'Transcending Quotation'
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Thinking Plague a History Of
What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Transgressing the Wall. Mauricio Kagel and Decanonization of the Musical Performance
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 13 (60) No. 2 - 2020 https://doi.org/10.31926/but.pa.2020.13.62.2.2 Transgressing the Wall. Mauricio Kagel and Decanonization of the musical performance Laurențiu BELDEAN1, Malgorzata LISECKA2 Abstract: The article discusses selected some musical concept by Maurcio Kagel (1931–2008), one of the most significant Argentinian composer. The analysis concerns two issues related to Kagel’s work. First of all, the composer’s approach to musical theatre as an artistic tool for demolishing a wall put in cultural tradition between a performer and a musical work – just like Berlin Wall which turned the politics paradigm in order to melt two political positions into one. Kagel’s negation of the structure’s coherence in traditional musical canon became the basis of his conceptualization which implies a collapse within the wall between the musical instrument and the performer. Aforementioned performer doesn’t remain in the passive role, but is engaged in the art with his whole body as authentic, vivid instrument. Secondly, this article concerns the actual threads of Kagel’s music, as he was interested in enclosing in his work contemporary social and political issues. As the context of the analyze the authors used the ideas of Paulo Freire (with his concept of the pedagogy of freedom) and Augusto Boal (with his concept of “Theater of the Oppressed”). Both these perspectives aim to present Kagel as multifaceted composer who through his avantgarde approach abolishes canons (walls) in contemporary music and at the same time points out the barriers and limitations of the global reality. -
The German Eipo Research Project
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Journal de la Société des Océanistes 118 | Année 2004-1 Varia The German Eipo Research Project Anton Ploeg Édition électronique URL : http://journals.openedition.org/jso/263 DOI : 10.4000/jso.263 ISSN : 1760-7256 Éditeur Société des océanistes Édition imprimée Date de publication : 1 juin 2004 Pagination : 35-79 ISSN : 0300-953x Référence électronique Anton Ploeg, « The German Eipo Research Project », Journal de la Société des Océanistes [En ligne], 118 | Année 2004-1, mis en ligne le 01 juin 2007, consulté le 01 mai 2019. URL : http:// journals.openedition.org/jso/263 ; DOI : 10.4000/jso.263 © Tous droits réservés The German Eipo Research Project par Anton PLOEG* ABSTRACT RÉSUMÉ This paper reviews the results of the research carried Cet article présente les résultats de recherche menées out that a group of German scholars and scientists has par un groupe d’étudiants et de scientifiques allemands carried out with the Eipo, in the eastern highlands of chez les Eipo, dans les hautes terres de l’est de la West Papua, Indonesia. Their work started in the mid- Papouasie de l’Ouest en Indonésie. Leur travail, qui a 1970’s and has not been completely finalised so far. The commencé dans le milieu des années 1970, n’a été com- research aimed at a comprehensive documentation of plètement terminé. Cette recherche a voulu présenter the way of life of the Eipo. This aim required the inter- une bonne documentation sur la façon de vivre des Eipo. -
Sprechen Über Neue Musik
Sprechen über Neue Musik Eine Analyse der Sekundärliteratur und Komponistenkommentare zu Pierre Boulez’ Le Marteau sans maître (1954), Karlheinz Stockhausens Gesang der Jünglinge (1956) und György Ligetis Atmosphères (1961) Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) vorgelegt der Philosophischen Fakultät II der Martin-Luther-Universität Halle-Wittenberg, Institut für Musik, Abteilung Musikwissenschaft von Julia Heimerdinger ∗∗∗ Datum der Verteidigung 4. Juli 2013 Gutachter: Prof. Dr. Wolfgang Auhagen Prof. Dr. Wolfgang Hirschmann I Inhalt 1. Einleitung 1 2. Untersuchungsgegenstand und Methode 10 2.1. Textkorpora 10 2.2. Methode 12 2.2.1. Problemstellung und das Programm MAXQDA 12 2.2.2. Die Variablentabelle und die Liste der Codes 15 2.2.3. Auswertung: Analysefunktionen und Visual Tools 32 3. Pierre Boulez: Le Marteau sans maître (1954) 35 3.1. „Das Glück einer irrationalen Dimension“. Pierre Boulez’ Werkkommentare 35 3.2. Die Rätsel des Marteau sans maître 47 3.2.1. Die auffällige Sprache zu Le Marteau sans maître 58 3.2.2. Wahrnehmung und Interpretation 68 4. Karlheinz Stockhausen: Gesang der Jünglinge (elektronische Musik) (1955-1956) 85 4.1. Kontinuum. Stockhausens Werkkommentare 85 4.2. Kontinuum? Gesang der Jünglinge 95 4.2.1. Die auffällige Sprache zum Gesang der Jünglinge 101 4.2.2. Wahrnehmung und Interpretation 109 5. György Ligeti: Atmosphères (1961) 123 5.1. Von der musikalischen Vorstellung zum musikalischen Schein. Ligetis Werkkommentare 123 5.1.2. Ligetis auffällige Sprache 129 5.1.3. Wahrnehmung und Interpretation 134 5.2. Die große Vorstellung. Atmosphères 143 5.2.2. Die auffällige Sprache zu Atmosphères 155 5.2.3. -
Doctoral Ensemble Recital Jeremy Meronuck, Percussion Luke Thatcher, Percussion PROGRAM
Department of Music College of Fine Arts presents a Doctoral Ensemble Recital Jeremy Meronuck, percussion Luke Thatcher, percussion PROGRAM Bob Becker Mudra (b.1947) Jack Steiner, soloist Charlie Gott A.J. Merlino Steve Reich Nagoya Marimbas (b.1936) INTERMISSION John Cage A mores (1912-1992) I. Solo: Prepared Piano II. Trio: ine Tom Toms, Pod Rattle ill. Trio: Seven Woodblocks Otto Ehling, piano A.J. Merlino, percussion Mauricio Kagel Rrrrrrr (1931-2008) I. Railroad Drama II. Ranz des Vaches III. Rigaudon IV. Rim Shot v. Ruff VI. Rutscher This recital is presented in partial fulfillment ofthe requirements for the degree Doctor ofMusical Arts in Applied Music. Jeremy Meronuck and Luke Thatcher are students ofDean Gronemeier and Timothy Jones. Monday, November 22,2010 7:30p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas PROGRAM NOTES Mudra consists of music, which was originally composed to accompany the dance Mudra by choreographer Joan Phillips. Commissioned by INDE '90 and premiered in Toronto in March, 1990, as part of the DuMaurier Quay Works series, Mudra was awarded the National Art Centre Award for best collaboration between composer and choreographer. The music was subsequently edited and re-orchestrated as a concert piece for the percussion group NEXUS during May, 1990. Mudra is scored for marimba, vibraphone, songbells, glockenspiel, crotales, prepared drum and bass drum. Mudra was created, for the most part, using the "dance first" approach, in which the music is composed to fit pre-existing choreography. Thus, the rhythmic structure and overall form reflect the episodic and gestural character of the original choreography, which dealt with the conflict of traditional and modern issues in a multi-cultural urban society. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Holmes Electronic and Experimental Music
C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media. -
+Recjan-Mar 2017
PARKS Jan-Mar 2017 +RECGUIDE SAMMAMISH PARKS +REC GUIDE Jan-Mar 2017 www.sammamish.us 425-295-0585 Tell Us What You Think We want to hear your thoughts and opinions on this recreation guide. Is this helpful information? What would you like to see in the next publication? Email us at [email protected] and share your thoughts and ideas. This Recreation Guide contains information about City of Sammamish programs, as well as programs offered by other organizations.The City accepts no liability or responsibility for errors contained in the information provided or for the programs of any other organization. City Council Members Don Gerend, Mayor What’s Inside Ramiro Valderrama-Aramayo, Deputy Mayor Tom Hornish Event Opportunities 3 Kathy Huckabay Bob Keller Community Events 4-5 Christie Malchow Tom Odell Human Services Providers 6 Parks Commission Members Volunteer 7 Hank Klein, Chair Cheryl Wagner, Vice Chair Sammamish YMCA 8 Doug Eglington Sid Gupta Boys & Girls Club 9 Stephanie Hibner Recreation Classes 10 Loreen Leo Katherine Low Recreation Providers 11 Sheila Sappington Nancy Way Facility Rentals 12-13 Staff Parks Amenities 14 Lyman Howard, City Manager Jessi Bon, Deputy City Manager Parks Map 15 Angie Feser, Parks Director Kyle Endelman, Deputy Director Parks Projects 16 Sevda Baran, Project Manager Susan Cezar, Special Projects Manager Allison Gubata, Community Services Coordinator On the cover Lynne Handlos, Recreation Coordinator Sammamish Arts Commission celebrates the Kellye Hilde, Parks Project Manager installation of a human-size bird nest at the Janie Jackson, Administrative Assistant Big Rock Park Grand Opening. The nest was Elby Jones, Volunteer Coordinator built by volunteers as part of the Rookery Mike Keller, Parks Maintenance Supervisor Nest Making Project led by Karen White. -
Expedition Evan M
Washington University in St. Louis Washington University Open Scholarship Graduate School of Art Theses Graduate School of Art Spring 5-16-2014 Expedition Evan M. Crankshaw Washington University in St Louis, [email protected] Follow this and additional works at: https://openscholarship.wustl.edu/samfox_art_etds Part of the Art and Design Commons Recommended Citation Crankshaw, Evan M., "Expedition" (2014). Graduate School of Art Theses. ETD 19. https://doi.org/10.7936/K7MS3QN3. This Thesis is brought to you for free and open access by the Graduate School of Art at Washington University Open Scholarship. It has been accepted for inclusion in Graduate School of Art Theses by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Expedition by EVan Crankshaw 1 Contents Abstract.........................................................................................................3 Part One: Exotic.......................................................................................4 1. “Exotic”......................................................................................................5 2. The Exot.....................................................................................................6 3. Time and the Primitive..................................................................................9 4. A New Exot...............................................................................................13 Part Two: Exotica...................................................................................15 -
Supplement to the Music of Mauricio Kagel
Heile, Bjorn (2014) Supplement to the Music of Mauricio Kagel. Copyright © 2014 The Author Available under License Creative Commons Attribution Non-commercial No Derivatives. http://eprints.gla.ac.uk/96021/ Deposited on: 14 August 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Supplement To The Music of Mauricio Kagel (Aldershot: Ashgate, 2006) Björn Heile University of Glasgow Edition 1.0 Glasgow, August 2014 Table of Contents Illustrations ............................................................................................................................................ iii About this Publication ............................................................................................................................ iv Acknowledgements ................................................................................................................................. v Errata ...................................................................................................................................................... vi Early Work and Career ............................................................................................................................ 1 Dodecaphony ........................................................................................................................................ 34 The Late Work ...................................................................................................................................... -
Front Matter
ETH NOMU $ 10 LOGY JOURNAL OF THE SOCIETY FOR ETHNOMUSICOLOGY NOW INDEX VOLUMES I-X 1953-1966 Society for Ethnomusicology , University of Illinois Press are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology www.jstor.org SOCIETY FOR ETHNOMUSICOLOGY, INC. Board of Directors President: Mantle Hood, Institute of Ethnomusicology, University of Califor- nia, Los Angeles, California 90024 Past President: David P. McAllester, Laboratory of Ethnomusicology, Wes- leyan University, Middletown, Connecticut 06457 First Vice-President: Klaus Wachsmann, Institute of Ethnomusicology, Uni- versity of California, Los Angeles, California 90024 Second Vice-President: Gertrude P. Kurath, Dance Research Center, 1125 Spring Street, Ann Arbor, Michigan 48103 Secretary: Theodore C. Grame, Dept. of Music, Yale University, New Haven, Connecticut 06520 Treasurer: William P. Malm, School of Music, University of Michigan, Ann Arbor, Michigan 48105 Directors-at-large: Nicholas M. England, Dept. of Music, Columbia Univer- sity, New York, New York 10027; J. H. Kwabena Nketia, Institute of African Studies, University of Ghana, Legon, Ghana. Council: Term ending 1967: Robert A. Black, Rose Brandel, K. P. Etzkorn, Frank J. Gillis, Theodore C. Grame, Mieczyslaw Kolinski, Jan LaRue, Alan Lomax, George List, David P. McAllester, Roxane McCollester, Norma McLeod, Wil- liam P. Malm, Wilton Mason, Nadia Chilkovsky Nahumck, Bruno Nettl, Sirvart Poladian, Gustave Reese, Barbara B. Smith, Klaus Wachsmann. Term ending 1968: Willem Adriaansz, William K.Archer, Samuel P. Bayard, Judith O. Beck- er, Viktor M. Beliaev, David L. Burrows, Dieter Christensen, Zygmunt Estrei- cher, Edith Gerson-Kiwi, Charles Haywood, K. G. Izikowitz, Shigeo Kishibe, Barbara L. Krader, Juana de Laban, Jose Maceda, J.