars School Of PETITE MISS ENCORE DCS WINNER Rockette - Finley Forrester Performing Arts TOP MINI DUET/TRIO 1ST OVERALL #35 Minnie's Workout IndepenDANCE
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • Get to Know Melleefresh
    7/14/2020 Get To Know Melleefresh (/) (/dashboard/index.html) (/action/login.html) (/action/register.html) Explore (https://cybr.at/besame) Get To Know Melleefresh Home (/) Stories (/stories/index.html) Get To Know Melleefresh Overview Info & Stats (/stories/index.html) Jul 13, 2020 Get To Know Melleefresh https://www.1001tracklists.com/stories/cpypnb/get-to-know-melleefresh/index.html 1/6 7/14/2020 Get To Know Melleefresh We caught up with Melleefresh as well as her collaborators on the brand new anthem “Mamita (https://fanlink.to/PD5395)” out now on Play Records. The artists go in depth discussing how the track came to life, and Melleefresh provides perspective on the journey of her career so far! Hey Melleny & Jerome, thanks for joining us today! When did you first meet and how did you come together to work on “Mamita”? Jerome Robins: We met back in 2008. I was living in Vancouver at the time and came back to Toronto for a quick visit. I met Mel at a Starbucks to chat about some remixes. She offered to make me matzo ball soup and the rest was history. Melleefresh: Jerome and I met back in 2008 when he did some remixes for me on some freshmau5 tracks (Melleefresh and deadmau5). NHB – can you tell us about the techno elements In “Mamita”? NHB: We were making this tech house track, using Ableton Live, Play Deep’s TR-909 and the Korg Monopoly. We did this just after ADE in 2016 and then it sat till Mellee played it for Jerome and he said, “I know how to make this POP!!!” In 2020, sometimes it takes a while, especially with a few chefs in the kitchen, to get a track completed.
    [Show full text]
  • Deep Learning Music Information Retrieval for Content-Based Movie Recommendation
    Deep learning music information retrieval for content-based movie recommendation Master Thesis KARYDIS G. ATHANASIOS [email protected] Institute of Informatics & Telecommunications NCSR Demokritos Supervisor: Dr. Theodoros Giannakopoulos September 14, 2020 i Student: Karydis Athanasios Approved: Supervisor: Theodoros Giannakopoulos, Post-Doctoral Researcher Approved: Examiner: Klampanos Iraklis - Angelos, Post-Doctoral Researcher Approved: Examiner: Moscholios Ioannis, Associate professor Acknowledgements I would like to thank my supervisor Dr. Theodoros Giannakopoulos for his ded- icated support and guidance. Theodoros continuously provided encouragement and was always willing and enthusiastic to assist in any way while his insight and knowledge into audio analysis steered me through this research. ii Abstract A recommendation system is a system that provides suggestions to users for certain resources like movies. Movie recommendation systems usually predict what movies a user would like based on the attributes present in previously liked movies. Content-based movie recommendation systems are important because they base their recommendations mostly on the content of the movies such as music, speech and subtitles. Music, in particular, is an import aspect of a movie, as, in many cases, it may reach the audience emotionally beyond the ability of picture and sound. In this thesis, both machine learning and deep learning are used to extract valu- able information from movie music, in order to create a good base for a content- based recommendation system. Towards the end, a dataset is built containing the predicted values of the aforementioned information of 145 movies of 12 dif- ferent directors and a collection of metadata. At a first stage, a simple music detector based on SVM classifier and hand crafted features is trained and applied to movies in order to detect music segments of each movie.
    [Show full text]
  • Lorentz, Korinna
    MASTERARBEIT im Studiengang Crossmedia Publishing & Management Erfolgversprechende Melodien – Analyse der Hooklines erfolgreicher Popsongs zur Erkennung von Mustern hinsichtlich der Aufeinanderfolge von Tönen und Tonlängen Vorgelegt von Korinna Gabriele Lorentz an der Hochschule der Medien Stuttgart am 08. Mai 2021 zur Erlangung des akademischen Grades eines „Master of Arts“ Erster Betreuer und Gutachter: Prof. Dr. Oliver Wiesener Zweiter Betreuer und Gutachter: Prof. Oliver Curdt E-Mail: [email protected] Matrikelnummer: 39708 Fachsemester: 4 Geburtsdatum, -ort: 15.04.1995 in Kiel Danksagung Mein größter Dank gilt Professor Dr. Oliver Wiesener für das Überlassen des Themas und die umfangreiche Unterstützung bei methodischen und stochastischen Überlegungen. Ich danke ihm insbesondere dafür, dass er trotz einiger anderer Betreuungsprojekte meine Masterarbeit angenommen hat und somit meinen Wunsch, im Musikbereich zu forschen, ermöglicht hat. Des Weiteren möchte ich meinem Freund und meiner Familie dafür danken, dass sie sich meine Problemstellungen bis zum Ende hin angehört haben und mir immer wieder Inspi- rationen für neue Lösungswege geben konnten. Besonderer Dank gilt meiner Mutter, Gabriele Lorentz, mit der ich interessante Gespräche zu musikalischen Themen führen konnte und mei- nem Vater, Dr. Thomas Lorentz, mit dem ich nächtliche Diskussionen über Markov-Ketten und Neuronale Netzwerke hatte. Ich danke meinen Eltern und meinem Freund, Michael Feuerlein, für die kritische Durchsicht der Arbeit. Kurzfassung In der vorliegenden Masterarbeit wurden die Melodie-Hooklines von Popsongs, die in Deutsch- land zwischen 1978 und 2019 sehr erfolgreich waren, explorativ analysiert. Ziel war, zu unter- suchen, ob gewisse Muster in den Reihenfolgen der Töne und Tonlängen vorkommen, und diese zu finden. Für die Mustersuche wurden Markov-Ketten erster, zweiter und dritter Ord- nung sowie Chi-Quadrat-Anpassungstests berechnet.
    [Show full text]