Diamanda Galás Schrei X Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Diamanda Galás Schrei x mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Schrei x Country: UK Style: Experimental MP3 version RAR size: 1303 mb FLAC version RAR size: 1999 mb WMA version RAR size: 1275 mb Rating: 4.3 Votes: 285 Other Formats: AU ADX RA MP2 AHX MP3 ASF Tracklist Schrei x Live 1 Do Room 1:11 2 I - I Am - Dreams 5:01 3 M Dis I 1:13 4 O.P.M. 1:25 5 Abasement 3:11 6 Headbox 2:16 7 Cunt 0:49 8 Hepar 0:55 9 Coitum 1:14 10 Vein 3:56 11 M Dis II 0:56 12 Smell 2:19 13 Hee Shock Die 1:59 Schrei 27 14 Do Room 2:17 15 I I 1:59 16 M Dis I 1:36 17 O.P.M. 1:48 18 Headbox 1:56 19 Cunt 1:43 20 Hepar 1:41 21 Vein 1:54 22 M Dis II 2:01 23 Smell 2:17 24 Hee Shock Die 7:26 Companies, etc. Record Company – Mute Records Ltd. Pressed By – Technicolor – C3146 Credits Composed By, Written-By, Performer – Diamanda Galás Design, Typography [Insektafont] – Holly Duthie Mastered By – Mandy Parnell Photography By – Robert Knoke Recorded By, Mixed By, Producer – Blaise Dupuy Notes The radio program of Schrei 27 was recorded at Gark Studios (Minneapolis), 1994. Portions of Schrei x were performed and recorded live at The Knitting Factory and P.S. 122 (New York), the Archa Theater (Prague), and the Portland Institute of Contemporary Art. Edited at Sorcerer Studios and Snake Nation Digital, New York. Mastered at The Exchange, London. Shrei 27 was a commission of the 1994 New American Radio series in collaboration with the Meet The Composer/Reader's Digest Commissioning Program, the National Endowment for the Arts, the Lila Wallace-Reader's Digest Fund, and Walker Art Center. It was developed for national broadcast with New Radio and Performing Arts and the Walker Art Center. Schrei x Was developed as a performance work in 1995 at the Wexner Center for the Arts at the Ohio State University and premiered on April 1, 1995. Commissioning support for Schrei x was provided by the Wexner Center for the Arts, On the Boards, Hancher Auditorium at the university of Iowa, Northrop Auditorium at the University of Minnesota and Walker Art Center, with funds from the Northwest Area Foundation and arranged Introductions : Art Works in Different Places, a project of Temple University's Tyler School of Art. Performed in total darkness. Play at maximum volume only. This is not ambient music. Barcode and Other Identifiers Barcode (Text): 5 016025 611461 Barcode (Scanned): 5016025611461 Matrix / Runout (Mirrored): C3146 CDSTUMM 146 02 1:0 Technicolor Mastering SID Code: IFPI L122 Mould SID Code: ifpi 2344 Other versions Category Artist Title (Format) Label Category Country Year Diamanda Schrei x (CD, CD STUMM 146 Mute CD STUMM 146 UK 1996 Galás Album) Schrei X Diamanda Live/Schrei 27 CD STUMM 146 Mute CD STUMM 146 UK Unknown Galás (Cass, Album, Promo) CD STUMM 146, Diamanda Schrei x (CD, Mute, CD STUMM 146, Europe Unknown 5016025611461 Galás Album, RE) Mute 5016025611461 Schrei x (CDr, G. & P. Diamanda CD STUMM 146 Album, Essential CD STUMM 146 Russia 1996 Galás Unofficial) Music Diamanda Schrei X (CD, MUSDJ4-2 Mute MUSDJ4-2 US 1996 Galás Promo) Related Music albums to Schrei x by Diamanda Galás Various - Derek Jarman's The Last Of England (The Original Motion Picture Soundtrack) Subway To Sally - Schrei! Diamanda Galás - All The Way Diamanda Galás - Masque Of The Red Death Tokio Hotel - Schrei (So Laut Du Kannst) Diamanda Galás With John Paul Jones - The Sporting Life Diamanda Galás - The Litanies Of Satan Tokio Hotel - Schrei - So Laut Du Kannst DJ Galas Vs DJ Nan & DJ Xabbi.R - Orain-Dik / I'm Outta Love Diamanda Galás - Plague Mass Target Shoppers - Jokes About Your Uncle's Cunt Simon & Jan - Der Letzte Schrei - Live.

Copy Link

Recommended publications

The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
[Show full text]
Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance
BETWEEN LIMINALITY AND TRANSGRESSION: EXPERIMENTAL VOICE IN AVANT-GARDE PERFORMANCE _________________________________________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Theatre and Film Studies in the University of Canterbury by Emma Johnston ______________________ University of Canterbury 2014 ii Abstract This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.
[Show full text]
Diamanda Galás' Plague Mass As a Work of Death Midwifery Abigail
Rienzo i Liminal Women : Diamanda Galás’ Plague Mass as a work of Death Midwifery Abigail Rienzo Advisor: Stephan Pennington Committee: Joseph Auner, Peggy Hutaff THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS MASTER OF ARTS PROGRAM IN MUSIC TUFTS UNIVERSITY MAY 2017 Rienzo ii ABSTRACT The United States AIDS crisis of the 1980s and 1990s was a complex space for activism due to its dual nature as a politicized social justice movement and a bona fide public health crisis. To be effective, activist work needed to address the political discrimination that led to the disease’s spread, while also acknowledging the ubiquitous nature of the illness. Composer and performer Diamanda Galás, known for her involvement in the AIDS activist movement, successfully carries out this work by creating a musical persona that resists definition and continually occupies liminal spaces of being. Her 1990 protest piece Plague Mass performs effectively as an activist work because of the ways in which it embraces the liminal. This thesis analyzes the indefinable, in-between aspects of Plague Mass through a gendered lens; in particular, it traces Galás’s legacy back through historical moments in which women, through their association with the liminal, have been tasked with caring for the dead and dying. Rienzo iii ACKNOWLEDGMENTS This project would not have been remotely possible without the assistance of Associate Professor of Music Stephan Pennington. His dedication of time, consideration, and wisdom to this project has been immeasurable and indescribably beneficial. I cannot thank him enough for his mentorship throughout this process, and indeed, throughout the duration of my time at Tufts.
[Show full text]
Voice and Acoustic Feedback in Performance
Thesis/Dissertation Sheet Surname/Family Name : Normoyle Given Name/s : Kusum Abbreviation for degree as give in the University calendar : MFA Faculty : Faculty Art & Design School : Solid (Loud) Matter: Voice and Acoustic Feedback in Thesis Title : Performance Abstract 350 words maximum: (PLEASE TYPE) This practice-based research project investigates the material relations of the voice to amplification and spatiality. In particular, through both live performance and its mediatised documentation, I explore my embodied production of non-linguistic vocalisations. As these are transduced through audio amplification at volume, I ask: what can be generated for different ‘vocalic spaces’ through the combinations of acoustic/amplified feedback, non-linguistic vocalisation, and bodily performance? Through my performances S.I.T.E: Tension Sets (2013) and Magnesite Norway (2016), I discuss my techniques for voice and audio amplification and their interrelation in space, in concert with an analysis of approaches by Robert Ashley and Joan La Barbara who employ the voice as vibrational force. Motivated by a reconceptualisation of sound, voice and listening as vibration – with reference to Nina Sun Eidsheim’s concept of intermateriality and her rethinking of sound via vibration – this research seeks to come to terms with what can be experienced via these interrelations. I also draw on the concept of sonic dominance developed by Julian Henriques to further situate how amplification contributes to a practice of intermateriality. Further, this research identifies tensions between the multisensorial experience of sound in live performance and its documentation. Exploring processes of technological mediation used by myself in video installation Accord with Air: Tjentište (2012), I trace various signals through their transductive paths of transmission in works by artists Joyce Hinterding, David Haines and Robin Fox.
[Show full text]
Songs of Exile Diamanda Galás, Voce E Pianoforte
mercoledì 21 settembre 2005 ore 21 Auditorium Giovanni Agnelli Lingotto Songs of Exile Diamanda Galás, voce e pianoforte Il concerto è realizzato nell’ambito di Torino Spiritualità Domande a Dio. Domande agli uomini. Diamanda Galás, cresciuta a S. Diego da genitori di origine greca, studia il pianoforte fin dalla più tenera età e succes- sivamente sperimenta molteplici forme musicali, perfezio- nandosi infine all’Università della California. Recatasi in Europa, presenta i suoi lavori Wild women with steak knives e Tragouthia apo to Aima Exon Fonos (Canzone del sangue di coloro che sono morti assassinati). Successiva- mente si esibisce in molti festival europei, tra cui Donaue- schingen, Inventionen, Biennale di Parigi, Musica Oggi, Festi- val della Voce. Il primo album The litanies of Satan esce nel 1982 e include un testo di Charles Baudelaire e gli scritti di Jack Henry Abbot Nel ventre della Bestia sull’inferno della prigionia. La trilogia Masque of the red death, ispirata al racconto di Edgar Allan Poe, esprime i suoi sentimenti di sfida all’ingiu- stizia. Per il primo album The divine punishment trae spunto da testi religiosi, in particolare dal Vecchio Testamento; per il secondo The Saint of the pit, si ispira alle opere di Char- les Baudelaire; per il terzo e ultimo album You must be cer- tain of the Devil, l’ispirazione è fornita dai gospel e spiritual degli schiavi negri. Nel 1993 Diamanda apre il Serious Fun Festival al Lincoln Center presentando per la prima volta il dramma in un atto unico Insekta. Ne seguirà un tour mondiale attraverso gli Stati Uniti e l’Europa.
[Show full text]
Alumni Festival January 20-22, 2011
UC San Diego Department of Music SonicDiasporas Alumni Festival January 20-22, 2011 OFFICIAL PROGRAM UC SAN DIEGO DEPARTMENT OF MUSIC Thanks to the UC San Diego Alumni Assocation for their support. This festival is also supported by the Department of Music, and UCSD music faculty. Thanks also to The Loft for hosting some events--we highly recommend this excellent restaurant/night club as a place to experience performances and to refuel and caffeinate between Sonic Diasporas events. Special thanks to the Department of Music staff: Barbara Jackson: Chief Administrative Officer Brady Baker: Facilities Assistant Neal Bociek: Facilities Manager Doug Dutson: HR Manager Maureen Fahey: Event Manager Trevor Henthorn: Manager of Audio Computing Linda Higgins: Fiscal Manager Alison Holman: Event Manager Josef Kucera: Recording Engineer Nick Patin: Event Manager Diana Platero: Student Affairs Manager Rebecca Saltzman: Assistant Student Affairs Officer Jenn Stauffer: Production Manager Dirk Sutro: Program Promotion Manager Eileen Voreades: Undergraduate Advisor Clarissa White: Fiscal Assistant Others working on the Festival: Steven Berkley: Event Manager Scott Levine, Devin Ronneberg, Jeremiah Peevyhouse : Recording Engineer Jason Ponce, Paul Feyertag, Steve Solook: Graduate Assistants FOREWORD THE VIBRANT TRADITION of experimental music at U.C. San Diego is now almost half a century old. As UCSD cel- ebrates its 50th anniversary during the 2010-11 academic year, the Department of Music is proud to present Sonic Diasporas, the first ever alumni festival and symposium. Our call for entries prompted a tremendous response and we are pleased to present this diverse array of events. We thank everyone who submitted a proposal as well as all of our participants, many of whom traveled great distances to be here.
[Show full text]
Biography Hailed As One of the Most Important
Diamanda Galás: Biography Hailed as one of the most important singers of our time, Diamanda Galás has earned international acclaim for her highly original and politically charged performance works, as well as her spectral interpretations of jazz and blues. A resident of New York City since 1989, she was born to Anatolian and Greek parents, who always encouraged her gift for piano. From early on she studied both classical and jazz, accompanying her father’s gospel choir before joining his New Orleans-style band, and performing as a piano soloist with the San Diego Symphony at the age of fourteen. In the 70s, Galás played piano in the improvisational scene around San Diego and Los Angeles with musicians such as Bobby Bradford, Mark Dresser, Roberto Miranda, Butch Morris, and David Murray. She made her performance debut at the Festival d’Avignon in 1979, where she sang the lead role in Vinko Globokar’s opera, Un jour comme un autre, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason. While in France, she also performed Iannis Xenakis’s work with l’Ensemble Intercontemporain and Musique Vivante. Galás first rose to international prominence with her quadrophonic performances of Wild Women with Steak Knives (1980) and the album The Litanies of Satan (1982). Later she created the controversial Plague Mass, a requiem for those dead and dying of AIDS, which she performed at Saint John the Divine cathedral in New York City and released as a double CD in 1991. In 1994, Led Zeppelin bassist John Paul Jones and Diamanda Galás sought each other out for a collaboration that resulted in the visionary rock album, The Sporting Life.
[Show full text]
Ladyslipper Catalog Table of Contents
I ____. Ladyslipper Catalog Table of Contents Free Gifts 2 Country The New Spring Crop: New Titles 3 Alternative Rock 5g Celtic * British Isles 12 Rock * Pop 6i Women's Spirituality * New Age 16 R&B * Rap * Dance 64 Recovery 27 Gospel 64 Native American 28 Blues ' 04 Drumming * Percussion 30 Jazz • '. 65 African-American * African-Canadian 31 Classical 67 Women's Music * Feminist Music 33 Spoken .... 68 Comedy 43 Babyslipper Catalog 70 Jewish 44 Mehn's Music 72 Latin American 45 Videos 75 Reggae * Caribbean 47 Songbooks * Sheet Music 80 European 47 Books 81 Arabic * Middle Eastern 49 Jewelry, Cards, T-Shirts, Grab-Bags, Posters 82 African 49 Ordering Information 84 Asian * Pacific 50 Order Blank 85 Folk * Traditional 51 Artist Index 86 Free Gifts We appreciate your support, and would like to say thank you by offering free bonus items with your order! (This offer is for Retail Customers only.) FMNKK ARMSTRONG AWmeuusic PIAYS SO GHMO Order 5 items: Get one Surprise Recording free! Our choice of title and format; order item #FR1000. Order 10 items: choose any 2 of the following free! Order 15 items: choose any 3 of the following free! Order 20 items: choose any 4 of the following free! Order 25 items: choose any 5 of the following free! Order 30 items: choose any 6 of the following free! Please use stock numbers below. #FR1000: Surprise Recording - From Our Grab Bag (our choice) #FR1100: blackgirls: Happy (cassette - p. 52) Credits #FR1300: Frankie Armstrong: ..Music Plays So Grand (cassette - p. 14) #FR1500: Heather Bishop: A Taste of the Blues (LP - p.
[Show full text]
The Kitchen Videos and Records, 1971-2011 (Bulk 1971-1999)
http://oac.cdlib.org/findaid/ark:/13030/c8jh3rrr Online items available Finding aid for The Kitchen videos and records, 1971-2011 (bulk 1971-1999) Judy Chou, Mark Simon Haydn, Emmabeth Nanol and Laura Schroffel. Finding aid for The Kitchen 2014.M.6 1 videos and records, 1971-2011 (bulk 1971-1999) Descriptive Summary Title: The Kitchen videos and records Date (inclusive): 1967-2011 (bulk 1971-1999) Number: 2014.M.6 Creator/Collector: Kitchen Center for Video, Music, Dance, Performance, Film, and Literature (New York, N.Y.) Physical Description: 426 Linear Feet(446 boxes, 7 flat file folders, 1 boxed roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The Kitchen has been a center for innovative artistic activity since its founding in 1971. Operating as a meeting place between disciplines in New York, the space has fostered the development of experimental artwork across music, video, dance, performance, and installation art. The archive predominantly contains extensive video and audio recordings documenting performances at the space; artist files; posters; and printed ephemera. Audio and video recordings are unavailable until reformatted. Contact the repository for information regarding access. Some audiovisual material is currently available for on-site use only. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The Kitchen was founded in 1971 as an artist collective by video artists Steina and Woody Vasulka.
[Show full text]
Bitstream 14578.Pdf (10.89Mb)
BIBLIOTEKA PH − PREKO HUMANISTIKE ORION ART BOJANA RADOVANOVIĆ EKSPERIMENTALNI GLAS Savremena teorija i praksa Orion Art Beograd, 2018. Mojim roditeljima, Mirjani i Srđanu Biblioteka PH − preko humanistike Bojana Radovanović EKSPERIMENTALNI GLAS Izdavač Orion Art, Beograd Direktorka Orion Arta Nadežda Kovačević Glavni i odgovorni urednik Dragorad Kovačević Urednik biblioteke dr Miodrag Šuvaković Recenzenti dr Miodrag Šuvaković dr Vesna Mikić dr Dubravka Đurić Dizajn i prelom Bojana Radovanović i Aleksa Milanović Ilustracija na koricama Milana Jović, the expression, 2018. Ilustracije u ovom izdanju su štampane ljubaznošću i sa dozvolama Itanga Čena, Antonije Ber, Golana Levina, Stiva Mekaferija, Geti istraživačkog insti- tuta i izdavačke kuće Edition Peters. Štampa Donat Graf, Beograd Tiraž 300 ISBN 978-86-6389-073-2 SADRŽAJ Kako čujem/razumevam glas? / 11 Opšta teorija glasa / 15 Glas - pogled iz psihoanalize / 17 Glas i politika / 29 Taj glas nikako ne može poticati iz tog tela - Glas i telo / 37 Glas / telo u izvođačkim umetnostima / 53 Kratka istorija glasa u muzici, poeziji i teatru / 53 Izvođačke umetnosti i studije izvođenja / 69 Virtuozitet i političnost izvođenja. Izvođenje kao vrsta rada / 71 Eksperimentalna izvođačka umetnost. Eksperimentalni glas? / 74 Eksperimentalni glas / 77 Merz i glas - Švitersova Ursonata / 77 Glas kao mogući protivotrov paradoksu znaka – Stiv Mekaferi o/u zvučnoj poeziji / 87 Glas u Teatru okrutnosti / 93 Novi vokalitet u teoriji i praksi Keti Berberijan / 99 Podignite glas! Političnost u delima Dijamande Galas i Lori Anderson / 108 Glas koji oživljava slike - rane opere Roberta Vilsona / 118 Glas mesečevog deteta / 126 Glas u Teatru smeha – Rire / Laugh / Lachen / 131 Izvođenje epiloga / 137 Prilog / 141 Novi vokalitet u savremenoj muzici (1966) – Keti Berberijan / 141 Kratke biografije umetnika / 145 Glosar / 151 Bibliografija / 153 Indeks imena / 161 Summary / 169 Beleška o autorki / 171 Hvala..
[Show full text]
Girl Band Guide a Directory of Women-Oriented Alternative Music Bands with Female Vocalists Issue #8, June 1994 Please Send Info
Girl Band Guide A Directory of Women-Oriented Alternative Music Bands with Female Vocalists Issue #8, June 1994 Please send info, updates, and corrections to: Carrie Carolin PO Box 94221 Seattle, WA 98124 Internet: [email protected] This list is available for $1, CASH, from the above address. Don't send stamps, checks, money orders, or coins, please! The list is published and updated quarterly. The list is copyrighted but you may feel free to make as many copies as you need to share with friends etc. as long as you leave the list intact and complete, and leave my name and address on it so I can continue to receive updates. Please do NOT post this guide to Internet newsgroups without checking with me first, as it generally makes my mailbox overflow when I am unprepared for it. Please only send info on bands with FEMALE VOCALISTS, who sing LEAD vocals, or sing dual vocals with a male, as long as the female sings on 30% on the songs (backup vocals do NOT count). When you send me info about your band please include members' names, a booking phone number, and a fan mail address - a lot of letters to bands are getting lost at the band's record label. Photos look shitty because of the xeroxed format of this zine, but if you still want to send them, I'll put them in. Listing format is: Band name; home town/band fan mail address, phone; members' names; type of music; discography; record label/address; booking phone number. 360's Salem, Massachusetts.
[Show full text]
University of California
UNIVERSITY OF CALIFORNIA SANTA CRUZ “How Skin Can See:” A Phenomenological and Cultural Account of Touch as Witness in the Latter Half of the Twentieth-Century A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Prema Purigali Prabhakar March 2012 The Dissertation of Prema Purigali Prabhakar is approved: _________________________________ Professor Tyrus Miller, Chair _________________________________ Professor Vilashini Cooppan _________________________________ Professor Jody Greene _________________________________ Professor H. Marshall Leicester __________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Prema Purigali Prabhakar 2012 TABLE OF CONTENTS Abstract ........................................................................................................................ iv Acknowledgements ...................................................................................................... vi Preface............................................................................................................................1 Chapter One ................................................................................................................ 14 Chapter Two................................................................................................................ 90 Chapter Three............................................................................................................ 137 Chapter Four
[Show full text]