Slowdive Speak Ahead of Oxford Show
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An Annotated Bibliography of Current Research in the Field of the Medical Problems of Trumpet Playing
AN ANNOTATED BIBLIOGRAPHY OF CURRENT RESEARCH IN THE FIELD OF THE MEDICAL PROBLEMS OF TRUMPET PLAYING D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School at The Ohio State University By Mark Alan Wade, B.M., M.M. ***** The Ohio State University 2008 Document Committee: Professor Timothy Leasure, Adviser Approved by Professor Alan Green Dr. Russel Mikkelson ________________________ Adviser Graduate Program in Music ABSTRACT The very nature of the lifestyle of professional trumpet players is conducive to the occasional medical problem. The life-hours of diligent practice and performance that make a performer capable of musical expression on the trumpet also can cause a host of overuse and repetitive stress ailments. Other medical problems can arise through no fault of the performer or lack of technique, such as the brain disease Task-Specific Focal Dystonia. Ailments like these fall into several large categories and have been individually researched by medical professionals. Articles concerning this narrow field of research are typically published in their respective medical journals, such as the Journal of Applied Physiology . Articles whose research is pertinent to trumpet or horn, the most similar brass instruments with regard to pitch range, resistance and the intrathoracic pressures generated, are often then presented in the instruments’ respective journals, ITG Journal and The Horn Call. Most articles about the medical problems affecting trumpet players are not published in scholarly music journals such as these, rather, are found in health science publications. Herein lies the problem for both musician and doctor; the wealth of new information is not effectively available for dissemination across fields. -
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes. -
Stade Stade Stade Saturdays Saturdays Saturdays Stade Stade Stade Saturdays Saturdays Saturdays Stade Stade Stade Saturdays Saturdays Saturdays Stade Saturdays
stade stade stade saturdays saturdays saturdays stade stade stade saturdays saturdays saturdays stade stade stade saturdays saturdays saturdays stade saturdays White reversed logo when it appears on colours stade backgrounds etc.. stade saturdays Mono version saturdays May to October 2013 Stade Open Space, Hastings Free performances by the sea www.hastings.gov.uk/stadesaturdays stade stade stade saturdays saturdays saturdays stade stade stade saturdays saturdays saturdays stade stade stade saturdays saturdays saturdays stade saturdays www.hastings.gov.uk/stadesaturdays White reversed logo when it appears on colours stade backgrounds etc.. stade saturdays Mono version saturdays stade stade stade saturdays saturdays saturdays After a successful first year, Stade Saturdays returns for another exciting and As last year, Stade Saturdays, with a few exceptions (you’ll need to check the diverse season in 2013. programme), start at 7.30pm. If it’s Saturdaystade evening, thenstade the place tostade be is the The Stade Open Space is on the seafront in the heart of Hastings Old Town, nestling Stade in Hastings: a stroll along the seafront,saturdays a game of crazysaturdays golf, a visitsaturdays to a pub or beside the award-winning Jerwood Art Gallery, the traditional beach-launched restaurant, rounded off by a free performance on the seafront. fishing fleet and our iconic ‘net shops’. What could be better? It’s Famously Hastings. The first season had something for everyone, starting with a concert by Port Isaac’s stade stade stade saturdays saturdays saturdays Fisherman’s Friends, kicking off a programme of weekly events that included Councillor Peter Chowney the exhilarating dance of the Hofesh Shechter Company, through to the Cultural Lead Member for Regeneration Olympiad events such as the spectacular pyrotechnics of Pi-Leau, the Big Dance Hastings Borough Council. -
Song Artist Or Soundtrack Language Tightrope Janelle Monae English
Song Artist or Soundtrack Language Tightrope Janelle Monae English Come Alive [War of the Roses] Janelle Monae English Why this kolaveri di Dhanush Urdu Ghoom tana Janoon Urdu Count your blessings Nas & Damian Jr English America K'naan Somali/ English Mahli Souad Massi Arabic (Tunisian) Helwa ya baladi Dalida Arabic (Egyptian) Stop for a Minute K'naan English Miracle Worker SuperHeavy English Crazy Gnarls Barkley English 1977 Ana Tijoux Spanish (Chilean) Nos Hala Asalah Arabic Don't Let Me Be Misunderstood Santa Esmeralda / Kill Bill Vol. 1 Original Soundtrack Never Can Say Goodbye Jackson Five English My Doorbell The White Stripes English Peepli Live Various Artists, Indian Ocean Hindi or Urdu Forget You Camilla and the Chickens, The Muppets Soundtrack Chicken?? Ring of Fire Johnny Cash English I Was Born on the Day Before Yesterday The Wiz English Y'All Got It The Wiz English Everything Michael Buble English I'm Yours Jason Mraz English Something's Gotta Hold on Me Etta James English Somebody to Love Queen English Al Bosta Fairouz Arabic (Lebanese) Kifak Inta Fairouz Arabic (Lebanese) Etfarag ala najsak Asala Nasri Arabic (Egyptian) Make it bun dem Skrillex, Damian English Statesboro Blues Taj Mahal English Albaniz: Zambra-Capricho, Cordoba, Zor David Russell Spanish classical Volver Estrella Morente from Volver: Musica de la Pelicula Spanish Solo le pido a Dios Leon Gieco Spanish Mambo Italiano Rosemary Clooney English / Italian Botch-A-Me (Baciani Piccina) Rosemary Clooney English / Italian Satyameva Jayathe SuperHeavy English / ? -
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
Download This List As PDF Here
QuadraphonicQuad Multichannel Engineers of 5.1 SACD, DVD-Audio and Blu-Ray Surround Discs JULY 2021 UPDATED 2021-7-16 Engineer Year Artist Title Format Notes 5.1 Production Live… Greetins From The Flow Dishwalla Services, State Abraham, Josh 2003 Staind 14 Shades of Grey DVD-A with Ryan Williams Acquah, Ebby Depeche Mode 101 Live SACD Ahern, Brian 2003 Emmylou Harris Producer’s Cut DVD-A Ainlay, Chuck David Alan David Alan DVD-A Ainlay, Chuck 2005 Dire Straits Brothers In Arms DVD-A DualDisc/SACD Ainlay, Chuck Dire Straits Alchemy Live DVD/BD-V Ainlay, Chuck Everclear So Much for the Afterglow DVD-A Ainlay, Chuck George Strait One Step at a Time DTS CD Ainlay, Chuck George Strait Honkytonkville DVD-A/SACD Ainlay, Chuck 2005 Mark Knopfler Sailing To Philadelphia DVD-A DualDisc Ainlay, Chuck 2005 Mark Knopfler Shangri La DVD-A DualDisc/SACD Ainlay, Chuck Mavericks, The Trampoline DTS CD Ainlay, Chuck Olivia Newton John Back With a Heart DTS CD Ainlay, Chuck Pacific Coast Highway Pacific Coast Highway DTS CD Ainlay, Chuck Peter Frampton Frampton Comes Alive! DVD-A/SACD Ainlay, Chuck Trisha Yearwood Where Your Road Leads DTS CD Ainlay, Chuck Vince Gill High Lonesome Sound DTS CD/DVD-A/SACD Anderson, Jim Donna Byrne Licensed to Thrill SACD Anderson, Jim Jane Ira Bloom Sixteen Sunsets BD-A 2018 Grammy Winner: Anderson, Jim 2018 Jane Ira Bloom Early Americans BD-A Best Surround Album Wild Lines: Improvising on Emily Anderson, Jim 2020 Jane Ira Bloom DSD/DXD Download Dickinson Jazz Ambassadors/Sammy Anderson, Jim The Sammy Sessions BD-A Nestico Masur/Stavanger Symphony Anderson, Jim Kverndokk: Symphonic Dances BD-A Orchestra Anderson, Jim Patricia Barber Modern Cool BD-A SACD/DSD & DXD Anderson, Jim 2020 Patricia Barber Higher with Ulrike Schwarz Download SACD/DSD & DXD Anderson, Jim 2021 Patricia Barber Clique Download Svilvay/Stavanger Symphony Anderson, Jim Mortensen: Symphony Op. -
The Queer" Third Species": Tragicomedy in Contemporary
The Queer “Third Species”: Tragicomedy in Contemporary LGBTQ American Literature and Television A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department English and Comparative Literature of the College of Arts and Sciences by Lindsey Kurz, B.A., M.A. March 2018 Committee Chair: Dr. Beth Ash Committee Members: Dr. Lisa Hogeland, Dr. Deborah Meem Abstract This dissertation focuses on the recent popularity of the tragicomedy as a genre for representing queer lives in late-twentieth and twenty-first century America. I argue that the tragicomedy allows for a nuanced portrayal of queer identity because it recognizes the systemic and personal “tragedies” faced by LGBTQ people (discrimination, inadequate legal protection, familial exile, the AIDS epidemic, et cetera), but also acknowledges that even in struggle, in real life and in art, there is humor and comedy. I contend that the contemporary tragicomedy works to depart from the dominant late-nineteenth and twentieth-century trope of queer people as either tragic figures (sick, suicidal, self-loathing) or comedic relief characters by showing complex characters that experience both tragedy and comedy and are themselves both serious and humorous. Building off Verna A. Foster’s 2004 book The Name and Nature of Tragicomedy, I argue that contemporary examples of the tragicomedy share generic characteristics with tragicomedies from previous eras (most notably the Renaissance and modern period), but have also evolved in important ways to work for queer authors. The contemporary tragicomedy, as used by queer authors, mixes comedy and tragedy throughout the text but ultimately ends in “comedy” (meaning the characters survive the tragedies in the text and are optimistic for the future). -
Premises Licence
London Borough of Lambeth Public Protection 2 Herne Hill Road London SE24 0AU Tel: 020 7926 6108 Licensing Act 2003 Premises Licence Premises Licence Number 10/01265/PRMTRN/318 Part 1 – Premises Details Postal address of premises, or if none, ordnance survey map reference or description, including Post Town, Post Code Brixton Academy 211 Stockwell Road London SW9 9SL Telephone number 020 7771 3000 Where the licence is time limited the dates - Licensable activities authorised by the licence Films Performances of Dance Supply of Alcohol Live Music Late Night Refreshment Provision of facilities for Making Music Music and Dance of similar description Recorded Music Plays Provision of facilities for Dancing Provision of Entertainment facilities Times the licence authorises the carrying out of licensable activities Films Friday & Saturday 11:00 - 06:00 Sunday - Thursday 11:00 - 04:00 Performances of Dance Friday & Saturday 11:00 - 06:00 Sunday - Thursday 11:00 - 04:00 1 Supply of Alcohol Friday & Saturday 11:00 - 04:00 Sunday - Thursday 11:00 - 03:00 Live Music Friday & Saturday 11:00 - 06:00 Sunday - Thursday 11:00 - 04:00 Late Night Refreshment Friday & Saturday 11:00 - 06:00 Sunday - Thursday 11:00 - 04:00 Provision of facilities for Making Music Friday & Saturday 11:00 - 06:00 Sunday - Thursday 11:00 - 04:00 Music and Dance of similar description Friday & Saturday 11:00 - 06:00 Sunday - Thursday 11:00 - 04:00 Recorded Music Friday & Saturday 11:00 - 06:00 Sunday - Thursday 11:00 - 04:00 Plays Friday & Saturday 11:00 - 06:00 Sunday - Thursday -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
God's Favorite Customer by Father John Misty
Father John Misty – “God’s Favorite Customer” The artist behind the ego: Josh Tillman, mostly known by his performance nom de guerre Father John Misty, is a Maryland born indie folk/rock singer; although he began his musical career as a drummer playing for minor indie bands like Saxon Shore while working in a bakery for a day job. He was born in an evangelical household and was very religious during his youth, something he resented his parents for when he grew up. While working as a drummer, he wrote music for himself in his free time. He attended a private Christian college but dropped out as he felt more comfortable in his music career. Through touring, he made connections with other artists and his demos made their way to Damien Jurado, a fellow Sub Pop artist. He would then go on to open for Jurado. In 2006, he had his first studio album released under the moniker J. Tillman. He then went on to produce four more albums (eight in total), with the last one being released in 2010. During his J. Tillman years, a lot of the music he made was very folk and has joked about the music he made being “sad bastard music.” He found very little success doing folk albums. During this time as J. Tillman, he joined the indie band Fleet Foxes as the drummer. In an interview with Rolling Stone, he stated that, “With Fleet Foxes I had to confront a certain sacred cow in my life, which was the idea that if I was in a popular band, if I just get to be a working musician, then that’s going to be the antidote for all the boredom and pain in my life. -
Artreview Artreview Asia
mother’s tankstation 41-43 Watling Street, Usher’s Island, Dublin, D08 NP48, Ireland Morley House, 26 Holborn Viaduct, 4th floor, London EC1A 2AT, United Kingdom +353 (1) 6717654 +44 (0) 7412581803 [email protected] [email protected] www.motherstankstation.com www.motherstankstation.com ArtReview ArtReview Asia FEATURE Lee Kit The feeling of being hit head-on... By Anthony Yung ArtReview Asia caught up with Lee Kit in Venice, where he was monitoring the reconstruction of a building – soon to be the site of the Hong Kong Pavilion – opposite the entrance of the Arsenale. His solo exhibition You (you). will open here in less than two months. During the past year, Lee’s experiences of participating in art fairs and exhibitions all over the world – from solo shows in Beijing, Hong Kong, Palermo and Tapei, to group shows at the New Museum and MoMA in New York – have transformed his work methods and expanded the dimensions of his creative practice. Oddly enough, shortly before being invited to represent Hong Kong at the Venice Biennale, he moved to Taipei; so we decided, under the circumstances, that the best approach would be to invite one of his old Hong Kong friends to catch up with him on recent events. Lee’s artistic journey began when he started by painting checked patterns onto cloths, then using these ‘paintings’ in his daily life as tablecloths, curtains or picnic sheets. He washed the cloths, he wiped his mouth with them and in 2004 he used one of them as a ‘flag’ in Hong Kong’s annual 1 July protests (held each year since the 1997 handover, in recent years to symbolise a demand for general freedoms). -
Hipster Black Metal?
Hipster Black Metal? Deafheaven’s Sunbather and the Evolution of an (Un) popular Genre Paola Ferrero A couple of months ago a guy walks into a bar in Brooklyn and strikes up a conversation with the bartenders about heavy metal. The guy happens to mention that Deafheaven, an up-and-coming American black metal (BM) band, is going to perform at Saint Vitus, the local metal concert venue, in a couple of weeks. The bartenders immediately become confrontational, denying Deafheaven the BM ‘label of authenticity’: the band, according to them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports a hipster hairstyle. Good thing they probably did not know who they were talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to Noisey, the music magazine of Vice, considered to be one of the bastions of hipster online culture. The product of that conversation, a piece entitled ‘Why are black metal fans such elitist assholes?’ was almost certainly intended as a humorous nod to the ongoing debate, generated mainly by music webzines and their readers, over Deafheaven’s inclusion in the BM canon. The article features a promo picture of the band, two young, clean- shaven guys, wearing indistinct clothing, with short haircuts and mild, neutral facial expressions, their faces made to look like they were ironically wearing black and white make up, the typical ‘corpse-paint’ of traditional, early BM. It certainly did not help that Bayer also included a picture of Inquisition, a historical BM band from Colombia formed in the early 1990s, and ridiculed their corpse-paint and black cloaks attire with the following caption: ‘Here’s what you’re defending, black metal purists.