Ep 2 Culture in Everyday Life Transcript
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The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality. -
Russell-Mills-Credits1
Russell Mills 1) Bob Marley: Dreams of Freedom (Ambient Dub translations of Bob Marley in Dub) by Bill Laswell 1997 Island Records Art and design: Russell Mills (shed) Design assistance, image melts: Michael Webster (storm) Paintings: Russell Mills 2) The Cocteau Twins: BBC Sessions 1999 Bella Union Records Art and design: Russell Mills (shed) Design assistance and image melts: Michael Webster (storm) 3) Gavin Bryars: The Sinking Of The Titanic / Jesus' Blood Never Failed Me Yet 1998 Virgin Records Art and design: Russell Mills Design assistance and image melts: Michael Webster (storm) Paintings and assemblages: Russell Mills 4) Gigi: Illuminated Audio 2003 Palm Pictures Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Photography: Jean Baptiste Mondino 5) Pharoah Sanders and Graham Haynes: With a Heartbeat - full digipak 2003 Gravity Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Paintings and assemblages: Russell Mills 6) Hector Zazou: Songs From The Cold Seas 1995 Sony/Columbia Art and design: Russell Mills and Dave Coppenhall (mc2) Design assistance: Maggi Smith and Michael Webster 7) Hugo Largo: Mettle 1989 Land Records Art and design: Russell Mills Design assistance: Dave Coppenhall Photography: Adam Peacock 8) Lori Carson: The Finest Thing - digipak front and back 2004 Meta Records Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Photography: Lori Carson 9) Toru Takemitsu: Riverrun 1991 Virgin Classics Art & design: Russell Mills Cover -
Strange Vocality in ‘World Music’ and Beyond1
Volume 5 (2011) ISSN 1751-7788 Planet Voice: Strange Vocality in ‘World Music’ and Beyond1 Amy Frishkey University of California, Los Angeles Unfettered by lyrics – at least any you can understand – you luxuriate in sound. Perhaps your thoughts drift with the bright, timeless voices. Maybe, for a moment, you experience the mystery. – Pam Lambert on the choir Le Mystère des Voix Bulgares2 Modern Arab artists are taking traditional melodies, rhythms, instrumentation and singing styles and superimposing them over Western pop styles. The results are irresistible blends that do not require the listener to understand the lyrics or comprehend the subtleties of the singing. This is clearly music for celebration and, of course, dancing. – Zein Al-Jundi and Jacob Edgar on the compilation Arabic Groove3 History bypassed these women long ago; theirs is the life of eternal duties, ancient rhythms and primal emotions. […] And so, when they sing, you feel they are singing truth. They don’t really have another reason to sing – they’ve had no show-biz careers and won’t get them now. So these songs are like field recordings, which are then layered and processed and yet somehow still sound authentic. – Jesse Kornbluth on the CD Umalali: The Garifuna Women’s Project4 Suyá learned other people’s songs, sang them, and in a sense became them. The Suyá might be Upper Xingu Indians at one time, their own ancestors at another, and an American anthropologist or a Brazilian peasant through their song and movements at yet other times. – Anthony Seeger, in Why Suyá Sing5 Introduction The first three quotations presented here describe an attitude toward vocality 1 within the world music marketing category, from its inception in 1987 to the present day, which nearly exhibits the proportions of genre. -
NORDIC COOL 2013 Feb. 19–Mar. 17
NORDIC COOL 2013 DENMARK FINLAND Feb. 19–MAR. 17 ICELAND NorwAY SWEDEN THE KENNEDY CENTER GREENLAND THE FAroE ISLANDS WASHINGTON, D.C. THE ÅLAND ISLANDS Nordic Cool 2013 is presented in cooperation with the Nordic Council of Ministers and Denmark, Finland, Iceland, Norway, and Sweden. Presenting Underwriter HRH Foundation Festival Co-Chairs The Honorable Bonnie McElveen-Hunter, Marilyn Carlson Nelson, and Barbro Osher Major support is provided by the Honorable Bonnie McElveen-Hunter, Mrs. Marilyn Carlson Nelson and Dr. Glen Nelson, the Barbro Osher Pro Suecia Foundation, David M. Rubenstein, and the State Plaza Hotel. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts. NORDIC COOL 2013 Perhaps more so than any other international the Faroe Islands… whether attending a performance festival we’ve created, Nordic Cool 2013 manifests at Sweden’s Royal Dramatic Theatre (where Ingmar the intersection of life and nature, art and culture. Bergman once presided), marveling at the exhibitions in Appreciation of and respect for the natural environment the Nobel Prize Museum, or touring the National Design are reflected throughout the Nordic countries—and Museum in Helsinki (and being excited and surprised at they’re deeply rooted in the arts there, too. seeing objects from my personal collection on exhibit there)… I began to form ideas and a picture of the The impact of the region’s long, dark, and cold winters remarkable cultural wealth these countries all possess. (sometimes brightened by the amazing light of the , photo by Sören Vilks Sören , photo by aurora borealis). -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: April 28, 2006 I, Kristín Jónína Taylor, hereby submit this work as part of the requirements for the degree of: Doctorate of Musical Arts in: Piano Performance It is entitled: Northern Lights: Indigenous Icelandic Aspects of Jón Nordal´s Piano Concerto This work and its defense approved by: Chair: Dr. Steven J. Cahn Professor Frank Weinstock Professor Eugene Pridonoff Northern Lights: Indigenous Icelandic Aspects of Jón Nordal’s Piano Concerto A DMA Thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College–Conservatory of Music 28 December 2005 by Kristín Jónína Taylor 139 Indian Avenue Forest City, IA 50436 (641) 585-1017 [email protected] B.M., University of Missouri, Kansas City, 1997 M.M., University of Missouri, Kansas City, 1999 Committee Chair: ____________________________ Steven J. Cahn, Ph.D. Abstract This study investigates the influences, both domestic and foreign, on the composition of Jón Nordal´s Piano Concerto of 1956. The research question in this study is, “Are there elements that are identifiable from traditional Icelandic music in Nordal´s work?” By using set theory analysis, and by viewing the work from an extramusical vantage point, the research demonstrated a strong tendency towards an Icelandic voice. In addition, an argument for a symbiotic relationship between the domestic and foreign elements is demonstrable. i ii My appreciation to Dr. Steven J. Cahn at the University of Cincinnati College- Conservatory of Music for his kindness and patience in reading my thesis, and for his helpful comments and criticism. -
Writing Lilja: a Glance at Icelandic Music and Spirit J
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Lehigh University: Lehigh Preserve Lehigh University Lehigh Preserve Post-crash Iceland: opportunity, risk and reform Perspectives on Business and Economics 1-1-2011 Writing Lilja: A Glance at Icelandic Music and Spirit J. Casey Rule Lehigh University Follow this and additional works at: http://preserve.lehigh.edu/perspectives-v29 Recommended Citation Rule, J. Casey, "Writing Lilja: A Glance at Icelandic Music and Spirit" (2011). Post-crash Iceland: opportunity, risk and reform. Paper 13. http://preserve.lehigh.edu/perspectives-v29/13 This Article is brought to you for free and open access by the Perspectives on Business and Economics at Lehigh Preserve. It has been accepted for inclusion in Post-crash Iceland: opportunity, risk and reform by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. WRITING LILJA: A GLANCE AT ICELANDIC MUSIC AND SPIRIT J. Casey Rule My cOntributiOn tO this jOurnal is rather aesthetic that is in nO way singularly Or sim - Out Of the Ordinary: instead Of writing a tradi - ply defined. MOre impOrtantly, the prOduct tiOnal article, I was asked tO cOmpOse a piece wOuld be inescapably inauthentic. Taking this Of music. As an aspiring cOmpOser, this was an apprOach wOuld be like standing in a fOrest OppOrtunity I cOuld nOt turn dOwn; hOwever, and explaining tO sOmeOne what a tree is by it presented sOme immediate challenges. PrOb - drawing a picture Of it. Naturally, the pieces that ably the mOst impOrtant and certainly the mOst are mOst infOrmative Of Icelandic music are vexing Of these was deciding hOw I cOuld actual pieces Of Icelandic music. -
Society for Ethnomusicology 60Th Annual Meeting, 2015 Abstracts
Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts Walking, Parading, and Footworking Through the City: Urban collectively entrained and individually varied. Understanding their footwork Processional Music Practices and Embodied Histories as both an enactment of sedimented histories and a creative process of Marié Abe, Boston University, Chair, – Panel Abstract reconfiguring the spatial dynamics of urban streets, I suggest that a sense of enticement emerges from the oscillation between these different temporalities, In Michel de Certeau’s now-famous essay, “Walking the City,” he celebrates particularly within the entanglement of western imperialism and the bodily knowing of the urban environment as a resistant practice: a relational, development of Japanese capitalist modernity that informed the formation of kinesthetic, and ephemeral “anti-museum.” And yet, the potential for one’s chindon-ya. walking to disrupt the social order depends on the walker’s racial, ethnic, gendered, national and/or classed subjectivities. Following de Certeau’s In a State of Belief: Postsecular Modernity and Korean Church provocations, this panel investigates three distinct urban, processional music Performance in Kazakhstan traditions in which walking shapes participants’ relationships to the past, the Margarethe Adams, Stony Brook University city, and/or to each other. For chindon-ya troupes in Osaka - who perform a kind of musical advertisement - discordant walking holds a key to their "The postsecular may be less a new phase of cultural development than it is a performance of enticement, as an intersection of their vested interests in working through of the problems and contradictions in the secularization producing distinct sociality, aesthetics, and history. For the Shanghai process itself" (Dunn 2010:92). -
263 SELECTED BIBLIOGRAPHY Monographs
SELECTED BIBLIOGRAPHY Monographs: Adorno, Theodor. The Culture Industry. New York: Routledge, 2001. Ahokas, Jaakko. A History of Finnish Literature. Indianapolis: Indiana University Publications, 1973. Ake, David. Jazz Cultures. California: University Of California Press, 2002. Albertsson, Ólafur Vignir. Einsöngslög IV. Reykjavik: Ísalög, 1997. Almén, Byron. A Theory of Musical Narrative. Bloomington and Indianapolis: Indiana University Press, 2008. Anderson, Benedict. Imagined Communities. New York, Verso, 1983. Andersson, Greger et al. eds. Musiken i Norden. Stockholm: Kungliga Musikaliska Akademien, 1998. Apollonio, Umbro, ed. Futurist Manifestos New York: Viking Press, 1973. Atkins, E. Taylor. ed. Jazz Planet. Mississippi: University of Mississippi Press, 2003. Attali, Jacques. Noise: The Political Economy Of Music. Minneapolis: University of Minnesota Press, 1985. Austerlitz, Paul. Jazz Consciousness: Music, Race, and Humanity. Connecticut, Wesleyan University Press, 2005. Baraka, Amiri. Jazz and the White Critic. Black Music. New York: Morrow, 1960. Barthes, Roland. Image, Music, Text. London: Fontana Press, 1977. Beard, David and Kenneth Gloag. Musicology: The Key Concepts. New York: Routledge, 2005. Benjamin, Walter. Illuminations: Essays and Reflections. New York, Schocken Books, 1968. Berendt, Joachim‐Ernst and Günther Huesmann, The Jazz Book: From Ragtime to the 21st Century. Chicago: Lawrence Hill Books, 2009. Bergendal, G. (1991). New Music In Iceland. Reykjavik, Iceland Music Information Centre. Berger, Harris M. and Giovanna P. Del Negro. Identity and Everyday Life: Essays in 263 the Study of Folklore, Music, and Popular Culture. United States: Wesleyan University Press, 2004. Bergh, Johs and Jan Evensmo. Jazz Tenor Saxophone in Norway 19171959. Oslo: Norsk Jazzarkiv, 1996. Berliner, Paul. Thinking In Jazz: The Infinite Art of Improvisation. Chicago, University of Chicago, 1994. -
Icelandic Austrian Music
KRUMMI Icelandic Austrian Music The Austrian-based quintet performs groovy and gentle as well as striking versions of Icelandic folk music. These five musicians take our desires to a place where all wishes come true, even if just for a while: to nowhere, to no man’s land, to Iceland where sounds paint a perfect world in the most magnificent colours. Along with the accordionist Roman Pechmann, the Icelandic singer Ellen Freydis Martin inspires our imagination. The percussionist Nora Schnabl-Andritsch enchants the audience not only with her voice but also with her vivid, original and at the same time sensitive playing. The soulful performance of the violist Peter Andritsch paints out the myths and the magical colours of Iceland. The melodies make the distant land seem so very close and form a bridge to the images in our head, to our imagination. Isabelle Eberhard’s sensual, groovy and multifarious play on the violoncello brings a new interpretation to Icelandic music. The songs which originated from countless stories from a different cultural environment were inspired by our human longings. This is fitting for the seasons of self- reflection, autumn and winter. These captivating songs carry us with their fire into nowhere, to Iceland. The CD published in September 2016 was masterly played and arranged. It reflects the spontaneity and the exten- sive stylistic variety the band has to offer. Both boldly traditional as well as deeply anchored in the field of improvi- sation and world music, this music is versatile, surprising and virtuous. Krummi og hinir Alpafuglarnir! Contact Ellen Freydís Martin Ellen Freydis Martin/ Vocals: ‚Söngur‘ Nora Schnabl-Andritsch/ Percussion/ Vocals: ‚Trommur‘ +43 (676) 87 72 71 72 - [email protected] Roman Pechmann/ Akkordeon: ‚Harmónikka‘ Peter Andritsch („Krummi records“). -
Folk Music 1 Folk Music
Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined -
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Seeing Sound, Hearing Pictures Seeing Through Sound, Jon Hassell (Ndeya Records) Jon Hassell is currently the recipient of an online fundraising campaign to pay his medical bills, a sorry state of affairs for a musician of his influence and accomplishment. Starting as an experimental composer in the company of Terry Riley, La Monte Young and Stockhausen, Hassell later moved into making 'fourth world music' on the back of hearing Miles Davis and studying Indian ragas with Pandit Pran Nath. Fourth world music envisaged a mix of world musics, aiming for rich musical diversity and inclusive cultural hybridity rather than any sterility, appropriation or commodification. Hassell's first album, Vernal Equinox, found him playing his treated trumpet over tapes of the ocean, and working with numerous musicians in an innovative musical fusion. Later he would work with or contribute to albums by Eno, David Sylvian, Talking Heads, Techno Animal, Peter Gabriel, Hector Zazou, Tears for Fears and many others, as well as continuing to release his own music, which he would later discuss in terms of 'bluescreen'. This would liken sampling and digital composition to greenscreen techniques in film-making. Hassell has had a strong musical presence in the 21st century, with very different CD releases on ECM (Last night the moon came dropping its clothes in the street) and Label Bleu (Maarifa Street), as well as occasional live events and the official release of a much bootlegged New York concert from 1989, packaged with a reissue of his album City and various remixes/versions of tracks by Hassell, who has never been afraid to layer, adapt and play over and play with his own music. -
Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in These Traditional Genres By
Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in these Traditional Genres by David López, BA, MM A Project In TUBA PERFORMANCE Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Tuba) Approved Kevin Wass Chair of Committee James Decker Andrew Stetson Mark Sheridan Dean of the Graduate School May, 2016 Texas Tech University, David López, May 2016 Copyright 2016, David López Texas Tech University, David López, May 2016 ACKNOWLEDGMENTS I want to thank my parents Heriberto López and Carmen González for their unconditional support, and my siblings Cristian López, Mariana López, and Sara López for all their love and kind words during my DMA. Thanks to my first music teacher Juan Felipe Arias Villa who not only taught me fundamentals in music but also to have big dreams and to always do my best. Special thanks to my tuba mentors Professor Donald Little and Dr. Kevin Wass for believing in me and instructing me not only musically but also as a person and as a professional. You are my inspiration to get better every day. Thanks to Professor Alan Shinn, Dr. Andrew Stetson, and Professor James Decker for being part of my committee. Your input has been very valuable for me. Thanks to Santiago Baena, my good friend and colleague who has always has always cheered me up in this process and with whom I have made beautiful music. Thanks to Colombian historian William Fortich who kindly provided me with his research about porro, to composers Carlos Andres Restrepo for composing “Quartet for Clarinet, Tuba, Vibraphone, and Drum Set” for me and my colleague Santiago Baena, and Alfredo Mejia Vallejo for arranging his piece “San Juan de la Vega” for tuba and clarinet.