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How Music Works David Byrne Bog PDF Epub

How Music Works Hent bøger PDF David Byrne How Music Works David Byrne Hent PDF *Updated with a new chapter on digital curation*How Music Works is David Byrne's incisive and enthusiastic look at the musical art form, from its very inceptions to the influences that shape it, whether acoustical, economic, social or technological. Utilizing his incomparable career and inspired collaborations with Talking Heads, Brian Eno, and many others, Byrne taps deeply into his lifetime of knowledge to explore the panoptic elements of music, how it shapes the human experience, and reveals the impetus behind how we create, consume, distribute, and enjoy the songs, symphonies, and rhythms that provide the backbeat of life. Byrne's magnum opus uncovers ever-new and thrilling realizations about the redemptive liberation that music brings us all. *Updated with a new chapter on digital curation*How Music Works is David Byrne's incisive and enthusiastic look at the musical art form, from its very inceptions to the influences that shape it, whether acoustical, economic, social or technological. Utilizing his incomparable career and inspired collaborations with Talking Heads, Brian Eno, and many others, Byrne taps deeply into his lifetime of knowledge to explore the panoptic elements of music, how it shapes the human experience, and reveals the impetus behind how we create, consume, distribute, and enjoy the songs, symphonies, and rhythms that provide the backbeat of life. Byrne's magnum opus uncovers ever-new and thrilling realizations about the redemptive liberation that music brings us all. Download (hent) pdf-bog, pdf bog, pdf e-bog, epub, fb2 Alle bøger. 30 dages gratis prøveperiode.

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How Music Works [Review of the Book How Music Works, by D
Edinburgh Research Explorer How Music Works [Review of the book How Music Works, by D. Byrne] Citation for published version: Caldwell Brown, S 2015, 'How Music Works [Review of the book How Music Works, by D. Byrne]', Popular Music and Society. https://doi.org/10.1080/03007766.2015.1073035 Digital Object Identifier (DOI): 10.1080/03007766.2015.1073035 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Popular Music and Society Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis Group in Popular Music and Society on 11/08/2015, available online: http://www.tandfonline.com/10.1080/03007766.2015.1073035 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 How Music Works DAVID BYRNE London: Canongate, 2012 ISBN: 978-0857862501 358 pp., £25.00 (hb) In recent years, several books been published which discuss changes in the recording industry as a result of the digital revolution, exploring technological issues such as piracy, copyright, remix culture, playlists, etc.
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Key Music Books You Must Read
KEY MUSIC BOOKS YOU MUST READ This selection of books is divided into two categories – essential reading for anyone wanting to commit to a career in the music industry; and entertaining reads which are informative and enjoyable but are essentially geared at all music enthusiasts. ESSENTIAL READING FOR MUSIC STUDENTS “How music works” by David Byrne Chapter 7 of this book is entitled “Business and Finances (distribution and survival options for music artists)” and it is absolutely essential reading for any songwriter or musician. David Byrne of legendary rock group Talking Heads explains the detailed financial ins and outs of one of his album releases. He outlines the various costs involved and who gets the various percentages. He uses colour-coded diagrams to convey how the money pie is shared. At the same time, he describes the complex financial mechanisms of the modern music business. This is unmissable information. Few working musicians take the time to explain the money trail to newcomers who usually believe there is a pot of gold at the end of the rainbow. What Byrne explains is how a musician who is willing to keep a lid on costs can make a modest living recording albums and touring. The rest of the book has a lot of interesting material, some of it a bit academic, some of it needing effort to persevere. But Byrne's enthusiasm for music usually carries you along. I liked the following bits in particular: Music as social glue, as a self- empowering social agent (pages 291-293); the value of music education (pages 295- 296); eight rules about how to create a music scene (pages 251-263); how recording technology is now incredibly accessible and cheap so there is no need for albums to be costly to record (pages 180-181); and the mp3 – poorer sound quality but maybe it is better to value convenience over sound (pages 124-126).
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Christine Beamer
1 Listening to the Music Nineteenth Century Intersections between Music, Class, and Genre by Christine Beamer 2 Listening to the Music Nineteenth Century Intersections between Music and Class by Christine Beamer A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Spring 2008 3 © 2008 by Christine Beamer 4 To my parents, who have consistently supported my love of reading and my love of the viola. 5 Acknowledgements Without the support of my professors, my colleagues in the English thesis cohort, my friends, and my family, this thesis would have remained merely an idea that was floating around in my head. I am unspeakably grateful to my thesis advisor, Lucy Hartley. I appreciated her enthusiasm, constructive criticism, and her dedication at reading all that I wrote, even on short notice. Her detailed comments and our long discussions, as well as her generous book lending policy, helped shape and clarify my thinking. I would also like to thank Catherine Sanok for her enthusiasm for reading my work, despite being a Mediaevalist, not a Victorianist, and Scotty Parrish, for shepherding us through this process. Merla Wolk, Jonathan Freedman, and Karen Fournier also inspired me to pursue interdisciplinary connections between music and literature. Perhaps as much as my professors, my parents helped me bring this project to fruition. Their support, continued interest in my topic, and perspective helped to keep me sane throughout this project. I also would like to thank all of my friends for their encouragement in the past seven months, asking me about my thesis and caring about the answer.
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Sounding Subjectivity: Music, Gender, and Intimacy
Sounding Subjectivity: Music, Gender, and Intimacy DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lindsay Marie Bernhagen Graduate Program in Comparative Studies The Ohio State University 2013 Dissertation Committee: Professor Barry Shank, Advisor Professor Mary E. Thomas Professor Maurice E. Stevens Copyright by Lindsay Marie Bernhagen 2013 Abstract This dissertation centers on the role of musical experience in the production and maintenance of intimate, interpersonal relationships. Music acquires meaning in its ability to enable and amplify personal relationships among participants who share musical experience—not only through the semiotic decoding of lyrics and musical sounds that characterizes much music scholarship. Because there is scant language available for describing musical experience without reference to non-sonic elements such as lyrics, communal identity, or performers’ personae, this research relies on textual and ethnographic methods to examine how human experiences of musical sound are understood via racialized and gendered discourses of embodiment, intimacy, pleasure, and danger. Specifically, this project consists of textual analyses of music censorship discourse and ethnographic analyses of female musicians and listeners who seek out shared musical experiences in explicitly gendered contexts including a feminist punk movement, a girls’ rock music camp, and a long-standing women’s music festival. The introductory chapter offers an overview of the scholarship and theory that has influenced this project and sets up the theoretical framework I have developed through my own research. To establish the stakes of this project, the second chapter focuses on discourses of musical danger to reveal ii a persistent and anxious fascination with music’s relationship to the body and intimacy in the American imagination.
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How Music Works (David Byrne)
HOW MUSIC WORKS BY DAVID BYRNE Chapter 7 of this book entitled “Business and Finances (distribution and survival options for music artists)” is absolutely essential reading for any songwriter or musician. David Byrne of legendary rock group Talking Heads explains the detailed financial ins and outs of one of his album releases. He outlines the various costs involved and who gets the various percentages. He uses colour-coded diagrams to convey how the money pie is shared. At the same time, he describes the complex financial mechanisms of the modern music business. This is unmissable information. Few working musicians take the time to explain the money trail to newcomers who usually believe there is a pot of gold at the end of the rainbow. What Byrne explains is how a musician who is willing to keep a lid on costs can make a modest living recording albums and touring. The rest of the book has a lot of interesting material, some of it a bit academic, some of it needing effort to persevere. But Byrne's enthusiasm for music usually carries you along. I liked the following bits in particular: Music as social glue, as a self-empowering social agent (pages 291-293) The value of music education (pages 295-296) Eight rules about how to create a music scene (pages 251-263) How recording technology is now incredibly accessible and cheap so there is no need for albums to be costly to record (pages 180-181) The mp3 – poorer sound quality but maybe it is better to value convenience over sound (pages 124-126) “How Music Works” is published by Canongate (2012) and costs around €22 in bookshops.
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Composing with the Tape Recorder
Composing with the tape recorder A case study of My Life in the Bush of Ghosts by Brian Eno & David Byrne Music and Sound Design Electronics Composing with the tape recorder A case study of My Life in the Bush of Ghosts by Brian Eno & David Byrne Johanna Åström Composing with the tape recorder Johanna Åström 2020-03-28 MID SWEDEN UNIVERSITY Examiner: Brian Johnston, [email protected] Supervisor: Clara Jalmar, [email protected] Author: Johanna Åström, [email protected] Degree programme: Music and Sound Design, 120 credits Main field of study: Electronics Semester, year: HT, 2019 ii Composing with the tape recorder Johanna Åström 2020-03-28 Abstract Keywords: tape recorder, music production, composing, sampling, Brian Eno, David Byrne, My Life in the Bush of Ghosts This work describes the utilisation of the tape recorder as an instrument, the methods derived by musique concrète and the evolution of these practices. This leads on to its application that opened different creativity streams to many genres of music that we listen to today. This dissertation dives in the further to talk about to the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne its cult status, revolutionary production and opens doors to discussing cultural appropriation and copyright infringement. iii Composing with the tape recorder Johanna Åström 2020-03-28 Foreword In research for my upcoming album, I recently came across the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne. I was struck and fasci- nated by the albums culturally interesting features and began to read into the background of its production and upswing.
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Portable Music and the Scalable Self Performativity in Music Journalism and Interdisciplinary Music Analysis
Portable Music and the Scalable Self Performativity in Music Journalism and Interdisciplinary Music Analysis von Helen Zink Philosophische Dissertation angenommen von der Neuphilologischen Fakultät der Universität Tübingen am 3. Juli 2008 Ph.D. Thesis School of Modern Languages University of Tübingen, Germany Tübingen 2009 Portable Music and the Scalable Self Gedruckt mit Genehmigung der Neuphilologischen Fakultät der Universität Tübingen Hauptberichterstatter: Prof. Dr. Jürg Häusermann Mitberichterstatter: Prof. Dr. Bernhard Greiner Dekan: Prof. Dr. Joachim Knape Published online by TOBIAS-lib a service of Tübingen University Library Wilhelmstr. 32 / P.O. Box 2620 / D-72016 Tübingen, Germany ©2009 ii Portable Music and the Scalable Self Contents Page Introduction 1 1. The language of sales 6 How an anachronistic “Romanticism” colors pop theory 2. Like a cloud of fire 35 The role of insincere mysticism in confusing matters 3. Lager and ecstasy 54 Pop theory’s focus on the body and work 4. Poking Bob 78 Publicists work Bob Dylan over 5. The autobiography of presence 110 Hard-working artists up close and impersonal Bibliography 137 iii Portable Music and the Scalable Self iv Introduction Introduction Music theory today is heavily influenced by information theory and the cognitive neurosciences, or could be if it tried. 1 The popular music theory favored by music journalism and interdisciplinary studies, on the other hand, takes its cues from a radical bastardization of Romanticism. Armed with today’s ontological sophistication, proponents of pop lay claim to virtues they regard as Romantic; their music is “affective,” while classical music is “absolute” or “transcendent” and thus doesn’t exist and can safely be ignored.
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Iperstoria – Testi Letterature Linguaggi www.iperstoria.it Rivista semestrale ISSN 2281-4582 How Music Works David Byrne New York, Three Rivers Press, 2017, pp. 384 Review by Camilla Fascina * The treatise in ethnomusicology How Music Works by David Byrne is made of a series of essays about music with an autobiographical imprint which engages the reader. Byrne's personal view on the music system through his own music career enriches the book and offers a further layer of insight into the music industry. One of the most captivating moments of the book is the chapter titled “Creation in Reverse” where Byrne dismantles traditional beliefs on how works of art are born, offering instead his own perspective on the process of music creation. Noteworthy are his insightful comments on the adaptive aspect of creativity: he observes that the tailoring of a song is not simply an uncontrolled romantic outburst of passion that urges to be let out. He rather suggests that the creation might be determined by the context for which the work of art is intended. Byrne explains, for example, how the sonic qualities of the concert room at CBGB 1 might have unconsciously and instinctively influenced the music he wrote. The furniture, crooked uneven walls and looming ceiling, made for great sound absorption and, he notes, allowed for uneven acoustic reflection qualities and lack of reverberation. These settings allowed the details of one's band to be heard. Moreover, given the reduced size of the room, one's gestures and expressions could be appreciated as well. He notices that the process of music making might have been influenced by the need to adapt to the context where the music would have been later played.
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In the Middle of a Dream
IN THE MIDDLE OF A DREAM THE CRAFT AND PHENOMENOLOGY OF SONGWRITING. By James Wakeling B Mus (Hons) ORCID 0000-0001-6050-6271 Faculty of Fine Arts and Music Melbourne Conservatorium of Music Submitted in partial fulfilment of the requirements for the Degree of Master of Music (Jazz & Improvisation) ‘by research’ University of Melbourne June 2019 1 DECLARATION This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the exegesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgment is made in the text of the exegesis. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968 Signed James Wakeling 9 April 2019 Research Question. Are songs dreamed in to existence? Sub Questions ● How are songs made? ● Do they happen miraculously or serendipitously? ● How, when and where do the ideas arise? ● Is songwriting creative problem solving or genuine invention? ● Can songwriting be taught or learnt? ● What is the process of self-evaluation? 2 Table of Contents Abstract (The count in) ............................................................................................ 4 Intro (Introduction) ................................................................................................. 6 Verse 1 (Epoch) ....................................................................................................
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Building a Music Scene in a Mountain Hamlet
BUILDING A MUSIC SCENE IN A MOUNTAIN HAMLET eFellow’s Research Paper Hugo Zanker Dr. Vince Ham eFellow, 2016 December, 2016 CORE Education Ltd – eFellow’s Research Paper December 2016 Page 1 of 6 My context I am a classical musician and have come from a family of researchers and professors in the fields of Greek, Latin, and Media Studies. I had a double dose of structure and positivism in my life through my brother and father, and topped this up with a bit of Haydn and Mozart through my studies as a cellist. My mother is a multidisciplinary ethnologist and was a head researcher at the NZ Broadcasting School. For these reasons, I like things to be clearly structured. I like ideas to be honed to a hermetically sealed module. When I moved to Methven, population 1,400, and the service town to Mount Hutt Ski Field, I missed music on a professional level. It bothered me that students had such limited access to the arts because I had always taken it for granted. So I decided to take the opportunity offered by the CORE Education Dr Vince Ham eFellowship to build a scene in Methven, based out of the Music Department. My nice and focused initial idea, titled ‘Building a Scene in a Mountain Hamlet’ asked the question – ‘how can the music room become the centre of a vibrant school music “scene,” feeding off the eXpertise and inspiration of other scenes?’ I wanted to connect my students with professionals in the creative industries. Buddying my students up with global eXperts seemed a good strategy to start that process off.
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SOCIAL! the Social Distance Dance Club in Park Avenue Armory’S 55,000-Square-Foot Wade Thompson Drill Hall
Christine Jones, Steven Hoggett, and David Byrne Premiere SOCIAL! the social distance dance club In Park Avenue Armory’s 55,000-Square-Foot Wade Thompson Drill Hall Part of the Armory’s New ‘Social Distance Hall’ Commissions Series, SOCIAL! Safely Brings Audiences Together for Music, Movement, and Connection Performances run Friday, April 9 through Thursday, April 22 New York, NY –March 24, 2021 – Park Avenue Armory announced the dates for the world premiere of SOCIAL! the social distance dance club, a new interactive and experiential movement piece commissioned by the Armory as part of its Social Distance Hall, its recently announced series of commissions of dance, music, and theater created by artists during and in response to the pandemic. Conceived by Christine Jones, renowned set designer for Spring Awakening, American Idiot, and Harry Potter and the Cursed Child, Steven Hoggett, choreographer and movement director for The Curious Incident of the Dog in the Night-Time and Harry Potter and the Cursed Child, and multimedia artist and musician David Byrne (Talking Heads, David Byrne’s American Utopia on stage and film and Reasons to Be Cheerful), SOCIAL! will begin previews in the Drill Hall on April 9 and open April 13, running through April 22. Show times during the week will be at 7pm and at 12pm, 4pm, and 8pm on Saturdays and Sundays. With a playlist curated by Byrne, Hoggett, and Jones and mixed by New York City DJ Natasha Diggs, SOCIAL! invites participants to the Armory’s Wade Thompson Drill Hall to dance in their own socially distanced spotlights, all the while listening to a wonderfully singular instructional voice over by David Byrne with choreography by Yasmine Lee.
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Analyzing Popular Music
This page intentionally left blank Analyzing Popular Music Howdowe ‘know’ music? We perform it, we compose it, we sing it in the shower, we cook, sleep and dance to it. Eventually we think and write about it. This book represents the culmination of such shared processes. Each of these essays, written by leading writers on popular music, is analytical in some sense, but none of them treats analysis as an end in itself. The book presents a wide range of genres (rock, dance, TV soundtracks, country, pop, soul, easy listening, Turkish Arabesk) and deals with issues as broad as methodology, modernism, postmodernism, Marxism and communication. It aims to encourage listeners to think more seriously about the ‘social’ consequences of the music they spend time with and is the ﬁrst collection of such essays to incorporate contextualization in this way. allanf.mooreis Professor of Popular Music and Head of the Department of Music and Sound Recording at the University of Surrey. He is author of Rock: The Primary Text and editor of The Cambridge Companion to Blues and Gospel Music. He is also co-editor of the journals Popular Music and Twentieth- Century Music. Analyzing Popular Music edited by allan f. moore Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge , United Kingdom Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521771207 © Cambridge University Press 2003 This book is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
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