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Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… -
Song Title Artist Votes Dancing Queen Abba 6 Disco Inferno The
Song Title Artist Votes Dancing Queen Abba 6 Disco Inferno The Trammps 5 Get Lucky Daft Punk 4 Rock the Casbah The Clash 4 Night Fever Bee Gees 3 Le Freak Chic 3 Viva La Vida Coldplay 3 Uptown Funk Mark Ronson ft Bruno Mars 3 Tainted Love Soft Cell 3 Don't Leave me this Way The Communards 3 Town Called Malice The Jam 3 Thunderstruck ACDC 2 Valerie Amy Winehouse 2 Lip up Fatty Bad Manners 2 Twist and Shout Beatles 2 Staying Alive Bee Gees 2 Crazy in Love Beyonce 2 Call Me Blondie 2 One Way or Another Blondie 2 Dancing in the Dark Bruce Springsteen 2 Word Up Cameo 2 Walking on Sunshine Catrina and the Waves 2 I Feel For You Chaka Khan 2 Life on Mars David Bowie 2 You Spin Me Round Dead or Alive 2 Boom! Shake the Room DJ Jazzy Jeff & the Fresh Prince 2 Rio Duran Duran 2 Boogie Wonderland Earth Wind and Fire 2 Let's Groove Earth Wind and Fire 2 American Boy Estelle 2 Rockafeller Skank Fatboy Slim 2 The Love I Lost Harold Melvin & The Blue Notes 2 You Sexy Thing Hot Chocolate 2 (Your Love Keeps Lifting Me) HigherJackie and Wilson Higher 2 Price Tag Jessie J 2 I Predict a Riot Kaiser Chiefs 2 Hot and Cold Katy Perry 2 Somewhere Only We Know Keane 2 Sex on Fire Kings of Leon 2 Celebration Kool & the Gang 2 Sexy and I Know It LMFAO 2 Movin On Up M People 2 Baggy Trousers Madness 2 Moves Like Jagger Maroon 5 2 Sugar Maroon 5 2 Aint no Stopping Us Know Mcfadden & Whitehead 2 Billie Jean Michael Jackson 2 Blue Monday New Order 2 You Can't Hurry Love Phil Collins 2 Disco 2000 Pulp 2 Ready to Go Republica 2 Rock DJ Robbie Williams 2 Don't You Forget -
No Bounds 11——13.10.19 Event Programme Music, Art, Film Screen- Ings, Talks Workshops Introduction Joe Muggs
No Bounds 11——13.10.19 Event Programme Music, Art, Film screen- ings, Talks Workshops Introduction Joe Muggs Optimism isn’t really in fashion, and understandably so. We’re overwhelmed by populists, scammers, liars, Fascists, fools of the worst sort, and earnest attempts to counter this takeover are themselves all too often taken over by further Fascists, fools and saviours with feet of clay. The world is burning and melting around us, and we seem to be volunteering to put in hours of labour for free and live under constant surveillance – indeed we even seem to be willing to pay for the privilege. Debt is normality, the lie of austerity is normality, slaughter and torture being beamed into our personal timelines is normality, withering irony and pompous righteousness as cloaks for the worst and most hateful views are normality. Meanwhile in the cultural sphere, recorded music is so devalued that any of the big four tech giants could buy the entire global music industry with the loose change down the back of their sofas, and the only reason they don’t is that it’s not worth the hassle. But – and it’s a big but [“big butt” – Beavis & Butthead cackle] – somehow there’s a lot going on that is pumped full of hope. Not hope in the save-the-world sense, mind. OK there’s some of that around, but even Greta Thunberg’s rhetoric is shot through with a huge amount of bleakness. But small scale, human level stuff where little things that people do in themselves make looking a week, a month, a year forward seem not just bearable but – in the moment at least – exciting. -
2 to Be Somebody: Ambition and the Desire to Be Different
2 To Be Somebody: Ambition and the Desire to Be Different The context for difference This chapter aims to identify some of the bands that enjoyed chart success during the late 1970s and ’80s and identify their artistic traits by means of conversations with band members and those close to the bands. This chapter does not claim to be a definitive account or an inclusive list of innovative bands but merely a viewpoint from some of the individuals who were present at the time and involved in music, creativity and youth culture. Some of these individuals were in the eye of the storm while others were more on the periphery. However, common themes emerge and testify to the Scouse resilience identified in the previous chapter. Also, identifying objective truth is a difficult task, as one band member will often have a view of his band’s history that conflicts with that of other members of the same band. As such, it is acknowledged that this chapter presents only selective viewpoints. Trying something new: In what ways were the Liverpool bands creative and different? ‘Liverpool has always made me brave, choice-wise. It was never a city that criticized anyone for taking a chance.’ David Morrissey1 In terms of creativity, the theory underpinning this book which was stated in Chapter 1 is that successful Liverpool bands in the 1980s were different from each other and did not attempt to follow the latest local or national pop music trends. None of the bands interviewed falls into the categories of punk, disco or New Romantic, which were popular trends at the time. -
The Song-Cycle Frauenliebe Und-Leben by Robert Schumann
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1970 The Song-Cycle Frauenliebe Und-leben By Robert Schumann Jocelyn Kaye Jensen Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Jensen, Jocelyn Kaye, "The Song-Cycle Frauenliebe Und-leben By Robert Schumann" (1970). All Graduate Plan B and other Reports. 613. https://digitalcommons.usu.edu/gradreports/613 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE SONG-cYCLE 11 FR~UENLIEBE UND-LEBEN 11 BY ROBERT SCHUM~NN by Jocelyn Kaye Jensen Report of a recital performed in partial fulfillment of the requirements for the degree of M~STER OF MUSIC UT~H STATE UNIVERSITY Logan, Utah 1970 ii TABLE OF C01~NTS Page LIST OF ILLUSTRATIONS iii PROGRAM , , , iv PROGRAl-1 NOTES , v I, INTRODUCTION , , , , , , , • • • , • , , • , • • • • , , 1 II. GENERAL STYLISTIO CHARACTERISTICS Cl" THE ROMANTIC PERIOD OF MUSIC , , , , , , , , • , , • , 2 III, ROBERT SCHUMANN 'III THIN THE ROMANTIC PERIOD 5 IV, THE SONG CYClE °FRAUENLIEBE UNO-LEBEN", , , 8 V, DISCUSSION OF THE POET AND TEXT OF THE ~FRAUENLIEBE UNO- LEBEN", , , , • , , , • , , , , , , •• , • , , • 11 VI, TECHNICAL DESCRIP'l'ION OF ~FRAUENLIEBE UND-LEBS:N" 15 VII, CONCLUSION 27 BIBLIOGRAPHY 29 APPENDIX :50 VITA • , , , ~5 iii LIST OF ILLUSTRATIONS Illustration Page 1. Example of Heaeure 1, Piano Prelude , Se it ich ihn geeehen •• 16 2 . -
Moogfest Cover Flat.Indd
In plaIn sIght JustIce m o o g f e s t Your weekend-long dance eVents at Moog FactorY reMIX Masters partY starts here Moog Music makes Moog instruments, including the Little Phatty and Voyager. The factory is French electro-pop duo Justice is the unofficial start to Moogfest: the band’s American tour in downtown Asheville at 160 Broadway St., where the analog parts are manufactured by hand. brings them to the U.S. Cellular Center on Thursday, Oct. 25. And while the show isn’t part of This year's Moogfest (the third for the locally held immersion course in electronic music) Check out these events happening there: the Moogfest lineup, festival attendees did have first dibs on pre-sale tickets. brings some changes — a smaller roster, for one. And no over-the-top headliner. No Flaming Even without a Moogfest ticket, you can go to MinimoogFest. It’s free and open to the public. Gaspard Augé and Xavier de Rosnay gained recognition back in ‘03 when they entered their Lips. No Massive Attack. Think of it as the perfect opportunity to get to know the 2012 per- Check out DJ sets by locals Marley Carroll and In Plain Sight (winners of the Remix Orbital for remix of “Never Be Alone” by Simian in a college radio contest. Even before Justice’s ‘07 debut, formers better. It's also a prime chance to check out some really experimental sounds, from Moogfest contest), along with MSSL CMMND (featuring Chad Hugo from N.E.R.D. and Daniel †, was released, they’d won a best video accolade at the ‘06 MTV Europe Music Awards. -
Shadowy Pioneers
Radiophonic Workshop: the shadowy pioneers of electronic sound As pop luminaries queue up to appear on their forthcoming LP, we talk to surviving members of the BBC's Radiophonic Workshop, responsible for the theme music for many classic shows, including Doctor Who The Observer, Saturday 23 November 2013 19.00 GMT ! Delia Derbyshire of the Radiophonic Workshop in a BBC studio in 1965. !Photograph: BBC Photolibrary As musical legends go, they're a funny bunch. Five well-turned-out but unassuming gents, harrumphing and making small talk, they could easily be retired accountants at the golf club – were it not for the fact that they're busy wiring together enough vintage synthesisers and tape machines to make a young hipster techno producer faint with joy, all while the most peculiar boinging noises emerge from various speakers. Oh, and their manager's on the phone to Hot Chip's people, while the drummer from the Prodigy is sitting in the corner tapping his sticks. As per usual, though, the veteran tinkerers are mostly concerned with matters electronic. Worried about their antique equipment going out of tune, Paddy Kingsland, 66, mutters, "don't breathe on the autoharp!" There's a sudden electrical buzz; "ooh, that's playing havoc with my pacemaker," deadpans Roger Limb (who won't reveal his age). "Quick," says 77-year-old Dick Mills, helpfully, "stand in this bucket of water." This is life with the Radiophonic Workshop – the electronic Buena Vista Social Club, a "band that never was", masters of their craft finally coming together late in life. -
The Empire Strikes Back His Master's Voice Art FLIPP Ballet British
You’re crossing the border between sight and sound, realty and imagination • this week in ~ Inside: The Empire Strikes Back His Master’s Voice Art FLIPP Ballet British Columbia Longpigs 2 A Thursday, February 27,1997 Daily Nexus instance. Han: You blaspheme! Leia: Leia’s the chick. Did you see her in that scene where she takes over the ship and yells “Goooool”? Luke: Did you notice the rebel scene where they are fighting the Empire Mm on Hoth and Rogue 3 helps out Luke? The cam era focuses on Rogue 3, nim m then Luke, and back to Rogue 3, and Rogue 3 all pisode V: Having of a sudden has a bloody found success two nose? Eweeks ago with a Han: Maybe it was part hosted panel on S ta r of the whole altitude fight Wars: Special Edition, ing thing. the Artsw eek staff decided Luke: Did you think to continue with the dis Luke figured out that cussion group. The latest Leia was his sister in the installment begins as the film ? theme to Star Wars blares Chewie: while the four cast mem Yeeeeeaaawwww. bers otThe Empire Strikes Leia: I think he got a Back: Special Edition feeling. panel filter into the room — a room that the evil Lord Chewie: I think when Vader watches from on high. Darth Vader says “I’m Davia Gray, features editor, returns to reclaim her your father,” I think he be rightful space in the panel as Han Solo; and Will Banks, gins to piece it together. At foreign-exchange student and Artsw eek writer, steps up the end he calls out her as her counterpart Chewbacca. -
WDAM Radio's History of Elvis Presley
Listeners Guide To WDAM Radio’s History of Elvis Presley This is the most comprehensive collection ever assembled of Elvis Presley’s “charted” hit singles, including the original versions of songs he covered, as well as other artists’ hit covers of songs first recorded by Elvis plus songs parodying, saluting, or just mentioning Elvis! More than a decade in the making and an ongoing work-in-progress for the coming decades, this collection includes many WDAM Radio exclusives – songs you likely will not find anywhere else on this planet. Some of these, such as the original version of Muss I Denn (later recorded by Elvis as Wooden Heart) and Liebestraum No. 3 later recorded by Elvis as Today, Tomorrow And Forever) were provided by academicians, scholars, and collectors from cylinders or 78s known to be the only copies in the world. Once they heard about this WDAM Radio project, they graciously donated dubs for this archive – with the caveat that they would never be duplicated for commercial use and restricted only to musicologists and scholarly purposes. This collection is divided into four parts: (1) All of Elvis Presley’s charted U S singles hits in chronological order – (2) All of Elvis Presley’s charted U S and U K singles, the original versions of these songs by other artists, and hit versions by other artists of songs that Elvis Presley recorded first or had a cover hit – in chronological order, along with relevant parody/answer tunes – (3) Songs parodying, saluting, or just mentioning Elvis Presley – mostly, but not all in chronological order – and (4) X-rated or “adult-themed” songs parodying, saluting, or just mentioning Elvis Presley. -
The Long and Winding Road
fr- ' i Pm sure people see me as a screaming redhead with big boobs, but Pve got things to say n d a m w a s ® ! * 7 ARTSWEEK CONTEST P. 7BÜ! U T need to find somewhere that’ll do you’re good, but that’s not a story.*” I me a good bleach.... It’s peroxide at Looking back it seems strange how a band "*■ the moment. I had it bleached for THE LONG AND with fantastic tunes and what is actually a years, but then I gave it a rest for six months fantastic story behind the band members ’cos it all started to turn into like Barbie Doll WINDING ROAD themselves didn’t merit 1,000-word articles hair, snapping off and that, but nowit’s back and cover stories. Frontman Crispin Hunt’s on the old blond. Blond’s do have more fun, JOLIE LASH GOES ON AND ON ABOUT THE LONGPIGS own story is such an amazing tale of human I’ve discovered.” I triumph that you’d expect him to have not only hundreds of Longpigs bassist, the once brown-coiffed Simon Stafford, I press clippings about it, but an autobiography in progress is on the phone in Charleston, N.C., and he’s talking about I and a deal with Hollywood for motion-picture rights. his hair. Main songwriter Crispin’s story starts out with a child- ”1 don’t like having [fluorescent] red hair. I had red hair I hood spent in gaiety on a self-sufficient hippy farm, “where for a while. -
Orchestral Manoeuvres in the Dark Orchestral Manoeuvres in the Dark Mp3, Flac, Wma
Orchestral Manoeuvres In The Dark Orchestral Manoeuvres In The Dark mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Orchestral Manoeuvres In The Dark Country: UK Released: 1980 Style: Electro, Synth-pop MP3 version RAR size: 1692 mb FLAC version RAR size: 1304 mb WMA version RAR size: 1211 mb Rating: 4.8 Votes: 621 Other Formats: MP2 ASF AUD XM MIDI MOD AA Tracklist Hide Credits 1 Bunker Soldiers 2:54 2 Almost 3:44 Mystereality 3 2:45 Saxophone – Martin Cooper 4 Electricity 3:39 5 The Messerschmitt Twins 5:41 Messages 6 4:12 Guitar – Dave Fairbairn Julia's Song 7 4:41 Guitar – Dave FairbairnLyrics By – Julia KnealePercussion – Malcolm Holmes 8 Red Frame/White Light 3:12 9 Dancing 2:59 10 Pretending To See The Future 3:46 Companies, etc. Phonographic Copyright (p) – Virgin – DICD 2 Copyright (c) – Virgin Records Ltd. Recorded At – The Gramophone Suite Mixed At – The Gramophone Suite Glass Mastered At – DADC Austria Credits Engineer – Paul Collister Photography By [Foto] – Trevor Key Producer – Chester Valentino, Orchestral Manoeuvres In The Dark Voice, Bass, Keyboards, Percussion [Electronic], Drum Programming – Andy McCluskey Voice, Keyboards, Percussion [Electronic & Acoustic], Drum Programming – Paul Humphreys Written-By, Arranged By, Performer – Andy McCluskey, Paul Humphreys Notes Recorded and mixed at The Gramophone Suite, Liverpool. ℗ 1980 Dindisc Ltd./© Virgin Records Ltd. Manufactured in Austria "Mastered by DADC Austria" credit on matrix. Barcode and Other Identifiers Barcode: 0 7777860172 2 SPARS Code: AAD