Robotically Reproducing Turntable Techniques Andrew Wong
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The Early Years of the Acoustic Phonograph Its Developmental Origins and Fall from Favor 1877-1929
THE EARLY YEARS OF THE ACOUSTIC PHONOGRAPH ITS DEVELOPMENTAL ORIGINS AND FALL FROM FAVOR 1877-1929 by CARL R. MC QUEARY A SENIOR THESIS IN HISTORICAL AMERICAN TECHNOLOGIES Submitted to the General Studies Committee of the College of Arts and Sciences of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved Accepted Director of General Studies March, 1990 0^ Ac T 3> ^"^^ DEDICATION No. 2) This thesis would not have been possible without the love and support of my wife Laura, who has continued to love me even when I had phonograph parts scattered through out the house. Thanks also to my loving parents, who have always been there for me. The Early Years of the Acoustic Phonograph Its developmental origins and fall from favor 1877-1929 "Mary had a little lamb, its fleece was white as snov^. And everywhere that Mary went, the lamb was sure to go." With the recitation of a child's nursery rhyme, thirty-year- old Thomas Alva Edison ushered in a bright new age--the age of recorded sound. Edison's successful reproduction and recording of the human voice was the end result of countless hours of work on his part and represented the culmination of mankind's attempts, over thousands of years, to capture and reproduce the sounds and rhythms of his own vocal utterances as well as those of his environment. Although the industry that Edison spawned continues to this day, the phonograph is much changed, and little resembles the simple acoustical marvel that Edison created. -
ISP 13 INVISIBL SKRATCH PIKLZ the 13Th Floor LP
INVISIBL SKRATCH PIKLZ THE 13TH FLOOR Holy Crap…Who Goes There? Fresh Out of FVCKS Kenny G's Perm CATALOG: ISP13-LP Ultimate FORMAT: 2xLP STREET: 12/09/16 Black Hole vs. Brown Hole LABEL: THUD RUMBLE Reverse Cowgirl Polka Fist Pump The Freestyle Fanatic Booby Trap Universally acknowledged as some of the most skilled scratch DJs in the world, turntable legends the Invisibl Skratch Piklz are releasing their first ever full-length album: The 13th Floor. After nearly 16 years apart, original members Qbert, Shortkut, and D-Styles have come together again to record The 13th Floor. Composed with a heavy jazz sound in mind, the roughly 35-minute LP is an amazing homage to what true DJing is – and the perfect embodiment of the iconic Invisibl Skratch Piklz sound. Recorded using three DJ mixers and three turntables, the album showcases the trio’s deft skills and inspired talent, and displays how they have progressed and perfected their sound all while pushing the art of turntablism into brave new dimensions. The 13th Floor deftly blends the abstract artistry of scratching with undeniable musicality: lush synths, warm horns, solid basslines, and fat vibes. It’s easy to feel “Fresh Out of FVCKS” – a track that creeps up the keys and slowly shoves its way in. “Kenny G’s Perm” is surprisingly relaxed, a mellow and sludge-covered jam. From the aggressive roughness of “Polka Fist Pump” to the thick sound of “The Freestyle Fanatic,” the LP flips, knocks, twists, and finds truth on the turntables. Fusing elements of jazz, rock and hip hop, the album demonstrates true artistry, creative composition, and masterful turnta- blism. -
Balade Dans La Galaxie Beastie Boys » OWNI, News, Augmented
BALADE DANS LA GALAXIE BEASTIE BOYS LE 11 MAI 2011 GWEN BOUL Le 2 mai, le très attendu nouvel album des Beastie Boys, "Hot Sauce Comittee pt.2" est sorti. Pour l'occasion, nous vous proposons de replonger dans la galaxie du trio New Yorkais. Hot Sauce Committee part 2, le nouvel album des Beastie Boys, est enfin sorti. Le groupe avait plusieurs fois reporté la sortie de l’album. Après une sortie déjà décalée en 2009 pour cause de Crabe qui s’invitait dans la gorge d’Adam Yauch, alias MCA, le groupe refaisait le coup en 2010. « Pas avant 2011 les amis ! ». Promesse finalement tenue avec un disque qui réjouit les fans. C’est l’occasion pour OWNImusic de republier la petite balade dans la galaxie Beastie Boys, balade guidée par Gwen de Centrifugue. Un univers gigantesque, aux astres multiples et empli d’univers parallèles. Décollage. Les grands champs gravitationnels Débutons notre périple cosmique par ceux qui ont modelé cette galaxie : les inspirateurs et les producteurs. LEE SCRATCH PERRY Le producteur incontournable dans l’histoire du reagge et du dub. Celui-ci fit une apparition remarquée sur Hello Nasty avec le morceau Dr Lee PhD . Une association débutée lors d’une première partie des Beastie assurée par Lee Perry, à l’occasion d’une tournée au Japon en 1996. Mais l’influence est plus ancienne et remonte à l’EP Cooky Puss en 1983, qui comportait les morceaux dub-reggae Beastie Revolution et Bonus Batter Edit : et l’on retrouve également un sample de Dub Revolution sur Ill Communication. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
The Lab Notebook
Thomas Edison National Historical Park National Park Service U.S. Department of the Interior The Lab Notebook Upcoming Exhibits Will Focus on the Origins of Recorded Sound A new exhibit is coming soon to Building 5 that highlights the work of Thomas Edison’s predecessors in the effort to record sound. The exhibit, accompanied by a detailed web presentation, will explore the work of two French scientists who were pioneers in the field of acoustics. In 1857 Edouard-Léon Scott de Martinville invented what he called the phonautograph, a device that traced an image of speech on a glass coated with lampblack, producing a phonautogram. He later changed the recording apparatus to a rotating cylinder and joined with instrument makers to com- mercialize the device. A second Frenchman, Charles Cros, drew inspiration from the telephone and its pair of diaphragms—one that received the speaker’s voice and the second that reconstituted it for the listener. Cros suggested a means of driving a second diaphragm from the tracings of a phonauto- gram, thereby reproducing previously-recorded sound waves. In other words, he conceived of playing back recorded sound. His device was called a paléophone, although he never built one. Despite that, today the French celebrate Cros as the inventor of sound reproduction. Three replicas that will be on display. From left: Scott’s phonautograph, an Edison disc phonograph, and Edison’s 1877 phonograph. Conservation Continues at the Park Workers remove the light The Renova/PARS Environ- fixture outside the front mental Group surveys the door of the Glenmont chemicals in Edison’s desk and home. -
21St Century Choral Performance Practice: Presenting the Mash-Up with Practical Applications Justin Xavier Carteret University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 6-30-2016 21st Century Choral Performance Practice: Presenting the Mash-Up With Practical Applications Justin Xavier Carteret University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Carteret, J. X.(2016). 21st Century Choral Performance Practice: Presenting the Mash-Up With Practical Applications. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3380 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. 21ST CENTURY CHORAL PERFORMANCE PRACTICE: PRESENTING THE MASH-UP WITH PRACTICAL APPLICATIONS by Justin Xavier Carteret Bachelor of Arts University of North Carolina at Pembroke, 2006 Bachelor of Science University of North Carolina at Pembroke, 2006 Master of Arts University of North Carolina at Pembroke, 2008 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2016 Accepted by: Larry Wyatt, Major Professor Chairman, Examining Committee Alicia Walker, Committee Member Birgitta Johnson, Committee Member Andrew Gowan, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies © Copyright by Justin Xavier Carteret 2016 All rights reserved. ii ACKNOWLEDGEMENTS To God, thank you for life and the ability to experience and express it through music. To all people and experiences I have encountered thus far in my life, thank you for shaping the person I am today, providing me with my own unique way of perceiving the world. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Cue Point Aesthetics: the Performing Disc Jockey In
CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago. -
BIO Born Matthew Fowler on Feb. 17, 1975, Producer Mumbles Has Lived
BIO Born Matthew Fowler on Feb. 17, 1975, producer Mumbles has lived a life rich with musical diversity and spiritual inspiration. Raised in a family of professional jazz musicians along with older brother Marvin Fowler (Dj Marvski) of the U.N.I.T.Y. Committee, Mumbles developed an ear for jazz and hip-hop music from an early age. His father, Steve Fowler, a professional flute and sax player, along with uncles Bruce, Tom, Walt, and Ed formed a musical legacy spanning from the early 70's with the band, the Fowler Brothers. They played with Frank Zappa and the Mothers of Invention, Bobby McFerrin, Linda Rondstadt, Ray Charles, Diana Ross, James Taylor and Brian Setzer, to name just a few. Being raised in such a diverse and musically stimulating environment, Mumbles tuned his ear early to the complexity of rhythm, melody and harmony. With the influence of his brother Marvski, he turned his attention to hip-hop music from the age of 5 (1980) and never turned back. In the late 1980's, Marvski along with Cut Chemist, Chali 2na, and Marc 7 formed the innovative group U.N.I.T.Y. Committee, which later along with the Rebels of Rhythm turned into the group Jurassic 5. It was during these pivotal years that Mumbles, being inspired by the production and record collections of Marvksi and Cut Chemist, decided to embark on his own mission of record digging, sampling, and beat construction. What started out lightly quickly turned into the digging obsession that most hip-hop producers are familiar with. -
Concerto for Turntables and Orchestra Gabriel Prokofiev Teacher Pages
SECONDARY 10 PIECES PLUS! CONCERTO FOR TURNTABLES AND ORCHESTRA (5th MOVEMENT) by GABRIEL PROKOFIEV TEACHER PAGES CONCERTO FOR TURNTABLES AND ORCHESTRA (5TH MOVEMENT) BY GABRIEL PROKOFIEV http://www.bbc.co.uk/programmes/p038md89 CONTEXT Gabriel Prokofiev is the grandson of Sergei Prokofiev, the famous Russian composer and contemporary of Shostakovich. Gabriel is a musician who has been involved in hip hop, dance, electro, grime, scratching and turntablism. He has become interested in the fusion of different styles of music and decided to write a Concerto for Turntables and Orchestra where sounds created by the orchestra could be combined with turntable techniques. Turntablism comes from the 1970’s Hip Hop style. The records on the turntables are scratched rhythmically, responding to the music being played: this technique is used in the Prokofiev concerto. The DJ manipulates the sounds on the vinyl records changing tonal and rhythmic patterns. The records used in the piece contain music samples of orchestral phrases. A concerto is an orchestral piece of music which features a soloist, or small group of soloists who are virtuoso performers. The soloist usually has the main ideas and maintains a dialogue with the orchestra throughout the music. As with any instrumentalist, the DJ requires plenty of practice to become skilful in the technique of manipulating sounds. The concerto usually contains a ‘cadenza’, which is a passage where the soloist can show off his or her skills. Concerto for Turntables and Orchestra was written in 2006 and was -
EDUCATOR GUIDE Story Theme: Playing with Technology
EDUCATOR GUIDE Story Theme: Playing with Technology Subject: Walter Kitundu Discipline: Music SECTION I - OVERVIEW ................................................................................................... 2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ................................................................................. 3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEB SITES VIDEO RESOURCES BAY AREA FIELD TRIPS SECTION III – VOCABULARY ........................................................................................... 6 SECTION IV – ENGAGING WITH SPARK ........................................................................ 7 Still image from SPARK story, 2006. SPARK Educator Guide – Walter Kitundu 1 SECTION I - OVERVIEW EPISODE THEME INSTRUCTIONAL OBJECTIVES Playing with Technology • To introduce students to instrument invention through the art of Walter Kitundu SUBJECT • To provide context for the understanding of the Walter Kitundu phonographic turntable and other instruments • To inspire students to listen critically to GRADE RANGES experimental instruments and contemporary K‐12 & Post‐secondary musical compositions CURRICULUM CONNECTIONS EQUIPMENT NEEDED Visual Arts & Language Arts • SPARK story about Walter Kitundu on DVD or VHS and related equipment, or a computer with OBJECTIVE Internet access, navigation software, video