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Prefab Compilation Album It's a Prefab World!
Contact: PreFab International Productions email: [email protected] web: prefabgroup.com PreFab compilation album It’s a PreFab World! released May 2012 American record label PreFab International Records is pleased to announce the release of it’s first compilation album It’s a PreFab World! The label, primarily known as a home for the recording projects of musician Phil Gammage, has assembled a stellar collection that highlights some of the best songs of the past few years from it’s catalog. What sets this compilation apart from the competition though, is the wealth of rare and previously unreleased tracks that make the bulk of the content. Featured songs from previous PreFab albums include “In Love Again” from The Scarlet Dukes (used in a 2008 Walmart commercial), Claudia’s version of Lou Reed’s “I’ll Be Your Mirror” from her debut CD single, downtown legends Certain General with their classic “Maximum G” from the essential Live at the Public Theatre, and Phil’s “Nueva York” from his jazz instrumental collection Tracks of Sound The rare and previously unreleased music from these artists that appear on It’s a PreFab World! are as strong or exceed the featured songs from their other PreFab albums. Certain General scores with the moody “I’ll Behave”. Songstress Claudia showcases her talents with her unique versions of Nirvana’s “About a Girl” and label-mates Certain General’s composition “Heathcliff Skies”. Gammage stretches out on guitar in the instrumental workouts “Third Avenue Wind Tunnel” and “Stacey Says”. And Phil’s neo-lounge project Voodoo Martini re-emerges with a new lineup and their first new recordings in over a decade (!?) with “Naked in the Rain”, “I Kissed My Girl”, and others. -
The Music Industry and the Fleecing of Consumer Culture
The Music Industry: Demarcating Rhyme from Reason and the Fleecing of Consumer Culture I. Introduction The recording industry has a long history rooted deep in technological achievement and social undercurrents. In place to support such an infrastructure, is a lengthy list of technological advancements, political connections, lobbying efforts, marketing campaigns, and lawsuits. Ever since the early 20th century, record labels have embarked on a perpetual campaign to strengthen their control over recording artists and those technologies and distribution channels that fuel the success of such artists. As evident through the current draconian recording contracts currently foisted on artists, this campaign has often resulted in success. However, the rise of MTV, peer-to-peer file sharing networks, and even radio itself also proves that the labels have suffered numerous defeats. Unfortunately, most music listeners in the world have remained oblivious to the business practices employed by the recording industry. As long as the appearance of artistic freedom exists, as reinforced through the media, most consumers have typically been content to let sleeping dogs lie. Such a relaxed viewpoint, however, has resulted in numerous policies that have boosted industry profits at the expense of consumer dollars. Only when blatant coercion has occurred, as evidenced through the payola scandals of the 1950s, does the general public react in opposition to such practices. Ironically though, such outbursts of conscience have only served to drive payola practices further underground—hidden behind co-operative advertising agreements and outside promotion consultants. The advent of the Internet in the last decade, however, has thrown the dynamics of the recording industry into a state of disarray. -
How to Share Music in Many Complicated Steps
HOW TO SHARE MUSIC IN MANY COMPLICATED STEPS Songwriter Gives permission to Music Publisher Gives permission to use song in film or tv use song in Accepts transferred copyright in dramatic work SYNCHRONIZATION exchange for paying royalties RIGHTS GRAND RIGHTS Contracts with: Mechanical Rights Company Performing Rights Society (ie: Harry Fox Agency) (ie: ASCAP, BMI) Control permission to make and License use of the recording for radio, distribute the recording of a song store background, ringtones, etc PERFORMANCE RIGHTS MECHANICAL RIGHTS OR the song itself to sing in public SMALL RIGHTS Recording Company (ie: Arista Records) Gives permission to Create original “professional” use recording in film recording or single or album or tv Gets permission to make album MASTER USE RIGHTS –pays royalty for album sales -makes available to performing rights society HOW TO SHARE MUSIC IN MANY COMPLICATED STEPS Definitions Synchronization Rights: The right to use the music in timed relations with other visual elements in a film, video, television show/commercial, or other audio/visual production. In other words, the right to use the music as a soundtrack with visual images. Synchronization licenses are obtained from the publisher (or composer if no publisher) or the music library. Master Use Rights: When you hear music in a film or on TV, this recording is known in the music industry as the "master recording". This is what is produced after all the musicians have played their parts and these parts have been "mixed" together for release. The recording of the master is also protected by copyright. A record label or music library owns this copyright, and can grant the right to use the recording in a compilation album, film soundtrack or other Audio/Visual medium. -
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. -
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1. -
Applied Tape Techniques for Use with Electronic Music Synthesizers. Robert Bruce Greenleaf Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Applied Tape Techniques for Use With Electronic Music Synthesizers. Robert Bruce Greenleaf Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Greenleaf, Robert Bruce, "Applied Tape Techniques for Use With Electronic Music Synthesizers." (1974). LSU Historical Dissertations and Theses. 8157. https://digitalcommons.lsu.edu/gradschool_disstheses/8157 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. A p p l ie d tape techniques for use with ELECTRONIC MUSIC SYNTHESIZERS/ A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Doctor of Musical Arts In The School of Music by Robert Bruce Greenleaf M.M., Louisiana State University, 1972 A ugust, 19714- UMI Number: DP69544 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI DP69544 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. -
Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl. -
Dance Chart, 1989-10
DANCE Mt SIC INTERNATIONAL CLUB PLAY AUSTRALIA OCT. 1989 NATIONAL TOP 40 DANCE TRAX • TM LM KEY TITLE/AR IST CO PAN 1 13 0 Dressed For Success - ROXETTE EMI 2 1 • Batdance -PRINCE WEA 3 - • Cherish - MADONNA WEA 4 4 * Funky Cold Medina - TONE LOC FEST. 5 14 • Baby Don't Forget My Number - MILLI VANILLI BMG 6 2 + Right Back Where We Started - SINITTA CBS 7 23 • Bat Attack - CRIME FIGHTERS INC. BMG 8 5 0 Baby I Don't Care - TRANSVISION VAMP WEA 9 9 + This Time I Know It's For Real - DONNA SUMMER WEA 10 3 ■ The Right Stuff - NEW KIDS ON THE BLOCK CBS 11 8 • Express Yourself - MADONNA WEA 12 6 * Bamboleo - GYPSY KINGS CBS 13 7 • The Look - ROXETTE EMI 14 12 • Forever Your Girl - PAULA ABDUL VIRGIN 15 10 711 Max Mix 8 - VARIOUS ARTISTS COL* 16 - 4. You'll Never Stop Me Lovin' You - SONIA EMI 17 19 III Girl You Know It's True - MILLIE VANILLI BMG 18 - • Miss You Much - JANET JACKSON FEST. 19 11 0 Say Goodbye - INDECENT OBSESSION CBS 20 35 • Keep On Moving - SOUL 11 SOUL VIRGIN 21 15 0 Ain't Nobody Better - INNER CITY VIRGIN 22 16 0 Good Life - INNER CITY VIRGIN 23 31 >41 Acid Mix - VARIOUS ARTISTS COL* 24 27 • Straight Up - PAULA ABDUL EMI 25 21 • Send Me An Angel '89 - REAL LIFE BMG 26 20 • Pop Musik '89 - M BMG 27 RE * We Want Some Pussy - 2 LIVE CREW COL* 28 RE • Come Home With Me Baby - DEAD OR ALIVE CBS 29 17 • My Perrogative - BOBBY BROWN WEA 30 - • Deep in Vogue - MALCOLM McCLAREN CBS 31 - • Grandpa's Party - MONIE LOVE EMI 32 24 • Strokin - CLARENCE CARTER COL 33 40 • What You Don't Know - EXPOSE BMG 34 18 + Oh What A Night - FOUR SEASONS COL * 35 36 4. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
Background Dates for Popular Music Studies
1 Background dates for Popular Music Studies Collected and prepared by Philip Tagg, Dave Harker and Matt Kelly -4000 to -1 c.4000 End of palaeolithic period in Mediterranean manism) and caste system. China: rational philoso- c.4000 Sumerians settle on site of Babylon phy of Chou dynasty gains over mysticism of earlier 3500-2800: King Menes the Fighter unites Upper and Shang (Yin) dynasty. Chinese textbook of maths Lower Egypt; 1st and 2nd dynasties and physics 3500-3000: Neolithic period in western Europe — Homer’s Iliad and Odyssey (ends 1700 BC) — Iron and steel production in Indo-Caucasian culture — Harps, flutes, lyres, double clarinets played in Egypt — Greeks settle in Spain, Southern Italy, Sicily. First 3000-2500: Old Kingdom of Egypt (3rd to 6th dynasty), Greek iron utensils including Cheops (4th dynasty: 2700-2675 BC), — Pentatonic and heptatonic scales in Babylonian mu- whose pyramid conforms in layout and dimension to sic. Earliest recorded music - hymn on a tablet in astronomical measurements. Sphinx built. Egyp- Sumeria (cuneiform). Greece: devel of choral and tians invade Palestine. Bronze Age in Bohemia. Sys- dramtic music. Rome founded (Ab urbe condita - tematic astronomical observations in Egypt, 753 BC) Babylonia, India and China — Kung Tu-tzu (Confucius, b. -551) dies 3000-2000 ‘Sage Kings’ in China, then the Yao, Shun and — Sappho of Lesbos. Lao-tse (Chinese philosopher). Hsai (-2000 to -1760) dynasties Israel in Babylon. Massilia (Marseille) founded 3000-2500: Chinese court musician Ling-Lun cuts first c 600 Shih Ching (Book of Songs) compiles material from bamboo pipe. Pentatonic scale formalised (2500- Hsia and Shang dynasties (2205-1122 BC) 2000). -
Single-Zone Four-Way Ceiling-Cassette System Engineering Manual
SINGLE-ZONE FOUR-WAY CEILING-CASSETTE SYSTEM ENGINEERING MANUAL Single-Zone Four-Way Ceiling Cassette Heat Pump Systems 3/4 to 3-1/2 Tons LC098HV4 (9,000 Btu/h) LC187HV (18,000 Btu/h) LC367HV (36,000 Btu/h) LC128HV4 (12,000 Btu/h) LC188HV4 (18,000 Btu/h) LC427HV (42,000 Btu/h) LC247HV (24,000 Btu/h) PROPRIETARY DATA NOTICE This document, as well as all reports, illustrations, data, information, and other materials are the property of LG Electronics U.S.A., Inc., and are disclosed by LG Electronics U.S.A., Inc. only in confidence. This document is for design purposes only. For more technical materials such as submittals, catalogs, installation, owner’s, and service manuals, visit www.lghvac.com. For continual product development, LG Electronics U.S.A., Inc., reserves the right to change specifications without notice. © LG Electronics U.S.A., Inc. About LG Electronics, Inc. Inverter Systems LG Electronics, Inc. is a global leader and technology innovator LG Single Zone Four-Way Ceiling Cassette air-source systems offer in consumer electronics, mobile communications, and home the opportunity to minimize ductwork in the same configuration. The appliances. LG Electronics, Inc. comprises five business units— system offers zoning without the need for zone damper systems. Home Entertainment, Mobile Communications, Air Conditioning, The LG Single Zone Four-Way Ceiling Cassette system’s advanced Business Solutions, and Home Appliance. LG is one of the world’s controls provide exceptional building dehumidification and tempera- leading producers of flat panel televisions, audio and video products, ture control, and can rapidly adapt system operating parameters mobile handsets, air conditioners, and washing machines. -
Paul Mccartney, 1980-1999
Paul McCartney from Wings through the 90's McCartney II Columbia FC‐36511 May 21, 1980 About ten years after recording McCartney by himself, Paul got several songs together and recorded them‐‐again alone‐‐on somewhat of a lark. Then Paul embarked on his ill‐fated 1980 tour of Japan (which resulted in his being jailed for drug possession). After returning to the safety of his own home, he was urged to release the album, and he did. The album contrasts well with McCartney, for this second production contains numerous instruments and electronic tricks that were not present on the 1970 release. Side One is particularly interesting. The solo version of "Coming Up" is followed by the fun track, "Temporary Secretary" (released as a single in England). The almost‐lament, "On the Way," is then succeeded by "Waterfalls," Paul's second (US) single from the album. "Bogey Music," from Side Two, is also a standout. John Lennon heard a song from McCartney II and thought that Paul sounded sad. When the album was released in the US, a bonus one‐sided single ‐‐ the hit version of "Coming Up"‐‐was included with the LP. This hit was enough to propel the album to the #3 position on the charts, during a time when disco was now on the wane. "Waterfalls" Columbia 1‐11335 Jul. 22, 1980 The lovely ballad about protectiveness was one of the standouts from McCartney II. After "Coming Up," it received the most airplay and the most positive response from Paul's friends. As a single, though, the song fared poorly, only reaching #83...one of Paul's worst showings to date.