The-Believers-Authority-Study-Guide
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Sonification As a Means to Generative Music Ian Baxter
Sonification as a means to generative music By: Ian Baxter A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities Department of Music January 2020 Abstract This thesis examines the use of sonification (the transformation of non-musical data into sound) as a means of creating generative music (algorithmic music which is evolving in real time and is of potentially infinite length). It consists of a portfolio of ten works where the possibilities of sonification as a strategy for creating generative works is examined. As well as exploring the viability of sonification as a compositional strategy toward infinite work, each work in the portfolio aims to explore the notion of how artistic coherency between data and resulting sound is achieved – rejecting the notion that sonification for artistic means leads to the arbitrary linking of data and sound. In the accompanying written commentary the definitions of sonification and generative music are considered, as both are somewhat contested terms requiring operationalisation to correctly contextualise my own work. Having arrived at these definitions each work in the portfolio is documented. For each work, the genesis of the work is considered, the technical composition and operation of the piece (a series of tutorial videos showing each work in operation supplements this section) and finally its position in the portfolio as a whole and relation to the research question is evaluated. The body of work is considered as a whole in relation to the notion of artistic coherency. This is separated into two main themes: the relationship between the underlying nature of the data and the compositional scheme and the coherency between the data and the soundworld generated by each piece. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
NEWSLETTER August 2016
NEWSLETTER August 2016 Volume 11 Issue #08 CLUB NEWS August 2 SAOS We introduced Suzanne Susko as our AOS Representative. Meeting Suzanne explained the benefits of AOS membership by Janis Croft, secy@ including discounts and free admission to over 300 gardens staugorchidsociety.org as well as the very informative culture sheets provided on the member’s side of the AOS website. Welcome and Thanks. President Bob Schimmel Orchid Events. There are no Florida orchid shows in opened the meeting at 7:15 the next two months. The Odom’s 6th Annual Cattleya pm with 65 attendees. Bob Symposium will be held in Fort Pierce from August 5 and 6. thanked Jeannette Smith, Leslie Brickell and Elaine Show Table Review. Courtney Hackney stated that the Hardy for the refreshments table demonstrates that there are summer blooming orchids while reminding all to which are primarily the Bifoliate Cattleyas from Brazil. He Alan Koch drop a dollar in the jar. pointed out the Cattleya leopoldii as a prime example. He We welcomed two new then discussed the Lc. Maui Plum ‘Volcano Queen’ (whose members, Joan and Charles Delony who joined at the one parent is Cattleya leopoldii) that has been bred for meeting, along with eight guests. cluster of flowers and likes high light. Next was the pure Our Membership Veep, Linda Stewart recognized our white Cattleya Hawaiian Wedding Song ‘Virgin’ which was several August birthday people with a free raffle ticket. produced in the 60’s. Hybridizers used the large corsage Bob informed all that the Best of Show voting would occur type varieties along with the smaller flower size species to between the Show Table discussion and program and produce a flower that worked much better as a corsage. -
FWWH Revised Songbook ―This Camp Was Built to Music Therefore Built Forever
FWWH Revised Songbook Revised Summer 2011 ―This camp was built to music therefore built forever‖ These are the songs sung by Four Winds and Westward Ho campers – songs that have expressed their interests and ideals through the years. As you sing the songs again, may they recall memories of sunny days, and some misty and rainy ones too, of sailing on sparkling blue water, of cantering along leafy trails, of exploring the beach when the tide is out. May these songs remind you of unexpected adventure, and of friendships formed through the sharing of Summer days, working and playing together. 1 Index of songs A Gypsy‘s Life…………………………………………………….7 A Junior Song……………………………………………………..7 A Walking Song………………………………….…….………….8 Across A Thousand Miles of Sea…………..………..…………….8 Ah, Lovely Meadows…………………………..……..…………...9 All Hands On Deck……………………………………..……..…10 Another Fall…………………………………...…………………10 The Banks of the Sacramento…………………………………….…….12 Big Foot………………………………………..……….………………13 Bike Song……………………………………………………….…..…..14 Blow the Man Down…………………………………………….……...14 Blowin‘ In the Wind…………………………………………………....15 Boy‘s Grace…………………………………………………………….16 Boxcar……………………………………………………….…..……..16 Canoe Round…………………………………………………...………17 Calling Out To You…………………………………………………….17 Canoe Song……………………………………………………………..18 Canoeing Song………………………………………………………….18 Cape Anne………………………………………………...……………19 Carlyn…………………………………………………………….…….20 Changes………………………………………………………………...20 Christmas Night………………………………………………………...21 Christmas Song…………………………………………………………21 The Circle Game……………………………………………………..…22 -
Aesthetic Humanism: the Radical Romantic Vision of Blake and Byron
Aesthetic Humanism: The Radical Romantic Vision of Blake and Byron By John William Davies, B.A. A Thesis Submitted to the Department of English California State University Bakersfield In Partial Fulfillment for the Degree of Master of Arts in English Spring 2013 Copyright By John William Davies 2013 Aesthetic Humanism: The Radical Romantic Vision ofBlake and Byron By John William Davies This thesis has been accepted on behalf ofthe Department ofEnglish by their supervisory committee: Dr. Susan Stafinbil Committee Chair Dr. Steven Frye Aesthetic Humanism: The Radical Romantic Vision of Blake and Byron If Shakespeare “invented the human,” a claim made rather spectacularly by the critic Harold Bloom in a 1998 book, then the six British poets who comprised what was to become known as the Romantic Period perfected the mode. Shakespeare, in Bloom’s terms, depicted interiority in a unique way, allowing his characters to “overhear” themselves, to be self-reflective and existential (or proto-existential). Existentialism proper, along with the whole modern conception of self, has been merely catching up. It is my contention that the Romantics accelerated this paradigm shift by making the figure of The Poet highly subjective in a way it had not been before. Byron is the archetype. The “Byronic Hero” inaugurated in “Childe Harold’s Pilgrimage,” and perfected in “Manfred” and “Don Juan,” is subjectivity (at least male subjectivity) personified, a titillating amalgam of ambition, weakness, androgyny, power, lust; mortality and immortality in locked combat like Jacob and the angel. Only Jacob is not an abstract, allegorical figure here. These characters are Byron, by his own admission “such a strange mélange of good and evil that it would be difficult to describe me” (qtd. -
Microgenres MOUG 2021 Presentation (6.531Mb)
Microgenres Memory, Community, and Preserving the Present Leonard Martin Resource Description Librarian Metadata and Digitization Services University of Houston Brief Overview • Microgenres as a cultural phenomenon. • Metadata description for musical microgenres in a library environment using controlled vocabularies and resources. • Challenges and resources for identifying and acquiring microgenre musical sound recordings. • This presentation will focus on chopped and screwed music, vaporwave music, and ambient music. Microgenre noun /mi ∙ cro ∙ gen ∙ re/ 1. A hyper-specific subcategory of artistic, musical, or literary composition characterized that is by a particular style, form, or content. 2. A flexible, provisional, and temporary category used to establish micro- connections among cultural artifacts, drawn from a range of historical periods found in literature, film, music, television, and the performing and fine arts. 3. A specialized or niche genre; either machine-classified or retroactively established through analysis. Examples of Musical Microgenres Hyper-specific • Chopped and screwed music Flexible, provisional, and temporary • Vaporwave music Specialized or niche • Ambient music Ambient Music • Ambient music is a broad microgenre encompassing a breath of natural sounds, acoustic and electronic instruments, and utilizes sampling and/or looping material Discreet Music, Discreet Music, by Brian Eno, 1975, EG Records. to generate repetitive soundscapes. • Earlier works from Erik Satie’s musique d’ameublement (furniture music) to the musique concrete works of Éliane Radigue, Steve Reich’s tape pieces, and synthesizer albums of Wendy Carlos are all precursors of ambient music. • The term ambient music was coined by composer Brian Eno upon the release of Michigan Turquoise, Catch a Blessing. 2019. Genre tags: devotional, ambient, his album, “Discreet Music,” in 1975. -
1 U2 and Igor Stravinsky: Textures, Timbres, and the Devil Dr. Dan
U2 and Igor Stravinsky: Textures, Timbres, and the Devil Dr. Dan Pinkston Introduction At first glance, Igor Stravinsky and U2 have little in common. A Russian composer known for ballets and symphonies and four Irish rock stars inhabit different musical genres and approaches. This paper argues that although Stravinsky and U2 are from separate musical worlds, each occupies a similar place of importance within that world, and has a parallel record of artistic achievement and influence. In addition, similarities in their musical thinking and their spiritual response to fame and success will be discussed. The parallels in their musical and spiritual development are fascinating, and as this paper will show, give the listener a new perspective on hearing the music of both U2 and Stravinsky. I. The Music: Textures, Timbres, and the Minimalist Connection Texture and Timbre in the Early Works Igor Stravinsky (1882-1971) initially made his mark on the musical world with a series of ballets in the early 20th century. These works, written for Serge Diaghilev’s Ballets Russe, caused a stir in the Parisian musical scene, and Igor Stravinsky became an overnight musical phenomenon.1 The first of these ballets, The Firebird (1910), showed Stravinsky’s complete assimilation of the styles and techniques of contemporary composers such as Claude Debussy, and predecessors such as Nicolai Rimsky-Korsakov. The work was completely modern, if not radical, and revealed that the young Stravinsky was part of an artistic movement that was breaking with the Germanic traditions of the 19th century. One of the prominent features of this new French Impressionistic and Russian Nationalistic music was the prominence of instrumental color, or timbre, in the identity of the music. -
THE ASMSU April 2, 2009 • Vol
THE ASMSU April 2, 2009 • Vol. 103, Issue 24 GET GET GET ANGRY JIGGY INSPIRED THE ASMSU EXPONENT I APRIL 2, 200 2 Open Carry Confusion LATE THE CARRYING OF WEAPONS, AS DEFINED IN 45-8-361(5) (B), ON THEIR Dem· Editor, CAMPUSES." Hopefully this has cleared On page 10 of the March 26th issue, up any confusion surrounding the issue. regarding HB 228, you printed, "[A] gun Thanks for keeping us on our toes! could be openly caJTied in public and d1·awn,provided it isn't pointed at anothe1· person." To be sure, open cany is already legal in Montana. Lucas Reddinger Bozeman, MT Lucas, HEY YOU! YEAH YOU ... Thanks for your response and the good catch! You are correct about open carry laws currently in Montana. The More than ants love a discarded clause in HB 228 we were referring to in the article was "A person who displays or popsicle on a sidewalk, the ASM shows a firearm for a harmless defensive purpose needs no justification for the SU Exponent LOVES feedback! display and may not be charged with or convicted of an offense for that display" Please send your rants, raves, (the full te::'-.'t is at http://data.opi.mt.gov/ bills/2009fBil1Html/HB0228.htm). and heartfelt expressions of your What some people were concerned about was the implications that this undying love to: could have for MSU. At the time it was ·--i• [email protected] unclear as to whether this could affect "':"'.!IMC~.~ gun control policy on campus. As of this printing, however, the bill has been amended to read: "THIS SECTION DOES NOT LIMIT THE AUTHORITY OF THE BOARD OF REGENTS OR OTHER POST SECONDARY INSTITUTIONS TO REGU- masthead (ji/A.vE BIG ~ . -
Sound Mirrors: Brian Eno & Touchscreen Generative Music
Music on Screen: From Cinema Screens to Touchscreens Musicology Research Journal Title: SOUND MIRRORS: BRIAN ENO & TOUCHSCREEN GENERATIVE MUSIC Authors Dr Kingsley Marshall & Rupert Loydell Falmouth University Abstract: With the recent publication of the edited collection Brian Eno: Oblique Music (Albiez & Pattie, 2016) and the distribution of Brian Eno’s 26th solo studio album Reflection in 2017 on vinyl, CD and as an innovative software application, the time is ripe for a reconsideration of the way in which software has been used by the musician, composer, record producer and visual artist Brian Eno. This paper explores how Eno has used simple but innovative ideas and processes to inform his music over the course of his career, and consider how his work with collaborators – specifically the musician and software designer Peter Chilvers – has converged with the emergence of touchscreen technologies and modes of distribution. We will demonstrate how Apple’s App Store global distribution platform has further disseminated Eno’s ideas of ‘generative music’ to a wider audience through he and Chilvers’ Bloom (2008), Trope (2009/2015), Scape (2012) and Reflection (2017a) software applications for Apple’s iPhone and iPad, and the impact on the distribution and reception of Eno’s own music. Echoing Eno’s own processes of appropriation, remix and collaboration the authors wrote the paper through exchanges dictated by the turn of a card selected from the third edition of the Oblique Strategies deck, issued by Eno and Peter Schmidt in 1979. Article 1. ‘Change instrument roles’ (Eno & Schmidt, 1979) Much of Brian Eno’s career has orientated around the use of simple but innovative ideas and processes that have informed his work as a musician, composer, record producer and visual artist. -
The Brothers Bloom Script
The Brothers Bloom a con man movie by Rian Johnson 1 EXT. DIRT ROAD - SUNRISE 1 Dawn with her rose-red fingers rises over a dusty country road. A car chugs over the horizon. NARRATOR As far as con man stories go, I think I’ve heard them all. Of grifters, ropers, faro fixers, tales drawn long and tall. But if one bears a bookmark in the confidence man’s tome, twould be that of Penelope, and of the brothers Bloom. 2 EXT. COUNTRY HOUSE - MORNING 2 The car deposits two shabby boys (10 & 13) in front of a country house. Both in black. Each with a suitcase. NARRATOR At ten and thirteen Bloom and Stephen (the younger and the old) 3 INT. KITCHEN (FLASHBACK) 3 The two brothers and an oafish FOSTER FATHER sit eating breakfast. NARRATOR had been through several foster families. The FOSTER FATHER slaps Bloom upside the head. Stephen LAUNCHES across the table, tackling the dad and beating the crap out of him. NARRATOR (cont’d) Thirty eight, all told. 4 INT. CHILD WELFARE OFFICE - DAY 4 CLOSE ON - A CHILD WELFARE FILE COVER “Bloom” stamped on it. It opens, and dozens of reports flip by. Under the “REASON FOR RETURN OF MINORS” field we catch different entries: “BEHAVIOR INAPPROPRIATE”, “UNMANAGEABLE”, “MOLESTED CAT”, “SOLD OUR FURNITURE”, “CAUSED FLOODING”. (MORE) 2 26/11/06. 4 CONTINUED: 4 NARRATOR Mischief moved them on in life, and moving kept them close. 5 EXT. COUNTRY HOUSE PORCH 5 The brothers on the porch, suitcases in hand. NARRATOR For Bloom had Stephen, Stephen Bloom, and both had more than most. -
Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in -
Roll of Thunder Hear My Cry
ROLL OF THUNDER HEAR MY CRY MILDRED D. TAYLOR NEWBERY MEDAL WINNER Author's Note My father was a master storyteller. He could tell a fine old story that made me hold my sides with rolling laughter and sent happy tears down my cheeks, or a story of stark reality that made me shiver and be grateful for my own warm, secure surroundings. He could tell stories of beauty and grace, stories of gentle dreams, and paint them as vividly as any picture with splashes of character and dialogue. His memory detailed every event of ten or forty years or more before, just as if it had happened yesterday. By the fireside in our northern home or in the South where I was born, I learned a history not then written in books but one passed from generation to generation on the steps of moonlit porches and beside dying fires in one-room houses, a history of great-grandparents and of slavery and of the days following slavery: of those who lived still not free, yet who would not let their spirits be enslaved. From my father the storyteller I learned to respect the past, to respect my own heritage and myself. From my father the man I learned even more, for he was endowed with a special grace that made him tower above other men. He was warm and steadfast, a man whose principles would not bend, and he had within him a rare strength that sustained not only my sister and me and all the family but all those who sought his advice and leaned upon his wisdom.