DOCSLIB.ORG

Proceedings of the 9Th International Workshop on Folk Music Analysis (FMA2019)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proceedings of the 9Th International Workshop on Folk Music Analysis (FMA2019) Proceedings of the 9th International Workshop on Folk Music Analysis (FMA2019) Editors: Islah Ali-MacLachlan and Jason Hockman Chair: Islah Ali-MacLachlan 2nd-4th July 2019 Birmingham City University Birmingham, UK Contents Programme committee iii Multi-media recordings of traditional Georgian vocal music for computational analysis - Frank Scherbaum (University of Potsdam), Nana Mzhavanadze (University of Potsdam), Se- bastian Rosenzweig (University of Erlangen) and Meinard Mueller (University of Erlangen) 1 Painting blue { on measuring intonation in Hardanger fiddle tunes- Per Asmund˚ Omholt (University of South-Eastern Norway) 7 Timing-sound interactions in traditional Scandinavian fiddle mu- sic: Preliminary findings and implications - Mats Johansson (University of South-Eastern Norway) 9 Phrasing Practices in Norwegian Sl˚atteMusic - Preliminary re- sults and methodological considerations - Anders Erik Røine (University of South-East Norway) 13 Analysis of mutual influence of music and text in Svan songs - Nana Mzhavanadze (University of Potsdam) and Madona Chamgeliani (Lidbashi Foundation) 15 Toledo, Rome and the origins of Gregorian chant - An alterna- tive hypothesis - Geert Maessen (Gregoriana Amsterdam) 21 Aspects of melody generation for the lost chant of the Mozarabic Rite - Geert Maessen (Gregoriana Amsterdam) 23 Content-based music retrieval of Irish traditional music via a virtual tin whistle - Pierre Beauguitte and Hung-Chuan Huang (Technological University Dublin) 25 Modelling of local tempo change with applications to Lithuanian traditional singing - Rytis Ambrazeviˇcius(Kaunas University of Technology, Lithuania) 27 i Towards singing perception universals - Polina Proutskova (Queen Mary, University of London) 33 - Automatic comparison of human music, speech, and bird song suggests uniqueness of human scales - Jiei Kuroyanagi (Keio University, Japan), Shoichiro Sato (Keio University, Japan), Meng-Jou Ho (Keio University, Japan), Gakuto Chiba (Keio University, Japan), Joren Six (Ghent University, Belgium), Peter Pfordresher (University at Buffalo, NY), Adam Tier- ney (Birbeck, University of London), Shinya Fujii (Keio Uni- versity, Japan) and Patrick Savage (Keio University, Japan) 35 Automatic comparison of global children's and adult songs sup- ports a sensorimotor hypothesis for the origin of musical scales - Shoichiro Sato (Keio University, Japan), Joren Six (Ghent University, Belgium), Peter Pfordresher (University at Buffalo, NY, USA), Shinya Fujii (Keio University, Japan) and Patrick Savage (Keio University, Japan) 41 Country classification with feature selection and network con- struction for folk tunes - Cornelia Metzig (Queen Mary Uni- versity, London), Roshani Abbey (Royal Academy of Music, London), Mark Sandler (Queen Mary University, London), and Caroline Colijn (Simon Fraser University, Canada) 47 - On the singer's formant in Lithuanian traditional singing - Robertas Budrys and Rytis Ambrazeviˇcius(Kaunas Univer- sity of Technology, Lithuania) 49 Chroma Feature Visualization for Hindustani Classical Music - - Sauhaarda Chowdhuri (Resoniq Research) 55 ii Programme Committee Chairs Jason Hockman (Birmingham City University, UK) • Islah Ali-MacLachlan (Birmingham City University, UK) • Members Pierre Beauguitte (DIT, Dublin, Ireland) • Emmanouil Benetos (Queen Mary University, London, UK) • Baris Bozkurt (Universitat Pompeu Fabra, Spain) • Emilios Cambouropoulos (Aristotle University of Thessaloniki, Greece) • David Carroll (DIT, Dublin, Ireland) • Matthew Cheshire (Birmingham City University, UK) • Darrell Conklin (University of the Basque Country UPV/EHU, Donos- • tia - San Sebasti´an,Spain) Jake Drysdale (Birmingham City University, UK) • Carl Southall (Birmingham City University, UK) • Maciek Tomczak (Birmingham City University, UK) • Costas Tsougras (Aristotle University of Thessaloniki, Greece) • Peter Van Kranenburg (Meertens Institute, Amsterdam, The Nether- • lands) Chris Walshaw (Old Royal Naval College, London, UK) • iii MULTI-MEDIA RECORDINGS OF TRADITIONAL GEORGIAN VOCAL MUSIC FOR COMPUTATIONAL ANALYSIS Frank Scherbaum Nana Mzhavanadze Sebastian Rosenzweig Meinard Muller¨ University of Potsdam University of Potsdam University of Erlangen University of Erlangen frank.scherbaum nana.mzhavanadze sebastian.rosenzweig meinard.mueller @uni-potsdam.de @uni-potsdam.de @audiolabs-erlangen.de @audiolabs-erlangen.de ABSTRACT crossroads of Europe and Asia where very old (presumably pre-Christian) traditions are still cultivated as part of daily Traditional multipart-singing is an essential component of the na- tional identity of Georgia. It has been an active field of ethno- life. Svan songs as parts of these rituals occupy a special musicological research since more than 100 years, with a whole place within the Georgian music and are still maintained series of thematically very diverse research questions. Here, we in a comparatively original form due to the remote geo- report on the generation of a new research corpus of traditional graphic location. The style of Svan multi-part singing has Georgian vocal music collected during a three-month field expe- been described in different terms as chordal unit polyphony dition in 2016. It employs new and partially unconventional field recording techniques and is intended particularly for the appli- Aslanishvili (2010), or drone dissonant polyphony Jorda- cation of modern computational analysis methods. To circum- nia (2010), and the judgments regarding the importance of vent the source separation problem for multiple singing voices the (moving) drone and/or of the role of dissonances differ in field expeditions, we used larynx microphones to record skin between authors, e. g. between Dirr (1914) and Jordania vibrations close to the larynx (additionally to using conventional audio and video equipment). The resulting multi-media record- (2006). Consensus, however, exists on the hypothesis that ings comprise audio and video material for more than two hun- Svan music represents the oldest still living form of Geor- dred performances, including more than fourteen hundred audio gian vocal polyphony. tracks based on different types of microphones (headset, larynx, ambient, directional), video tracks, as well as written documents There have been considerable efforts in the past to of interviews with the performers. We demonstrate that the sys- record traditional Svan music, first with phonographs, later tematic use of larynx microphones, which to our knowledge has with tape recorders. Already more than 100 years ago, never been used before on a larger scale in ethno-musicological Dirr (1914) discussed the musical characteristics of phono- field expeditions, opens up new avenues for subsequent compu- graph recordings from Svaneti (North-Western Georgia), tational analysis regarding a multitude of aspects including pitch tracking, harmonic and melodic analysis, as well as for documen- which had been collected by Paliashvili (1909). Unfor- tation and archiving purposes. tunately, most recordings of Svan songs from the early days of the last century have not survived the ravages of 1. INTRODUCTION time. The few audio files obtained are mostly in very poor quality. On the other hand, the Tbilisi Conservatory has There have been many efforts in the past to document also made recordings since the 1950s. These recordings, and record the rich musical heritage of traditional Geor- however, were lost during construction work in the 1990s. gian polyphonic music, pioneered by phonograph record- It should also be noted that during the 1980s, a set of ings more than a century ago. However, many of them recordings with the Mestia Regional Folk Song and Dance have been lost over the years and the available historic au- Ensemble Riho were made in the voice recording studio dio recordings are often of insufficient quality for the ap- Melodia. These recordings, however, were only released plication of modern, quantitative analysis techniques. A very recently, see Khardziani (2017). A small number of notable exception, regarding the applicability of comput- more recent audio recordings were made by ethnomusicol- erized analysis tools, is the collection of historical record- ogists Malkhaz Erkvanidze and Keti Matiashvili in 2004 ings by master chanter Artem Erkomaishvili. This dataset (recordings of approximately 25 songs in Lower Svaneti), was processed and enriched by features informatically ex- and between 2007 and 2010 by the State Center of Folk- tracted from the recordings, see Muller¨ et al. (2017) (ac- lore under the supervision of ethnomusicologist Nato Zum- 1 companied by a website ). badze, both in Lower and Upper Svaneti, partly with sev- In 2015, a pilot project was carried out to test the use- eral microphones and in a mobile recording studio. In ad- fulness of body vibration recordings for ethnomusicolog- dition, within the crowd-funded Svan Recording Project ical purposes, see Scherbaum (2016). Based on this ex- performed by American singer Carl Linnich in 2010 with perience, we started during the summer of 2016 to col- members of the Riho Ensemble in Lengeri, 32 songs were lect a new set of field recordings of traditional Georgian supposedly recorded. However, it is not known to us if vocal music. The regional focus of our field work was this project was completed. In conclusion, before our own on Upper Svaneti, which is one of the rare regions in the field expedition described in this paper, the publicly avail- 1 https://www.audiolabs-erlangen.de/resources/MIR/2017- able audio
Load more

Recommended publications
  • Sweden As a Crossroads: Some Remarks Concerning Swedish Folk
    studying culture in context Sweden as a crossroads: some remarks concerning Swedish folk dancing Mats Nilsson Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: Mats Nilsson works as a senior lecturer in folklore and ethnochoreology at the Department of Ethnology, Gothenburg University, Sweden. His main interest is couple dancing, especially in Scandinavia. The title of his1998 PhD dissertation, ‘Dance – Continuity in Change: Dances and Dancing in Gothenburg 1930–1990’, gives a clue to his theoretical orientation. Copyright © 2008 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 8 Sweden as a crossroads: some remarks concerning Swedish folk dancing MATS NILSSON his article is an overview of folk dancing in Sweden. The context is mainly the Torganised Swedish folk-dance movement, which can be divided into at least three subcultures. Each of these folk dance subcultural contexts can be said to have links to different historical periods in Europe and Scandinavia.
    [Show full text]
  • Nordic Roots Dance Kari Tauring - 2014 "Dance Is a Feature of Every Significant Occasion and Event Crucial to Tribal Existence As Part of Ritual
    Nordic Roots Dance Kari Tauring - 2014 "Dance is a feature of every significant occasion and event crucial to tribal existence as part of ritual. The first thing to emphasize is that early dance exists as a ritual element. It does not stand alone as a separate activity or profession." Joan Cass, Dancing Through History, 1993 In 1989, I began to study runes, the ancient Germanic/Nordic alphabet system. I noticed that many rune symbols in the 24 Elder Futhark (100 ACE) letters can be made with one body alone or one body and a staff and some require two persons to create. I played with the combination of these things within the context of Martial Arts. In the Younger futhark (later Iron Age), these runes were either eliminated or changed to allow one body to create 16 as a full alphabet. In 2008 I was introduced to Hafskjold Stav (Norwegian Family Tradition), a Martial Arts based on these 16 Younger Futhark shapes, sounds and meanings. In 2006 I began to study Scandinavian dance whose concepts of stav, svikt, tyngde and kraft underpinned my work with rune in Martial Arts. In 2011/2012 I undertook a study with the aid of a Legacy and Heritage grant to find out how runes are created with the body/bodies in Norwegian folk dances along with Telemark tradition bearer, Carol Sersland. Through this collaboration I realized that some runes require a "birds eye view" of a group of dances to see how they express themselves. In my personal quest to find the most ancient dances within my Norwegian heritage, I made a visit to the RFF Center (Rådet for folkemusikk og folkedans) at the University in Trondheim (2011) meeting with head of the dance department Egil Bakka and Siri Mæland, and professional dancer and choreographer, Mads Bøhle.
    [Show full text]
  • Excitement Grows with the Sigdalslag Decision to Join with Four Other
    Excitement grows with the Sigdalslag decision to join with four other bygdelags, Hadeland, Land, Telernark and Toten, in sharing a portion of the time June 29-30 and in separate sessions which are of special purpose and interest to each lag when all gather on the St. Olaf College campus, Northfield, Minnesota. Velkommen! Each lag will use advance registration and payment of fees. You may wish to complete this form today when you have read this newsletter. No tickets will be available for the bapquet buffet except by advance sale. A visitor badge will be issued for those able to attend only a portion of the day to include a user fee at $ 3..00 each day. All lags have the same registration fee. Highlights of the weekend will include the evening programs Friday and Saturday to which the public is invited. Dr. Harland Foss,. President of St. Olaf College will bring greetings and Dr. Sidney Rand, former ambassador to Norway and a past-president at St. Olaf, together with his wife Lois will present "Nilkkenog Nissen" in Sigdal and Hadeland Friday evening. Music and singing and coffee offer opportunities to participate. Saturday afternoon and evening the Gjevre VII family will provide instrumental music. Five children and their parents perform and share a Norwegian-American heritage that lS lively, informative entertainment. Folk dancers known as among the most acclaimed in Norway present the after-the- banquet program Saturday evening. The Sogn-Fjordane Ringen in bunads of various districts of Norway's west coast performs regional Cbygedans) dances such as vestlands springar, gamalt, rudl, halling, pols; pattern dances such as reels, row dances, couple dances-- all turdans forms; popular gammaldans or old-fashioned waltz, reinlender, schottische, mazurka and polka dances for couples; and finally the songdans which derive from the Middle Ages and are kept alive in the Faeroe Islands in the tradition of the epic lays.
    [Show full text]
  • CHANT in Many Cultures, Chant Is Used to Heighten the Delivery of Text in Religious Or Ritual Contexts. the Musical Delivery Is
    This material is under copyright and the source is E Giraud, ‘Chant’, The SAGE International Encyclopedia of Music and Culture, ed. Janet Sturman, (SAGE: 2019). CHANT In many cultures, chant is used to heighten the delivery of text in religious or ritual contexts. The musical delivery is often received as a more spiritual means of expression than the spoken word. In most cases, chant is exclusively a vocal repertoire (without instrumental accompaniment), and usually consists of a single (‘monophonic’) melody line. Although chant presents many of the attributes associated with secular musical performance—out of context, chant may sound like song—it is often not classed as ‘music’ itself: its purpose is not primarily to provide enjoyment to its listeners, but rather to add weight or ceremony to the (often sacred) words that chant accompanies, and/or to facilitate comprehension or recollection of the ritual. As such, chant is functional, reserved for use in certain ritual activities. The remainder of this entry examines a small selection of the world’s chant traditions, placing them in their historical and cultural contexts, in order to provide insight into some of the various forms and practices in which chant is used. Gregorian chant The most widespread form of plainchant in the Latin Christian West, both in the middle ages and today, is ‘Gregorian’ chant; other medieval repertories included Old Hispanic (see below), Gallican, Old Roman, Beneventan and Ambrosian chant. The name ‘Gregorian’ is misleading and stems from the once-held belief that the repertory was composed by Pope Gregory I (590-604). It is now widely accepted that ‘Gregorian’ chant cannot be traced back to Gregory I (sources contemporary to the pope provide no evidence for his involvement in composing chant or arranging the liturgy—‘liturgy’ being the regular, formal, communal acts of worship, rather than private devotion), but instead emerged in the eighth century in the Carolingian empire.
    [Show full text]
  • Flying High Radio Show Playlists
    Flying High Radio Show Playlist 2020 30 December 2020 i_o - Castles In The Sky (Extended Mix) Craig Connelly & Alex Holmes - Anything Like You (Daxson Extended Remix) MaRLo & HALIENE - Say Hello (Darren Porter Radio Edit) David Forbes & Susie Ledge - Silent Waves BT,Matt Fax, Nation Of One - Walk Into The Water Iain M & Deirdre McLaughlin - Eternally (Sneijder Extended Remix) Seawayz & Sharon Valerona - By My Side( Extended Mix) Andrew Rayel & Olivia Sebastianelli - Everything Everything (Cosmic Gate Remix) Illitheas & Pedro del Mar With Tiff Lacey - Lightning (Extended Mix) Protoculture & Diana Miro - Seconds Robbie Seed,Digital Vision,Caitlin Potter - Come Back Home (Radio Mix) DT8 & Project & Lustral - On My Own (Last Soldier Remix) Teddy Beats Ft. Mon RovÎa - Waste Some Time Marcus Santoro & Lauren L'aimant - Give Into You LTN & Christina Novelli - I'd Go Back (R.I.B & Seven24 & Eugene Cortez Remix) ©2009-2020 George Jopling https://djgj.co.uk Flying High Radio Show Playlist 2020 23 December 2020 LTN & Christina Novelli - I'd Go Back (Rinaly Extended Remix) Rezwan Khan & Hidden Tigress - Racing To Somewhere (Extended Mix) Susana - Dark Side of The Moon (Ferry Tayle Extended Mix) Tycoos & Jan Johnston - The Landslide (Extended Mix) Robert Nickson With Thea Riley - Feed My Soul (Extended Club Mix) Will Atkinson With Harry Roke - Burning Out Will Atkinson With Cari Golden - Cigarettes & Kerosene Will Atkinson With Perplexer - Acid Folk (Will Atkinson Last King of Scotland Remix) Billy Gillies - Closed Eyes (Extended Mix) Alessandra Roncone - What Makes You Feel Alive (Extended Mix) Nord Horizon - Take My Hand (Extended Mix) Dim3nsion - Outstanding Armin van Buuren Ft. Duncan Laurence - Feel Something Jes & Oliver Smith - Don't Let It End (Accoustic) 16 December 2020 James Kitcher, Adam Taylor & Susie Ledge - Come In From The Cold (Extended Mix) Ana Criado - In A Thousand Skies (Dan Stone Extended Mix) BiXX - Trance At The Opera (Extended Mix) Miyuki Ft.
    [Show full text]
  • Mozarabic Chant
    Mozarabic chant Mozarabic chant (also known as Hispanic chant, itself until after 1014, at the request of the Holy Roman Old Hispanic chant, Old Spanish chant, or Visig- Emperor Henry II.) othic chant) is the liturgical plainchant repertory of the Visigothic/Mozarabic rite of the Roman Catholic Church, related to the Gregorian chant. It is primarily associated with Hispania under Visigothic rule (mainly in what was to become modern Spain) and with the Catholic Visigoths/Mozarabs living under Muslim rule, and was soon replaced by the chant of the Roman rite following the Christian Reconquest. Although its original medieval form is largely lost, a few chants have survived with read- able musical notation, and the chanted rite was later re- vived in altered form and continues to be used in a few isolated locations in Spain, primarily in Toledo. The city of Toledo 1 Terminology The Visigothic rite (later Mozarabic rite) shares similar- Dissatisfaction with the Islamic term “Mozarabic chant” ities with the Ambrosian rite and Gallican rite, and dif- has led to the use of several competing names for the fers from the Roman rite. As the Christian reconquest of music to which it refers. The Islamic term Mozarabic Hispania went on, the Roman rite supplanted the Mozara- was used by the Islamic rulers of Hispania (Al Andalus) bic. With the papal appointment of a French abbot as the to refer to the Mozarabs, that is, the Visigothic Chris- new archbishop of Toledo, which had been recaptured in tians of Hispania (modern Spain and Portugal) living un- 1085, Roman influence could be enforced throughout the der Muslim rule.
    [Show full text]
  • Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance:
    [Show full text]
  • Norway – Music and Musical Life
    Norway2BOOK.book Page 273 Thursday, August 21, 2008 11:35 PM Chapter 18 Norway – Music and Musical Life Chapter 18 Norway – Music and Musical Life By Arvid Vollsnes Through all the centuries of documented Norwegian music it has been obvi- ous that there were strong connections to European cultural life. But from the 14th to the 19th century Norway was considered by other Europeans to be remote and belonging to the backwaters of Europe. Some daring travel- ers came in the Romantic era, and one of them wrote: The fantastic pillars and arches of fairy folk-lore may still be descried in the deep secluded glens of Thelemarken, undefaced with stucco, not propped by unsightly modern buttress. The harp of popular minstrelsy – though it hangs mouldering and mildewed with infrequency of use, its strings unbraced for want of cunning hands that can tune and strike them as the Scalds of Eld – may still now and then be heard sending forth its simple music. Sometimes this assumes the shape of a soothing lullaby to the sleep- ing babe, or an artless ballad of love-lorn swains, or an arch satire on rustic doings and foibles. Sometimes it swells into a symphony descriptive of the descent of Odin; or, in somewhat less Pindaric, and more Dibdin strain, it recounts the deeds of the rollicking, death-despising Vikings; while, anon, its numbers rise and fall with mysterious cadence as it strives to give a local habitation and a name to the dimly seen forms and antic pranks of the hol- low-backed Huldra crew.” (From The Oxonian in Thelemarken, or Notes of Travel in South-Western Norway in the Summers of 1856 and 1857, written by Frederick Metcalfe, Lincoln College, Oxford.) This was a typical Romantic way of describing a foreign culture.
    [Show full text]
  • Con!Nui" of Norwegian Tradi!On in #E Pacific Nor#West
    Con!nui" of Norwegian Tradi!on in #e Pacific Nor#west Henning K. Sehmsdorf Copyright 2020 S&S Homestead Press Printed by Applied Digital Imaging Inc, Bellingham, WA Cover: 1925 U.S. postage stamp celebrating the centennial of the 54 ft (39 ton) sloop “Restauration” arriving in New York City, carrying 52 mostly Norwegian Quakers from Stavanger, Norway to the New World. Table of Con%nts Preface: 1-41 Immigra!on, Assimila!on & Adapta!on: 5-10 S&ried Tradi!on: 11-281 1 Belief & Story 11- 16 / Ethnic Jokes, Personal Narratives & Sayings 16-21 / Fishing at Røst 21-23 / Chronicats, Memorats & Fabulats 23-28 Ma%rial Culture: 28-96 Dancing 24-37 / Hardanger Fiddle 37-39 / Choral Singing 39-42 / Husflid: Weaving, Knitting, Needlework 42-51 / Bunad 52-611 / Jewelry 62-7111 / Boat Building 71-781 / Food Ways 78-97 Con!nui": 97-10211 Informants: 103-10811 In%rview Ques!onnaire: 109-111111 End No%s: 112-1241111 Preface For the more than three decades I taught Scandinavian studies at the University of Washington in Seattle, I witnessed a lively Norwegian American community celebrating its ethnic heritage, though no more than approximately 1.5% of self-declared Norwegian Americans, a mere fraction of the approximately 280,000 Americans of Norwegian descent living in Washington State today, claim membership in ethnic organizations such as the Sons of Norway. At musical events and dances at Leikarringen and folk dance summer camps; salmon dinners and traditional Christmas celebrations at Leif Ericsson Lodge; cross-country skiing at Trollhaugen near Stampede
    [Show full text]
  • Cooked in the Lab Dark, Techy D&B Trio Ivy Lab Break Bad on LP P.108
    MUSIC DECEMBER ON THE DANCEFLOOR This month’s tracks played out p. 92 GO LONG! The long-players listened to p. 108 WILD COMBINATION The most crucial compilations p. 113 Cooked In The Lab Dark, techy d&b trio Ivy Lab break bad on LP p.108 djmag.com 091 HOUSE REVIEWS BEN ARNOLD [email protected] melancholy pianos, ‘A Fading Glance’ is a lovely, swelling thing, QUICKIES gorgeously understated. ‘Mayflies’ is brimming with moody, building La Fleur Fred P atmospherics, minor chord pads Make A Move Modern Architect and Burial-esque snatches of vo- Watergate Energy Of Sound cal. ‘Whenever I Try To Leave’ winds 9.0 8.5 it up, a wash of echoing percus- The first lady of Berlin’s A most generous six sion, deep, unctuous vibrations Watergate unleashes tracks from the superb and gently soothing pianos chords. three tracks of Fred Peterkin. It’s all This could lead Sawyer somewhere unrivalled firmness. If great, but ‘Tokyo To special. ‘Make A Move’’s hoover Chiba’, ‘Don’t Be Afraid’, bass doesn’t get you, with Minako on vocals, Hexxy/Andy Butler ‘Result’’s emotive vibes and ‘Memory P’ stand Edging/Bewm Chawqk will. Lovely. out. Get involved. Mr. Intl 7. 5 Various Shift Work A statuesque release from Andy Hudd Traxx Now & Document II ‘Hercules & Love Affair’ Butler’s Mr. Then Houndstooth Intl label. Hexxy is his new project Hudd Traxx 7. 5 with DJ Nark, founder of the excel- 7. 5 Fine work in the lent ‘aural gallery’ site Bottom Part four of four in this hinterland between Forty and Nark magazine.
    [Show full text]
  • JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  [email protected]
    JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy.
    [Show full text]
  • 2017-10-Radio Salomon
    Artist List for period: 01.10.2017 - 31.10.2017 WYCLEF JEAN FEAT. LUNCH MONEY, THE KNOCKS – WHAT HAPPENED TO LOVE DON DIABLO – MOMENTUM (ORIGINAL MIX) MAURIZIO BASILOTTA & DAVE ROSE – FUNKYBIZA RITA ORA – YOUR SONG ALLE FARBEN & JANIECK – LITTLE HOLLYWOOD ANDREA BELLI X MAURO PILATO & MAX MONTI – GAM GAM (STEREOMODE 2K17 RADIO REWORK) BURAK YETER FEAT. DANELE SANDOVAL – TUESDAY SIGALA X DIGITAL FARM ANIMALS – ONLY ONE MICAR – BURDEN DOWN ALAN WALKER FEAT. GAVIN JAMES – TIRED OFENBACH – BE MINE CHARLIE PUTH – ATTENTION (ROMAN MULLER REMIX) CNCO FEAT. LITTLE MIX – REGGAETON LENTO (REMIX) FRENCH MONTANA & J BALVIN FEAT. SWAE LEE – UNFORGETTABLE [LATIN REMIX] ITALOBROTHERS – SUMMER AIR (RADIO EDIT) CHALLE SALLE – LAGANO DASOUL FEAT. NACHO – KUNG FU JOSE LUCAS – IF IT WEREN T FOR LOVE (THE WHISTLE SONG) NICKY JAM – EL AMANTE BABY K FEAT. ANDRES DVICIO – VOGLIO BALLARE CON TE(SAMMYCILLI ULTIMIX) BINGO PLAYERS – BEAT THE DRUM (ORIGINAL MIX) BLASTERJAXX FEAT. INNA – HOT MALUMA – FELICES LOS 4 BOB SINCLAR FEAT. AKON – TIL THE SUN RISE UP PISO 21 – BESANDOTE FEDDE LE GRAND VS IAN CAREY – KEEP ON RISING J BALVIN FT. WILLY WILLIAM – MI GENTE CHAINSMOKERS & COLDPLAY – SOMETHING JUST LIKE THIS DEEPEND FEAT. GRAHAM CANDY – WAITING FOR THE SUMMER TRAVI – BANG BREATHE CAROLINA & DROPGUN FT. KALEENA ZANDERS – RHYTHM IS A DANCER LUCAS & STEVE – UP TILL DAWN (ON THE MOVE) (ORIGINAL MIX) JASON DERULO FEAT. NICKI MINAJ & TY DOLLA SIGN – SWALLA CHARLY BLACK & DADDY YANKEE – GYAL YOU A PARTY ANIMAL (REMIX) D BASE – VASE POGLEJ ALOK, BRUNO MARTINI & ZEEBA – NEVER LET ME GO DAVID FEAT. MURAT – VRJAM UMMET OZCAN FEAT. CHRIS CRONE – EVERYTHING CHANGES DAVID & ALEX FEAT.
    [Show full text]