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Milla Berntsen (Voice) Performance 2A Recital Performance Space, City, University of London 2 June 2021 4:45PM
Milla Berntsen (voice) Performance 2A Recital Performance Space, City, University of London 2 June 2021 4:45PM Keshi, “Drunk” from the album always (2020). Written by Casey Luong (Keshi). Casey Luong, professionally known as Keshi, is a 26-year-old American singer, songwriter, producer, and multi-instrumentalist from Houston, Texas, USA. He began his musical career by sharing his music on Soundcloud, where he eventually gained enough popularity to gain confidence to quit his job as a nurse and fly to New York City to sign with Island Records. He’s best known for his falsetto vocals and textural instrumentals in alternative, indie, and R&B music. This alternative/indie song is about feeling alone and missing being in love. The main character is left by himself while his friends are drunk, which causes him to think about his past lovers. It has a soothing moodiness to it along with a bit of playfulness in its melodramatic kick. I’ve chosen this song because I want to begin this performance by allowing the audience to layback as the song plays with both the high and low register of the voice. Let us take a sip, shall we? The Neighbourhood, “Stargazing” from the album Chip Chrome & The Mono-Tones (2020). Written by Jesse James Rutherford (vocalist), Brandon Fried (drummer), Jeremiah Freedman (guitarist), Micheal Margott (bassist), Zachary Abels (guitarist), and Danny Parra. The Neighbourhood are an American rock band that formed in Newbury Park, California, in 2011. They use the British spelling of “neighbourhood” in order to distinguish themselves from a band already using the American spelling of “neighborhood.” Their musical style is described as alternative rock, indie rock/pop, and some elements of electronic, hip hop, and R&B. -
French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 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. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
Effets & Gestes En Métropole Toulousaine > Mensuel D
INTRAMUROSEffets & gestes en métropole toulousaine > Mensuel d’information culturelle / n°383 / gratuit / septembre 2013 / www.intratoulouse.com 2 THIERRY SUC & RAPAS /BIENVENUE CHEZ MOI présentent CALOGERO STANISLAS KAREN BRUNON ELSA FOURLON PHILLIPE UMINSKI Éditorial > One more time V D’après une histoire originale de Marie Bastide V © D. R. l est des mystères insondables. Des com- pouvons estimer que quelques marques de portements incompréhensibles. Des gratitude peuvent être justifiées… Au lieu Ichoses pour lesquelles, arrivé à un certain de cela, c’est souvent l’ostracisme qui pré- cap de la vie, l’on aimerait trouver — à dé- domine chez certains des acteurs culturels faut de réponses — des raisons. Des atti- du cru qui se reconnaîtront. tudes à vous faire passer comme étranger en votre pays! Il faut le dire tout de même, Cependant ne généralisons pas, ce en deux décennies d’édition et de prosély- serait tomber dans la victimisation et je laisse tisme culturel, il y a de côté-ci de la Ga- cet art aux politiques de tous poils, plus ha- ronne des décideurs/acteurs qui nous biles que moi dans cet exercice. D’autant toisent quand ils ne nous méprisent pas tout plus que d’autres dans le métier, des atta- simplement : des organisateurs, des musi- ché(e)s de presse des responsables de ciens, des responsables culturels, des théâ- com’… ont bien compris l’utilité et la néces- treux, des associatifs… tout un beau monde sité d’un média tel que le nôtre, justement ni qui n’accorde aucune reconnaissance à inféodé ni soumis, ce qui lui permet une li- photo © Lisa Roze notre entreprise (au demeurant indépen- berté d’écriture et de publicité (dans le réel dante et non subventionnée). -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Techno-Economic Modeling Tribal Energy Webinar Series
Techno-Economic Modeling Tribal Energy Webinar Series Tony Jimenez, Senior Engineer NREL Jun 24, 2020 Presentation Overview Techno-Economic Modeling (TEM) Overview (For renewable energy [RE] projects in particular) Models and Data Resources: • Models • Resource Data • Cost Data Example Analysis Using System Advisor Model (SAM) NREL Image Library # 08058 Library Image NREL NREL | 2 Techno-Economic Modeling (TEM) Overview Models and Sources of Information Example Analysis NREL | 3 Techno-Economic Modeling: What is it and Why do it? What is it? Process to estimating the technical and economic performance of a proposed (or envisioned) energy project. • What is the performance? TEM mostly focuses on the • What are the economics? first two items • What are the practical considerations relevant to executing the project? Why do it? Inform decision making NREL | 4 Techno-Economic Modeling: Simple Example (1 of 2) Scenario: You are considering a PV project for your store, Woodlands Market, located north of Redding, CA. • Location: Lat: N 40.79, Long: W122.32 • Average Monthly Consumption: 80,000 kWh • Roof Area (flat roof): 12,000 sq. ft. Questions • What size PV system do is needed so that annual production roughly matches annual consumption? • What size system will fit on the roof? • What is the estimated capital cost? NREL | 5 Techno-Economic Modeling: Simple Example (2 of 2) Consumption • 80,000 kWh/mo = 960,000 kWh/year = 2,630 kWh/day = 110 kW Solar resource: • 4.75-5.00 kWh/m2/day (On a horizontal surface) (Source: Solar Atlas) • Assume 4.8 kWh/m2/day PV Production (per kWdc of PV capacity) (Average) • Average daily production (ignoring tilt & losses): 4.8 kWh/day/kWdc Capacity needed for production to (roughly) equal consumption • 2,630 kWh/day divided by 4.8 kWh/day/kWdc 550 kWdc Space Analysis • Rule of thumb: 10 wattsdc (0.01 kWdc) per square foot of roof space • Rule of thumb: can use 2/3 of roof area • Capacity that roof can accommodate: 12,000 sq. -
New Tribal America
SENTIREASCODIGITALLTA MAGAZINE FEBBRRAIOE N. 40 WHITE HINTERLAND MAGNETIC FIELDS ATLAS SOUND FIRE ON FIRE SETOLA DI MAIALE MICHAEL roTHER GLENN GOULD THE FRENCH COWBOYS NO KIDS THAO NEW TRIBAL AMERICA DIRETTORE Edoardo Bridda 4 NEWS COOR D IN A MENTO Teresa Greco CON S ULENTI A LL A RE da ZIONE 6 TURN ON Daniele Follero WHITE INTERLAND, THE CALORIFER IS VERY HOT, THAO NGUYEN... Stefano Solventi ST A FF Gaspare Caliri Nicolas Campagnari Antonello Comunale Antonio Puglia 16 TUNE IN DEAD MEADOW HA NNO C OLL A BOR A TO Gianni Avella, Davide Brace, Marco Braggion, Gaspare Caliri, Marco Canepari, Manfredi Lamartina, Paolo Grava, Massimo Padalino, Giulio Pasquali, 20 DroP OUT Stefano Pifferi, Andrea Provinciali, Italo Rizzo, Costanza Salvi, Vincenzo Santarcangelo, Giancarlo MAGNETIC FIELDS, SETOLA DI MAIALE, NEW TRIBAL AMERICA Turra, Fabrizio Zampighi, Giuseppe Zucco GUI da S PIRITU A LE 46 RECENSIONI Adriano Trauber (1966-2004) BLACK LIPS, CASS MCCOMBS, VAMPIRE WEEKEND, BEACH HOUSE... GR A FI ca Edoardo Bridda 90 WE ARE DEMO IN C OPERTIN A Aa (Daniel Arnold) 92 REARVIEW MIrror SentireAscoltare online music magazine Registrazione Trib.BO N° 7590 del 28/10/05 MICHAEL ROTHER, DISCO NOT DISCO, CARL CRAIG, COMMON... Editore Edoardo Bridda Direttore responsabile Antonello Comunale Provider NGI S.p.A. Copyright © 2008 Edoardo Bridda. Tutti i diritti riservati.La ripro- 108 LA SERA DELLA PRIMA duzione totale o parziale, in qualsiasi forma, su qualsiasi supporto e con qualsiasi mezzo, è proibita senza autorizzazione scritta di AMERICAN GANGSTER, COUS -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Roedelius Bio Engl
ROEDELIUS: JARDIN AU FOU CD and Vinyl Release date: March 27th 2009 Cat No BB23 CD 927892/LP 927891 The essentials: ► Hans-Joachim Roedelius: born 1934; first record release in 1969 with Kluster (with Dieter Moebius and Konrad Schnitzler), and active ever since as a solo artist and in various collaborations (amongst others with Moebius/Cluster, Moebius and Michael Rother/Harmonia, as well as with Brian Eno). One of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music. ► Jardin au Fou was first released on the French EGG label in 1979 ► produced by Peter Baumann (Tangerine Dream) ► liner notes by Asmus Tietchens ► CD features six bonus tracks: three remixes, three new tracks One of the most remarkable albums of the so-called Krautrock scene has to be Jardin au Fou by Hans-Joachim Roedelius (Cluster, Harmonia), issued in 1979. All the more noteworthy as it bore no resemblance whatsoever to what was expected of avant-garde electronica and displayed none of the typical Krautrock characteristics. Rhythm machine, sequencer and abstract sounds are conspicuous by their absence. Indeed, listeners were stunned by one of the most beautiful, charming, ethereal and peaceful albums in the history of German rock music. It was produced by Peter Baumann at his own Paragon Studios in 1978, a year after he left Tangerine Dream to concentrate on a solo career and production work. At the time, he was charged by the French label EGG with delivering three productions from the German electro/avant- garde/Krautrock cosmos. -
'And I Swear...' – Profanity in Pop Music Lyrics on the American Billboard Charts 2009-2018 and the Effect on Youtube Popularity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 02, FEBRUARY 2020 ISSN 2277-8616 'And I Swear...' – Profanity In Pop Music Lyrics On The American Billboard Charts 2009-2018 And The Effect On Youtube Popularity Martin James Moloney, Hanifah Mutiara Sylva Abstract: The Billboard Chart tracks the sales and popularity of popular music in the United States of America. Due to the cross-cultural appeal of the music, the Billboard Chart is the de facto international chart. A concern among cultural commentators was the prevalence of swearing in songs by artists who were previously regarded as suitable content for the youth or ‗pop‘ market. The researchers studied songs on the Billboard Top 10 from 2009 to 2018 and checked each song for profanities. The study found that ‗pop‘, a sub-genre of ‗popular music‘ did contain profanities; the most profane genre, ‗Hip-hop/Rap‘ accounted for 76% of swearing over the ten-year period. A relationship between amount of profanity and YouTube popularity was moderately supported. The researchers recommended adapting a scale used by the British television regulator Ofcom to measure the gravity of swearing per song. Index Terms: Billboard charts, popularity, profanity, Soundcloud, swearing, YouTube. —————————— —————————— 1 INTRODUCTION Ipsos Mori [7] the regulator of British television said that profane language fell into two main categories: (a) general 1.1 The American Billboard Charts and ‘Hot 100’ swear words and those with clear links to body parts, sexual The Billboard Chart of popular music was first created in 1936 references, and offensive gestures; and (b) specifically to archive the details of sales of phonographic records in the discriminatory language, whether directed at older people, United States [1]. -
Das Schicksal Schlug Gleich Zweimal Zu
und es ist Wochenende 26. Juni 2021 | Nr. 25 Zweibrücken Jahrgang 8 Bodymed Center Ommersheim Um Saarbrückerstraße 25 b „ZW on Air“ Ihr Weg zum Voranmeldung Helmholtz-Mehrzweckhalle fast fertig wird gebeten. 66399 Ommersheim Stadt-Fest light: Vier Wochen lang wird Wohlfühlgewicht. Tel.: 0 68 03 . 98 18 81 Schüler und Lehrer hatten bei einem Sponsorenlauf der Herzogplatz zur Partymeile Ernährungskurse jeden Dienstag um [email protected] Geld für die technische Ausstattung gesammelt 18:30 Uhr wieder vor Ort in Ommersheim! www.bodymed-ommersheim.de LEADER-Region Pfälzerwald Vier Millionen Euro für mehr als 100 Projekte Landkreis Südwestpfalz. Von 2015 sich die LEADER-Region Pfäl- bis Ende 2020 wurden über 100 zerwald plus mit leicht geän- Projekte in der LEADER-Region dertem Gebietszuschnitt wieder Pfälzerwald plus bewilligt. Sie als Förder-Region beim Land erhalten finanzielle Unterstüt- Rheinland-Pfalz bewerben. zung durch Fördergelder aus Neben der Verabschiedung des EU-, Bundes und Landestöpfen Haushaltsplanes 2021 und der von insgesamt nahezu 4 Millio- Entlastung des Vorstandes war nen Euro. Das Spektrum er- der dazu vorbereitete Fahrplan streckt sich dabei vom kleinen das Hauptthema der digitalen Bürgerprojekt engagierter Pri- Versammlung. Bis Anfang vatpersonen oder örtlicher Ver- nächsten Jahres wird unter Be- eine bis zu größeren Investi- gleitung durch das Büro entra tionsmaßnahmen kommunaler Regionalentwicklung GmbH Gebietskörperschaften wie bei- (Winnweiler) eine Entwick- spielsweise die Umgestaltung lungsstrategie als Bewerbung einer Sporthalle zu einem mul- erarbeitet. Dabei liegt der Fokus tifunktional nutzbaren Dorf- auf einer starken Bürgerbeteili- zentrum. Dies geht aus dem gung. Start der Bewerbungs- Jahresbericht der Geschäftsstel- und Beteiligungsphase ist am le hervor, der auf der Mitglie- 30.