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For Immediate Release August 2017 Lucinda Williams
FOR IMMEDIATE RELEASE AUGUST 2017 LUCINDA WILLIAMS REIMAGINES HER 1992 CLASSIC SWEET OLD WORLD WITH 25TH ANNIVERSARY NEW RE-RECORDING OF ALBUM TITLED THIS SWEET OLD WORLD OUT SEPTEMBER 29th REINTERPRETATION OF CLASSIC ALBUM INCLUDES FRESH ARRANGEMENTS, ADDITIONAL LYRICS AND BONUS TRACKS Nashville, TN — On September 29th, three-time Grammy Award winner Lucinda Williams will release This Sweet Old World (Highway 20/ThirtyTigers), a re-recording of her beloved 1992 album Sweet Old World to celebrate the 25th anniversary of its release. See the exclusive announcement, interview and premiere of “Six Blocks Away” at Rolling Stone Country. Produced by Williams and Tom Overby, This Sweet Old World features fresh updated interpretations of songs such as “Prove My Love”, “Sidewalks of the City”, “Memphis Pearl” and “Lines Around Your Eyes”. With her deeply soulful voice and wisdom gained over the last 25 years, Williams breathes new life into classics “Pineola”, “Sweet Old World”, “Something About What Happens When We Talk”, “Little Angel, Little Brother” and Nick Drake’s “Which Will”. The third track on the 1992’s Sweet Old World, “He Never Got Enough Love” is transformed with additional verses, new sound and new title, “Drivin’ Down A Dead End Street”, which was the song’s original title. Williams changed it upon the realization that Bob Dylan had a current album with a similar name. The arrangements on This Sweet Old World are tighter and rawer than the original and feature Williams’ fantastic touring/studio band: guitarist Stuart Mathis, bassist David Sutton, and drummer Butch Norton. Guitarist Greg Leisz, who actually participated in the early sessions for the 1992 album, adds his masterful playing to the new recordings. -
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Mary Lattimore & Jeff Zeigler
Mary Lattimore & Jeff Zeigler Music Inspired by Philippe Garrel’s Le Révélateur Thrill - 420 LP List $18.99 BOX LOT LP 25 *9037H-AECABg Vinyl is non-returnable GENRE : EXPERIMENTAL/SOUNDTRACK FILE UNDER: “L” Lattimore, Mary “Z” Zeigler, Jeff RELEASE DATE : July 22, 2016 Harpist Mary Lattimore and guitar/synthesizer player Jeff Zeigler NO EXPORT (JAPAN, S. AMERICA EXPORT OK) premiered their score for the 1968 French film Le Révélateur at the TRACK LISTING: 6. A Road renowned Ballroom Marfa’s annual silent film program in 2013. Although 1. The Glimmering Light 7. Hidden in a Cabinet created as an intentionally silent work, director Philippe Garrel endorsed 2. A Tunnel 8. Running Chased showing the film with every subsequent performance of the score. 3. A Forest 9. Stanislas 4. Laurent and Bernadette 10. The Revealer, Alone Lattimore and Zeigler’s score powerfully conveys isolation, despair and 5. Family Portrait 11. The Sparkling Sea awakening, amplifying sentiments portrayed in the film. Le révélateur, meaning the processor of images, in the film is the small boy who is given SALES POINTS voice through the rhythmic and inventive harp performance and through Lattimore and Zeigler present their score to French director emotive melodica lines, eerie synth and guitar. Together, the duo creates Philippe Garrel’s 1968 silent film Le Révélateur a soundscape that perfectly matches the film’s progression as it follows the boy’s journey from a family’s dysfunctional home life into a godless The duo of Mary Lattimore (harp) and Jeff Zeigler (guitar, post-apocalyptic landscape. Lattimore and Zeigler’s music becomes tense synthesizer, production) blend ancient classical traditions and rigid during scenes of desolation, switching only briefly to a soaring with modern improvisation and electronic performance major key during a moment of hope. -
Aztec Camera: Discography Albums Articles Audio B-Sides Discography Guestbook Tabs Images Info Links Search Home
Aztec Camera: Discography albums articles audio b-sides discography guestbook tabs images info links search home Discography & Videography Thanks to Phillip Gauthier, Roger Boge and the Aztec Camera Information Service. Just Like Gold January 1981 Just Like Gold ( Lyrics | Audio ) Postcard Catalog # 81-3 U.K. 7 inch We Could Send Letters ( Lyrics ) Mattress of Wire May 1981 ( Sleeve ) Postcard Catalog # 81-8 ( Lyrics | Audio ) U.K. 7 inch Mattress of Wire Lost Outside the Tunnel ( Lyrics ) Pillar to Post September 1982 ( Sleeve ) Rough Trade # RT 112 ( Lyrics ) U.K. 7 inch Pillar to Post Queens Tattoos ( Lyrics ) http://www.aoinfo.com/aztec/html/disc.htm (1 of 14) [1/29/2000 5:34:54 PM] Aztec Camera: Discography Rough Trade # RT 112P [ picture disc ] U.K. 7 inch Oblivious January 1983 Oblivious ( Lyrics ) Rough Trade # RT 122 U.K. 7 inch Orchid Girl ( Lyrics ) Rough Trade # RT 122T Oblivious (remix) Sire # 020219 Orchid Girl U.K. 12 inch Haywire ( Lyrics ) Walk Out to Winter April 1983 Walk Out to Winter ( Lyrics ) Rough Trade # RT 132 U.K. 7 inch Set the Killing Free ( Lyrics ) Rough Trade # RT 132T Walk Out to Winter (extended remix) U.K. 12 inch Set the Killing Free High Land, Hard Rain April 1983 U.K. LP Rough Trade # 47 See ( Info ) for track listings, lyrics, performers, etc. ( Info ) U.S. LP Sire U.K. CD Rough Trade CD adds the following tracks: U.S. CD Sire Haywire, Orchid Girl and Queens Tattoos Oblivious (second release) October 1983 Oblivious (remix) WEA # AZTEC 1 U.K. -
Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Tenure Divides UR Faculty
TUESDAY, FEBRUARY 25, 2020 / VOLUME 147, ISSUE 2 Campus Times SERVING THE UNIVERSITY OF ROCHESTER COMMUNITY SINCE 1873 / campustimes.org Tenure Divides UR Faculty By AN NGUYEN biology could work in could stop my contract,” that there won’t be back- But even the possibility PUBLISHER business, in a biotech a non-tenured professor lash from administra- of security is not open to company for example, from the social sciences tion, departments, and all faculty. While many students rather than here. And told the Campus Times. colleagues. At UR, faculty can be view UR as an academ- you would make more That social sciences According to the social divided into two tracks: ic pressure-cooker, the money working in the professor and other non- sciences professor, the one for professors who pressure extends to fac- private sector. But the tenured faculty will be repercussions “can be as do research and teach, ulty as well. and one for professors But when students look who focus on teaching. to grad school admis- Only the researchers can sions, many professors get tenure. have their eyes on ten- The social sciences pro- ure: the ultimate promise fessor, who is on the non- of security and prestige tenured instructional that is a make-or-break track, views their job as moment for their careers. taking care of students in Tenure guarantees a a “holistic” way — know- faculty member perma- ing, helping, and caring nent UR employment about them. to pursue their scholar- The wall next to their ship, which can mean desk is covered with let- research, publications, ters and thank-you cards or artwork. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Tori Amos Live
TORI AMOS LIVE Musik-Ikone am 2. März 2022 in der Laeiszhalle in Hamburg! Tori Amos, eine der erfolgreichsten und einflussreichsten Künstlerinnen ihrer Generation, hat mehr als 12 Millionen Alben verkauft, über 1.000 Konzerte gegeben und zahlreiche Auszeichnungen erhalten. Seit ihrem Debüt ›Little Earthquakes‹ 1992 sandte sie mit ihren musikalischen Offenbarungen oftmals Schockwellen aus. Im Verlauf ihrer erstaunlichen Karriere entwickelte sich die weltweit anerkannte Sängerin und Songschreiberin zu einer wahren Kultfigur der internationalen Musikszene. Dabei erfährt sie immer wieder Zuspruch für ihre beispiellosen Botschaften und ambivalenten Bekenntnisse, die verwirren, verwundern und verzaubern – und das u.a. auch als Autorin eines New York Times-Bestseller (›Resistance‹). In der Musikszene greift Amos auch gerne mal zu schärferen Tönen – und prägt damit eine ganze Industrie. Von ihrer bedrückenden Schilderung sexueller Gewalt in ›Me and a Gun‹ über ihr post 9/11-Album ›Scarlet’s Walk‹ bis hin zu ihrem feministischem Musical ›The Light Princess‹ (2013) hat sie sich nie davor gescheut, persönliche Erfahrungen mit politischen Ansichten zu verbinden. Ihr 15. und jüngstes Studioalbum ›Native Invader‹ aus dem Jahre 2017 entstand mit der Absicht zu beweisen, dass »wir das destruktive um uns herum mit kreativer Kraft überwinden können.« Und diese Botschaft war auch 2020 die Grundlage ihres zweiten New York Times-Bestsellers ›Resistance‹, eine Geschichte der Hoffnung, des Wechsels und des Muts als Gegenpol zum derzeitigen Trauma. Tickets: 040 413 22 60 // kj.de // [email protected] WEBSITE www.toriamos.com FACEBOOK www.facebook.com/toriamos INSTAGRAM www.instagram.com/toriamos YOUTUBE www.youtube.com/channel/UCQQ5UXpimsgkX2g8kxI6agA Karsten Jahnke Konzertdirektion GmbH | kj.de Telefon: (0 40) 41 47 88-0 | Fax: (0 40) 41 47 88-11 | [email protected] . -
Marius Tilly Presskit
MARIUS TILLY PRESSKIT Marius Tilly Gestatten, Grenzgänger: Marius Tillys Gegenwart Marius Tilly gilt heute als musikalischer Weltenwandler, der vom Ruhrgebiet aus seinen eigenen Crossover-Atlas aus Landkarten des Blues, Punk, Soul und Psychedelic Rock gezeichnet hat. Er ist damit auf der Suche nach immer neuen Reiserouten, die zu spannend sind, um zwingend irgendwo enden zu müssen. Die Reise führt auf Tillys viertem Album Words From The Wilderness zu wagemutigen Arrangements, bislang ungehörten Sounds und neuen persönlichen Einsichten in die Welt. Für seine mitunter steilen musikalischen Thesen muss Tilly die Bodenständigkeit seiner Ruhrpott-Heimat Bochum nicht verlassen. Dort entsteht in weniger als acht Wochen das Grundgerüst der zwölf Songs auf Words From The Wilderness. Das Album wirkt mutiger, tiefgründiger und auch eine Spur ernster als sein Vorgänger Nebula Rising – eher wie ein Glas Whiskey On The Rocks als ein frisch gezapftes Pils. Tilly: „Der Eindruck mag auch damit zusammenhängen, dass ich vor einiger Zeit Nick Cave und seine unorthodoxe Art, Musik zu machen für mich entdeckt habe. Auf dem neuen Album haben oft die Texte den Ausgangspunkt gebildet. Words From The Wilderness ist auch die erste Platte, auf der ich etwas gesellschaftskritischer werde.“ Bye Bye, Bluesschema: Marius Tillys Vergangenheit Aus den Wurzeln des Blues ist über Jahrzehnte ein derart großer Genre-Baum geworden, dass sich seine Blätter und Früchte nicht mehr zwingend ähneln müssen. In Skandinavien lassen Blues Pills, Troubled Horse oder Horisont die Essenz des Blues-beeinflussten Hardrock zum x-ten Mal aufleben. In der US-Heimat des Blues wachsen dank Jack White, Rival Sons oder Black Stone Cherry neue starke Äste aus dem großen Erbe. -
Youandmeagainsttheworld.Pdf (9.000Mb)
FORORD Denne oppgaven har sitt utspring i kjærlighet til en musikkgenre, og etter hvert kjærlighet til miljøet rundt akkurat denne genren. Det var sånn den ble til. En stor takk til alle i miljøet som har kommet med talløse oppmuntringer underveis i prosessen med oppgaven, og som har bidratt med informasjon og synspunkter, stort og smått. Og for at miljøet finnes, selv om det var ukjent for meg veldig lenge og jeg trodde jeg var omtrent den eneste i verden som likte denne type musikk. Uten at tre travle popstjerner hadde stilt velvillig opp, hadde oppgaven manglet et viktig aspekt og svært viktig innsikt fra musikkverdenen som ikke menigmann uten videre kan ta del i. Tusen takk til dem for at de tok seg tid til å prate med meg og for at de trodde på prosjektet mitt. Gjennom sin musikk og sine bidrag til oppgaven har de vært en viktig kilde til både inspirasjon og motivasjon. 2 KAPITTELOVERSIKT 1. Innledning med problemstilling side 4 2. Metode side 7 3. Musikkindustrien – og media side 11 3.1 Musikk på radio side 15 3.2 Musikk på tv side 16 4. Symbolsk kapital i forskjellige kulturelle felt side 17 4.1 Bourdieu – ulike former for kapital side 18 4.2 Sosiale og kulturelle felt side 19 4.3 Symbolsk makt side 21 4.4 Subkulturell kapital side 22 5. En kort historie om synth side 26 6. Subkultur – i et teoretisk perspektiv side 29 6.1 Synth som subkultur side 32 7. Bandpresentasjoner side 45 7.1 Apoptygma Berzerk – In This Together side 45 7.2 Combichrist – This Shit Will Fcuk You Up side 58 7.3 Gothminister – Happiness in Darkness side 68 8.