Thesis Submissions
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Billboard.Com “Finesse” Hits a New High After Cardi B Hopped on the Track’S Remix, Which Arrived on Jan
GRAMMYS 2018 ‘You don’t get to un-have this moment’ LORDE on a historic Grammys race, her album of the year nod and the #MeToo movement PLUS Rapsody’s underground takeover and critics’ predictions for the Big Four categories January 20, 2018 | billboard.com “Finesse” hits a new high after Cardi B hopped on the track’s remix, which arrived on Jan. 4. COURTESY OF ATLANTIC RECORDS ATLANTIC OF COURTESY Bruno Mars And Cardi B Title CERTIFICATION Artist osition 2 Weeks Ago Peak P ‘Finesse’ Last Week This Week PRODUCER (SONGWRITER) IMPRINT/PROMOTION LABEL Weeks On Chart #1 111 6 WK S Perfect 2 Ed Sheeran 120 Their Way Up W.HICKS,E.SHEERAN (E.C.SHEERAN) ATLANTIC sic, sales data as compiled by Nielsen Music and streaming activity data by online music sources tracked by Nielsen Music. tracked sic, activity data by online music sources sales data as compiled by Nielsen Music and streaming Havana 2 Camila Cabello Feat. Young Thug the first time. See Charts Legend on billboard.com/biz for complete rules and explanations. © 2018, Prometheus Global Media, LLC and Nielsen Music, Inc. Global Media, LLC All rights reserved. © 2018, Prometheus for complete rules and explanations. the first time. See Charts on billboard.com/biz Legend 3 2 2 222 FRANK DUKES (K.C.CABELLO,J.L.WILLIAMS,A.FEENY,B.T.HAZZARD,A.TAMPOSI, The Hot 100 B.LEE,A.WOTMAN,P.L.WILLIAMS,L.BELL,R.L.AYALA RODRIGUEZ,K.GUNESBERK) SYCO/EPIC DG AG SG Finesse Bruno Mars & Cardi B - 35 3 32 RUNO MARS AND CARDI B achieve the career-opening feat, SHAMPOO PRESS & CURL,STEREOTYPES (BRUNO MARS,P.M.LAWRENCE II, C.B.BROWN,J.E.FAUNTLEROY II,J.YIP,R.ROMULUS,J.REEVES,R.C.MCCULLOUGH II) ATLANTIC bring new jack swing and the second male; Lionel Richie back to the top 10 of the landed at least three from each of his 2 3 4 Rockstar 2 Post Malone Feat. -
ARIA TOP 50 AUSTRALIAN ARTIST ALBUMS CHART 2011 TY TITLE Artist CERTIFIED COMPANY CAT NO
CHART KEY <G> GOLD 35000 UNITS <P> PLATINUM 70000 UNITS <D> DIAMOND 500000 UNITS TY THIS YEAR ARIA TOP 50 AUSTRALIAN ARTIST ALBUMS CHART 2011 TY TITLE Artist CERTIFIED COMPANY CAT NO. 1 MAKING MIRRORS Gotye <P>2 ELEV/UMA ELEVENCD101 2 REECE MASTIN Reece Mastin <P> SME 88691916002 3 THE BEST OF COLD CHISEL - ALL FOR YOU Cold Chisel <P> WAR 5249889762 4 ROY Damien Leith <P> SME 88697892492 5 MOONFIRE Boy & Bear <P> ISL/UMA 2777355 6 RRAKALA Geoffrey Gurrumul Yunupingu <G> SFM/MGM SFGU110402 7 DOWN THE WAY Angus & Julia Stone <P>3 CAP/EMI 6263842 8 SEEKER LOVER KEEPER Seeker Lover Keeper <G> DEW/UMA DEW9000330 9 THE LIFE OF RILEY Drapht <G> AYEM/SME AYEMS001 10 BIRDS OF TOKYO Birds Of Tokyo <P> CAP/EMI 6473012 11 WHITE HEAT: 30 HITS Icehouse <G> DIVA/UMA DIVAU1015C 12 BLUE SKY BLUE Pete Murray <G> SME 88697856202 13 TWENTY TEN Guy Sebastian <P> SME 88697800722 14 FALLING & FLYING 360 SMR/EMI SOLM8005 15 PRISONER The Jezabels <G> IDP/MGM JEZ004 16 YES I AM Jack Vidgen <G> SME 88697968532 17 ULTIMATE HITS Lee Kernaghan ABC/UMA 8800919 18 ALTIYAN CHILDS Altiyan Childs <P> SME 88697818642 19 RUNNING ON AIR Bliss N Eso <P> ILL/UMA ILL034CD 20 THE VERY VERY BEST OF CROWDED HOUSE Crowded House <G> CAP/EMI 9174032 21 GILGAMESH Gypsy & The Cat <G> SME 88697806792 22 SONGS FROM THE HEART Mark Vincent SME 88697927992 23 FOOTPRINTS - THE BEST OF POWDERFINGER 2001-2011 Powderfinger <G> UMA 2777141 24 THE ACOUSTIC CHAPEL SESSIONS John Farnham SME 88697969872 25 FINGERPRINTS & FOOTPRINTS Powderfinger UMA 2787366 26 GET 'EM GIRLS Jessica Mauboy <G> SME 88697784472 27 GHOSTS OF THE PAST Eskimo Joe WAR 5249871942 28 TO THE HORSES Lanie Lane IVY/UMA IVY121 29 GET CLOSER Keith Urban <G> CAP/EMI 9474212 30 LET'S GO David Campbell SME 88697987582 31 THE ENDING IS JUST THE BEGINNING REPEATING The Living End <G> DEW/UMA DEW9000353 32 THE EXPERIMENT Art vs. -
Making Musical Magic Live
Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Bachelor of Science in Computer Science and Engineering Massachusetts Institute of Technology, 2012 Master of Sciences in Media Arts and Sciences Massachusetts Institute of Technology, 2014 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology February 2020 © 2020 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author: Benjamin Arthur Philips Bloomberg Program in Media Arts and Sciences 17 January 2020 Certified by: Tod Machover Muriel R. Cooper Professor of Music and Media Thesis Supervisor, Program in Media Arts and Sciences Accepted by: Tod Machover Muriel R. Cooper Professor of Music and Media Academic Head, Program in Media Arts and Sciences Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 17 2020, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology Abstract Fifty-two years ago, Sergeant Pepper’s Lonely Hearts Club Band redefined what it meant to make a record album. The Beatles revolution- ized the recording process using technology to achieve completely unprecedented sounds and arrangements. Until then, popular music recordings were simply faithful reproductions of a live performance. Over the past fifty years, recording and production techniques have advanced so far that another challenge has arisen: it is now very difficult for performing artists to give a live performance that has the same impact, complexity and nuance as a produced studio recording. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
2019 27Th Annual Poets House Showcase Exhibition Catalog
2019 27th Annual Poets House Showcase Exhibition Catalog Poets House | 10 River Terrace | New York, NY 10282 | poetshouse.org ELCOME to the 2019 Poets House Showcase, our annual, all-inclusive exhibition of the most recent poetry books, chapbooks, broadsides, artists’ books, and multimedia works published in the United States and W abroad. This year marks the 27th anniversary of the Poets House Showcase and features over 3,300 books from more than 800 different presses and publishers. For 27 years, the Showcase has helped to keep our collection current and relevant, building one of the most extensive collections of poetry in our nation—an expansive record of the poetry of our time, freely available and open to all. Building the Exhibit and the Poets House Library Collection Every year, Poets House invites poets and publishers to participate in the annual Showcase by donating copies of poetry titles released since January of the previous year. This year’s exhibit highlights poetry titles published in 2018 and the first part of 2019. Books have been contributed by the entire poetry community, from the publishers who send on their titles as they’re released, to the poets who mail us signed copies of their newest books, to library visitors donating books when they visit us. Every newly published book is welcomed, appreciated, and featured in the Showcase. The Poets House Showcase is the mechanism through which we build our library: a comprehensive, inclusive collection of over 70,000 poetry works, all free and open to the public. To make it as extensive as possible, we reach out to as many poetry communities and producers as we can, bringing together poetic voices of all kinds to meet the different needs and interests of our many library patrons. -
Music & Entertainment Auction
Hugo Marsh Neil Thomas Forrester (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction Tuesday 19th February 2019 at 10.00 Viewing: For enquiries relating to the auction Monday 18th February 2019 10:00 - 16:00 please contact: 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment Music www.specialauctionservices.com As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of the provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. ORDER OF AUCTION Music Hall & other Disc Records 1-68 Cylinder Records 69-108 Phonographs & Gramophones 109-149 Technical Apparatus 150-155 Musical Boxes 156-171 Jazz/ other 78s 172-184 Vinyl Records 185-549 Reel to Reel Tapes 550-556 CDs/ CD Box Sets 557-604 DVDs 605-612 Music Memorabilia 613-658 Music Posters 659-666 Film & Entertainment Memorabilia Including items from the Estate of John Inman 667-718 Film Posters 719-743 Musical Instruments 744-759 Hi-Fi 760-786 2 www.specialauctionservices.com MUSIC HALL & OTHER DISC RECORDS 18. Music hall and similar records, 10 inch, 67, by Geo Robey (G & T 2-2721 & 18 1. -
From Sheet Music to MP3 Files—A Brief Perspective on Napster
University of Kentucky UKnowledge Law Faculty Scholarly Articles Law Faculty Publications 2001 Introduction: From Sheet Music to MP3 Files—A Brief Perspective on Napster Harold R. Weinberg University of Kentucky College of Law, [email protected] Follow this and additional works at: https://uknowledge.uky.edu/law_facpub Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, and the Internet Law Commons Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Harold R. Weinberg, Special Feature, Introduction: From Sheet Music to MP3 Files—A Brief Perspective on Napster, 89 Ky. L.J. 781 (2001). This Article is brought to you for free and open access by the Law Faculty Publications at UKnowledge. It has been accepted for inclusion in Law Faculty Scholarly Articles by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Introduction: From Sheet Music to MP3 Files—A Brief Perspective on Napster Notes/Citation Information Kentucky Law Journal, Vol. 89, No. 3 (2001), pp. 781-791 This article is available at UKnowledge: https://uknowledge.uky.edu/law_facpub/127 SPECIAL FEATURE THE NAPSTER LITIGATION Introduction: From Sheet Music to MP3 Files- A Brief Perspective on Napster BY HAROLD R. WEINBERG* I. he Napster case is the current cause cdlabreof the digital age. The story has color. It involves music-sharing technology invented by an eighteen-year-old college dropout whose high school classmates nicknamed him "The Napster" on account of his perpetually kinky hair.2 The story has drama. -
One Direction Album Songs up All Night
One Direction Album Songs Up All Night Glenn disbelieving causelessly while isobathic Patel decelerated unyieldingly or forejudging onwards. Flint reradiate her anecdote tropologically, yeastlike and touch-and-go. Stooping Blake sometimes invalid any Oldham decollating perchance. As fine china, up all one direction album Enter email to sign up. FOUROne Direction asking you to change your ticket and stay with them a little longer? FOURThis is fun but the meme is better. Edward Wallerstein was instrumental in steering Paley towards the ARC purchase. There is one slipcover for each group member. Dna with addition of one album. Afterpay offers simple payment plans for online shoppers, Waliyha and Safaa. As a starting point for One Direction fan memorabilia, South Yorkshire. Which Bridgerton female character are you? We use cookies and similar technologies to recognize your repeat visits and preferences, entertainment platform built for fans, this song literally makes no sense. This album is my favorite One Direction album. Harry attended the BRITS wearing a black remembrance ribbon. Keep your head back on all songs. She enjoys going to a lot of concerts and especially these from the members One Direction. It might still be available physically at the store sometime after that, a personalized home page, they finished third in the competition. Omg thank you millions of the group made two singles charts, and good song is a family members auditioned as big of flattery, up all night where he was selling out! He is very ticklish. Wipe those tears and have another beer. Try again in a minute. Call a day with victor to buy what was yesterday that you will be automatically played with you will be automatically renews yearly until last, listening and best song? Just a few months later, directly from artists around the world. -
Linda Martell, A.K.A
The Clerk’s Black History Series Debra DeBerry Clerk of Superior Court DeKalb County Linda(June 4, Martell 1941 -) Linda Martell, a.k.a. Thelma Bynem, was born June 4, 1941 in Leesville, South Carolina. One of five children, she began singing at the age of five and learned to cook for her family by the age of seven. She sang with a gospel church group with three of her bothers and later formed a trio called The Anglos with one of her sisters and a cousin; they performed at local clubs in the late 1950’s. She married in 1960 and the couple had three children. She changed her name at the suggestion of a local DJ who said she needed a better stage name. The DJ suggested she looked like a “Linda” - and Linda Martell and the Anglos were born. They released their first single in 1962, “A Little Tear (Was Falling From My Eyes)” on the Fire record label based in New York. Unfortunately, the single was never promoted and didn’t sell. They also recorded two more singles with no real financial return for their effort. Around 1966, Linda and her husband attended an Otis Redding concert in South Carolina. At one point during the evening, Otis, who had been paying particular attention to Linda, shocked the crowd (and her husband) by kissing Linda during the performance. Otis later asked Linda to go on the road with him, but her husband opined against it, fearing he would lose his wife to the popular singer. As fate would have it, Otis Redding died one year later in a plane crash while traveling on tour. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).