Can MAN with a MOVIE CAMERA Shoot ENEMY ZERO? Convergence and Transcoding in Michael Nyman's Musical Scores
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Irrevocability in Games Daniel J
Worcester Polytechnic Institute Digital WPI Interactive Qualifying Projects (All Years) Interactive Qualifying Projects April 2012 Irrevocability in Games Daniel J. White Worcester Polytechnic Institute Michael Lee Grossfeld Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/iqp-all Repository Citation White, D. J., & Grossfeld, M. L. (2012). Irrevocability in Games. Retrieved from https://digitalcommons.wpi.edu/iqp-all/2947 This Unrestricted is brought to you for free and open access by the Interactive Qualifying Projects at Digital WPI. It has been accepted for inclusion in Interactive Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. IRREVOCABILITY IN GAMES Interactive Qualifying Project Report completed in partial fulfillment of the Bachelor of Science degree at Worcester Polytechnic Institute, Worcester, MA Submitted to: Professor Brian Moriarty Daniel White Michael Grossfeld 1 Abstract This report examines the history and future application of irrevocability in video games. Decision making is an essential part of playing video games and irrevocability negates replayability by disallowing alternate decisions. We found that successful games with this theme exhibit irreversibility in both story and game mechanics. Future games looking to use irrevocability well must create an ownership that the player feels towards the experience by balancing these two mechanics. 2 Table of Contents IRREVOCABILITY IN -
Video Game Trader Magazine & Price Guide
Winter 2009/2010 Issue #14 4 Trading Thoughts 20 Hidden Gems Blue‘s Journey (Neo Geo) Video Game Flashback Dragon‘s Lair (NES) Hidden Gems 8 NES Archives p. 20 19 Page Turners Wrecking Crew Vintage Games 9 Retro Reviews 40 Made in Japan Coin-Op.TV Volume 2 (DVD) Twinkle Star Sprites Alf (Sega Master System) VectrexMad! AutoFire Dongle (Vectrex) 41 Video Game Programming ROM Hacking Part 2 11Homebrew Reviews Ultimate Frogger Championship (NES) 42 Six Feet Under Phantasm (Atari 2600) Accessories Mad Bodies (Atari Jaguar) 44 Just 4 Qix Qix 46 Press Start Comic Michael Thomasson’s Just 4 Qix 5 Bubsy: What Could Possibly Go Wrong? p. 44 6 Spike: Alive and Well in the land of Vectors 14 Special Book Preview: Classic Home Video Games (1985-1988) 43 Token Appreciation Altered Beast 22 Prices for popular consoles from the Atari 2600 Six Feet Under to Sony PlayStation. Now includes 3DO & Complete p. 42 Game Lists! Advertise with Video Game Trader! Multiple run discounts of up to 25% apply THIS ISSUES CONTRIBUTORS: when you run your ad for consecutive Dustin Gulley Brett Weiss Ad Deadlines are 12 Noon Eastern months. Email for full details or visit our ad- Jim Combs Pat “Coldguy” December 1, 2009 (for Issue #15 Spring vertising page on videogametrader.com. Kevin H Gerard Buchko 2010) Agents J & K Dick Ward February 1, 2009(for Issue #16 Summer Video Game Trader can help create your ad- Michael Thomasson John Hancock 2010) vertisement. Email us with your requirements for a price quote. P. Ian Nicholson Peter G NEW!! Low, Full Color, Advertising Rates! -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
2015 Hidden Disunities and Uncanny Resemblances
Hidden Disunities and Uncanny Resemblances: Connections and ANGOR UNIVERSITY Disconnections in the Music of Lera Auerbach and Michael Nyman ap Sion, P.E. Contemporary Music Review DOI: 10.1080/07494467.2014.959275 PRIFYSGOL BANGOR / B Published: 27/10/2014 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): ap Sion, P. E. (2014). Hidden Disunities and Uncanny Resemblances: Connections and Disconnections in the Music of Lera Auerbach and Michael Nyman. Contemporary Music Review, 33(2), 167-187. https://doi.org/10.1080/07494467.2014.959275 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 30. Sep. 2021 Hidden Disunities and Uncanny Resemblances: Connections and Disconnections in the music of Lera -
Michael Nyman
EFFET L OO P SUR... Michael Nyman Michael Nyman (Photo : X.D.R) « Michael Nyman a apparemment découvert comment avoir un pied dans le 18 ème siècle et un autre dans le 20 ème siècle » (Peter Greenaway in Daniel Caux : Peter Greenaway - Editions Dis Voir - 1987) BLABLA Michael Nyman Nationalité : Britannique Naissance : 23 mars 1944 à Londres 1er métier : critique musical Autres : Musicologue, ethno-musicologue, pianiste, claveciniste, compositeur, arrangeur, chef d’orchestre, librettiste, photographe, éditeur …. Signe particulier : Minimaliste Fan de : Henry Purcell Violon d’Ingres : Les musiques de films Michael Nyman (Photo : X.D.R) DU CRITIQUE MUSICAL AU COMPOSITEUR ichael Nyman a étudié le piano et le clavecin au Royal College of Music et au King’s College. A cette époque, il compose déjà mais en 1964, il décide de mettre de côté l’écriture Mmusicale pour travailler en tant que musicologue puis par la suite, il devient critique musical. Ses articles se retrouvent dans des revues comme The Listener, The Spectator... Durant cette période, le monde de la musique contemporaine est fortement imprégné par des compositeurs comme Boulez, Stockhausen, Xenakis… À travers ses articles, Michael Nyman choisit de mettre en lumière des courants musicaux émergents. Dans le même temps, il n’hésite pas à consacrer ses analyses musicales à des genres autres que le classique : le rock, la musique indienne… Cet éclectisme l’amènera plus tard à jouer et composer avec des musiciens issus de divers horizons musicaux. Ainsi, dans le courant des années 1970, il collabore tour à tour avec le groupe de rock anglais The Flying Lizards1, avec le mandoliniste indien U.Shrinivas ou bien encore avec sa compatriote Kate Bush2. -
British Association for American Studies
Contents Welcome to the University of Birmingham Campus Map Sponsors and thanks Outline Programme Abstracts Session A Session B Session C Session D Session E Session F Session G Session H Session I Wi-Fi and computer access Our campus has full Wi-Fi facilities throughout. Usernames and passwords are available from the registration desk. These codes will also give you access to use the computers in the Mason Lounge (ground floor, Arts Building). Taxis TOA Taxis (black cabs) – 0121 427 8888 Castle Cars – 0121 472 2222 Taxis collect from the East Gate. Welcome to the University of Birmingham The University of Birmingham was established by Queen Victoria by Royal Charter in 1900 and was the UK’s first civic or 'redbrick' university. It is a member of the prestigious Russell Group of research universities and a founding member of Universitas 21. The University grew out of the radical vision of our first Chancellor, Joseph Chamberlain. Birmingham represented a new model for higher education, where students from all religions and backgrounds were accepted on an equal basis. Birmingham has continued to be a university unafraid to do things a little differently, and in response to the challenges of the day. It was a founder member of the National Union of Students and the first university in the country to: be built on a campus model establish a faculty of commerce incorporate a medical school offer degrees in dentistry create a women’s hall of residence have a purpose-built students’ union building The student population now includes around 16,500 undergraduate and 8,000 postgraduate students, making it the largest university in the West Midlands region, and the 11th largest in the UK. -
Atlanta Symphony Orchestra Vasily Petrenko, Conductor Stewart Goodyear, Piano
KENNESAW STATE UNIVERSITY SCHOOL OF MUSIC Atlanta Symphony Orchestra Vasily Petrenko, Conductor Stewart Goodyear, Piano Friday, April 28, 2017 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall One-hundred Thirty-second Concert of the 2016-17 Concert Season program RICHARD STRAUSS (1864-1949) Don Juan, Tone Poem after Nikolaus Lenau, opus 20 (1888-1889) FELIX MENDELSSOHN (1809-1847) Concerto for Piano and Orchestra No. 1 in G minor, opus 25 (1831) I. Molto Allegro con fuoco II. Andante III. Presto; Molto Allegro e vivace Stewart Goodyear, piano INTERMISSION ANTONÍN DVOŘÁK (1841-1904) Symphony No. 8 in G Major, opus 88 (1889) I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro, ma non troppo program notes Notes on the Program by Ken Meltzer Don Juan, Tone Poem after Nikolaus Lenau, opus 20 (1888-1889) ichard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. The Rfirst performance of Don Juan took place in Weimar, Germany, on November 11, 1889, with the composer conducting the Court Orchestra in the Grand Ducal Theater of Weimar. Don Juan is scored for piccolo, three flutes, two oboes, English horn, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, orchestra bells, triangle, cymbals, suspended cymbals, harp, and strings. The legend of Don Juan seems to have originated in the 16th century. The tale of the libertine nobleman who is damned for his numerous seductions and unwillingness to repent has found expression in numerous works. The Austrian poet and philosopher Nikolaus Lenau (1802-50) offered his own, slightly different perspective in his 1844 poem Don Juan: My Don Juan is no hot-blooded man eternally pursuing women. -
Interview with Toni Gibson
Interview with Toni Gibson Interview with Toni Gibson By Natasha Barbieri What inspires you to make music? impressed because he asked me if I would want to sign to his Fanfare Record There isn’t any particular ‘thing’ that Label. Fanfare record Label is another inspired me to sing. I Just love to sing part of the Ambition Entertainment label. and always have ever since I was little. It just comes naturally to me, it is part of Once I was signed to the Label, Robert me. suggested some more songs for the album and possibly replacing the new Your debut album, “Echo in my Soul” songs with some previous ones. I really is out now. What was the song selection liked his suggestions and was happy to process like? scratch a few songs that didn’t quite work and flow alongside the rest of the We started working on my album over a songs on the album. couple of years ago. I had a big input with what songs I wanted to have on the I wanted to create something that hasn’t album because the album started out as really been done in the classical- our own project. I have been working crossover world before. I wanted to add with Gray Bartlett (he started Hayley not just light elements to the music, but Westenra’s career) over the last 3-4 also darker elements. To mix them years, and he also suggested some together in such a way and create a songs that would be suitable for the spiritual atmosphere within the music. -
Uloga Glazbe U Filmu "The Piano" Redateljice Jane Campion
ČLANCI ANA POPOVIĆ uloga glaZBe u filMu THE PIANO reDATELJICe jane CaMpion Izvorni znanstveni članak / Original Scholarly Paper UDK: 78:778.534. 791.43 naCRTAK U radu se analizira glazba koju je za film The Piano napisao Michael Nyman. Osim tehničke glazbene analize filma, glazba je proučavana s gledišta njezine funkcije u komunikaciji kad je riječ o osnovnim porukama filma: kao kritika patrijarhalnog sistema i kao kritika kolonijalnog sistema. Posebno je proučavana simbolička uloga klavira, kao katalizatora i pokretača fabule filma. Ključne riječi: filmska glazba, glazba kao komunikacija, klavir, emancipacija žena, kolonijalizam UVOD Pri pokušajima istraživanja filmske glazbe često dolazi do metodoloških nedoumica: je li moguće filmsku glazbu analizirati jednako kao i svu ostalu glazbu ili je potrebno posegnuti za nekim filmološkim analitičkim alatima i prilagoditi ih glazbi. Tom problematikom godinama se bavi Irena Paulus. U svojim radovima Paulus često istražuje neke partikularne pojave u filmskoj glazbi,1 a dokumentirala je i doprinos hrvatskih skladatelja ovom području.2 Njezina doktorska disertacija bavila se sintezom istraživanja filmske glazbe na hrvatskom govornom području i ponudila je rješenja otvorenih terminoloških pitanja i okvirne smjernice u metodologiji istraživanja filmske glazbe,3 a u knjizi Teorija filmske glazbe kroz teoriju filmskog zvuka donosi pregled mogućih metoda u istraživanju filmske glazbe.4 Upravo su ti radovi bili polazna točka ovog istraživanja. Film The Piano redateljice Jane Campion u muzikološkom je smislu zanimljiv: u njemu glazba ima vrlo izraženu, gotovo samostalnu ulogu. Zbog toga se riječ 1 Primjerice, upotrebu glazbe Claudea Debussyja u različitim filmovima (Paulus 2018) ili upotrebu lajtmotiva u glazbi Johna Williamsa u filmskoj trilogiji Star Wars (Paulus 2000), pa čak i funkciju glazbe u odjavnoj špici u filmskoj trilogiji o Jamesu Bourneu (Paulus 2016). -
2006 DICE Program
Welcome to the Academy of Interactive Arts and Sciences’® fifth annual D.I.C.E. Summit™. The Academy is excited to provide the forum for the interactive enter- tainment industry’s best and brightest to discuss the trends, opportunities and chal- lenges that drive this dynamic business. For 2006, we have assembled an outstanding line-up of speakers who, over the next few days, will be addressing some of the most provocative topics that will impact the creation of tomorrow’s video games. The D.I.C.E. Summit is the event where many of the industry’s leaders are able to discuss, debate and exchange ideas that will impact the video game business in the coming years. It is also a time to reflect on the industry’s most recent accomplish- ments, and we encourage every Summit attendee to join us on Thursday evening Joseph Olin, President for the ninth annual Interactive Achievement Awards®, held at The Joint at the Academy of Interactive Hard Rock Hotel. The creators of the top video games of the year will be honored Arts & Sciences for setting new standards in interactive entertainment. Thank you for attending this year’s D.I.C.E. Summit. We hope that this year’s confer- ence will provide you with ideas that spark your creative efforts throughout the year. The Academy’s Board of Directors Since its inception in 1996, the Academy of Interactive Arts and Sciences has relied on the leadership and direction of its board of directors. These men and women, all leaders of the interactive software industry, have volunteered their time and resources to help the Academy advance its mission of promoting awareness of the art and science of interactive games and entertainment. -
A Sutileza Do Silêncio
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE ARTES CURSO DE GRADUAÇÃO – LICENCIATURA EM ARTES VISUAIS Daniel Paulo Trindade A SUTILEZA DO VAZIO E D0 SILÊNCIO - APRENDENDO COM DESIGN POR SUBTRAÇÃO Porto Alegre 2019 Daniel Paulo Trindade A SUTILEZA DO VAZIO E D0 SILÊNCIO - APRENDENDO COM DESIGN POR SUBTRAÇÃO Projeto de Trabalho de Conclusão de Curso de Graduação apresentado ao Instituto de Artes da Universidade Federal do Rio Grande do Sul, como requisito parcial para a obtenção do título de Licenciado (a) em Artes Visuais. Área de habilitação: Artes Visuais Orientador: Prof. Dr. Celso Vitelli Porto Alegre 2019 Resumo Essa pesquisa tem como foco o estudo dos games - jogos digitais - mais especificamente sobre um método especifico de desenvolvimento, o Design por Subtração. Depois, relaciono esse método com o ensino dentro das escolas, mais especificamente o ensino de Arte. Acrescento aqui exemplos pontuais, como algumas práticas do estágio docente além de frases e relatos de alguns alunos. A prática em questão aconteceu em duas escolas diferentes, E.E.E.M. Baltazar de Oliveira Garcia para o ensino fundamental, 6º e 7º anos. E I.E. Dom Diogo de Souza para o ensino médio, 1º e 2º anos. Para me ajudar a pensar e construir a pesquisa e as aulas uso como base os jogos e a filosofia de design de games de Fumito Ueda, famoso por popularizar o termo Design por Subtração. Palavras-chave: subtração, jogos, ensino de arte. Sumário Introdução ................................................................................................................................................................................... -
Michael Nyman
This pdf was last updated: Apr/23/2010. Michael Nyman Celebrated for his modular, repetitive style, minimalist composer Michael Nyman is among experimental music's most high-profile proponents, Line-up Michael Nyman - piano Gabrielle Lester - violin Anne Morfee - violin Catherine Musker - viola Anthony Hinnigan - cello David Roach - saxophones Simon Haram - saxophones Andrew Findon - saxophone, flute Steve Sidwell - trumpet David Lee - horn Nigel Barr - bass trombone, euphonium Martin Elliott - bass guitar On Stage: 12 Travel Party: 14 Website www.michaelnyman.com Biography When Michael Nyman published his study Experimental Music: John Cage and Beyond (1974), he could hardly have foreseen his own contribution to that "beyond". Rejecting the orthodoxies of British modernism, Nyman had abandoned composition in 1964, working instead as a musicologist, editing Purcell and Handel, and collecting folk music in Romania. Later he became a music critic, in which capacity he was the first to apply the word "minimalism" to music, in a 1968 review for the Spectator of Cornelius Cardew's The Great Digest. But soon a route back to composition was emerging. He wrote the libretto for Harrison Birtwistle's 1969 "dramatic pastoral" Down by the Greenwood Side. In 1977, Birtwistle commissioned him to provide arrangements of 18th-century Venetian songs for the production of Carlo Goldoni's play Il Campiello. Thrilled by the results, Nyman kept the Campiello Band together, now propelled by his own piano-playing. Soon the band's line-up mutated. The Campiello Band became the amplified Michael Nyman Band with a string quartet, three saxophones, bass trombone, bass guitar and piano.