DOCSLIB.ORG

Juin/Juillet 2010 Sommaire

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

N° 60 – JUIN/JUILLET 2010 Vous pouvez à présent consulter le Country Web Bulletin directement en ligne sur www.cwb.countryenalsace.com Que vous soyez en bas débit ou en haut débit, vous aurez accès à l’intégralité du journal. Vous conservez bien sûr la possibilité de le télécharger gratuitement comme par le passé. Pour nous contacter : Pour nous informer de vos dates et envoyer vos CDs : Jacques DUFOUR : [email protected] Pour proposer un article ou question à la rédaction : Gilles BATAILLE : [email protected] SOMMAIRE •Cd reviews : Les Partners, Rusty Legs, Tennessee Rose, Dixie Chorus, Eddy Ray Cooper, par Jacques « Rockin’Boy » Dufour •Biographies : Susan Hickman, The Grascals, Robert Earl Keen, Radney Foster, Mitch Webb, par Georges Carrier •Spécial DJ : Jean Agostini, par Jacques « Rockin’Boy » Dufour •Dans le texte, Billy Ray Cyrus « Trail of Tears », par Mireille Lafond •Interview de Charlie West, par Laurence de Country Connection •Crazy Heart, par Jacques Donjon •Les instruments de la country, par Marc Verdier •Le festival Western Longhorn, par Gérard Vieules •Une artiste australienne au grand coeur : Christina Louise, par Bruno Gadaut •L’été des festivals, par Jacques « Rockin’Boy » Dufour •Made in France, par Jacques « Rockin’Boy » Dufour •L’agenda, par Jacques « Rockin’Boy » Dufour •Radios Country sur le Net, par Jacques « Rockin’Boy » Dufour et Gilles Bataille 02 CD REVIEWS par Jacques « Rockin’Boy » Dufour Les PARTNERS - « Absoluty country » Les Partners étaient en région lyonnaise en avril (Heyrieux) pour présenter leur album sorti quelques jours auparavant. Cette première descente au sud de la Loire aura permi aux Parisiens de conquérir un nouveau public tombé sous le charme de leur jeune chanteuse Aziliz. En effet seul le plus intégriste des ayatollahs saurait rester de marbre devant le talent et le dynamisme de la blonde demoiselle. Ajoutons un vocal exemplaire et un sourire permanent et vous aurez là une interprète sur qui la country française devra désormais compter. J’aurais mauvaise grâce de passer sous silence cinq musiciens chevronnés et efficaces. Jean-Jacques le guitariste partage le vocal pour des titres assez rock et bien dansant (Little Texas, Billy Ray Cyrus, Alan Jackson) qu’il reprend d’une manière assez classique. Aziliz aborde le côté plus new-country avec les Dixie Chicks, Sara Evans ou Shania Twain. Son vocal l’autorise à s’attaquer à des titres pas si simples à reprendre comme « Devil in disguise » (Elvis), « Let her rip » (Chicks) ou « Burning love ». Sur scène les Partners n’accordent que très peu de place aux surprises en ne sortant pas des classiques. Sur cet album ils ont l’originalité de présenter des chansons moins rengaines, voir méconnues. Et ça c’est un point très positif. Par exemple combien d’entre nous connaissent la ballade « Holding you » extraite du premier album de Gretchen Wilson ? Et le « Texas tattoo » exhumé d’un album du Gibson Miller Band ? Autre rock « Keep me rockin ‘ » est emprunté à la canadienne Patricia Conroy. Sinon Jean-Jacques s’offre « Hard working man » de Brooks & Dunn, « One more last dance » de Vince Gill et le hit de Buck Owens « Act naturally ». Plus torrides par Aziliz « Burning love » et « Long time gone » des Chicks et le sympathique « One Mississippi » de la méconnue Jill King. « Home to Louisiana » et « This is the life » sont des titres bien dansants. Enfin pour la touche de douceur Aziliz nous caresse de son « Mexican wind » (de la trop vite oubliée Jann Browne en 1990) accompagnée d’une jolie mandoline. « Absoluty country » est un bel album produit par un groupe qui ne doit pas se limiter au public des danseurs. Une ouverture sur un répertoire plus personnel devrait offrir aux Partners de belles perspectives. 03 Les RUSTY LEGS - « Line dance party n°3 » Et voici déjà le volume 3 de la série « Line dance party » démarrée il y a seulement deux ans. Les Rusty Legs font partie des meilleures formations de notre pays et si tant d’organisateurs font appel à eux (plus de 80 concerts annuels) c’est que leurs qualités ne sont plus à prouver. Leur répertoire plaît aux danseurs mais ce ne serait pas suffisant s’ils n’étaient en sus d’excellents musiciens entraînés par un chanteur, Eddy Olmo, qui n’a rien à envier aux chanteurs de saloons américains. La qualité d’enregistrement de ce dernier opus est remarquable et démontre qu’il n’est pas indispensable d’aller enregistrer outre Atlantique pour avoir un bon son. Avec ce n°3 Rusty Legs s’éloigne des grands standards de Garth Brooks ou Alan Jackson pour nous proposer des reprises plus intéressantes puisées chez des gens moins connus comme l’Irlandais Robert Mizzell, Jason Allen, Aaron Watson ou deux titres du jeune groupe Zac Brown Band. Peu de groupes reprennent Lyle Lovett. Nos Mazamétins réusissent une bonne reprise de « Cowboy man ». Parmi les artistes plus conventionnels nous trouvons toujours Toby Keith, Tim Mc Graw et Alan Jackson mais avec des chansons nouvelles ou peu reprises par leurs confrères. Les Rusty Legs aiment à reprendre un classique du rock sur chaque album. Cette fois c’est au tour du « Lover please » de Clyde Mc Phatter mais c’est la version de Billy Swan qui les a inspirés. Le morceau se transforme en un duo original avec Cécilia, la violoniste, au vocal. Avec une seule ballade contre douze titres rapides, les danseurs seront assurés de ne pas faire tapisserie. Nous avons une touche d’irish sur deux morceaux dont le « The Galway girl » de Steve Earle et deux autres ont une coloration tex-mex. Les Rusty Legs ne rechignent pas à libérer leur esprit créatif et en fin d’album ils nous mettent des paroles sur « Guitar boogie » et couplent un succès de Shania Twain avec Queen. Et ça marche ! Continuez dans cette voie les gars !! Tout amateur de country music prendra un réel plaisir à l’écoute de cet album qui nous offre une musique dynamique auréolée de belles envolées de fiddle et de pedal steel guitare. Une totale réussite. 04 TENNESSEE ROSE - Démo 2009 Tennessee Rose n’est pas encore une formation très connue à l’échelle nationale. Pourtant ce groupe récent est bien situé géographiquement pour rayonner sur de nombreuses régions : le Cher d’où il est originaire est considéré comme le département le plus central de France. Ce septet berrichon est axé autour de sa chanteuse Merrilly à la voix des plus agréables. Elle est bien épaulée par Jipé au violon, Cahloun aux guitares, Norbert au piano, Biaddgio à la basse et Phil aux baguettes. Ce premier album intitulé « Démo 2009 » a été enregistré à la maison, chez l’un des musiciens, mais le son est au demeurant fort correct et il n’a rien à envier à bien d’autres réalisations. Côté choix des huit titres on tape en plein dans les tubes de la country moderne qui plaisent aux danseurs : « I feel lucky » (Mary Chapin Carpenter), « Black coffee » (Lacy J Dalton), « Sold » (John M Montgomery), « Right now » (Mary C Carpenter d’après l’original de Gene Vincent), « Mercury blues » (Alan Jackson). Côté douceur Merrylly nous offre une jolie reprise de « Blue bayou » (Orbison, Ronstadt). « That’s what I get » est une country song récupérée chez BR549 et c’est bien pour l’originalité. Et puisqu’on est dans les surprises agréables c’est un instrumental celtique sans titre qui termine l’album. Souhaitons que Tennessee Rose poursuive cette volonté de rechercher des morceaux moins souvent repris dans les soirées. En attendant cet album nous prouve que cette formation de Vierzon a déjà un excellent niveau et la Rose du Tennessee devrait s’épanouir sur de nombreuses scènes… DIXIE CHORUS - « Pirat’s gospel » Trio du littoral Atlantique, Dixie Chorus serait un peu cousin de Mary-Lou s’il était plus country et s’il s’éloignait des classiques pour aborder les compos. La musique acoustique de Dixie Chorus peut être qualifiée de folk, mais une folk imprégnée de différentes influences. J’ai cru reconnaître des tonalités irish et yiddish mais je ne suis pas un spécialiste ! Les tempos sont le plus souvent rapides et guitare, fiddle et mandoline sont les instruments de base. Dans « Jam’s Ouest » cependant, adaptation assez libre d’ « Orange blossom special », c’est l’harmonica qui a la vedette. Autres instrumentaux rapides « Amazing grace » n’a plus rien à voir avec le rythme langoureux que vous connaissez et « Chicano blues » n’en est pas un mais un medley de fiddle tunes. Côté country « I saw the light » est dans l’esprit Carter Family et « Country road » est bien classique. Dylan grande époque a droit à deux reprises avec « Blowin’ in the wind » et « Don’t think twice, it’s all right ». 05 Les Beatles sont aussi présents avec « Yesterday ». « White trash wedding » est un titre rapide chanté et dominé par le fiddle. Enfin bien folk nous avons « Mary don’t you weep », « Pirat’s gospel » et « Further on up the road ». « Down in the river to pray » » est un gospel chanté a-capella. Dixie Chorus semble avoir un répertoire assez vaste d’après cet échantillon et une soirée avec eux doit être bien agréable. La chanteuse soliste est Emmanuelle Braud. Jean-Denis Charrier est au violon, banjo et mandoline. Patrick Couton est à la guitare et à l’harmonica. EDDY RAY COOPER - « Live » Les albums enregistrés en public sont assez rares dans la country française et les artistes ou groupes francophones ayant été invités à se produire sur la grande scène du Country Rendez- Vous de Craponne sur Arzon peut-être plus rares encore. Eddy Ray Cooper a eu cette chance, ou plutôt cet honneur, car notre ami Georges trie ses groupes sur un volet qui n’est pas très large.
Recommended publications
  • Gavin-Report-1999-08

    Gavin-Report-1999-08

    AUGUST 16, 1999 ISSUE 2268 TOE MOST TRUSTED NAME IN RADIO tH.III'-1111; melissa etheridge And Now... angels would fall The Boulder Summit MUSIC TOP 40 Enrique Dances Into Top 10 HOT AIC There Goes Sixpence...Again AIC Clapton's "Blue Eyes" Wide Open COUNTRY impacting radio august 25th Chely Is Wright for #1 NEWS GAVIN Hits With HyperACTIVE Artemis Announces Promo Team From the Publishers of Music Week, MI and tono A Miller Freeman Publication www.americanradiohistory.com advantage Giving PDs the Programming Advantage Ratings Softwaiv designed dust for PDs! Know Your Listeners Better Than Ever with New Programming Software from Arbitron Developed with input from PDs nationwide, PD Advantage'" gives you an "up close and personal" look at listeners and competitors you won't find anywhere else. PD Advantage delivers the audience analysis tools most requested by program directors, including: What are diarykeepers writing about stations in my market? A mini -focus group of real diarykeepers right on your PC. See what listeners are saying in their diary about you and the competition! When listeners leave a station, what stations do they go to? See what stations your drive time audience listens to during midday. How are stations trending by specific age? Track how many diaries and quarter -hours your station has by specific age. How's my station trending hour by hour? Pinpoint your station's best and worst hours at home, at work, in car. More How often do my listeners tune in and how long do (c coue,r grad they stay? róathr..,2 ,.,, , Breaks down Time Spent Listening by occasions and TSL per occasion.
  • What Is a Musical Instrument?

    What Is a Musical Instrument?

    What is a musical instrument? What is a musical instrument? By Tellef Kvifte Introduction The development of new electronic and computer-based music-making tools is a challenge to traditional concepts of musical instruments. We hear new sounds, we see familiar sounds coming out of unfamiliar devices, and unfamiliar sounds com- ing out of familiar interfaces. Also, the relations between composing, improvising, performing and playing recordings are being blurred: scores can be made to sound without human musicians, and sound can (to a certain extent) be made into score without a human transcriber. In this situation, one may want to call for new defini- tions of several of the basic concepts connected to music and music-making. In this paper, I will focus on the concept of musical instrument . I will, however, not suggest new definitions. I want to show that the concept has never been well defined, and has been understood in many ways. I will argue that there is no need for new definitions, but rather for a more detailed understanding of the many aspects of the concept. Definitions of musical instruments The literature on musical instruments, including works on classification, seldom goes deeply into basic definitions of the core concept of ‘instrument’. A basic defini- tion like ‘device made to play music’ seems to be taken more or less for granted. Such a definition will usually suffice in most situations, but all concepts mentioned — ‘de- vice’, ‘play’ and ‘music’ — may be questioned, clarified or confused. While there are some explicit definitions in the literature, Grove’s online dictionary of music tries to evade the question with the following: ‘Musical instrument’ is a self-explanatory term for an observer in his own society; it is less easy to apply on a worldwide scale because the notion of music itself in such a wide context escapes definition.
  • A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two

    A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two

    The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Two Wire-Strung Instruments in the 16th Century ment and was used in a multitude of countries and regions. Al- Most of the wire-strung instruments from the 15th century though most players today think of the cittern as a single type of discussed in part one — such as the harpsichord, psaltery, and instrument, there were in fact many different types, each signifi- Irish harp — continued to be used on a regular basis throughout cantly different enough from the others so as to constitute separate the 16th century (and they would continue to be used into the 18th). instruments. However, almost all citterns have in common a tuning The major exception to this was the Italian cetra, which disap- characterized by the intervals of a 5th between the third and second peared at the end of the 15th century only to evolve into many dif- courses and a major 2nd between the second and first courses, and ferent forms of citterns. one or more re-entrantly tuned strings. Historically, the 16th century heralds the beginning of ma- jor shifts in thinking that led to experimentation and innovation Diatonic 6- and 7-Course Cittern in many aspects of life. Times were changing: from the discovery This was the earliest form of cittern used, possibly devel- of the “New World” that had begun at the end of the 15th century, oped from the cetra late in the 15th or early in the 16th century, and to the shifts in politics, power, religion, and gender roles that oc- it was definitely still in use into the 17th century.
  • The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition”

    The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition”

    CFA MU 755, Boston University Steve Eulberg The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition” In a nation composed dominantly of immigrants, or people who are not “from” here, one can expect the cultural heritage in general, and the musical heritage in particular, to be based on the many strands of immigrant tradition. At some point, however, that which was brought from the old country begins to “belong” to the children of the immigrants, who pass this heritage on to their children. These strands are the woof that is woven into the warp of the new land—a process that continues until the tradition rightly belongs to the new setting as well. This is the case for the Applachian Mountain (or fretted, lap, plucked, strummed1) dulcimer. This instrument has been called by some “The Original American Folk Instrument.”2 Because other instruments have also laid claim to this appellation (most notably the banjo), this paper will explore whether or not it deserves such a name by describing the dulcimer, exploring its antecedent instruments, or “cousins”, tracing its construction and use by some people associated with the dulcimer, and examining samples of the music played on the instrument from 3 distinct periods of its use in the 20th century. What is the dulcimer? The Appalachian Mountain Dulcimer3 consists of a diatonic fretboard which is mounted on top of a soundbox. It is generally strung with three or four strings arranged in a pattern of three (with one pair of strings doubled and close together, to be played as one.) Its strings are strummed or plucked either with the fingers or a plectrum while the other hand is fretting the strings at different frets using either fingers or a wooden stick called a “noter.” The shape of the body or soundbox varies from hourglass, boat, diamond and lozenge, to teardrop and rectangular box style.
  • Fomrhi Q134.Pdf

    Fomrhi Q134.Pdf

    Quarterly No. 134, May 2016 FoMRHI Quarterly BULLETIN 134 Christopher Goodwin 2 COMMUNICATIONS 2046 An attempt to reconstruct the bagpipes depicted in Peter Breughel the Elder’s Peasants’ Wedding Eric Franklin 4 2047 The oldest Hummel (a folk instrument) from Germany identified Wilfried Ulrich 9 2048 Further to Comms 1944 and 1948 – Napoleon and a Seven Course Oud An Update John Downing 16 2049 A musical passage from Hamlet, act II, scene 3 David Z Crookes 19 2050 Inferring the placement of a bardic school in 13th to 15th century Lennox, Scotland, through harp wood types Andrew J. Bull 24 2051 Nickel plating brass keys Jim Lynham 28 2052 Vacuum and pressure oil treatment of wood Julian Goodacre 29 2053 Making woodwind instruments 5a: Ivory and natural ivory substitutes Jan Bouterse 32 2054 Making woodwind instruments 5b: Artificial ivory Jan Bouterse 38 The next issue, Quarterly 135, will appear in August 2016. Please send in Comms and announcements to the address below, to arrive by August 15th. Fellowship of Makers and Researchers of Historical Instruments Committee: Andrew Atkinson, Peter Crossley, John Downing, Luke Emmet, Peter Forrester, Eleanor Froelich, Martyn Hodgson, Jim Lynham, Jeremy Montagu, Filadelfio Puglisi, Michael Roche, Alexander Rosenblatt, Marco Tiella, Secretary/Quarterly Editor: Christopher Goodwin Treasurer: John Reeve Webmaster: Luke Emmet Southside Cottage, Brook Hill, Albury, Guildford GU5 9DJ, Great Britain Tel: (++44)/(0)1483 202159 E-mail: [email protected] Web: www.fomrhi.org BULLETIN 134 Christopher Goodwin This is the second Q of this subscription period (nos. 133-136). Members from last year who have not yet renewed their subscriptions will receive this in PDF form on a benefit-of-the-doubt basis, but to receive the printed copy too, you must pay the subscription.
  • Peer-Review, Pre Editing; Do Not Cite Without Permission of Author

    Peer-Review, Pre Editing; Do Not Cite Without Permission of Author

    Version post- peer-review, pre editing; do not cite without permission of author Citation Information: Montero-Diaz, Fiorella. 2016. “Singing the war: reconfiguring white upper-class identity through fusion music in post-war Lima”. In Ethnomusicology Forum. DOI:10.1080/17411912.2016.1161528 The final published version is available at: http://www.tandfonline.com/doi/abs/10.1080/17411912.2016.1161528?journalCode =remf20 Singing the War: Reconfiguring White Upper Class Identity through Fusion Music in Post-war Lima. Fiorella Montero-Diaz Keele University Between 1980-2000, Peru was engulfed in an internal war confronting the state and two armed groups Shining Path and MRTA. In the aftermath, violence was replaced by silence along with distrust, disunity and distance between the Andes and Lima, which reinforced social segregation by class, race and ethnicity. This article is informed by interviews conducted during fieldwork in Lima during 2010-11. It explores the ravages of war as one of the main factors fuelling an apparent Limeño white upper class desire to integrate with the broader Peruvian population through popular intercultural fusion music. It argues that a sector of white upper class fusion musicians and audiences link their wishes and dreams to their music ordinary life, enabling themselves to change the normalised hierarchical worldview and act accordingly, to move beyond apathy, privilege and delusion. They do so by turning exclusive upper class concert spaces into political spaces of attempted social reconciliation, liminal spaces to renegotiate identities and political attitudes by musicking and empathetically acknowledging and listening to those historically silenced by hegemony and racism. They make music a technology of self-transformation, a means for the white upper classes to counteract the underlying causes of the violence, which persist.
  • 5713 Theme Ideas

    5713 Theme Ideas

    5713 THEME IDEAS & 1573 Bulldogs, no two are the same & counting 2B part of something > U & more 2 can play that game & then... 2 good 2 b 4 gotten ? 2 good 2 forget ! 2 in one + 2 sides, same story * 2 sides to every story “ 20/20 vision # 21 and counting / 21 and older > 21 and playing with a full deck ... 24/7 1 and 2 make 12 25 old, 25 new 1 in a crowd 25 years and still soaring 1+1=2 decades 25 years of magic 10 minutes makes a difference 2010verland 10 reasons why 2013 a week at a time 10 things I Hart 2013 and ticking 10 things we knew 2013 at a time 10 times better 2013 degrees and rising 10 times more 2013 horsepower 10 times the ________ 2013 memories 12 words 2013 pieces 15 seconds of fame 2013 possibilities 17 reasons to be a Warrior 2013 reasons to howl 18 and counting 2013 ways to be a Leopard 18 and older 2 million minutes 100 plus you 20 million thoughts 100 reasons to celebrate 3D 100 years and counting Third time’s a charm 100 years in the making 3 dimensional 100 years of Bulldogs 3 is a crowd 100 years to get it right 3 of a kind 100% Dodger 3 to 1 100% genuine 3’s company 100% natural 30 years of impossible things 101 and only 360° 140 traditions CXL 4 all it’s worth 150 years of tradition 4 all to see (176) days of La Quinta 4 the last time 176 days and counting 4 way stop 180 days, no two are the same 4ming 180 days to leave your mark 40 years of colorful memories 180° The big 4-0 1,000 strong and growing XL (40) 1 Herff Jones 5713 Theme Ideas 404,830 (seconds from start to A close look A little bit more finish) A closer look A little bit of everything (except 5-star A colorful life girls) 5 ways A Comet’s journey A little bit of Sol V (as in five) A common ground A little give and take 5.4.3.2.1.
  • Redefining Stuttering by John Harrison, Naming Those Experiences and Elements….Helping Me to See All the Different Strands of My Journey As One Interrelated Whole

    Redefining Stuttering by John Harrison, Naming Those Experiences and Elements….Helping Me to See All the Different Strands of My Journey As One Interrelated Whole

    SHEDDING NEW LIGHT ON A CHALLENGING PROBLEM REDEFINING STUTTERING • What the struggle to A Guide to Recovery speak is really all about • 2011 EDITION by JOHN C. HARRISON National Stuttering Association Now is the time A Guide to Recovery REDEFINING STUTTERING What the struggle to speak is really all about by JOHNby JOHN C. H C.ARRISON HARRISON National Stuttering Association 2011 EDITION WORDS THAT WORK San Francisco Copyright © 2011 by John C. Harrison ISBN 1-929773-08-4 2011 Edition. All rights reserved. This book is available as a free download from several web sites. Simply enter“Redefining Stuttering” in the browser search box. Printed copies are available from Amazon or from The National Stuttering Association, 119 W. 40th Street, 14th Floor, New York, N.Y. 10018. [email protected]. For those who are reading a PDF (electronic) version of this book and would like to turn it into a paperback: The book has been formatted for two-sided printing on any electronic copier capable of printing on both sides of the sheet. It is recommended that you use a heavier, colored paper for the front cover. You may also want to protect the book with a clear vinyl sheet at the front and a colored vinyl sheet at the back. Be what you is, cuz if you be what you ain't, you ain't what you is. Grave marker, Boot Hill Cemetery, Tombstone, Arizona Life goes on, and so must he. From the moment he gives himself up, and to the extent that he does so, all unknowingly he sets about to create and maintain a pseudo-self.
  • Medium of Performance Thesaurus for Music

    Medium of Performance Thesaurus for Music

    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
  • The a Brief Survey of Plucked Wire

    The a Brief Survey of Plucked Wire

    The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Four Wire-Strung Instruments in the 18th Century alone over about a The development of new wire-strung instruments in the 50-year period. Much 18th century took primarily two paths: the modification of already of this music, in both successful forms (such as modifying the body of the cittern to make printed and manuscript the new French cistre), and the adding of wire strings to instruments form, still exists, in- originally strung in gut (e.g. mandolin and chitarra battente). The cluding around 30 con- trends that had started in the 17th century such as chordal tunings certos and above 1000 and extended basses, became more commonplace for many of the duets, trios, quartets, 18th century wire-strung instruments. and sonatas. Many One of the distinguishing marks of 18th century wire- manuscript collections strung instrument development is the segregation of instrument survive in France, types by region when compared to previous centuries. Whereas in Sweden, Austria, and the 16th century one could find the 4-course diatonic cittern played Hungary.1 throughout almost all of Europe, by the 18th century citterns existed as specific regional variants: the English guittar, Frenchcistre , Ger- Chitarra battente man Zister, Norwegian sister, Spanish citara, and Corsican cetera. The chitarra On the other hand, other instruments seemed easily to transcend battente can be found national bounds, as did the mandolin. today as a folk instru- ment in the south- Mandolins ern regions of Italy. Mandolins had been around in all but name since at least Though musicologists Side and front view of chitarra battente, the 15th century, essentially modified forms of the Renaissance have typically given an Brussels Conservatoire, Inv.
  • Algorithmically Assisted Improvised Music

    Algorithmically Assisted Improvised Music

    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 AAIM: Algorithmically Assisted Improvised Music Fay, Simon Fay, S. (2016). AAIM: Algorithmically Assisted Improvised Music (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/24629 http://hdl.handle.net/11023/3073 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY AAIM: Algorithmically Assisted Improvised Music by Simon Fay A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN COMPUTATIONAL MEDIA DESIGN CALGARY, ALBERTA June, 2016 c Simon Fay 2016 Abstract The AAIM (Algorithmically Assisted Improvised Music) performance system1 is a portfolio of interconnectable algorithmic software modules, designed to facilitate improvisation and live per- formance of electronic music. The AAIM system makes no attempt to generate new materials in one particular style, nor to act as an autonomous improviser. Instead, the goal of the AAIM sys- tem is to facilitate improvisation through the variation and manipulation of composed materials entered by the user. By generating these variations algorithmically, the system gives improvisers of computer music the ability to focus on macro elements of their performances, such as form, phrasing, texture, spatialisation, and timbre, while still enabling them to incorporate the rhythmic and melodic variations of a virtuosic instrumental improviser.
  • MEIEA 2011.Indd

    MEIEA 2011.Indd

    Journal of the Music & Entertainment Industry Educators Association Volume 11, Number 1 (2011) Bruce Ronkin, Editor Northeastern University Published with Support from Can I Get a (Defense Expert) Witness? The Role of the Expert Witness for the Defense in a Music Copyright Infringement Matter E. Michael Harrington William Paterson University You have written a song that your band has recorded and released. It begins to sell when unexpectedly you receive notice that another rock band is convinced you’ve stolen their song. An attorney representing that band has alleged that your song copied their song and demands that you stop selling your song and pay that band substantial money for damages. In addition, he demands that your song be pulled off all radio playlists and the video taken off all cable channels and web sites. The plaintiffs have not yet asked for your first born—but more complaints and demands could be forthcoming. You are about to become a defendant in a copyright infringement lawsuit—a federal offense—and this is the first time you have ever been accused of breaking a federal law. Fortunately, you have an experienced entertainment attorney with a strong understanding of copyright law. He is from a top-tier law school and has worked in the entertainment industry for many years. He is not your cousin the divorce attorney who is willing to help you for free or a reduced rate because “blood is thicker than water,” or your college roommate who has just passed the state bar exam and is up for a challenge in the infancy of his legal career.