D7.4 – Data Management Plan V2
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James Edwin Pope
James Edwin Pope EXPERIENCE ─────────────────────────────────────────────────── Toyota (Demo) Husband (Lead) Commercial 2019 Amtrak Traveler (Lead) Commercial 2019 The Greatest Sketch Show in America Actor (Various Roles) Theatre 2019 Centra Health Father (Lead) Commercial 2019 Maryland Pride Be Like Director/Writer/Actor Film (Short) 2019 United Airlines Husband (Lead) Commercial 2018 Canon, Inc. Father (Lead) Commercial 2018 Moxy by Marriott Hotels Interior Designer (Lead) Commercial 2018 Maryland Live! Casino Casino Patron (Lead) Print 2018 Black and Decker Homeowner (Lead) Print 2018 Giant Foods Party-Goer (Lead) Commercial 2018 Thompson Creek Windows Homeowner (Lead) Commercial 2018 Dark City: Beneath the Beat Police Officer/Dancer Film 2018 New Year’s Daze Director/Writer/Actor (Lead) Film (Short) 2017 Epic Office XMas Party Director/Choreographer Film (Short) 2017 Microtel by Wyndham Hotels Father (Lead) Print 2017 Time Machine Dancer/Writer Theatre 2017 Tinder On-Demand Director/Writer/Actor Film (Short) 2017 The Motion Challenge Director/Choreographer Film (Short) 2017 Political Dance Battle Director/Writer/Actor Film (Short) 2016 Cards Against Humanity IRL (Web Series) Director/Writer/Actor Film (Short) 2016 Heroes and Villains Dancer Theatre 2016 New Year (Parody) Director/Writer Film (Short) 2016 Steve Harvey Show Guest Television 2016 The Today Show Guest Television 2015 Countertop Solutions Director/Writer/Actor (Lead) Commercial 2015 WORK EXPERIENCE ──────────────────────────────────────────────────── Krewski, LLC Founder -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Ishdarr Brings a Crowd,Iowa Band Speaks on Locality,Field Report To
IshDARR brings a crowd Photo by Jun Taek Lee A packed crowd gathered in Gardner on Friday, Nov. 6, to hear from three young hip-hop artists—Young Eddy, Kweku Collins and IshDARR (pictured to the left). IshDARR is based out of Milwaukee, Wis. The sharp-tongued 19- year-old released a critically acclaimed album, “Old Soul, Young Spirit,” earlier this year. He largely pulled material from that album during the performance. The youthful, ecstatic energy of his recorded material transferred seamlessly to the stage. IshDARR was totally engaging for the duration of the set and did not shy away from talking with the audience, eliciting laughter and cheers. It wasn’t a terribly long set, but one that kept the people in attendance rapt from start to finish. Milwaukee is an exciting place to be an MC in 2015. The Midwestern city has recently cultivated a vibrant and dynamic DIY hip hop scene that’s only getting larger. IshDaRR, one of the youngest and most prominent members of the scene, proved on Friday night that he’s got a lot to share with the world. Assuredly, he is only getting started. Friday night was the third time that Young Eddy, aka Greg Margida ’16, has performed on campus and he is sure to have more performances next semester. Kweku Collins hails from Evanston, Ill., and this was his first time performing in Grinnell. Iowa band speaks on locality The S&B’s Concerts Correspondent Halley Freger ‘17 sat down with Pelvis’ guitarist and vocalist, Nao Demand, before his Gardner set on Friday, Oct. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
From No Future to Delete Yourself (You Have No Chance to Win)
Journal of Popular Music Studies, Volume 25, Issue 4, Pages 504–536 From “No Future” to “Delete Yourself (You Have No Chance to Win)”: Death, Queerness, and the Sound of Neoliberalism Robin James University of North Carolina, Charlotte Introduction Death is one of the West’s oldest philosophical problems, and it has recently been the focus of heated debates in queer theory. These debates consider the political and aesthetic function of a specific concept of death— death as negation, failure, an-arche, or creative destruction. However, as Michel Foucault (1990) argues, death is an important component of the discourse of sexuality precisely because it isn’t a type of negation. The discourse of sexuality emerges when “the ancient right to take life or let live was,” he argues, “replaced by a power to foster life or disallow it to the point of death” (Foucault 138).1 “Sexuality is the heart and lifeblood of biopolitics” (Winnubst 2012: 79) because it—or rather, as other scholars like Laura Ann Stoler (1995), LaDelle McWhorter (2009), and Jasbir Puar (2013) have demonstrated, racialized sexuality—is one of the main instruments through which liberalism “fosters” or “disallows” life. So, insofar as it pertains to sexuality, death isn’t a negation or a subtraction of life, but a side effect of a particular style of life management. In late capitalist neoliberalism, “death” only appears indirectly, not as a challenge to or interruption of life, but as its unthinkable, imperceptible limit.2 What are the theoretical, political, and aesthetic implications of neoliberalism’sreconceptualization of death as divested, or “bare,” life?3 What if we reframe ongoing debates about queer death, futurity, and antisociality by replacing the punk metaphorics of “No Future” with the cyberpunk/digital hardcore mantra “Delete Yourself (You Have No Chance To Win)”? Asking the question in this way, I use some methods, concepts, and problems from queer theory to think about a few pieces of music; I then use my analyses of these musical works to reflect back on that theory. -
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! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
Week 1 MUS302 Eamusic Intro-2017
MUS302 ELECTROACOUSTIC COMPOSITION AND SOUND DESIGN TECHNOLOGIES Week 1––Introduction…electronic music, sound in music and thinking in sound Dr Brian Bridges [email protected] www.brianbridges.net Introduction: about this module... Exploring sound-shaping with technology Exploring how this creates new possibilities in sound and music Thinking about these possibilities, listening to examples and reading about composers/musicians/artists, their ideas and their work We’re going to start by looking at some early examples as prototypes of different directions that electronic music would later take Why do this module? of interest in expanding your vocabulary of sounds so that you can develop ideas for music production of interest in expanding your ideas (and listening skills) in relation to sound design techniques and technologies of interest for creating innovative and novel music compositions Practical matters We will introduce a number of new sound design tools: SPEAR for spectral processing, SoundMagic Spectral plugins (also for spectral processing) and granulation When composing, editing, you may use whichever DAW/audio editor you are comfortable with, alongside these tools We will cover some technical bases and technical theories but this is primarily a class for creative exploration Notes/slides/assignment briefs will be emailed to you in the first instance CT students: notes will be updated on RT every couple of weeks (but will be in your email inbox weekly) Q1. is electronic music any different from other types of music? Q1. is -
Zine Lq.0F316068.Pdf
Sponsored by Contact & Order 30 4-685-0516 w w w. madeleine maries.co m Visit us & Or d er-i n 260 Green St, Morganto wn W V 26501 @ madeleine mariescateringcarryout @ mad mariescatering info @ madeleine maries.co m Gl ute n free, vegetaria n a nd vega n optio ns by req uest EDITORIAL This e ditio n of Wireless co mes at a very dy na mic poi nt i n U92’s history. Face d wit h t he ever c ha n gi n g l a n ds c a p e of c oll e g e r a di o, o n e t hi n g h as r e m ai n e d str o n g; o ur l o v e f or art, s p e ci fi c all y m usi c. It is t h at a doratio n t hat has drive n us to s pe n d hours of hard work to bri n g you a dee per look at t he worl d of music we live in. Whether it be in the words you rea d here or the progra m ming you hear on the air waves, our goal is to put a s potlight on u p-an d-co ming artists, co m munity ne ws an d collegiate s p orts. I a m c o nti n u all y i m pr ess e d b y t h e l e v el of p assi o n t h at all of o ur st a ff h as f or t h es e t hi n gs, a n d it’s t h at s a m e p assi o n t h at bri n gs y o u t his e diti o n of Wir el ess. -
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. -
Game Music Como Produto Cultural Autônomo: Como Ela Ultrapassa Os Limites Do Jogo E Se Insere Em Outras Mídias∗
Game music como produto cultural autônomo: como ela ultrapassa os limites do jogo e se insere em outras mídias∗ Camila Schäfery Índice cada vez mais visível também fora do uni- verso dos videogames. A partir desses estu- Introdução1 dos, da análise dos processos de autonomiza- 1 Game Music: Importância e Funções2 ção, concluiu-se que a game music, além de 2 Processos de Autonomização3 sua importância para os jogos, constitui-se Conclusão 12 num novo fenômeno midiático que a cada Bibliografia 13 dia cresce e contagia mais pessoas ao redor do mundo. Resumo Palavras-chave: game music, música, jo- gos eletrônicos. A música, nos jogos eletrônicos, além de servir como fundo, também é utilizada como forma de potencializar a experiência Introdução de imersão e interatividade do jogador. Con- siderando seu papel no game como de ex- UALQUER estudo na área de trema importância, este artigo procura ana- Q videogames é um desafio. Mesmo lisar como a música de videogames se tornou fazendo parte de nossas vidas há décadas, um produto cultural autônomo. Depois de essa mídia de entretenimento sempre foi realizada a pesquisa bibliográfica, foi ana- vista como brinquedo de criança e apenas lisado o movimento de autonomização da hoje ela ganha contornos mais sérios. A game music para identificar em quais mídias música, por outro lado, que é uma forma de esse tipo de música se insere atualmente e arte, sempre refletiu modismos e caracterís- como ela está se tornando uma manifestação ticas da sociedade de cada época. Agora, com a evolução tecnológica dos séculos XX ∗Artigo originalmente publicado na Revista Fron- e XXI, o impacto dela tem se expandido em teiras, v.13, n. -
In-Fusiones De Jazz Introducción Julián1 Ruesga Bono
Librojazz 19/1/11 12:42 Página 3 Julián Ruesga Bono (edición) - Norberto Cambiasso - Luís Clemente Luc Delannoy - Chema García Martinez Santiago Tadeo - Daniel Varela arte-facto colectivo, cultura, contemporánea Librojazz 19/1/11 12:42 Página 4 Edita: arte/facto, Colectivo Cultura Contemporánea Colabora: ICAS, Instituto de la Cultura y las Artes de Sevilla. [email protected] www.parabolica.net Coordinación editorial: Julián Ruesga Bono y Mac de Paz Diseño y Maquetación: Krates Impreso en los talleres de Gráficas Tebas, Sevilla. © de los textos los autores Depósito legal: SE 7820-2010 ISBN: 978-84-614-5668-0 Librojazz 19/1/11 12:42 Página 7 0Prologo Cuando comenzábamos a trabajar en este proyecto conocimos el libro de David Morley, “Medios, modernidad y tecnología” (Gedisa 2008). En uno de los capítulos, Morley, refiere una anécdota que presenta como una historia apócrifa. En África occidental, en los años ‘60, alguien preguntó a un antropólogo, cómo se podía distinguir entre las tradiciones “vivas” de las danzas tribales y las que habían sido reinventadas instrumental- mente por el Estado local como atracciones turísticas. El antropólogo res- pondió que era relativamente fácil distinguir entre los dos fenómenos, pues todo dependía de si los trajes para las danzas llevaban cremalleras modernas o “tradicionales”, hechas con lazos de cuero y dientes de ani- males. En su opinión, dada su mayor comodidad, sólo los trajes que lle- vaban cremalleras modernas podían entenderse como parte de una tradi- ción viva, mientras que el uso fetichista de las cremalleras supuestamen- te “tradicionales” (pero menos prácticas) hechas de cuero y dientes era claramente una indicación de falta de “autenticidad”.