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The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
MU 116 Rock and Roll an Into Syllabus
Bellevue Community College Department of Music Rock and Roll an introduction MU 116 5 credits M-F room N 204 9:30 to 10:20 Mr. Mark H. Wilson office hours by appointment office E222 contact [email protected] or myspace.com/mhilliardwilson Required textbook Campbell, Michael. Brody, James. Rock and Roll an introduction, 2nd edition, Thomson Schirmer 2008 ISBN-13: 978-0-534-64295-2 Required Materials You will need a three ring binder to store printed web study guides and note paper for note taking in class. Course Objectives At the end of the quarter you should be able to: 1. Describe what created the conditions for the arrival of Rock and Roll 2. Aurally identify over a dozen of the various styles of music that made history over the last 50 years. 3. Describe the qualities that make the various styles of music distinct. 4. Identify the three basic elements that make up music Requirements of the Course 1. Reading assignments, 2. Bi-weekly quizzes (5) 3. One class presentation Week 1 March 31st to April 4th Mon. 31st Part 1 Chapter 1 It's only Rock and Roll pages 2 to 17 Tues. 1st Part 2 Chapter 2 Before Rock: Roots and antecedents, evolution and revolution pages 19 to 28 Wed. 2nd pages 28 to 38 Thurs. 3rd Chapter 3 A Revolutionary perspective pages 40 to 58 Fri. 4th pages 58 to 62 Week 2 April 7th to April 11th Mon. 7th Part 3 Becoming Rock: The Rock Era 1951 to 1964 Chapter 4 Rhythm and Blues pages 67 to 80 Tues.8th pages 81 to 98 Wed. -
Rap in the Context of African-American Cultural Memory Levern G
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to -
Issue 171.Pmd
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 171 October Oxford’s Music Magazine 2009 tristantristantristantristan &&& thethethe troubadourstroubadourstroubadourstroubadourstroubadours Oxford’s own Magnificent Seven ride out - Interview inside plus News, reviews and seven pages of local gigs photo: Marc West photo: Marc NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshift.oxfordmusic.net THIS MONTH’S OX4 FESTIVAL will feature a special Music Unconvention alongside its other attractions. The mini-convention, featuring a panel of local music people, will discuss, amongst other musical topics, the idea of keeping things local. OX4 takes place on Saturday 10th October at venues the length of Cowley Road, including the 02 Academy, the Bullingdon, East Oxford Community Centre, Baby Simple, Trees Lounge, Café Tarifa, Café Milano, the Brickworks and the Restore Garden Café. The all-day event has SWERVEDRIVER play their first Oxford gig in over a decade next been organised by Truck and local gig promoters You! Me! Dancing! Bands month. The one-time Oxford favourites, who relocated to London in the th already confirmed include hotly-tipped electro-pop outfit The Big Pink, early-90s, play at the O2 Academy on Thursday 26 November. The improvisational hardcore collective Action Beat and experimental hip hop band, who signed to Creation Records shortly after Ride in 1990, split in outfit Dälek, plus a host of local acts. Catweazle Club and the Oxford Folk 1999 but reformed in 2008, still fronted by Adam Franklin and Jimmy Festival will also be hosting acoustic music sessions. -
Queens Park Music Club
Alan Currall BBobob CareyCarey Grieve Grieve Brian Beadie Brian Beadie Clemens Wilhelm CDavidleme Hoylens Wilhelm DDavidavid MichaelHoyle Clarke DGavinavid MaitlandMichael Clarke GDouglasavin M aMorlanditland DEilidhoug lShortas Morland Queens Park Music Club EGayleilidh MiekleShort GHrafnhildurHalldayle Miekle órsdóttir Volume 1 : Kling Klang Jack Wrigley ó ó April 2014 HrafnhildurHalld rsd ttir JJanieack WNicollrigley Jon Burgerman Janie Nicoll Martin Herbert JMauriceon Burg Dohertyerman MMelissaartin H Canbazerbert MMichelleaurice Hannah Doherty MNeileli Clementsssa Canbaz MPennyichel Arcadele Hannah NRobeil ChurmClements PRoben nKennedyy Arcade RobRose Chu Ruanerm RoseStewart Ruane Home RobTom MasonKennedy Vernon and Burns Tom Mason Victoria Morton Stuart Home Vernon and Burns Victoria Morton Martin Herbert The Mic and Me I started publishing criticism in 1996, but I only When you are, as Walter Becker once learned how to write in a way that felt and still sang, on the balls of your ass, you need something feels like my writing in about 2002. There were to lift you and hip hop, for me, was it, even very a lot of contributing factors to this—having been mainstream rap: the vaulting self-confidence, unexpectedly bounced out of a dotcom job that had seesawing beat and herculean handclaps of previously meant I didn’t have to rely on freelancing Eminem’s armour-plated Til I Collapse, for example. for income, leaving London for a slower pace of A song like that says I am going to destroy life on the coast, and reading nonfiction writers everybody else. That’s the braggadocio that hip who taught me about voice and how to arrange hop has always thrived on, but it is laughable for a facts—but one of the main triggers, weirdly enough, critic to want to feel like that: that’s not, officially, was hip hop. -
Classification As Culture: Types and Trajectories of Music Genres Author(S): Jennifer C
Classification as Culture: Types and Trajectories of Music Genres Author(s): Jennifer C. Lena and Richard A. Peterson Source: American Sociological Review, Vol. 73, No. 5 (Oct., 2008), pp. 697-718 Published by: American Sociological Association Stable URL: http://www.jstor.org/stable/25472554 . Accessed: 29/08/2011 18:38 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. American Sociological Association is collaborating with JSTOR to digitize, preserve and extend access to American Sociological Review. http://www.jstor.org Classification as Culture: Types and Trajectories ofMusic Genres JenniferC. Lena Richard A. Peterson VanderbiltUniversity Vanderbilt University Questions of symbolic classification have been central to sociology since its earliest days, given the relevance of distinctionsfor both affiliationand conflict.Music and its a genres are no exception, organizing people and songs within system of symbolic classification.Numerous studies chronicle thehistory of specific genres ofmusic, but none document recurrent processes of development and change across musics. In this article, we analyze 60 musics in theUnited States, delineating between 12 social, organizational, and symbolic attributes. We find four distinct genre types?Avant-garde, Scene-based, Industry-based, and Traditionalist. We also find that these genre types an combine toform three distinct trajectories. -
The Golden Roach: Del Trap Al Rap Por Vía De Instagram
FACULTAD DE CIENCIAS SOCIALES, JURÍDICAS Y DE LA COMUNICACIÓN Grado Publicidad y Relaciones Públicas TRABAJO DE FIN DE GRADO The Golden Roach: del trap al rap por vía de Instagram Presentado por Diego Saludes Murciego Tutelado por Manuel Ángel Canga Sosa Segovia, 22 de junio de 2021 ÍNDICE INTRODUCCIÓN…………………………………………………………………[p.4] MARCO TEÓRICO La industria cultural de masas y el movimiento urbano 1. La industria contracultural de masas ………………………………………....[p.6] 1.1. Cultura de masas y contracultura ...................................................... ...[p. 6] 1.2. La industria cultural y la homogeneización del arte ……….………….. [p. 9] 1.3. El dilema de la industria contracultural ..………………………...…….. [p. 11] 2. The realness: origen y superación del conflicto en EEUU……………….[p. 13] 2.1 El primer contacto del rap con el mainstream (1975-1980) ............... .[p. 13] 2.2 Creación de la industria musical del rap (1980 – 1995) .................... .[p. 16] 2.3 Desde la cultura underground hasta el surgimiento de los rapstars (1995 – Actualidad) ................................................................................................ .[p. 24] 3. El reflejo del movimiento en España ................................................... [p. 33] 3.1. El problema de la llegada del rap a España (1980 – 1995) ............. [p. 33] 3.2. La industria del rap en España (1995-2010) .................................... [p. 36] 3.3. La nueva generación y el cambio de paradigma (2010 – 2020).. ... [p. 40] PROYECTO PERSONAL CREATIVO LaChustaDeOro & Release -
We All Wanna Die, Too”: Emo Rap and Collective Despair in Adolescent America
“WE ALL WANNA DIE, TOO”: EMO RAP AND COLLECTIVE DESPAIR IN ADOLESCENT AMERICA A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for University Honors by Nina Palattella May 2020 Thesis written by Nina Palattella Approved by ________________________________________________________________, Advisor ______________________________________________, Chair, Department of English Accepted by ___________________________________________________, Dean, Honors College ii iii TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………....v ACKNOWLEDGMENTS……………………………………………………….………vi CHAPTER I. INTRODUCTION…………………………………………………….…1 II. “I WANT EVERYONE TO KNOW THAT I DON’T CARE”: CASE STUDY OF LIL PEEP……………………………………….….16 III. “BETTER OFF DYING”: DOES EMO RAP ASSUAGE OR AMPLIFY MENTAL HEALTH PROBLEMS?…………………………………… 26 IV. “XANS DON’T MAKE YOU”: EMO RAP’S GLORIFICATION OF, AND RECKONING WITH, DRUG ABUSE……………………………43 V. “WE ALL WANNA DIE, TOO”: HOW IS EMO RAP BRANDED, AND WHAT KIND OF LEGACY ARE ITS STARS LEAVING? ...………….60 VI. “WHEN I DIE YOU’LL LOVE ME”: WHAT DOES EMO RAP MEAN, AND WHAT DIRECTIONS MIGHT IT TAKE IN THE FUTURE? ….80 WORKS CITED …………………………………………………………………………89 iv LIST OF FIGURES Fig. 1. Lil Peep (Gustav Åhr) …………………………………………………17 Fig. 2. Still from “Awful Things” Music Video ………………………………21 Fig. 3. XXXTentacion (Jahseh Onfroy) ……………………………………….29 Fig. 4. Lil Xan (Diego Leanos) ……...………………………………………...36 Fig. 5. nothing,nowhere. (Joe Mulherin) ……………………………………...50 Fig. 6. Still from “Lean Wit Me” Music Video ……………………………….52 Fig. 7. Lil Uzi Vert (Symere Woods) ………………………………………….76 v ACKNOWLEDGMENTS I would like to offer my sincere thanks to everyone who made this thesis possible and who supported me as I completed it. I am especially grateful to Dr. Ryan Hediger for advising this project and encouraging me throughout the long process. -
Punk Section
A “nihilistic dreamboat to negation”? The cultural study of death metal and the limits of political criticism Michelle Phillipov Thesis submitted for the degree of Doctor of Philosophy Discipline of English University of Adelaide October 2008 CONTENTS Contents ................................................................................................................... II Abstract.................................................................................................................... IV Declaration ........................................................................................................ VI Acknowledgements ............................................................................. VII Introduction ...................................................................................................... 1 From heavy to extreme metal ............................................................................................. 9 The politics of cultural studies .......................................................................................... 20 Towards an understanding of musical pleasure ............................................................. 34 Chapter 1 Popular music studies and the search for the “new punk”: punk, hip hop and dance music ........................................................................ 38 Punk studies and the persistence of politics ................................................................... 39 The “new punk”: rap and hip hop .................................................................................. -
Novedades: 09 - Octubre - 2018
CLICK AQUÍ PARA VISITAR EL INDICE CON TODOS LOS LISTADOS DISPONIBLES NOVEDADES: 09 - OCTUBRE - 2018 BUNKER UNIT MOEBIUS - BUNKER # 5: 14.60 € TEKNORGANIK / UNIT M / NEUTRAL MIX / STOLZ / INSECTOID B005 12" TECHNO / ACID REPRESS NLD A1 A2 B1 Re-issue of episode 5 in the legendary first few Bunkers by Unit Moebius B2 B3 BUNKER UNIT MOEBIUS - BUNKER # 6: 14.60 € ECOLOGY / MONITOR / SOLID STATE / NECROID / SUBJECT B006 12" TECHNO / ACID REPRESS NLD A1 A2 B1 Repress of the sixth instalment of the legendary Unit Moebius series B2 B3 UNIT MOEBIUS - BUNKER # 7: BUNKER 14.60 € SYNDROME / LET'S GO / MODE 3 / ELEVATOR / OVERLOAD / MODE 1 / ULTRALIFE B007 12" TECHNO / ACID REPRESS NLD A1 A2 A3 B1 Re-issue of the final installment of Bunker's inaugural series by Unit Moebius B2 B3 B4 VARIOUS ARTISTS - STALINGRAD BUNKER VOL. 1: DAS BESTE STAHL (FRANK 17.40 € SARRIO, SUBLIMINAL CRIMINAL, AU, DURACEL, NIMOY, SYNCOM DATA, RUDE 66 & HANK) B3040 LP TECHNO / ABSTRACT / REPRESS NLD ILLBIENT / ELECTRO A1 A2 A3 A4 Extreme dark electronic compilation about the human suffering at the battle of stalingrad in '43 with a.o. B1 Duracel, Syncom Data, Franck Sarrio, Orgue Electronique, Rude 66, etc. B2 B3 B4 1 / 9 DEPT. 9.50 € POLY SONE - ECHOLOCATE EP (feat. NOAH KIN) DEPT002 12" TECHNO RE-STOCK: Last Copies FIN The young nordic label is back at it with a sturdy 12' vinyl release, produced by the Helsinki underground A1 electronic music champion Poly Sone. The three tracker kicks off with an intro track titled Come Find Me' which combines stripped down rhythm patterns with a subtle choir pad. -
Brief History of Rock Music
Brief History of Rock Music Rock music originated as “Rock and Roll” in America in the 1950s and developed in to many different styles in the 1960s. It is heavily influenced by blues, Rhythm and Blues and country music; however modern bands often stray from these roots and incorporate different sounds and elements. Rock music has branched out and created new genres such as Punk Rock, Electronic Rock, Indie Rock, Grunge and early forms of Heavy Metal. The term was first used as “Rock and Roll” in the 1940s and was created by fusing the various music genres together (called “race music” at the time) such as Rhythm and Blues, Gospel, Country and Western music. Elvis Presley’s “That’s All Right (Mama)” could be considered the first “rock and roll” record. It also popularized the use of the electric guitar with distortion by people such as Chuck Berry and Scotty Moore. The 1960s is considered by many as “The Golden Age” of Rock Music. This is when Rock music skyrocketed into popularity in Britain and America by bands and artists such as The Beatles, Eric Clapton, Jimi Hendrix and Deep Purple. The 1970s was named “The Punk Era”. The punk bands at this time created short, stripped down songs with political, anti-establishment lyrics. The sub culture of Punk expressed youthful rebellion, distinctive clothing styles and Anti-Authoritarian Ideologies. In the beginning of the 1980s, punk branched out and evolved into several sub genres of Hardcore Punk such as Grindcore (created by British band Napalm Death), Anarcho Punk (Crass) and Crust Punk. -
The Music (And More) 2020 Quarter 1 Report
The Music (and More) 2020 Quarter 1 Report Report covers the time period of January 1st Hour Of Lead - "Hour Of Lead" [metalcore to March 31st, 2020. I inadvertently missed a sludge punk] Albany few before that time period, which were brought to my attention by fans, bands & I Recant - "Hollow" (single) [alt metal] Troy others. The missing is listed at the end, along with an End Note… Ike's Wasted World - "Key of Satan" (single track) [hard rock] Albany RECORDINGS JJ Savage - "Hate On Me" (single) [hard rock] Albany Hard Rock / Metal / Punk BattleaXXX - "highNtight" | "Aquarobics" | "booboo" | Joe Mansman and The Midnight Revival Band - "3 Songs "Top Shelf" | "Sex Bot Apocalypse" (single tracks) [post- Live" (3-track) | "Sellout" (single) [alt-rock americana emo punk hard rock] Albany metal] Glens Falls Bendt - "Brightness in the Barrens" [alternative modern Lemon of Choice - "Lime of Decision" | "Sea Creatures" hard rock] Albany (single) [garage punk and roll] Albany Black Electric - "Candy Store" (single) [heavy stoner No More Death Stars - "Before the World Ends" (single) blues rock] Voorheesville [pop punk rock] Glens Falls Captain Vampire - "Arson" (single) [alternative Prize - "Beat In A Fair Contest" [metalcore post-punk] metalcore emo indie post-hardcore punk] Albany Albany Contact Kiss - "Complete Kissography (2008-2019)" Scum Couch - "Righteous Climb" (3-song) [doom [hardcore noise punk] Saratoga Springs hardcore punk] Albany DayBreaker - "So Hollow" (single) [metalcore] Albany Senior Living - "Dominick (Demo)" (single track)