The Music (And More) 2019 Quarter 2 Report
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Nathan Mensah MAMT Thesis.Pdf
Preparing for the future: A description of client music preferences and musical preparedness of music therapists by Nathan A. Mensah, MT-BC A Thesis Submitted in Partial Fulfillment of the Requirement For the Master of Arts Degree Master of Arts in Music Therapy Program in the Departments of Graduate Studies and Music and Theatre Saint Mary-of-the-Woods College Saint Mary-of-the-Woods, Indiana May, 2019 Abstract Music therapists often use client-preferred music in order to build rapport with clients, decrease their anxiety, increase relaxation, and increase overall efficacy of music interventions. The American Music Therapy Association states music therapists are required to play a wide variety of genres for use in sessions. Client’s musical tastes have grown diverse due to music streaming, and some music therapists may not have the musical skills necessary to recreate these styles in sessions. Currently, there is no data to show which genres and music styles are most commonly requested by their clients, or data to show which genres music therapists feel musically prepared or unprepared to use in sessions. A survey was used to collect data from board-certified music therapists to ask about which genres their clients most commonly request, as well as which genres they feel musically prepared using in sessions. The survey’s findings were that client’s most frequently requested Children’s, Classic Country, Classic Rock, Gospel, Hymn, Oldies, and Pop Music. Respondents reported to feeling most musically prepared to use genres that were most frequently requested by their clients. Music therapists reported not feeling musically prepared to use genres associated with World Music cultures or genres requiring use of electronic or synth- based instruments such as Bachata, EDM, Funk, Heavy Metal, Hip Hop/Rap, J-Pop, K-Pop, Latin Hip Hop/Latin Rap, Latin Pop, Merengue, Punk, Reggaeton, Salsa, Ska, Trap, and Video Game Music. -
Queens of Consciousness & Sex-Radicalism in Hip-Hop
Queens of Consciousness & Sex-Radicalism in Hip-Hop: On Erykah Badu & The Notorious K.I.M. by Greg Thomas, Ph.D. English Department Syracuse University Greg Thomas ([email protected]) is an Assistant Professor in the English Department at Syracuse University. His interests include Pan-Africanism, Hip-Hop and Black radical traditions. He is author of The Sexual Demon of Colonial Power: Pan-African Embodiment and Erotic Schemes of Empire (Indiana University Press, 2007). He is also editor of the e-journal, Proud Flesh: New Afrikan Journal of Culture, Politics & Consciousness. Abstract This article is a study of sex, politics and lyrical literature across what could be called “Hip-Hop & Hip-Hop Soul.” It champions the concept “sexual consciousness” against popular and academic assumptions that construe “sexuality” and “consciousness” to be antithetical--in the tradition of “the mind/body split” of the white bourgeois West. An alternative, radical articulation of consciousness with an alternative, radical politics of gender and sexuality is located in the musical writings of two contemporary “iconic” figures: Lil’ Kim of “Hip-Hop” and Erykah Badu of “Neo-Soul.” Underscoring continuities between these author-figures, one of whom is coded as an icon of “sexuality (without consciousness),” conventionally, and the other as an icon of “consciousness (without sexuality),” I show how Black popular music is a space where radical sexual identities and epistemic politics are innovated out of vibrant African/Diasporic traditions. 23 The Journal of Pan African Studies, vol. 1, no. 7, March 2007 The reputed “Father of African Cinema,” Ousmane Sembène is perhaps ironically famous for what we can call his sexual consciousness, a consciousness of the politics of sex or gender and sexuality, in his radical productions of Black independent film. -
Live to the Metal Music Živi Uz Metal Muziku
LIVE TO THE METAL MUSIC ŽIVI UZ METAL MUZIKU Autori: JOVANA KAZIMIROVIĆ IVA NICULOVIĆ VIII razred, OŠ “Branko Radičević” Negotin Regionalni Centar za talente Bor Mentor: VESNA PRVULOVIĆ prof. Engleskog jezika i književnosti, OŠ “Branko Radičević” Negotin Negotin, aprila 2013. godine 1 Contents Abstract……………………………………………………………………………………3 Summary…………………………………………………………………………………..4 Introduction………………………………………………………………………………..5 Metal music………………………………………………………………………………..6 Sub-genres of Heavy Metal……………………………………………………………….10 Conclusion………………………………………………………………………………...15 2 Abstract Metal is a movement of music that started essentially with the heavy rock movements. While there was not actual metal during that time, bands were experimenting with heaviness, and it was no surprise that the first metal band (Black Sabbath) was soon to be born. Metal music is a worldwide form of music that has held the attention of younger generations for over 50 years. Metal music has branched off into different sub genres, but one thing is the main motivator for the survival of metal music through all the generations. That is a need for younger generations to rebel against the status quo, to express themselves and their frustration of an outdated way of life. This paper presents the development of metal music from the 1960s to the present day, with special emphasis on some of the metal sub-genre of music. Originally, metal was one genre. But as time passed more genres were born. Today metal is a global movement and has hundreds of sub-genres such as Heavy, Death, Black, Doom, Power, Thrash, Speed, Folk, Industrial, Symphonic, Gothic & Nu-Metal, to name just a few. They range from sheer brutality to smooth and melodic rhythms. -
Coming up at the Aquarium Tickets at Dempsey's, Orange Records and Ticketweb.Com • 21+ Upstairs at 226 Broadway in Fargo • Online at Aquariumfargo.Com
COMING UP AT THE AQUARIUM TICKETS AT DEMPSEY'S, ORANGE RECORDS AND TICKETWEB.COM • 21+ UPSTAIRS AT 226 BROADWAY IN FARGO • ONLINE AT AQUARIUMFARGO.COM SIMON JOYNER & THE GHOSTS • THURSDAY, JUNE 6 MAUNO • MONDAY, JUNE 24 Lo-fi folk cited as an influence by Conor Oberst, Idiosyncratic, tumbling indie pop w/ plumslugger, Gillian Welch, Kevin Morby and Beck w/ Parliament Lite and Bryan Stanley (First show! Richard Loewen and Walker Rider • Doors @ 8 Backed by members of Naivety ) • Doors @ 8 MUSCLE BEACH + MCVICKER • FRIDAY, JUNE 7 ROYAL TUSK • THURSDAY, JUNE 27 A double dose of noisy Minneapolis Blue-collar troubadours merging riffy hooks punk rock n roll w/ locals Under Siege, with a thick bottom end and loud-as-hell guitars Plumslugger and HomeState • Doors @ 9 w/ The Dose • Jade Presents event • Doors @ 7 EMO NIGHT • SATURDAY, JUNE 8 MEGAN HAMILTON • FRIDAY, JUNE 28 Drink some drinks, dance, hang out and have Funky house tunes w/ SLiPPERS, Force Induction, some fun singing along to all your favorite early DeziLou, 2Clapz and Alex Malard • Playback 2000s emo jams • No cover • Starts @ 10 Shows + Wicked Good Time event • Doors @ 9 PAPER PARLOR + STOVEPIPES • SUNDAY, JUNE 9 JESSICA VINES + KARI MARIE TRIO • SATURDAY, JUNE 29 Psychedelic blues fusion jam rockers Guitar-driven, poppy, funky, rockin’ R&B + piano comin' in hot from Duluth + local blues rock from members of The Human Element and rock favorites Stovepipes • Doors @ 8 Hardwood Groove among others • Doors @ 8 HIP-HOP + COMEDY NIGHT • FRIDAY, JUNE 14 YATRA + GREEN ALTAR • SUNDAY, JUNE 30 Music by Durow, X3P Suicide, Stan Cass and Stoner, sludge and doom metal from Baltimore and DJ Affilination. -
XP-80 Quick Start Guide
QUICK START ❚ Introduction ❚ Contents Thank you for purchasing the Roland XP-80 Music Names and functions of buttons and Workstation. The XP-80 effectively combines a synthe- controls ..............................................2 sizer sound source and sequencer whose performance and functions are on a par with the Roland XP-50, along Connect your XP-80 ..........................6 with extended functions for easier operation and a wide Turn the power on .............................7 scope of music production. From live performance to desk top music applications, the XP-80 delivers all the Play a demo song..............................8 power to produce great music. Play sounds .....................................10 Reset to default factory settings.................................10 Using the XP-80 manuals Select and play Patches.............................................10 ❚ Play percussion sounds from the keyboard ...............11 Try out performance functions ...................................12 To be able to enjoy the full music-making potential of Play arpeggios (Arpeggiator) .....................................14 the XP-80, become completely familiar with its func- tionality and have trouble-free use, please take some Try out the demo disk .....................15 time to read this Quick Start and the Owner’s Manual. Listen to the demo songs ...........................................15 Play back a pattern by pressing specific keys (RPS).16 Quick Start Combine Patterns for playback ..................................16 This -
SPRAYNARD Street Date: FUNTITLED CD/LP 05/10/2011
SPRAYNARD Street Date: FUNTITLED CD/LP 05/10/2011 INFORMATION: Artist Hometown: WESTCHESTER, PA Key Markets: NEW YORK LONDON PHILADELPHIA WESTCHESTER BOSTON For Fans Of: -HARD GIRLS -OSKER -PLOW UNITED ARTIST: SPRAYNARD TITLE: FUNTITLED Spraynard started in the summer of 2008 when three friends CAT#: AM 215 (Patrick Graham, Patrick Ware, and Mark Dickinson) felt the need FORMAT: CD, LP for a resurgence of DIY music in their hometown. They combine GENRE: PUNK passionate & urgent vocals with infectious pop punk in the vein of BOX LOT: 50 PLOW UNITED and OSKER. This is their Asian Man debut called SRLP: CD $10.98, LP $13.98 “funtitled”. They have a released a slew of 7 inches and an LP on UPC: CD: 612851021525 Runner Up Records called “Cut and Paste” They continue to tour LP: 612851021518 EXPORT: NO RESTRICTIONS constantly and passionate about punk as a philosophy as much as a sound. TRACKLIST: Marketing Points: 1. I Care Not -Constant touring 2. The Denver Broncos -Produced by Mike Bardzik (EVERYONE EVERYWHERE, LIGHTEN UP) vs. The Denver Broncos -Played FEST 3. O.R. They? 4. Little Green Ghouls 5. We’re Pretty Nice Guys Any special scenes/markets this might appeal to: 6. Ah Gun That house show punk community 7. Damn You, A Box 8. Spooky, Scary 9. Homies Where the Heart Is 10. Quite Exciting, This Computer Magic 11. Not Good Enough, Gary 12. Joe Gallgher’s Fantasy Fun Camp Exclusively ilcdistro.com Distributed by [email protected] INDEPENDENT LABEL 804.592.1452 PH COLLECTIVE 866.382.2431 FX MISS DERRINGER Street Date: KING JAMES AND A COLT 45 CD 05/10/2011 INFORMATION: Artist Hometown: LOS ANGELES, CA Key Markets: LOS ANGELES NASHVILLE DETROIT LONDON SAN FRANCISCO For Fans Of: ???? Description needed. -
HMF 2018 Survival Guide V3
!1 Hamtramck Music Festival 2018 Sponsors Hamtramck Music Festival HSCREYENP PREINT Survival Guide 2018 !2 Thursday - March 1 — Kickoff Party creation, molding heavy trance-rock grooves into a fluid and melodic sonic landscape, has Warhorses redefining what a rock group can be. Ant Hall/Ghost Light (1) "Hypnotic. Alluring. Captivating. Warhorses embellish a sense of wonder with their music; they drag you in and intoxicate you.” 8:00 Funkwagon – A vocally-driven, over-the-top dance band that has been touring the northeast for the past decade. Opening for such acts as 10:30 The My Ways – Travis Harrett toured and recorded for seven years Morris Day and the Time and Parliament. Recently settled in the Detroit with Bloodshot Records artists the Deadstring Brothers and labelmates area they are breaking down doors with their stunning live performances. Whitey Morgan and the 78s. In 2014, the My Ways released their self- titled debut record and a follow up in 2016. In 2017, the live show hit the 8:30 Abul on Fire – Bangladesh-American Abul Hossain performs his road with gigs around Michigan. original Bangali pop songs and ballads about peace and mankind backed by psychedelic and progressive rock. 11:00 Nadir Omowale – "To 9:00 Fizzbang – Proggy without being pretentious, poppy without being label Nadir as a obnoxious, this loud, exciting rock group seeks to get booties movin and neo-soul artist hearts singin. would be neglecting his rock roots; to call him a rock artist would be overlooking his hip- hop and jazz influences. Fully encompassing all the talents that Nadir possesses would be comparable to expanding the mathematical term Pi to its last digit." - Michigan Chronicle 11:30 Cye Pie and Ya Homies – A sound that is equal parts R&B, funk and soul. -
Genre, De Muziekstijl, Stemming Van De Muziek En De Instrumentatie Die Een Bepaalde Artiest Uitoefende
Een Sociaal Netwerk Onder Muziekartiesten: Een analyse van het sociaal netwerk van muzikanten en daaraan verbonden muzikale kenmerken Gegevens student B.J.G.M. Kuppens Corporate Communication & Digital Media Universiteit van Tilburg [email protected] Begeleiding dr. J. J. Paijmans Faculteit Geesteswetenschappen dpt. Comm.‐ Infor.wetensch [email protected] 1 Abstract Dit onderzoek verdiept zich in de structuur van het sociaal netwerk van muziekartiesten. Wat onderzocht wordt, is of er binnen dit sociaal netwerk een zogenaamde power law verdeling te ontdekken valt. Dit is interessant vanwege de maatschappelijke relevantie van power law structuren in de samenleving. Om dit vast te stellen is er gekeken naar wie de meest invloedrijke artiesten zijn en van wie er de meeste nummers gecoverd zijn. De verwachting is dat er relatief weinig artiesten zijn met relatief veel invloed op medeartiesten, en overeenkomstig staan veel artiesten die weinig invloed hebben op hun medeartiesten. Hetzelfde fenomeen wordt verwacht bevestigd te worden voor gecoverde nummers. Nadat is gebleken dat de structuur van het sociaal netwerk onder muziekartiesten daadwerkelijk de kenmerken vertoont van een power law verdeling, is er vervolgens nog gekeken naar een viertal muzikale kenmerken van de meest invloedrijke artiesten gevonden tijdens dit onderzoek. Het betreft het genre, de muziekstijl, stemming van de muziek en de instrumentatie die een bepaalde artiest uitoefende. Ook van deze variabelen is er een frequentieverdeling gemaakt en is er gekeken of er op een power law gelijkende verdeling is. Dit bleek alleen bij de variabelen genre en instrumentatie het geval te zijn. Muziekstijl in mindere mate en wat stemming betreft zijn er geen dominante items gevonden. -
Allie X - Biography
Allie X - Biography With over a quarter billion streams globally, Allie X has amassed a cult following for her glassine goth-pop style. Her latest album, "Cape God,” is continuing to soar with hit tracks like “Love Me Wrong (feat. Troye Sivan)" and “Susie Save Your Love (feat. Mitski ).” Latest release, the critically acclaimed, "Cape God" has received positive reviews from NME, Vice, The Guardian and Pitchfork. “Cape God” has also been nominated for a Polaris Music Award in her home country of Canada. She’s played sold out shows across North America, Latin America, and Europe and toured the world with pop-star counterparts like Dua Lipa, Charli XCX, and MARINA. Known for her bold visual style and her gaudy-goth-pop sound, Allie X is a master curator, creative directing every aspect of her project from hand picking her photographers, directors, fashion and glam teams, to editing her own videos. This singularity has attracted much attention from the fashion world, where she has attended Paris Fashion Week, been covered by Vogue, and formed relationships with some of the world's most incredible designers (Iris Van Herpen, Margiela, Olivier Theyskens, Lanvin). Allie continues to be an outspoken ally for the LGBTQ+ community, sponsoring and spearheading charity events, playing pride festivals across the globe, and continuing to speak out and use her platform to fight injustices and empower LGBT youth. Allie also appeared as the guest judge on Canada's Drag Race (Season 1) . . -
The Golden Age of Non-Idiomatic Improvisation
The Golden Age of Non-Idiomatic Improvisation FYS 129 David Keffer, Professor Dept. of Materials Science & Engineering The University of Tennessee Knoxville, TN 37996-2100 [email protected] http: //cl ausi us.engr.u tk.e du / Various Quotes These slides contain a collection of some of the quotes largely from the musicians that are studied during the course. The idea is to present “musicians in their own words”. Thurston Moore American guitarist and vocalist (July 25, 1958—) Background on Sonic Youth Thurston Moore was a guitarist and vocalist for Sonic Youth. Sonic Youth was an American alternative rock band from New York City, formed in 1981. Their lineup largely consisted of Thurston Moore (guitar and vocals), Kim Gordon (bass guitar, vocals, and guitar), Lee Ranaldo (guitar and vocals), Steve Shelley (drums). In their early career, Sonic Youth was associated with the no wave art and music scene in New York City. Part of the first wave of American noise rock groups, the band carried out their interpretation of the hardcore punk ethos throughout the evolving American underground that focused more on the DIY ethic of the genre rather than its specific sound. As a result, some consider Sonic Youth as pivotal in the rise of the alternative rock and indie rock movementThbdts. The band exper ience d success an ditild critical acc lithhtlaim throughout their existence, continuing into the new millennium, including signing to major label DGC in 1990, and headlining the 1995 Lollapalooza festival. http://en.wikipedia.org/wiki/Sonic_youth Moore Quotes Q: What led Sonic Youth to do a project like Goodbye 20th Century? Moore: It was definitely a universe or world that we were aware of. -
'And I Swear...' – Profanity in Pop Music Lyrics on the American Billboard Charts 2009-2018 and the Effect on Youtube Popularity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 02, FEBRUARY 2020 ISSN 2277-8616 'And I Swear...' – Profanity In Pop Music Lyrics On The American Billboard Charts 2009-2018 And The Effect On Youtube Popularity Martin James Moloney, Hanifah Mutiara Sylva Abstract: The Billboard Chart tracks the sales and popularity of popular music in the United States of America. Due to the cross-cultural appeal of the music, the Billboard Chart is the de facto international chart. A concern among cultural commentators was the prevalence of swearing in songs by artists who were previously regarded as suitable content for the youth or ‗pop‘ market. The researchers studied songs on the Billboard Top 10 from 2009 to 2018 and checked each song for profanities. The study found that ‗pop‘, a sub-genre of ‗popular music‘ did contain profanities; the most profane genre, ‗Hip-hop/Rap‘ accounted for 76% of swearing over the ten-year period. A relationship between amount of profanity and YouTube popularity was moderately supported. The researchers recommended adapting a scale used by the British television regulator Ofcom to measure the gravity of swearing per song. Index Terms: Billboard charts, popularity, profanity, Soundcloud, swearing, YouTube. —————————— —————————— 1 INTRODUCTION Ipsos Mori [7] the regulator of British television said that profane language fell into two main categories: (a) general 1.1 The American Billboard Charts and ‘Hot 100’ swear words and those with clear links to body parts, sexual The Billboard Chart of popular music was first created in 1936 references, and offensive gestures; and (b) specifically to archive the details of sales of phonographic records in the discriminatory language, whether directed at older people, United States [1].