Listening Diary 10/04/2017
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Sexism Across Musical Genres: a Comparison
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 6-24-2014 Sexism Across Musical Genres: A Comparison Sarah Neff Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Social Psychology Commons Recommended Citation Neff, Sarah, "Sexism Across Musical Genres: A Comparison" (2014). Honors Theses. 2484. https://scholarworks.wmich.edu/honors_theses/2484 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running head: SEXISM ACROSS MUSICAL GENRES 1 Sexism Across Musical Genres: A Comparison Sarah E. Neff Western Michigan University SEXISM ACROSS MUSICAL GENRES 2 Abstract Music is a part of daily life for most people, leading the messages within music to permeate people’s consciousness. This is concerning when the messages in music follow discriminatory themes such as sexism or racism. Sexism in music is becoming well documented, but some genres are scrutinized more heavily than others. Rap and hip-hop get much more attention in popular media for being sexist than do genres such as country and rock. My goal was to show whether or not genres such as country and rock are as sexist as rap and hip-hop. In this project, I analyze the top ten songs of 2013 from six genres looking for five themes of sexism. The six genres used are rap, hip-hop, country, rock, alternative, and dance. -
Epsiode 20: Happy Birthday, Hybrid Theory!
Epsiode 20: Happy Birthday, Hybrid Theory! So, we’ve hit another milestone. I’ve rated for 15+ before like 6am, when it made 20 episodes of this podcast – which becomes a Top 50 countdown. When I was is frankly very silly – and I was trying younger, it was the quickest way to find to think about what I could write about new music, and potentially accidentally to reflect such a momentous occasion. see something that would really scar I was trying to think of something that you, music-video wise. Like that time I was released in the year 2000 and accidentally saw Aphex Twin’s Come to was, as such, experiencing a similarly Daddy music video. momentous 20th anniversary. The answer is, unsurprisingly, a lot of things But because I was tiny and my brain – Gladiator, Bring It On and American was a sponge, it turns out a lot of what Psycho all came out in the year 2000. But I consumed has actually just oozed into I wasn’t allowed to watch any of those every recess of my being, to the point things until I was in high school, and they where One Step Closer came on and I didn’t really spur me to action. immediately sang all the words like I was in some sort of trance. And I haven’t done And then I sent a rambling voice memo a musical episode for a while. So, today, to Wes, who you may remember from we’re talking Nu Metal, baby! Hell yeah! such hits as “making this podcast sound any good” and “writing the theme tune I’m Alex. -
Rap in the Context of African-American Cultural Memory Levern G
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to -
Sounds of the Human Vocal Tract
INTERSPEECH 2017 August 20–24, 2017, Stockholm, Sweden Sounds of the Human Vocal Tract Reed Blaylock, Nimisha Patil, Timothy Greer, Shrikanth Narayanan Signal Analysis and Interpretation Laboratory University of Southern California, USA [email protected], {nimishhp, timothdg}@usc.edu, [email protected] Do speech and beatboxing articulations share the same Abstract mental representations? Previous research suggests that beatboxers only use sounds that Is beatboxing grammatical in the same way that exist in the world’s languages. This paper provides evidence to phonology is grammatical? the contrary, showing that beatboxers use non-linguistic How is the musical component of beatboxing represented articulations and airstream mechanisms to produce many sound in the mind? effects that have not been attested in any language. An analysis of real-time magnetic resonance videos of beatboxing reveals To address these questions, a comprehensive inventory of that beatboxers produce non-linguistic articulations such as beatboxing sounds and their articulations must first be ingressive retroflex trills and ingressive lateral bilabial trills. In compiled. addition, beatboxers can use both lingual egressive and Some steps toward this goal have already been taken. pulmonic ingressive airstreams, neither of which have been Splinter and TyTe [5] proposed a Standard Beatbox Notation reported in any language. (SBN) to encode contrasts between different beatboxing The results of this study affect our understanding of the sounds, and Stowell [6] uses a combination of new characters limits of the human vocal tract, and address questions about the and characters from the International Phonetic Alphabet (IPA) mental units that encode music and phonological grammar. to represent some sounds of beatboxing. -
Claire Chase: the Pulse of the Possible
VOLUMEXXXVIII , NO . 3 S PRING 2 0 1 3 THE lut i st QUARTERLY Claire Chase: The Pulse of the Possible Curiosity and Encouragement: Alexander Murray The Charles F. Kurth Manuscript Collection Convention 2013: On to New Orleans THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC It is only a tool. A tool forged from the metals of the earth, from silver, from gold. Fashioned by history. Crafted by the masters. It is a tool that shapes mood and culture. It enraptures, sometimes distracts, exhilarates and soothes, sings and weeps. Now take up the tool and sculpt music from the air. MURAMATSU AMERICA tel: (248) 336-2323 fax: (248) 336-2320 fl[email protected] www.muramatsu-america.com InHarmony Table of CONTENTSTHE FLUTIST QUARTERLY VOLUME XXXVIII, NO. 3 SPRING 2013 DEPARTMENTS 11 From the President 49 From the Local Arrangements Chair 13 From the Editor 55 Notes from Around the World 14 High Notes 58 New Products 32 Masterclass Listings 59 Passing Tones 60 Reviews 39 Across the Miles 74 Honor Roll of Donors 43 NFA News to the NFA 45 Confluence of Cultures & 77 NFA Office, Coordinators, Perseverence of Spirit Committee Chairs 18 48 From Your Convention Director 80 Index of Advertisers FEATURES 18 Claire Chase: The Pulse of the Possible by Paul Taub Whether brokering the creative energy of 33 musicians into the mold-breaking ICE Ensemble or (with an appreciative nod to Varèse) plotting her own history-making place in the future, emerging flutist Claire Chase herself is Exhibit A in the lineup of evidence for why she was recently awarded a MacArthur Fellowship “genius” grant. -
THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s. -
Download Funk Keyboards: the Complete Method Free Ebook
FUNK KEYBOARDS: THE COMPLETE METHOD DOWNLOAD FREE BOOK Gail Johnson | 56 pages | 19 Apr 2000 | Hal Leonard Corporation | 9780793598700 | English | Milwaukee, United States Funk Keyboards: The Complete Method--A Contemporary Guide to Chords, Rhythms, and Licks (Book & CD) In that case, we can't Instead, Brown's music was overlaid with Funk Keyboards: The Complete Method, anthemic vocals" Funk Keyboards: The Complete Method on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm- section patterns Favorite new teacher quote -- "You found the only possible wrong answer. Categories : Funk African-American culture African- American music African-American history American styles of music Popular music s in music s in music s fads and trends. Lists with This Book. The jazz books include some funk stuff. Cela fait plus de 30 ans que j ach te des m thodes de musique pour divers instruments et sans conteste celle ci est la meilleure que j ai jamais eu Tout ce qu il faut pour jouer du funk y est, que ce soit les voicings d accords sympas et comment construire pour les 7 9 11 Funk Keyboards: The Complete Method des formes m morisablesFunk Keyboards: The Complete Method travail rythmique, alternance main gauche main droite, les licks et m me un chapitre sur la modulation wheel des synthes Le tout est appliqu sur les diff rents types de claviers funk Rhodes, Cl [ Meanwhile, in Australia and New Zealand, bands playing the pub circuit, such as SupergrooveSkunkhour and the Truthpreserved a more instrumental form of funk. -
A Brief History of Beat-Boxing by Davidx
A Brief History of Beat-Boxing by DavidX 1980s – Introductions: Beat-boxing emerged in the USA in the 1980s and grew out of hip hop culture. It was created to provide a beat to support MCs when there was no DJ/sound system available. David describes the message of early beat-boxing as; “peace, love and unity, and have fun and teach some kids in the street”. Pioneers of beat boxing were Doug E Fresh, Biz Markie and hip hop trio The Fat Boys. Fat Boys: http://www.youtube.com/watch?feature=player_detailpage&v=a65kmDFfl2g Doug E Fresh 1986 Interview and Human Beatbox: http://www.youtube.com/watch?feature=player_detailpage&v=2ARBgBeHY1w 1990s – New Innovations: Between the late ‘80s and early ‘90s, beatboxing disappeared as an artform. But when MC and human-beatboxer Rahzel combined singing and beatboxing on his cover of “If Your Mother Only Knew” in 1996, he brought beatboxing to the world’s attention. It had a big impact on people discovering the discipline and making it part of the mainstream as fans tried beat- boxing covers themselves. Rahzel: http://www.youtube.com/watch?feature=player_detailpage&v=_GtVONTy6FQ 2000s: At the start of the 21st century, beat-boxing became more technical and the first Human Beatbox Convention happened in London with beatbox artists from all over the world. Scratch from The Roots, and Kenny Muhammad marked this period. Scratch and Eklips live on Radio France: http://www.youtube.com/watch?feature=player_detailpage&v=ayALbNqzVfM Kenny Muhammad wind technique, early 2000: http://www.youtube.com/watch?feature=player_detailpage&v=D21CNg3Xwbs New School: as beatboxing became an international discipline, different approaches appeared. -
1 18Iaspm.Wordpress.Com
18iaspm.wordpress.com 1 2 18th Biennial IASPM Conference Contents Dear IASPM Delegates, It is with great pleasure that UNICAMP (Universidade Estadual de Campinas) will host this important academic event aimed at the study of popular music. With the subject: Back to the Future: Popular Music in Time, the Conference will gather more than 200 researchers from countries of all continents who will present and discuss works aimed at the study of sonority, styles, performances, contents, production contexts and popular music consumption. IASPM periodically carries out, since 1981 – year which was founded – regular meetings and the publication of the works contributing to the creation of a new academic field targeted to the study of this medium narrative modality of syncretic and multidimensional nature, which has been consolidated along the last 150 years as component element of the contemporary culture. We hope that this Conference will represent another step in the consolidation of this field which has already achieved worldwide coverage. For the Music Department of the Arts Institute of UNICAMP, to carry out the 18th Conference brings special importance as it created the first Graduation Course in Popular Music of Brazil, in 1989, making this University a reference institution in these studies. UNICAMP is located in the District of Barão Geraldo, in the city of Campinas – SP. This region showed great development at the end of XIX century and beginning of XX century due to the coffee farming expansion. Nowadays it presents itself as an industrial high-tech center. Its cultural life is intense, being music one of the most relevant activities. -
Record Dreams Catalog
RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores. -
Prince Drinks
8C FRIDAY OCTOBER 2 2020 Tropical Life SATURDAY OCTOBER 3 2020 H1 FROM PAGE 1C ing songs for his own al- scolding “Promise to Be bums; he was also touring, True” could have clicked, devising movie projects, but according to the reis- PRINCE overseeing the construc- sue’s extensive liner notes, tion of Paisley Park and their touring schedules got more material than the coming up with material in the way. original double LP could for musicians he admired, Prince could write and hold. including Miles Davis, Joni record all the parts of a Now “Sign O’ the Times” Mitchell and Bonnie Raitt. song in a day, and some- has been reissued and And he was trying on alter times more than one song. vastly expanded. A Super egos — including a female He heard every instru- Deluxe configuration in- one, Camille, created with mental part in his head and cludes eight CDs and a pitched-up vocals, for got them on tape as fast as DVD, augmenting the re- whom he had contemplat- he could. He seemed to mastered original with its ed an entire album. hear every viewpoint, too: associated singles and Prince was also dealing men and women, lovers B-sides; two live shows with two breakups. He and fighters, pragmatists from 1987 (audio from a dissolved his longtime and dreamers, heroes and stadium concert in the band, the Revolution, in scoundrels. The huge list of Netherlands, video from a October 1986. And he characters mentioned on New Year’s Eve show at ended his engagement to the original album — the Prince’s Paisley Park studio Susannah Melvoin, though waitress Dorothy Parker, complex in Minnesota); his love song to her, “For- the classmates in “Starfish and, best of all, three CDs ever in My Life,” stayed on and Coffee,” the tough of unreleased material “Sign O’ the Times,” re- pretty girl in “U Got the from Prince’s huge archive, made to become more Look,” all the desperate the Vault. -
Rules and Guidelines
64TH GRAMMY AWARDS® RULES AND GUIDELINES Contents © 2021 Recording Academy | May not be reproduced in whole or in part without express permission. INTRODUCTION THESE ARE THE OFFICIAL RULES FOR THE GRAMMY AWARDS®. All GRAMMY Awards ballots are cast by Recording Academy Voting Members and are subject to classification and qualifications under rules or regulations approved by the Board of Trustees. From time to time, the Board may vote to amend the qualification criteria for consideration for a GRAMMY® Award or other award. 2 GRAMMY AWARDS YEAR CALENDAR GRAMMY AWARDS YEAR CALENDAR 2020 – 2021 Sept.1, 2020 – Sept. 30, 2021 Release Eligibility Period March 1, 2021, 11:59 P.M. PT Deadline to apply for membership for 64th GRAMMY Awards. Fees must be paid in order to qualify for voting. July 6, 2021, 9 A.M. PT Media Company Registration begins Aug. 24, 2021, 6 P.M. PT Media Company Registration ends July 13, 2021, 9 A.M. PT First Round Online Entry Process (OEP) Access Period begins July 29, 2021, 6 P.M. PT First Round Online Entry Process (OEP) Access Period ends Aug. 17, 2021, 9 A.M. PT Final Round Online Entry Process (OEP) Access Period begins Aug. 31, 2021, 6 P.M. PT Final Round Online Entry Process (OEP) Access Period ends Oct. 22, 2021 - Nov. 5, 2021 First Round Voting TBD Nominations announced Dec. 6, 2021 - Jan. 5, 2022 Final Round Voting 14 days after the announcement of nominations Deadline for errors and omissions to the nominations 2022 Jan. 31, 2022 64th Premiere Ceremony Jan. 31, 2022 64th GRAMMY Awards 3 TABLE OF CONTENTS 2 INTRODUCTION