Voyager Golden Record Music
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Dena Derose, Vocals and Piano Martin Wind, Bass • Matt Wilson, Drums with Sheila Jordan, Vocal • Jeremy Pelt, Trumpet Houston Person, Tenor Saxophone
19 juin, 2020. June 19, 2020. MAN MAN DREAM HUNTING IN THE VALLEY OF THE IN-BETWEEN CD / 2XLP / CS / DIGITAL SP 1350 RELEASE DATE: MAY IST, 2020 TRACKLISTING: 1. Dreamers 2. Cloud Nein 3. On the Mend 4. Lonely Beuys 5. Future Peg 6. Goat 7. Inner Iggy 8. Hunters 9. Oyster Point 10. The Prettiest Song in the World 11. Animal Attraction 12. Sheela 13. Unsweet Meat 14. Swan 15. Powder My Wig 16. If Only 17. In the Valley of the In-Between GENRE: Alternative Rock Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. 0 9 8 7 8 7 1 3 5 0 2 209 8 7 8 7 1 3 5 0 1 5 CD Packaging: Digipack 2xLP Packaging: Gatefold jacket w/ custom The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the with poster insert dust sleeves and etching on side D Includes mp3 coupon Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus NON-RETURNABLE Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol. -
Interstellar Music - by Mike Overly
Interstellar Music - by Mike Overly Let's imagine that you could toss a message in a bottle faster than a speeding bullet into the cosmic ocean of outer space. What would you seal inside it for anyone, or anything, to open some day in the distant future, in a galaxy far, far away from our solar system? Well, imagine no more because it's been done! Thirty-five years ago, NASA launched two Voyager spacecraft carrying earthly images and sounds toward the Stars. Voyager 1 was launched on September 5, 1977, from Cape Canaveral, Florida and Voyager 2 was sent on its way August 20 of that same year. Voyager 1 is now 11 billion miles away from earth and is the most distant of all human-made objects. Everyday, it flies another million miles farther. In fact, Voyager 1 and 2 are so far out in space that their radio signals, traveling at the speed of light, take 16 hours to reach Earth. These radio signals are captured daily by the big dish antennas of the Deep Space Network and arrive at a strength of less than one femtowatt, a millionth of a billionth of a watt. Wow! Both Voyagers are headed towards the outer boundary of the solar system, known as the heliopause. This is the region where the Sun's influence wanes and interstellar space waxes. Also, the heliopause is where the million-mile-per-hour solar winds slow down to about 250,000 miles per hour. The Voyagers have reached these solar winds, also known as termination shock, and should cross the heliopause in another 10 to 20 years. -
Voyager's Gold Record
Voyager's Gold Record https://en.wikipedia.org/wiki/Voyager_Golden_Record #14 score, next page. YouTube (Perlman): https://www.youtube.com/watch?v=aVzIfSsskM0 Each Voyager space probe carries a gold-plated audio-visual disc in the event that the spacecraft is ever found by intelligent life forms from other planetary systems.[83] The disc carries photos of the Earth and its lifeforms, a range of scientific information, spoken greetings from people such as the Secretary- General of the United Nations and the President of the United States and a medley, "Sounds of Earth," that includes the sounds of whales, a baby crying, waves breaking on a shore, and a collection of music, including works by Mozart, Blind Willie Johnson, Chuck Berry, and Valya Balkanska. Other Eastern and Western classics are included, as well as various performances of indigenous music from around the world. The record also contains greetings in 55 different languages.[84] Track listing The track listing is as it appears on the 2017 reissue by ozmarecords. No. Title Length "Greeting from Kurt Waldheim, Secretary-General of the United Nations" (by Various 1. 0:44 Artists) 2. "Greetings in 55 Languages" (by Various Artists) 3:46 3. "United Nations Greetings/Whale Songs" (by Various Artists) 4:04 4. "The Sounds of Earth" (by Various Artists) 12:19 "Brandenburg Concerto No. 2 in F Major, BWV 1047: I. Allegro (Johann Sebastian 5. 4:44 Bach)" (by Munich Bach Orchestra/Karl Richter) "Ketawang: Puspåwårnå (Kinds of Flowers)" (by Pura Paku Alaman Palace 6. 4:47 Orchestra/K.R.T. Wasitodipuro) 7. -
“Dark Was the Night, Cold Was the Ground” –Blind Willie Johnson (1927) Added to the National Registry: 2010 Essay by Shane Ford (Guest Post)*
“Dark was the Night, Cold was the Ground” –Blind Willie Johnson (1927) Added to the National Registry: 2010 Essay by Shane Ford (guest post)* Blind Willie Johnson In 1977, NASA launched two Voyager spacecraft. Included on each was a gold-plated copper disk containing sounds and images meant to portray the diversity of life on Earth. Specifically, Carl Sagan and his team included 90 minutes of music to communicate to any potential intellige nt life form in the solar system that we are human, feeling creatures. Of those 27 song selections only four were from the United States, and one, “Dark was the Night, Cold was the Ground,” was a three minutes and 20 seconds masterpiece by a blind, African American from Texas recorded almost 50 years earlier. Willie Johnson was born to Dock Johnson and Mary King on January 25, 1897 in Pendleton, Texas, a small farming community just north of Temple. He was not born blind. Within the first ten years of his life, his mother would die and his stepmother would tragically blind him with lye. With this blinding, Johnson’s path began--away from the grueling labor jobs that would have most certainly been his fate, and onto one of the few roads available to him at the time. He became a Homer like figure, a blind bard traveling through various Texas cities--Temple, Marlin, Navasota, Hempstead, Hearne, and Houston’s Fourth Ward--sometimes with a partner but mostly solo, carrying his beat-up guitar with a tin-cup looped around the neck with wire singing songs, warnings, and ballads crafted from the African American spirituals or woven from events from the newspapers. -
One Sheet 2017
Historic Delta Blues, Country Blues, and Folk Blues — The Felonius Smith Trio brings together the tradition and diverse styles of early, pre-World War II blues. Felonius Smith Trio has delighted audiences for over 10 years at concert series, fairs and festivals — including blues, folk and seasonal festivals — as well as nightclubs, theaters and restaurants, on stages big and small. With wide-ranging appeal from young children to the elderly, our music is loved by fans of all American roots music, like jazz, bluegrass and folk. Felonius Smith also brings his music to libraries and schools, sharing the colorful history of early blues music and its role as the father of American popular music. Drawing his inspiration from the styles of artists like Tampa Red and Fred McDowell, Jeff “Felonius” Smith’s impassioned vocals, smooth National slide and snappy finger picking guitar styles transports one back some 90 years, relaxing on a river bank in southern Mississippi. The unmistakable talent of Steve Sheldon shines as he plays harmonica with the group. His love of the old country blues and American roots musical styles are reflected in his melodic sense and traditional sound. Rounding out the Felonius Smith Trio is Scott Johnson, whose warm yet percussive approach to his upright bass provides the perfect backbeat for the group’s historic Americana blues sound. When he doubles on sousaphone, it invokes the festive vibe of a New Orleans street band! Felonius Smith’s fourth CD release, Before That Rooster Crows, features trio as well as full-acoustic-band arrangements of songs by Rev. -
Packet 12.Pdf
TAPIR Packet 12 Page 1 of 11 Teterboro’s Academic Packets of Intellectual Rigor Packet 12 Written and Edited by Nicholas Zhang Special Thanks to: Kevin Wang, Karan Gurazada, Annie Lin, Brad Fischer, Pedro Juan Orduz, Jamie Faeder, Mazin Omer, Anson Berns, Felix Wang, Aidan Leahy, Jason Lewis, Will Yaeger, Rohit Agarwal, Josh Rollin, Hari Parameswaran, and Danny Kim Tossups 1. A vengeful character created by this writer is believed by his mother to have intentionally infected and killed his baby brother with measles. In that play by this writer, a man lectures his son on the adversity of his upbringing that taught him the “value of a dollar” that made him frugal. That man, the alcoholic James, insists on using the cheap (*) Dr. Hardy and a poor sanatorium to treat his son Edmund’s tuberculosis, while his wife suffers from a morphine addiction. For 10 points, name this playwright who described the conflict within the Tyrone family in Long Day’s Journey into Night. ANSWER: Eugene O ’Neill 2. In the final movement of a G minor violin sonata, this technique is played on the upper string along with a rising sequence of double stops. A dream involving the Devil supposedly inspired that Giuseppe Tartini piece. In Baroque music, this technique is typically used to create dissonance and a suspension that is resolved as this (*) ornament ends. Extended examples of this technique, related to the tremolo and mordent, are denoted with a chevron, which is a wavy line. For 10 points, name this technique in which the player rapidly alternates between two adjacent notes. -
Honors 392, Cosmology, Self and Society: Prof B
Question Authority...Question Reality...Question the Questioner...Question the act of Questioning… The ultimate questions as to the meaning of our actions and as to the meaning of life in general always tend to involve astronomical problems. Hans Reichenbach Honors 392, Cosmology, Self and Society: Prof B. McGrane Adventures in Cosmologies Fall 2018 Roosevelt 216 COSMOLOGY, SELF AND SOCIETY: ADVENTURES IN COSMOLOGIES (with deference to Whitehead’s Adventures of Ideas, 1933) OVERALL COURSE STRUCTURE: The Ancient Greeks, The Renaissance, The Enlightenment, The 20/21st Centuries First, some important philosophical, orienting general statements: "Had we never seen the stars, and the sun, and the heaven, none of the words which we have spoken about the universe would ever have been uttered. But now the sight of day and night, and the months and the revolutions of the years, have created number, and have given us a conception of time, and the power of inquiring about the nature of the universe; and from this source we have derived philosophy, than which no greater good ever was or will be given by the gods to mortal man." (Plato, Timaeus, 360 B.C., my emphasis, in Ferris p19) "Even before the start of history, the sky must have been commonly used as a compass, a clock, and a calendar...We know that the stars were used for similar purposes very early in history." (Weinberg, To Explain the World, 2015, p55) "Why do we need to know whether the sun revolves around the earth or vice versa? What business of ours is it, anyway? Can this knowledge -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7. -
Remixing the Voyager Interstellar Record Or, As Extraterrestrials Might Listen
Journal of Sonic Studies 8 (2014) Sounds of Space: http://www.researchcatalogue.net/view/109536/109537 Remixing the Voyager Interstellar Record Or, As Extraterrestrials Might Listen Stefan Helmreich Contextualizing the Context In 2010, scientists claiming to belong to a dissenting faction of the Search for Extraterrestrial Intelligence (SETI) contacted Seeland Records. Calling themselves the Search for Extraterrestrial Intelligence in Exile, or SETI-X, the group claimed to have received an alien transmission of rearranged sound from the Voyager Golden Record, a phonograph album famously sent into outer space in 1977 on each of NASA’s two Voyager spacecraft (Figure 1). The Golden Record had been put together in the mid-1970s by a panel convened by astronomer Carl Sagan, and it held a program of sounds and music of Earth, representing to imagined aliens our planet’s soundscapes, voices, and musical traditions. [1] Figure 1: The Voyager Golden Record. Side 1, on left, is the analog audio program. Side 2, on right, instructions to extraterrestrials on how to play the record. [2] 1 Because the scientists of SETI-X wished to remain anonymous, Seeland sought a public voice or commentator from other quarters. Because the label had in 2003 released a CD I had created, Xerophonics: Copying Machine Music, a science- and-technology themed mix of sounds of indefinite ownership (Helmreich 2003), and because I had also written about scientific notions of extraterrestrial life (Helmreich 2006), Seeland reasoned that I might be appropriately positioned to offer thoughts on the SETI-X document. They asked me to comment, which I did in a few venues (including, among other sites, the Los Angeles Daily News [Mills 2010]. -
The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura. -
Ann Druyan from Wikipedia, the Free Encyclopedia
Ann Druyan From Wikipedia, the free encyclopedia Ann Druyan (/ˈdri.æn/ DREE-an;[1] born June 13, 1949) is an Emmy Award-winning American writer and Peabody Ann Druyan Award-winning producer specializing in the communication of science. She co-wrote the 1980 PBS documentary series Cosmos, hosted by Carl Sagan, whom she married in 1981. She is the creator, producer, and writer of the 2014 sequel, Cosmos: A Spacetime Odyssey. She was the Creative Director of NASA's Voyager Interstellar Message Project, the golden discs affixed to both the Voyager 1 and Voyager 2 spacecraft.[2] Contents 1 Early life 2 Career as an author 3 Work in science 4 Work in film and television Ann Druyan, executive producer and writer of 5 Activism COSMOS: A SpaceTime Odyssey, accepts the 6 Honors Peabody with Neil deGrasse Tyson, Mitchell 7 Religious and philosophical views Cannold and Brannon Braga. 8 Awards 9 See also Born June 13, 1949 10 References Queens, New York, U.S. 11 External links Known for Author, activist, producer Spouse(s) Carl Sagan (1981–1996; his death) Early life Children Alexandra Rachel "Sasha" Druyan Sagan (1982) Samuel Democritus Druyan Sagan Druyan was born in Queens, New York, the daughter of Pearl A. (née Goldsmith) and Harry Druyan, who co-owned a (1991) knitware firm.[3][4][5] Career as an author Druyan's first novel, A Famous Broken Heart, was published in 1977. Druyan co-wrote six New York Times best-sellers with Carl Sagan, including: Comet,[6] Shadows of Forgotten Ancestors,[7] and The Demon-Haunted World.[8][9] She is co-author, along with Carl Sagan, F. -
Part I INTRODUCTION
Cambridge University Press 978-0-521-51492-7 - Talking about Life: Conversations on Astrobiology Chris Impey Excerpt More information Part I INTRODUCTION © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51492-7 - Talking about Life: Conversations on Astrobiology Chris Impey Excerpt More information 1 Timothy Ferris Timothy Ferris has experienced the best of two worlds. His scientific writing earned him the American Institute of Physics Prize, the American Association for the Ad- vancement of Science writing prize, a Guggenheim Fellowship, and nominations for the National Book Award and the Pulitzer Prize; meanwhile, his interest in music led him to reporting and editing for Rolling Stone magazine. Ferris’ interests in science and music converged when he produced the Voyager record, an interstellar calling card of human civilization, containing photographs, audio files, and music. His eleven books include See- ing in the Dark and Coming of Age in the Milky Way. He is a regular contributor to The New Yorker and The New York Review of Books, and has been published in over fifty periodicals. Ferris wrote and narrated two television specials: The Creation of the Universe and Life Beyond Earth. He has taught five disciplines at four universities, and is currently Professor Emeritus at the University of California, Berkeley. For thrills, Ferris tests high- performance Italian and German sports and grand-touring cars. 3 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51492-7 - Talking about Life: Conversations on Astrobiology Chris Impey Excerpt More information 4 Part I Introduction CI I feel like a dilettante because you are a journalist and I’m playing one.