The National Harmonica League Harmonicauk
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© M Ic H a E L T O V A
© Michael Tovani T N E T N O C T L A H DER KLANG AUS KLINGENTHAL / SOUNDS FROM THE VALLEY INHALT / CONTENT N I Christian August Seydel war es, der vor über 160 Jahren More than 160 years ago, Christian August Seydel Diatonische Mundharmonikas BLUES Diatonic Harmonicas in Klingenthal in Sachsen eine Mundharmonika-Manufaktur established a harmonica factory in Klingenthal, Germany. Seite / page gründete. Inzwischen ist die Firma C. A. Seydel Söhne die C. A. Seydel Söhne is the oldest harmonica factory in the 1847 CLASSIC 4/5 älteste ununterbrochen produzierende Mundharmonika- world in continuous operation. Even more remarkable, all 1847 SILVER 6/7 fabrik der Welt. Dabei ist besonders bemerkenswert, dass our instruments are still hand made today in Klingenthal. Edelstahl-Stimmzungen 1847 NOBLE 8/9 Stainless Steel Reeds BIG SIX CLASSIC 10/11 bis heute alle Instrumente in Handarbeit in Klingenthal BIG SIX SET 12/13 hergestellt werden. We are committed to continuing this long tradition of SESSION STEEL 14/15 craftsmanship and ensure that the finished product is Unserer langen Tradition verpflichtet, achten wir ständig manufactured to the highest quality. SESSION 16/17 Messing-Stimmzungen auf die Wahrung unserer manufakturellen Fertigung, die FAVORITE 18/19 Brass Reeds SOLIST PRO 20/21 die leichte Ansprache, große Klangfülle und lange Halt- This is proven by the easy response, resonant tone and SOLIST PRO 12 20/21 barkeit unserer Musikinstrumente garantiert. robustness of our harmonicas. The notable and much- loved sound is achieved through Chromatische Mundharmonikas Der bekannte und beliebte Klang precise fine-tuning and the use of CHROMATIC Chromatic Harmonicas wird durch die exakte Feinstimmung specially selected materials. -
M.Sc. RESEARCH THESIS LARGE-SCALE MUSIC
LARGE-SCALE MUSIC CLASSIFICATION USING AN APPROXIMATE k-NN CLASSIFIER Haukur Pálmason Master of Science Computer Science January 2011 School of Computer Science Reykjavík University M.Sc. RESEARCH THESIS ISSN 1670-8539 Large-Scale Music Classification using an Approximate k-NN Classifier by Haukur Pálmason Research thesis submitted to the School of Computer Science at Reykjavík University in partial fulfillment of the requirements for the degree of Master of Science in Computer Science January 2011 Research Thesis Committee: Dr. Björn Þór Jónsson, Supervisor Associate Professor, Reykjavík University, Iceland Dr. Laurent Amsaleg Research Scientist, IRISA-CNRS, France Dr. Yngvi Björnsson Associate Professor, Reykjavík University, Iceland Copyright Haukur Pálmason January 2011 Large-Scale Music Classification using an Approximate k-NN Classifier Haukur Pálmason January 2011 Abstract Content based music classification typically uses low-level feature vectors of high-dimensionality to represent each song. Since most classification meth- ods used in the literature do not scale well, the number of such feature vec- tors is usually reduced in order to save computational time. Approximate k-NN classification, on the other hand, is very efficient and copes better with scale than other methods. It can therefore be applied to more feature vec- tors within a given time limit, potentially resulting in better quality. In this thesis, we first demonstrate the effectiveness and efficiency of approximate k-NN classification through a traditional genre classification task, achieving very respectable accuracy in a matter of minutes. We then apply the approx- imate k-NN classifier to a large-scale collection of more than thirty thousand songs. We show that, through an iterative process, the classification con- verges relatively quickly to a stable state. -
Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Whose Blues?" with Author Adam Gussow November 14, 5Pm ET on TBS Facebook Page
November 2020 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 36, No 11 Sugar Brown (aka Ken Kawashima) will discuss "Whose Blues?" with author Adam Gussow November 14, 5pm ET on TBS Facebook Page CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 MBA Nominees Announced Loose Blues News Whose Blues? Blues Reviews Remembering John Valenteyn Blues Events TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2020 BOARD OF DIRECTORS Derek Andrews (President), Janet Alilovic, Jon Arnold, Ron Clarkin (Treasurer), Lucie Dufault (Vice-President), Carol Flett (Secretary), Sarah French, Lori Murray, Ed Parsons, Jordan Safer (Executive), Paul Sanderson, Mike Smith Musicians Advisory Council: Brian Blain, Alana Bridgewater, Jay Douglas, Ken Kawashima, Gary Kendall, Dan McKinnon, Lily Sazz, Mark Stafford, Dione Taylor, Julian Taylor, Jenie Thai, Suzie Vinnick,Ken Whiteley Volunteer & Membership Committee: Lucie Dufault, Rose Ker, Mike Smith, Ed Parsons, Carol Flett Grants Officer: Barbara Isherwood Office Manager: Hüma Üster Marketing & Social Media Manager: Meg McNabb Publisher/Editor-in-Chief: Derek Andrews Many thanks to Betty Jackson and Geoff Virag for their help at the Managing Editor: Brian Blain Toronto Blues Society Talent Search. [email protected] Contributing Editors: Janet Alilovic, Hüma Üster, Carol Flett Listings Coordinator: Janet Alilovic Attention TBS Members! Mailing and Distribution: Ed Parsons Due to COVID-19 pandemic, TBS is unable to deliver a physical Advertising: Dougal Bichan [email protected] copy of the MapleBlues November issue. -
Selective Tradition and Structure of Feeling in the 2008 Presidential Election: a Genealogy of “Yes We Can Can”
Selective Tradition and Structure of Feeling in the 2008 Presidential Election: A Genealogy of “Yes We Can Can” BRUCE CURTIS Abstract I examine Raymond Williams’s concepts “structure of feeling” and “selective tradition” in an engagement with the novel technical-musical-cultural politics of the 2008 Barack Obama presidential election campaign. Williams hoped structure of feeling could be used to reveal the existence of pre-emergent, counter-hegemonic cultural forces, forces marginalized through selective tradition. In a genealogy of the Allen Toussaint composition, “Yes We Can Can,” which echoed a key campaign slogan and chant, I detail Toussaint’s ambiguous role in the gentrification of music and dance that descended from New Orleans’s commerce in pleasure. I show that pleasure commerce and struggles against racial segregation were intimately connected. I argue that Toussaint defanged rough subaltern music, but he also promoted a shift in the denotative and connotative uses of language and in the assignments of bodily energy, which Williams held to be evidence of a change in structure of feeling. It is the question of the counter-hegemonic potential of subaltern musical practice that joins Raymond Williams’s theoretical concerns and the implication of Allen Toussaint’s musical work in cultural politics. My address to the question is suggestive and interrogative rather than declarative and definitive. Barack Obama’s 2008 American presidential election and the post-election celebrations were the first to be conducted under the conditions of “web 2.0,” whose rapid spread from the mid-2000s is a historic “cultural break” similar in magnitude and consequence to the earlier generalization of print culture.1 In Stuart Hall’s terms, such breaks are moments in which the cultural conditions of political hegemony change.2 They are underpinned by changes in technological forces, in relations of production and communication. -
Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave
Student ID: XXXXXX ENGL3372: Dissertation Supervisor: Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave Table of Contents Introduction 2 Chapter One – ‘I went on down the road’: Cave and the holy blues 4 Chapter Two – ‘I got the abattoir blues’: Cave and the contemporary 15 Chapter Three – ‘Can you feel my heart beat?’: Cave and redemptive feeling 25 Conclusion 38 Bibliography 39 Appendix 44 Student ID: ENGL3372: Dissertation 12 May 2014 Faith, Selfhood and the Blues in the lyrics of Nick Cave Supervisor: Dr. Richard Brown INTRODUCTION And I only am escaped to tell thee. So runs the epigraph, taken from the Biblical book of Job, to the Australian songwriter Nick Cave’s collected lyrics.1 Using such a quotation invites anyone who listens to Cave’s songs to see them as instructive addresses, a feeling compounded by an on-record intensity matched by few in the history of popular music. From his earliest work in the late 1970s with his bands The Boys Next Door and The Birthday Party up to his most recent releases with long- time collaborators The Bad Seeds, it appears that he is intent on spreading some sort of message. This essay charts how Cave’s songs, which as Robert Eaglestone notes take religion as ‘a primary discourse that structures and shapes others’,2 consistently use the blues as a platform from which to deliver his dispatches. The first chapter draws particularly on recent writing by Andrew Warnes and Adam Gussow to elucidate why Cave’s earlier songs have the blues and his Christian faith dovetailing so frequently. -
October 1-3, 2017 Greetings from Delta State President William N
OCTOBER 1-3, 2017 GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the home of the blues! Delta State provides a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues consists of three days of intense academic and scholarly activity, and includes a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Delta State University’s vision of becoming the academic center for the blues — where scholars, musicians, industry gurus, historians, demographers, and tourists come to the “Blues Mecca” — is becoming a reality, and we are pleased that you have joined us. I hope you will engage in as many of the program events as possible. This is your conference, and it is our hope that you find it meaningful. -
Jemf Quarterly
JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D. -
Általános Zene-Műszótár
/ ы STAMPFEL- fele TUDOMÁNYOS ZSEB -KÖNYVTÁR. 61. ф - ÁLTALÁNOS ZENE-MUSZÓTÁR. IRTA: GOLL JÁNOS. e * > POZSONY. 1900. BUDAPEST STAMPFEL KÁROLY KIADÁSA. MAtiY. AKADÉMIA.; KÖNYVTÁRA j Wigand F. K. könyvnyomdája Pozsonyban. IMA&Y.AKADEiMLL ! KÖNYVTÁRA i Abbre via t ura k. A zeneművészetben leggyakrabban előforduló mű szavak, szólások és jelek rövidítéseinek magyarázata. Fr. — franczia —, gr. = görög —, lat. — latin —, ném. — német —, ol. = olasz nyelvből. A. Í£. = Alto, mély nőihang. Accel. = Accelerando, gyorsítva. Accomp. = Accompagnement, kíséret. Acc£Í == Accord, összhang. Adu», Ado = Adagio, igen lassan. ad libt. = ad libitum, felfogás, tetszés szerint. aevia. = Alleluja. al f. == al fine, véqiq. all’ ol» I all’ ot ' al ottava, egy nyolczaddal. ali’ 8™ I Allo. = Allegro, gyorsan, sebesen. Allo áss. — Allegro assai, igen gyorsan. Alio mod. = Allegro moderato, mérsékelt gyorsa sággal. Allo v ív . = Allegro vivace, élénk gyorsasággal, tűzzel. Alletto, Allgtto — Allegretto, kevésbbé gyorsan. And., Ándte, Andante, andalogva, lépve. Andno, Antino = Andantino, andanténál valami vel élénkebben. Arc. = Coll’ arco, a vonóval. Arpegg, = Arpio. - Arpeggio, hárfaszerüen. at. = a tempo, a kellő idöméretben. áss. = assai, igen —, nagyon —. att. == attacea, megszakítás nélkül. B. = Basso, alsóhang, legmélyebb hang. brill. = brillanté, ragyogóan, csillogva. Cad. = Cadenza, záró összhangok, — tétel. (Jal. = calando, szabad ékesitéssel. V 4 C. S. .= Coll’ Sinistra, bal kézzel, C. F. = coll. flauto, a fuvolával. c jmo — coll’ primo, az első hanggal. c. Sord = con Sordino, a tompitóval, a hangfogóval. c. Var = con Variationes, változatokkal. Clari = Clarino, harsona vagy trombita. Clar, Claris = Clarinetto, klarinét. Cór. = Corno, kürt, vadászkürt. erese. = Crescendo növekedő erővel. —=< d = destra (ol.) droite (fr.) jobb (kéz.) D. C. = Da Capo (fejtől) újra ф jelig. D. S. = Dal Segno, a § jeltől. -
January 1936) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1936 Volume 54, Number 01 (January 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 01 (January 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/840 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. | NEW YEAR JOY IN MUSIC THE SINGER'S ART" by Feodor Chal iapm NEW DITSON PUBLICATIONS CLUB OFFER BjARGAL MS Earn A Teacher’s Diploma (BIG SAVINGS ON ALLY OUR FAVORITE MAGAZINE :s) 1 IMPORTANT ADDITIONS TO MODERN PIANO PEDAGOGY | JUST IN TIME FOR or FOR THE PIANO A Bachelor’s Degree PlR ffi N: EWYEj ROBYN ROTE-CARDS TEACHING MUSICAL NOTATION WITH PICTURE In every community there are ambitious men and women, who know the ROBYN ROTE-CARDS Ri ■NEWA LS! advantages of new inspiration and ideas for their musical advancement, but SYMBOLS AND STORY ELEMENT still neglect to keep up with the best that is offered. They think they are too busy to study instead of utilizing the precious “Tell us a story” has been the cry of humanity since the world began.