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Sonic Necessity-Exarchos
Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing. -
Tropical House for Serum Vol.3
PRODUCT INFORMATION RESONANCE SOUND TROPICAL HOUSE FOR SERUM VOL.3 DISTRIBUTED BY WWW.RESONANCE-SOUND.COM DETAILS & FEATURES One of our most successful series finally continues! Tropical House Vol. 3 captures the sound of this year’s summer and combines it with traditional Tropical House. Step away from your daily routine and dive into an atmosphere of waves, marimbas, guitars, uplifting melodies, smooth pads and enjoy the vibes directly from Ibiza. These presets have been crafted to bring you the highest quality sound of the pros directly into your studio. All of that would not have been possible without studying producers like Kygo, Robin Schulz, Thomas Jack, Sam Feldt, Matoma and many more for months. Thanks to Serum’s Noise Oscillator, you have the possibility to mix carefully sampled instruments like Marimbas, Guitars, Vibraphones and even Vocals into your next banger. To give you the perfect start, we included all 22 midi files from the demo so you can drag and drop them into your DAW, load a suitable preset and create a summer smasher right away. To give you even more flexibility, all presets feature maximum Macro and Modwheel assignment. There is no tropical sound that has not been covered in this set. With these Serum presets at your fingertips, the next festival season will be yours! The presets in detail: 2 Arps, 6 Bass, 3 FX, 2 Guitar, 7 Lead, 6 Pads, 24 Plucks, 4 Pianos, 2 Sequences and 8 Synth presets Features: - 64 Presets - 22 MIDIs - Modwheel and Macro assignments Requirements: Xfer Serum synthesizer v1.21b4 or later Please note: this pack contains Serum presets and MIDI files only. -
Issue No. 39 September/October 2016 3 Videogames Have Become Bonafide EYE Entertainment Franchises
Press Play LÉON Lewis Del Mar Luna Aura Marshmello NAO and more THE STORM ISSUE NO. 39 REPORT SEPTEMBER/OCTOBER 2016 TABLE OF CONTENTS 4 EYE OF THE STORM Press Play: How videogames could save the music industry 5 STORM TRACKER Roadies Roll Call, Kiira Is Killing It, The Best and the Brightest 6 STORM FORECAST What to look forward to this month. Award Shows, Concert Tours, Album Releases, and more 7 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. 19 SOURCES & FOOTNOTES On the Cover: Martin Garrix. Photo provided by management ABOUT A LETTER THE STORM FROM THE REPORT EDITOR STORM = STRATEGIC TRACKING OF RELEVANT MEDIA Hello STORM Readers! The STORM Report is a compilation of up-and-coming bands and Videogames have become a lucrative channel artists who are worth watching. Only those showing the most for musicians seeking incremental revenue promising potential for future commercial success make it onto our as well as exposure to a captive and highly monthly list. engaged audience. Soundtracks for games include a varied combination of original How do we know? music scores, sound effects and licensed tracks. Artists from Journey (yes, Journey) Through correspondence with industry insiders and our own ravenous to Linkin Park have created gamified music media consumption, we spend our month gathering names of artists experiences to bring their songs to visual who are “bubbling under”. We then extensively vet this information, life. In the wake of Spotify announcing an analyzing an artist’s print & digital media coverage, social media entire section of its streaming platform growth, sales chart statistics, and various other checks and balances to dedicated to videogame music, we’ve used ensure that our list represents the cream of the crop. -
Slowed and Throwed: Records of the City Through Mutated Lenses Scholar of African American Culture Thursday, March 5 Members Preview | 6–7PM Public Opening | 7–9PM
These events are free, Public open to the public, and take “If nothing else, Screw culture was a Programs place at Contemporary love letter to Houston, a sonic rendering Slowed and Arts Museum Houston. Seating is limited. Please of the illegibility of Houston’s Black check camh.org for the Throwed most current information. communities made legible by slowing it down.” March 6–June 7, 2020 —Dr. Regina N. Bradley, Opening Reception | Slowed and Throwed: Records of the City Through Mutated Lenses Scholar of African American culture Thursday, March 5 Members Preview | 6–7PM Public Opening | 7–9PM Art at Noon | Lance Scott Walker Friday, March 6 | Noon–1PM In Conversation | Patricia Restrepo, CAMH Exhibitions Manager and Assistant Curator, with artists Tay Butler, Robert Hodge, and Ayanna Jolivet Mccloud Saturday, March 7 | 11AM–Noon Open Studio | Community Remix Saturday, March 7 | 2–4PM Karen Navarro. Fragment Tom Van Laan, Joe and Anderson Foundation, (detail), 2019. Archival Johanne Gatto, Blakely National Endowment for Family Day and Teen Council-organized Fashion Show inkjet print, wood, and and Trey Griggs, Kerry the Arts, The Sarofim epoxy. 48 x 56 inches. Inman and Denby Auble, Foundation, Louisa Saturday, March 21 | 1–4PM Courtesy the artist Louise Jamail, Page Stude Sarofim, Susan and Foto Relevance, Kempner, Dillon A. Kyle Vaughan Foundation, 5216 Montrose Boulevard Houston, Texas. and Sam L. Lasseter, Bryn Texas Commission on the Open Studio | Making Beats Houston, Texas 77006 Larsen, Erica and Benjy Arts, Vinson & Elkins LLP, @camhouston Slowed and Throwed: Levit, Marian Livingston, Wallace S. Wilson, The Saturday, April 4 | 2–4PM CAMH.ORG Records of the City Lucinda and Javier Loya, Wortham Foundation, Inc., #atCAMH Through Mutated Lenses Catherine and George Marion and David Young, #SlowedandThrowed is made possible in part Masterson, Elisabeth Michael Zilkha. -
The Sound of the Next Generation a Comprehensive Review of Children and Young People’S Relationship with Music
THE SOUND OF THE NEXT GENERATION A COMPREHENSIVE REVIEW OF CHILDREN AND YOUNG PEOPLE’S RELATIONSHIP WITH MUSIC By Youth Music and Ipsos MORI The Sound of the Next Generation THE SOUND OF THE NEXT GENERATION A COMPREHENSIVE REVIEW OF CHILDREN AND YOUNG PEOPLE’S RELATIONSHIP WITH MUSIC By Youth Music and Ipsos MORI Cover Photo: The Roundhouse Trust - Roundhouse Rising Festival of Emerging Music The Sound of the Next Generation The Sound of the Next Generation CONTENTS Foreword – Matt Griffiths, CEO of Youth Music 02 With thanks to 03 Executive summary 04 About the authors 05 A note on terminology 05 The voice of the next generation 06 1) Music is integral to young people’s lives 08 Consumption channels Live music Genres and artists 2) Young people are making music more than ever before 10 Musical engagement Musical learning Music in schools 3) Patterns of engagement differ according to a young person’s background 14 Popular culture and DIY music 4) Music is a powerful contributor to young people’s wellbeing 16 Listening to music and positive emotional states Music to combat loneliness Young people’s view of their future 5) A diverse talent pool of young people supports the future of the music industry 19 Getting a job in the music industry Diversifying the music industry A win-win for education and industry 6) Music has the power to make change for the next generation 21 Appendices 22 Methodology The young musicians The expert interviewees Endnotes 24 01 Photo: The Garage The Sound of the Next Generation The Sound of the Next Generation FOREWORD – MATT GRIFFITHS, So, it’s time to reflect, look back and look forward. -
The Wiki Music Dataset: a Tool for Computational Analysis of Popular Music
The Wiki Music dataset: A tool for computational analysis of popular music Fabio Celli Profilio Company s.r.l. via sommarive 18, 38123 Trento, Italy Email: fabio@profilio.co Abstract—Is it possible use algorithms to find trends in monic and timbral properties that brought changes in music the history of popular music? And is it possible to predict sound around 1964, 1983 and 1991 [14]. Beside these research the characteristics of future music genres? In order to answer fields, there is a trend in the psychology of music that studies these questions, we produced a hand-crafted dataset with the how the musical preferences are reflected in the dimensions intent to put together features about style, psychology, sociology of personality [11]. From this kind of research emerged the and typology, annotated by music genre and indexed by time MUSIC model [20], which found that genre preferences can and decade. We collected a list of popular genres by decade from Wikipedia and scored music genres based on Wikipedia be decomposed into five factors: Mellow (relaxed, slow, and ro- descriptions. Using statistical and machine learning techniques, mantic), Unpretentious, (easy, soft, well-known), Sophisticated we find trends in the musical preferences and use time series (complex, intelligent or avant-garde), Intense (loud, aggressive, forecasting to evaluate the prediction of future music genres. and tense) and Contemporary (catchy, rhythmic or danceable). Is it possible to find trends in the characteristics of the genres? Keywords—Popular Music, Computational Music analysis, And is it possible to predict the characteristics of future genres? Wikipedia, Natural Language Processing, dataset To answer these questions, we produced a hand-crafted dataset with the intent to put together MUSIC, style and sonic features, I. -
Where to Next? a Dynamic Model of User Preferences
Where To Next? A Dynamic Model of User Preferences Francesco Sanna Passino∗ Lucas Maystre Dmitrii Moor Imperial College London Spotify Spotify [email protected] [email protected] [email protected] Ashton Anderson† Mounia Lalmas University of Toronto Spotify [email protected] [email protected] ABSTRACT 1 INTRODUCTION We consider the problem of predicting users’ preferences on on- Online platforms have transformed the way users access informa- line platforms. We build on recent findings suggesting that users’ tion, audio and video content, knowledge repositories, and much preferences change over time, and that helping users expand their more. Over three decades of research and practice have demon- horizons is important in ensuring that they stay engaged. Most strated that a) learning users’ preferences, and b) personalizing existing models of user preferences attempt to capture simulta- users’ experience to match these preferences is immensely valuable neous preferences: “Users who like 퐴 tend to like 퐵 as well”. In to increase engagement and satisfaction. To this end, recommender this paper, we argue that these models fail to anticipate changing systems have emerged as essential building blocks [3]. They help preferences. To overcome this issue, we seek to understand the users find their way through large collections of items and assist structure that underlies the evolution of user preferences. To this them in discovering new content. They typically build on user pref- end, we propose the Preference Transition Model (PTM), a dynamic erence models that exploit correlations across users’ preferences. model for user preferences towards classes of items. The model As an example within the music domain, if a user likes The Beatles, enables the estimation of transition probabilities between classes of that user might also like Simon & Garfunkel, because other users items over time, which can be used to estimate how users’ tastes are who listen to the former also listen to the latter. -
D3.2 – Predictive Analytics and Recommendation Framework V2
D3.2 – Predictive analytics and recommendation framework v2 Αugust 31st, 2019 Authors: Thomas Lidy (MMAP), Adrian Lecoutre (MMAP), Khalil Boulkenafet (MMAP), Manos Schinas (CERTH), Christos Koutlis (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Vasiliki Gkatziaki (CERTH), Emmanouil Krasanakis (CERTH), Polychronis Charitidis (CERTH) Deliverable Lead Beneficiary: MMAP This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. Multimodal Predictive Analytics and Recommendation Services for the Music Industry 2 Deliverable number or D3.2 Predictive analytics and recommendation framework supporting document title Type Report Dissemination level Public Publication date 31-08-2019 Author(s) Thomas Lidy (MMAP), Adrian Lecoutre (MMAP), Khalil Boulkenafet (MMAP), Manos Schinas (CERTH), Christos Koutlis (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Emmanouil Krasanakis (CERTH), Vasiliki Gkatziaki (CERTH), Polychronis Charitidis (CERTH) Reviewer(s) Rémi Mignot (IRCAM) Keywords Track popularity, artist popularity, music genre popularity, track recognition estimation, emerging artist discovery, popularity forecasting Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 25/06/2019 First deliverable draft version, table of contents Thomas Lidy (MMAP) V0.2 18/07/2019 Main contribution on track recognition estimation -
Communication Design Quarterly
Online First 2018 Communication Design Quarterly Published by the Association for ComputingVolume Machinery 1 Issue 1 Special Interest Group for Design of CommunicationJanuary 2012 ISSN: 2166-1642 DJs, Playlists, and Community: Imagining Communication Design through Hip Hop Victor Del Hierro University of Texas at El Paso [email protected] Published Online October 17, 2018 CDQ 10.1145/3274995.3274997 This article will be compiled into the quarterly publication and archived in the ACM Digital Library. Communication Design Quarterly, Online First https://sigdoc.acm.org/publication/ DJs, Playlists, and Community: Imagining Communication Design through Hip Hop Victor Del Hierro University of Texas at El Paso [email protected] ABSTRACT INTRODUCTION This article argues for the inclusion of Hip Hop communities in Recent work in Technical/Professional Communication has made technical communication research. Through Hip Hop, technical calls for expanding the field by turning to social justice through communicators can address the recent call for TPC work to expand culturally sensitive and diverse studies that honor communities the field through culturally sensitive and diverse studies that honor and their practices (Agboka, 2013; Haas, 2012; Maylath et communities and their practices. Using a Hip Hop community al., 2013). While this work pushes our field toward important in Houston as a case study, this article discusses the way DJs ethical responsibilities, it also helps build rigorous research operate as technical communicators within their communities. and methods that help meet the needs of already globalized and Furthermore, Hip Hop DJs build complex relationships with complex communication praxis (Walton, Zraly, & Mugengana, communities to create localized and accessible content. -
Westminsterresearch Sonic Necessity and Compositional Invention in #Blues-Hop: Composing the Blues for Sample-Based Hip-Hop Exar
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Sonic Necessity and Compositional Invention in #Blues-Hop: Composing the Blues for Sample-Based Hip-Hop Exarchos, M. This is an electronic version of a paper presented at the New Zealand Musicological Society Annual Conference, Hamilton, New Zealand, 19 to 20 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] New Zealand Musicological Society Annual Conference Contemporary and Future Paths in Music Performance, Composition and Analysis Sonic Necessity and Compositional Invention in #Blues-Hop: Composing the Blues for Sample-Based Hip-Hop Michail Exarchos, London College of Music, University of West London Abstract Rap, the musical element of Hip-Hop culture, has depended upon the ‘recorded’ past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by ‘composition’ within a sampling context. Yet, while the dependence on pre-existing recordings chal- lenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. -
Musica House Dance 2014
Musica house dance 2014 The Best New Best Dance Music || Electro & House Dance Club Mix || Vol (Electro House. Best dance music new electro house The latest in electronic dance music. Get the latest from. The Best Electronic Dance Music Sessions (Electro House, Progressive House, Tech House, EDM). Always. Best Dance Music Electro House Dance Club Mix. ▻More Free Music: See als our. Best Dance Music Electro House Dance Club Mix Tracklist: 1. Phunk Investigation - Let The Bass Kick. More Videos from Best Dance Music | Electro & House. CLUB MUSIC MIXES Free Download: ▸Follow us on Instagram for Models: https://www. TO CHANNEL!!! SEGUIMI ANCHE SU FACEBOOK More Free Music: Facebook: Create your own Electro House - EDM. It's been an eventful year in dance music, to say the least. Kudos to French house wunderkind Wilfred Giroux for being the tough-love friend. CLUB & DANCE songs New House Music Mix [Club Party Lover's] Maximal Electro House Stream New Best Dance Music Electro & House Dance Club Mix By Gerrard #1 by Anthony Gerrard from desktop or your mobile device. Listen to the best Electro house dance club music track remix mix shows. Romyyca89 @ Night Party Mix _Vol.1_-_(Dance-Club Edition). Free with Apple Music subscription. Just Dance - 50 EDM Club Electro House Hits. Various Artists Roar (Glee Free Dance Edit). Electro House Special Dance Mix Electro House Progressive usa, axwell, hits , great club, bass, collection, love house music. Vários/House - Best of Dance (2CD). Compre as novidades de música na House music is a genre of electronic music created by club DJs and music producers in House music developed in Chicago's underground dance club culture in the early s, as DJs (re-issue of a November article). -
University of Houston Oral History of Houston Project Houston History
HHA# 00812 Interviewee: Obi, Anthony Interview Date: March 25, 2013 University of Houston Oral History of Houston Project Houston History Interviewee: Anthony “Fat Tony” Obi Interview Date: March 25, 2013 Place: Agora on Westheimer, Houston, Texas Interviewer: Narmi Mena Transcriber: Michelle Kokes Keywords: Fat Tony, Anthony Obi, hip hop culture, hip hop music, rap music, EPs, mixtapes, solo artists, independent artists, 2000s, Hollywood Floss, Roc-a- fella Records, Cam‟Ron, Juelz, DIY music, 80s punk rock, DIY punk, Minor Threat, Black Flag, the Ramones, DJ Screw, UGK, Prince, chopped and screwed, Rap-A-Lot Records, Geto Boys, Scarface, Devin the Dude, Odd Squad, South Park Coalition, SPC, Swishahouse, Chamillionaire, Paul Wall, Mike Jones, VICE News, VICE Documentaries, Black Panthers, Houston rap, Houston music scene, Carnegie Vanguard High School, experimental music, local music, regional music, southern rap, southern culture, mainstream rap, A$AP Rocky, Kendrick Lamar, Drake, Purple Swag, marijuana, lean, purple drank, codeine, drug culture, Lil Wayne, SCREWDARGAB, RABDARGAB, OG Ron C, Youtube, Rice University, culture, music industry, 1990s, 1980s, Compton, Los Angeles, New Orleans, Lil B, Childish Gambino, Riff Raff, Fitzgerald‟s, Free Press Summer Fest Abstract: Anthony Obi is a Houston native Nigerian-American rap artist that goes by the name “Fat Tony.” Having an interest in music since a very young age, Fat Tony began making music with a group of friends during his high school years. After the group‟s disbandment Fat Tony released his first song called “Love Life” while collaborating with local artist Hollywood Floss. Fat Tony cites his earliest influences to an early 2000s single called “Oh Boy” by Cam‟Ron and Juelz, two Roc-a- fella Records artists.