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Peter Johnston 2011
The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time. -
BULLETIN Vol 50 No 1 January / February 2016
CINEMA THEATRE ASSOCIATION BULLETIN www.cta-uk.org Vol 50 No 1 January / February 2016 The Regent / Gaumont / Odeon Bournemouth, visited by the CTA last October – see report p8 An audience watching Nosferatu at the Abbeydale Sheffield – see Newsreel p28 – photo courtesy Scott Hukins FROM YOUR EDITOR CINEMA THEATRE ASSOCIATION (founded 1967) You will have noticed that the Bulletin has reached volume 50. How- promoting serious interest in all aspects of cinema buildings —————————— ever, this doesn’t mean that the CTA is 50 years old. We were found- Company limited by guarantee. Reg. No. 04428776. ed in 1967 so our 50th birthday will be next year. Special events are Registered address: 59 Harrowdene Gardens, Teddington, TW11 0DJ. planned to mark the occasion – watch this space! Registered Charity No. 1100702. Directors are marked ‡ in list below. A jigsaw we bought recently from a charity shop was entitled Road —————————— PATRONS: Carol Gibbons Glenda Jackson CBE Meets Rail. It wasn’t until I got it home that I realised it had the As- Sir Gerald Kaufman PC MP Lucinda Lambton toria/Odeon Southend in the background. Davis Simpson tells me —————————— that the dome actually belonged to Luker’s Brewery; the Odeon be- ANNUAL MEMBERSHIP SUBSCRIPTIONS ing built on part of the brewery site. There are two domes, marking Full Membership (UK) ................................................................ £29 the corners of the site and they are there to this day. The cinema Full Membership (UK under 25s) .............................................. £15 Overseas (Europe Standard & World Economy) ........................ £37 entrance was flanked by shops and then the two towers. Those Overseas (World Standard) ........................................................ £49 flanking shops are also still there: the Odeon was demolished about Associate Membership (UK & Worldwide) ................................ -
Stm325 Final
THE ST MARYLEBONE SOCIETY NEWSLETTER Summer 2015 Number 344 www.stmarylebonesociety.or g Registered Charity 274082 CHILTERN RAILWAYS UNVEILS THREE MEMORIAL PLAQUES The unveiling ceremony. Chiltern Railways and the Rail Heritage these men and their relatives, many of they made to preserve peace for Trust have joined forces to commission whom attended the ceremony to re- future generations. We wanted to replicas of three war memorials dedicate the memorials. commemorate those who lost their lives dedicated to the railwaymen of Chiltern Railways made an in this conflict so that their memory Marylebone, which were unveiled at a extraordinary discovery about a relative lives on.” ceremony at Marylebone station on of one of the men who lost their life, who Andy Savage, Executive Director at the Thursday 16 April at. These were is an illustrator specialising in the Railway Heritage Trust added: “The showcased alongside a set of animated depiction of soldiers in the Great War. illustrations which vividly brought to Trust has worked very hard to ensure The train company has worked with the recording and conservation of all life the stories of those who fought in illustrator Tim Fox-Goddon and the Great War. railway war memorials. We were animator Josh Fortune to bring the acutely aware of the loss of the three The original memorials were lost with stories of those who died to life through memorials at Marylebone. We are the largest, dedicated to the men of the animated illustrations which are based London and District Goods Department on letters that the men sent back from delighted to be able to fund the at Marylebone, being destroyed when the Western Front. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Barry. Malcolm. 1977-1978. ‘Review of Company 1 (Maarten van Regteren Altena, Derek Bailey, Tristan Honsinger, Evan Parker) and Company 2 (Derek Bailey, Anthony Braxton, Evan Parker)’. Contact, 18. pp. 36-39. ISSN 0308-5066. ! Director Professor Frederick Rimmer MA B M us FRco Secretary and Librarian James. L McAdam BM us FRco Scottish R Music Archive with the support of the Scottish Arts Council for the documentation and study of Scottish music information on all matters relating to Scottish composers and Scottish music printed and manuscript scores listening facilities: tape and disc recordings Enquiries and visits welcomed: full-time staff- Mr Paul Hindmarsh (Assistant Librarian) and Miss Elizabeth Wilson (Assistant Secretary) Opening Hours: Monday to Friday 9.30 am- 5.30 pm Monday & Wednesday 6.00-9.00 pm Saturday 9.30 am- 12.30 pm .. cl o University of Glasgow 7 Lily bank Gdns. Glasgow G 12 8RZ Telephone 041-334 6393 37 INCUS it RECORDS INCUS RECORDS/ COMPATIBLE RECORDING AND PUBLISHING LTD. is a self-managed company owned and operated by musicians. The company was founded in 1970, motivated partly by the ideology of self-determination and partly by the absence of an acceptable alternative. The spectrum of music issued has been broad, but the musical policy of the company is centred on improvisation. Prior to 1970 the innovative musician had a relationship with the British record industry that could only be improved on. To be offered any chance to make a record at all was already a great favour and somehow to question the economics (fees, royalties, publishing) would certainly have been deemed ungrateful. -
NEWSLETTER Summer 2014 Number 341 Registered Charity 274082 MARYLEBONE STATION CELEBRATING 30 YEARS SINCE THREATENED CLOSURE
THE ST MARYLEBONE SOCIETY NEWSLETTER Summer 2014 Number 341 www.stmarylebonesociety.org Registered Charity 274082 MARYLEBONE STATION CELEBRATING 30 YEARS SINCE THREATENED CLOSURE Marylebone Station now. Photo: Mike Wood. This summer Chiltern Railways will London. The report also stated that •There would not be a reduction in celebrate 30 years since Marylebone terminating coaches at Marylebone would coaches on the roads, Station was saved from closure. have the benefit of reducing coach traffic at •The station buildings must be Listed. In the early 1980s Marylebone Station Victoria Coach Station. Following an earlier proposal to List presented a sorry sight. There had been Horrified at the proposal, the Marylebone Station and the Great Central Hotel the DofE had answered: little BR investment in Marylebone’s St Marylebone Society began an intensive trains and facilities, and the 1970s campaign against the coach station and ‘We have now inspected these buildings recession, coupled with high fares busway, writing to a wide range of inside and out, but have concluded I am controlled by the GLC and LT, took its toll organisations to garner support. Pre- afraid that none of them qualifies for listing and passenger numbers started falling. BR computers, this represented a as a building of special or architectural was losing money on Marylebone’s considerable administrative workload and historic interest.’ commuter routes, such that in 1983 only 6,000 passengers alighted daily at the SMS coordinated correspondence and Correspondence ensued between the St Marylebone. Therefore, when the regular meetings to plan their strategy. Marylebone Society and the Rt Hon National Bus Company commissioned a They attacked the idea of the station Patrick Jenkin MP, Sec of State for the study for a new coach terminus at closure and NBC Coach terminus arguing: Environment, the GLC, WCC and local Councillors. -
Steve Beresford - David Toop John Zorn - Tonie Marshall
Steve Beresford - David Toop John Zorn - Tonie Marshall Deadly Weapons nato 950 Illustration : Pierre Cornuel Steve Beresford : piano - David Toop : flûte, guitare, percussions John Zorn : saxophone alto, clarinette - Tonie Marshall : voix Sortie en magasin le 10 octobre 2011 Produit par Jean Rochard pour nato Distribué par l’Autre Distribution 02.47.50.79.79 Contact presse : Christelle Raffaëlli [email protected] 06 82 65 92 73 www.natomusic.fr DEADLY WEAPONS « Ca s’appelle un disque phare ou un diamant noir » (Première) Deadly Weapons est un album clé pour les disques nato. En 1985, John Zorn joue pour la première fois en France avec Steve Beresford et David Toop au festival de Chantenay-Villedieu. Deadly Weapons, réalisé l'année d'après, est la suite naturelle de ce concert remarqué. Steve Beresford, lui, est un des piliers de la maison ; avec Deadly Weapons, il synthétise ses éclectiques et fourmillantes approches en un seul projet. David Toop a déjà enregistré pour nato avec le groupe Alterations et participé à l'album de son compère Steve Beresford : Dancing the Line Anne Marie Beretta. Tous trois sont d'incorrigibles cinéphiles. Tonie Marshall est alors actrice, et quelle actrice ! Elle va bientôt passer de l'autre côté de la caméra et devenir une cinéaste de premier plan. Deadly Weapons est un disque-film comme les affectionne particulièrement la maison du chat. Il joue sur différents plans et s'en joue. Champ et hors-champ. Lors de sa sortie, il divise : le livret rappelle comment s’offusquèrent les puristes et comment se réjouirent les autres ! Si Deadly Weapons, premier album londonien de nato, ouvre bel et bien la marche (toujours randonneuse) de ce qui va suivre, il s'inscrit assez logiquement dans ce qui a précédé en affichant des libertés nouvelles et sa passion des images sans masques. -
Final Thesis.Pdf
An Investigation of the Impact of Ensemble Interrelationship on Performances of Improvised Music Through Practice Research by Sarah Gail Brand Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract In this thesis I present my investigation into the ways in which the creative and social relationships I have developed with long-term collaborators alter or affect the musical decisions I make in my performances of Improvised Music. The aim of the investigation has been to deepen the understanding of my musical and relational processes as a trombonist through the examination of my artistic practice, which is formed by experiences in range of genres such as Jazz and contemporary music, with a current specialty in Improvised Music performance. By creating an interpretative framework from the theoretical and analytical processes used in music therapy practice, I have introduced a tangible set of concepts that can interpret my Improvised Music performance processes and establish objective perspectives of subjective musical experiences. Chapter one is concerned with recent debates in Improvised Music and music therapy. Particular reference is made to literature that considers interplay between performers. Chapter two focuses on my individual artistic practice and examines the influence of five trombone players from Jazz and Improvised Music performance on my praxis. A recording of one of my solo trombone performances accompanies this section. It concludes with a discussion on my process of making tacit knowledge of Improvised Music performance tangible and explicit and the abstruse nature of subjective feeling states when performing improvisation. This concludes part one of the thesis. -
David Toop Ricocheting As a 1960S Teenager Between Blues Guitarist
David Toop Ricocheting as a 1960s teenager between blues guitarist, art school dropout, Super 8 film loops and psychedelic light shows, David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This practice encompasses improvised music performance (using hybrid assemblages of electric guitars, aerophones, bone conduction, lo-fi archival recordings, paper, sound masking, water, autonomous and vibrant objects), writing, electronic sound, field recording, exhibition curating, sound art installations and opera (Star-shaped Biscuit, performed in 2012). It includes seven acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010) and Into the Maelstrom (2016), the latter a Guardian music book of the year, shortlisted for the Penderyn Music Book Prize. Briefly a member of David Cunningham’s pop project The Flying Lizards (his guitar can be heard sampled on “Water” by The Roots), he has released thirteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings on Lawrence English’s ROOM40 (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual - released on Sub Rosa as Lost Shadows (2016) - were called by The Wire a “tsunami of weirdness” while Entities Inertias Faint Beings was described in Pitchfork as “an album about using sound to find one’s own bearings . again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album.” In the early 1970s he performed with sound poet Bob Cobbing, butoh dancer Mitsutaka Ishii and drummer Paul Burwell, along with key figures in improvisation, including Derek Bailey, Evan Parker, Georgie Born, Hugh Davies, John Stevens, Lol Coxhill, Frank Perry and John Zorn. -
Media, Communication and Nostalgia What Do We Talk About When We
ISSN 0259-7446 EUR 6,50 medienmedien Kommunikation in Vergangenheit und Gegenwart && zeitzeit Topic: Media, Communication and Nostalgia What Do We Talk About When We Talk About Media and Nostalgia? Not Every Vinyl Retromaniac is a Nostalgic Hills, Old People, and Sheep “Why? Because It’s Classic!“ Nowstalgia Experienced Mood and Commodified Mode Activating Nostalgia Postcolonial Posts on Colonial Pasts Nostalgia Commodified Editors: 44/2016/2016 Manuel Menke & Christian Schwarzenegger Jahrgang 31 m&z 4/2016 medien & zeit Content Media, Communication and Nostalgia Finding a better tomorrow in the yesterday? Impressum Manuel Menke & Christian Schwarzenegger 2 MEDIENINHABER, HERAUSGEBER UND VERLEGER Verein „Arbeitskreis für historische Kommunikationsforschung What Do We Talk About When We Talk About (AHK)“, Währinger Straße 29, 1090 Wien, ZVR-Zahl 963010743 Media and Nostalgia? http://www.medienundzeit.at Ekaterina Kalinina 6 © Die Rechte für die Beiträge in diesem Heft liegen beim „Arbeitskreis für historische Kommunikationsforschung (AHK)“ HERAUSGEBERINNEN Not Every Vinyl Retromaniac is a Nostalgic Manuel Menke, Christian Schwarzenegger A social experiment on the pleasures of record REDAKTION BUCHBESPRECHUNGEN listening in the digital age Gaby Falböck, Roland Steiner, Thomas Ballhausen REDAKTION RESEARCH CORNER Steffen Lepa & Vlasis Tritakis 16 Erik Bauer, Christina Krakovsky, Barbara Metzler LEKTORAT & LAYOUT Diotima Bertel, Barbara Metzler, Daniela Schmid & Hills, Old People, and Sheep Diotima Bertel, Christina Krakovsky Reflections of Holmfirth as the Summer Wine town PREPRESS & VERSAND Lynne Hibberd & Zoë Tew-Thompson 31 Grafikbüro Ebner, Wiengasse 6, 1140 Wien, ERSCHEINUNGSWEISE & BEZUGSBEDINGUNGEN medien & zeit erscheint vierteljährlich gedruckt und digital. “Why? Because It’s Classic!“ Heftbestellungen: Negotiated knowledge and group identity in the Einzelheft (exkl. Versand): 6,50 Euro retrogaming-community “Project 1999” Doppelheft (exkl. -
Hay-Festival-Programme-2016
HayCover16_Layout 1 13/04/2016 13:18 Page 1 HAY 16 DOC_Layout 1 21/04/2016 12:03 Page 3 01497 822 629 hayfestival.org Haymakers These are the writers and thinkers and Dyma’r awduron, y meddylwyr a’r diddanwyr a fydd entertainers who thrill us this year. These are yn ein gwefreiddio ni eleni. Y rhain yw’r merched a’r the women and men who inform the debate dynion sydd yn llywio’r drafodaeth am Ewrop, sydd about Europe, who are adventuring in new yn anturio mewn technolegau newydd ac sydd yn technologies, and who are broadening our ehangu ein meddyliau; y rhain yw’r ieithgwn sydd yn minds; and here are the lovers of language dathlu William Shakespeare, yr awdur mwyaf erioed – who cheer the celebrations of William a’r dramodydd a ddeallodd fwyaf am y galon ddynol. Shakespeare, the greatest writer who ever lived – Rydym yn dod at ein gilydd yn y dref hudolus hon, the playwright who understood most about the yn y mynyddoedd ysblennydd a hardd hyn, i ddathlu human heart. syniadau newydd a straeon ysbrydoledig; i siarad ac We are coming together in this magical town, in i gerdded, i rannu cacennau a chwrw, breuddwydion these spectacular and beautiful mountains, to a gobeithion; i gwrdd â hen ffrindiau ac i wneud celebrate new ideas and inspiring stories; to talk ffrindiau newydd. Croeso i’r Gelli Gandryll, croeso and walk, to share cakes and ale and dreams and i’r Wˆyl. Diolch i chi am ymuno â ni. hopes; to meet old friends and to make new ones. -
Values and Practices in Contemporary Improvised Music Author(S): David Borgo Source: Black Music Research Journal, Vol
Negotiating Freedom: Values and Practices in Contemporary Improvised Music Author(s): David Borgo Source: Black Music Research Journal, Vol. 22, No. 2, (Autumn, 2002), pp. 165-188 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/1519955 Accessed: 23/07/2008 16:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cbmr. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org NEGOTIATINGFREEDOM: VALUES AND PRACTICES IN CONTEMPORARYIMPROVISED MUSIC DAVIDBORGO Freeimprovisation is not an action resultingfrom freedom;it is an action directedtowards freedom. -
In Another Time and Place: the Handmaiden As an Adaptation
In another time and place: The Handmaiden as an adaptation SHIN, Chi Yun <http://orcid.org/0000-0002-0629-6928> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/22714/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version SHIN, Chi Yun (2018). In another time and place: The Handmaiden as an adaptation. Journal of Japanese and Korean Cinema. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Journal of Japanese and Korean Cinema ISSN: 1756-4905 (Print) 1756-4913 (Online) Journal homepage: http://www.tandfonline.com/loi/rjkc20 In another time and place: The Handmaiden as an adaptation Chi-Yun Shin To cite this article: Chi-Yun Shin (2018): In another time and place: TheHandmaiden as an adaptation, Journal of Japanese and Korean Cinema, DOI: 10.1080/17564905.2018.1520781 To link to this article: https://doi.org/10.1080/17564905.2018.1520781 © 2018 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 19 Sep 2018. Submit your article to this journal Article views: 64 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjkc20 JOURNAL OF JAPANESE AND KOREAN CINEMA https://doi.org/10.1080/17564905.2018.1520781 In another time and place: The Handmaiden as an adaptation Chi-Yun Shin Department of Humanities, Sheffield Hallam University, Sheffield, United Kingdom ABSTRACT KEYWORDS This article considers the South Korean auteur director Park Chan- The Handmaiden; wook’s latest film The Handmaiden, which is the film adaptation of transnational adaptation; British writer Sarah Waters’s third novel Fingersmith.