Protoplaści Techno Z Dusseldorfu
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Filosofie Van De Nieuwe Muziek Gratis Epub, Ebook
FILOSOFIE VAN DE NIEUWE MUZIEK GRATIS Auteur: Theodor W. Adorno Aantal pagina's: 208 pagina's Verschijningsdatum: none Uitgever: none EAN: 9789061683490 Taal: nl Link: Download hier Wat moeten we nu nog met Adorno? Vanaf gebruikte ze consequent haar eigen naam. In begon Meuris haar muziekopleiding aan de academie van Tienen. Twee jaar later zette ze deze opleiding verder aan het Stedelijk Conservatorium te Leuven. In startte ze haar hogere studies aan het Koninklijk Muziekconservatorium van Brussel. Na een tijdelijke overstap naar de Katholieke Universiteit Leuven, koos ze in definitief voor de muziek. In schreef ze een proefschrift over de invloed van Schopenhauers filosofie op het oeuvre van Wagner in het kader van een pedagogische opleiding en in over de betekenis van de esthetiek in de benedictijnse spiritualiteit in kader van het vak cultuurgeschiedenis en filosofie. Filosofie, en meer in het bijzonder het werk van Schopenhauer, is een terugkerend element in haar composities. Ingrid Meuris was verbonden aan verschillende stedelijke muziekacademies: van tot werkte ze als leerkracht AMC en muziekgeschiedenis aan de muziekacademie van Dilbeek en vervulde ze interimopdrachten als muzieklerares in het tweedekansonderwijs en in verschillende dagscholen. Vanaf gaf zij les AMC en muziekgeschiedenis aan de academie te Ninove en vanaf was zij als lerares harmonieleer verbonden aan de Academie voor Muziek, Woord en Dans in Neerpelt. Aan het Stedeliijk Conservatorium van Leuven was zij sinds lerares muziektheorie, tot aan haar overlijden in Centrale gegevens blijken de aanwezigheid van een buitenmuzikale thematiek, een romantisch-expressionistische schrijfwijze en een verwijd tonaal klankbeeld. Crvena Kisa op. Deze cantate is gebaseerd op het conflict tussen Serviërs en Kroaten tijdens de oorlog in ex- Joegoslavië. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre. -
Specimen Book, with a Distinctive ‘Crotchless’ Treatment for Where the Stems Met the Bowls in the Lowercase
VLLG.COM KOMMISSAR X-Condensed SCHWARTZCO KOMMISSAR CONDENSED ABOUT VLLG.COM As part of his redesign of Fast Company, Florian Bachleda needed a condensed sans to complement the new general-purpose sans and slab families. Together, Florian and Christian Schwartz found a stripped down, flat-sided condensed sans in a German specimen book, with a distinctive ‘crotchless’ treatment for where the stems met the bowls in the lowercase. SCHWARTZCO KOMMISSAR CONDENSED ABOUT VLLG.COM THIS FAMILY, CALLED VERTIKAL AND LIKELY CUT IN THE LATE 1920s, SEEMED TO HAVE SOME POTENTIAL, BUT A QUICK DIGITIZATION OF A HANDFUL OF CHARACTERS SHOWED THAT IT WAS A LITTLE TOO DRY AND BORING IN LAYOUTS. SCHWARTZCO KOMMISSAR CONDENSED ABOUT VLLG.COM Florian and his design staff had come across the condensed styles of Paul Renner’s Plak, and asked if Christian and his design staff at Commercial Type might be able to synthesize a new condensed sans that had the distinctive traits of Vertikal, with no contrast and flat connections on the arches and bowls in characters like h m n r & a b d p q g; synthesized with the roundness & wandering uppercase crossbar heights of Plak. SCHWARTZCO KOMMISSAR CONDENSED ABOUT VLLG.COM THE COMMERCIAL TYPE DESIGNERS FIGURED OUT HOW TO MAKE THIS MARRIagE OF stYLES WORK, THEN EXpaNDED THE faMILY OUT TO A FULL RANGE OF WEIGHts IN 3 PROGRESSIVELY NARROWER WIDTHS. IN THE HEAVIEST WEIGHTS, THE FAMILY ENDED UP WITH A TASTE OF THE FUTURE AS PREDICTED IN THE 1970s. SCHWARTZCO KOMMISSAR CONDENSED ABOUT VLLG.COM WEIGHTS Kommissar is available as a cross-platform OpenType font. -
Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition. -
The History of Rock Music: 1966-1969
The History of Rock Music: 1966-1969 Genres and musicians of the Sixties History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Kosmische Musik 1969-72 (These are excerpts from my book "A History of Rock and Dance Music") Fundamentally, British rock recycled USA rock for a different kind of audience: the Beatles recycled it for a pop-oriented audience, progressive-rock (in all its neo-classical and jazz variations) recycled it for an intellectual audience. German rock, instead, invented a different kind of rock music. In fact, many German bands were not playing "rock" music at all. There is no question that the great era of German avant-rock was inspired by psychedelic music, but the German interpretation of psychedelic music had little to do with reproducing the effects of drugs: German musicians saw a relationship between psychedelic experiments and the German electronic avantgarde (such as Karlheinz Stockhausen), a relationship that, in retrospect, was already obvious in the USA's psychedelia, but that no one had articulated before. In 1968 three young musicians, Conrad Schnitzler, Hans-Joachim Roedelius and Klaus Schulze, founded the "Zodiak Free Arts Lab" in Berlin. This became the first venue for popular electronic music in Europe. That can be considered the moment when German musicians figured out that strategic relationship between psychedelic music and avantgarde music. -
Manuel Gottsching and Ash Ra Tempel Kraftwerk
296 THE AMBIENT CENTURY AMBIENCE IN THE ROCK ERA 297 minimalism of Like The comDll1ll1g his sweetly toned guitar style with mellow keyboard patten> of AJomenti FeUd (Virgin Venture 1987). Brian Eno sponsored sounds. New Age Of Earth (1977) danced along on a rush some of the tonal on the Japanese collection, Pink, Blue And Amher sounds, lapping on the shores ofFleetwood Mac blues one moment, off 1996). for a fresh overview ofeverything Roedelius has to ofIer, try into the cosmic ether the next. Here texture was Gottsching going /~ !1WIypl/n (All Saints out of his way to create an interplanetary sound of the future. Blackouts (I was less but his guitar glowed as usual. Correlations (1979) and Bell Alliance (1980) had their moments but Gottsching was increasingly at odds with the some of the drum-machine tracks sounding positively awk MANUEL GOTTSCHING AND ASH RA TEMPEL ward. Sensing his music needed more concentration, he took time off and during the last month of 1981 recorded the astonishing E2-E4 One ofthe most mellifluously gifted guitarists to come out ofthe German rock a wonderfully dancey rhythm track with space for liquid sounds, scene of the 1970s was Manuel Gottsching. His fusion of bass grooves, hesitant nervy keyboard motifs and the silken provisation with electronic treatments made his first group, Ash Ra notes of old. At nearly an hour long it a space all ofits own, thus one of the m<;>st exciting Gennan bands oftheir era. the mid-1970s he was a becoming one ofthe most-sampled records ofthe House ofthe 19805 solo inventor, allying his fender and Gibson streams with effects to the and 19905 a veritable soundtrack for the E generation. -
Mein Krautrocksampler
Krautrocksampler Interviews, Artikel und anderes extrahiert aus dem Internet und aufbereitet von Heinrich Unkenfuß Nur zum internen Gebrauch und zu wissenschaftlichen und Unterrichtszwecken. Hamburg, 13. 11. 2010 Inhaltsverzeichnis Ein Augen- und Ohrenflug zum letzten Himmel - Die Deutsche Rockszene um 1969 (von Marco Neumaier) 4 The German Invasion (by Mark Jenkins) 7 Krautrock (by Chris Parkin) 10 Rock In Deutschland - Gerhard Augustin Interview 12 An Interview With Julian Cope 17 Krautrock: The Music That Never Was 22 German Rock (SPIEGEL 1970) 25 Popmusik: Sp¨ates Wirtschaftswunder (SPIEGEL 1974) 27 Neger vom Dienst (SPIEGEL 1975) 29 Trance-Musik: Schamanen am Synthesizer (SPIEGEL 1975) 31 Zirpt lustig (SPIEGEL 1970) 34 Prinzip der Freude (SPIEGEL 1973) 36 The Mythos of Rolf-Ulrich Kaiser (1943-??) 38 Exhibitionisten an die Front (SPIEGEL 1969) 42 Communing With Chaos (by Edwin Pouncey) 44 Amon Du¨ul¨ II - Yeti Talks to Yogi 50 We Can Be Heroes (Amon Du¨ul¨ II) 57 Interview with John Weinzierl 60 Dave Anderson - The Bass-Odyssey Files 69 1 Kraut-Rock (Interview mit Chris Karrer) 74 Interview mit Tangerine Dream (1975) 77 Interview with Klaus Schulze 79 “I try to bring order into the chaos.” Klaus D. Mueller Interview 91 Die wahre Geschichte des Krautrock 96 Faust: Clear 102 The Sound of the Eighties 104 Faust and Foremost: Interview with Uwe Nettelbeck 107 Having a Smashing Time 110 Interview with Jochen Irmler 115 After The Deluge - Interview with Jean-Herv´eP´eron 117 Faust: Kings of the Stone Age 126 Faust - 30 Jahre Musik zwischen Bohrmaschine und Orgel 134 Hans Joachim Irmler: ‘Wir wollten die Hippies mal richtig erschrecken“’ 140 ” Can: They Have Ways of Making You Listen 145 An Interview With Holger Czukay (by Richie Unterberger) 151 An Interview With Holger Czukay (by Jason Gross) 155 D.A.M.O. -
O Surgimento Da Música Eletrônica
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES HOMENS, MÁQUINAS E HOMENS-MÁQUINA: O SURGIMENTO DA MÚSICA ELETRÔNICA JULIÁN JARAMILLO ARANGO CAMPINAS-2005 1 UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Mestrado em Multimeios HOMENS, MÁQUINAS E HOMENS-MÁQUINA: O SURGIMENTO DA MÚSICA ELETRÔNICA JULIÁN JARAMILLO ARANGO Dissertação apresentada ao Curso de Mestrado em Multimeios do Instituto de Artes da UNICAMP como requisito parcial para a obtenção do grau de Mestre em Multimeios sob a orientação do Prof. Dr José Eduardo Ribeiro de Paiva. CAMPINAS-2005 3 Dedico este trabalho a meus pais, Silvia Arango e Samuel Jaramillo, pelo apóio irrestrito e a confiança depositada em mim. 4 AGRADECIMENTOS Esta pesquisa foi financiada pelo programa de créditos reembolsáveis em espécie “Carolina Oramas” do ICETEX (Reg. Bogotá/Colômbia), a partir de Agosto do 2004 e durante um ano. A meu orientador, o Prof. Dr José Eduardo Ribeiro de Paiva, por indicar novos caminhos na minha profissão. Aos professores, Drs, Denise Garcia por me introduzir no pensamento schafferiano e Fernando Iazzetta pelas providências. Aos amigos brasileiros, Lílian, Giuliano, Valério, Ana Rosa, Cynthia e Alexandre por me acolher como um irmão e acreditar em nossa geração. Aos colegas, Nicolau e Debbora pelas discussões e colaborações. Aos amigos colômbianos, Ananay, Tomás e Maurício pela paciência, companhia e complicidade. 5 RESUMO A música eletrônica de pista apresenta-se, no começo da década de 2000, como um fenômeno portador de novos paradigmas para a música, no que respeita à criação, à difusão e à apreciação. Esta pesquisa examina o surgimento deste fenômeno, no começo da década de 1980, a partir do pensamento de Pierre Schaeffer, que fornece uma metodologia apropriada para tal empreendimento. -
Stationenlernen Kraftwerk
Mu GK Q1/Q2 | Dor Datum: __________ Elektronik-Pop als Ideengeber für HipHop und Techno: Kraftwerk Station 1 - Kraftwerk – Eine Bandbiographie Es gibt wohl kaum eine Band aus Deutschland, die so oft als Inspirationsquelle angegeben wird wie Kraftwerk. Keine andere Gruppe wurde so oft gesampelt und um keine andere Formation ranken sich mehr Mythen und Gerüchte wie um die Düsseldorfer. Ihr Einfluss auf die Entwicklung elektronischer Musik wird von Künstlern sämtlicher Genres anerkannt. Gemeinsam mit dem Südtiroler Produzenten Giorgio Moroder gelten sie als Erfinder des Elektro-Pop und Techno. Zu Beginn stehen nur zwei Namen im Vordergrund. Ralf Hütter und Florian Schneider-Esleben sind die Gründungsmitglieder von Kraftwerk. Bevor sie sich jedoch so nennen, firmieren sie unter dem Namen Organisation, können aber (außer ein paar überreifen Tomaten bei Livekonzerten) nichts ernten. Avantgarde nannte man das damals, abgefahrene Mucke, die sich wesentlich vom Einerlei der damaligen Beatmusik abhob. Als Florian und Ralf dann mit dem Kraftwerk ans Netz gehen, probieren sie diverse Musiker aus, bis sich letztendlich Karl Bartos und Wofgang Flür zu ihnen gesellen. Diese vier stellen das permanente Line-Up dar, bis Flür nach der Veröffentlichung von "Electric Cafe" 1986 und Bartos 1991 aussteigen. Ganz am Anfang ist Kraftwerk noch keine rein elektronische Band - bis Wolfgang Flür aus einer simplen Rhythmusmaschine ein elektronisches Schlagzeug bastelt. Plötzlich stehen ganz neue Möglichkeiten offen, mit denen man experimentieren kann und so dauert es nicht lange, bis sie den kompletten Sound auf Elektronik umstellen. Ihren ersten Hit feiern Kraftwerk 1974, als eine gekürzte Fassung des Titelstücks "Autobahn" in den Staaten die Hitparaden stürmt.