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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Motorpsycho Demon Box Mp3, Flac, Wma
Motorpsycho Demon Box mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Demon Box Country: Norway Released: 1993 Style: Alternative Rock, Folk Rock, Noise, Prog Rock, Indie Rock, Psychedelic Rock, Hard Rock, Experimental MP3 version RAR size: 1237 mb FLAC version RAR size: 1472 mb WMA version RAR size: 1790 mb Rating: 4.1 Votes: 895 Other Formats: RA ASF DMF AUD AUD MMF AA Tracklist Hide Credits Waiting For The One A1 Written-By – Sæther* Nothing To Say A2 Written-By – Sæther* Feedtime A3 Written-By – Sæther*, Ryan*, Gebhardt* Gutwrench A4 Written-By – Sæther*, Ryan*, Gebhardt* Sunchild A5 Written-By – Sæther* Mountain B1 Written-By – Sæther*, Ryan*, Sten*, Gebhardt*, Lien* Tuesday Morning B2 Written-By – Sæther*, Ryan* All Is Loneliness B3 Written-By – Moondog Come On In C1 Written-By – Sæther* Step Inside Again C2 Written-By – Sæther* Demon Box C3 Written-By – Sæther*, Ryan*, Sten*, Gebhardt* Babylon & Mr Who D1 Written-By – Sæther*, Ryan*, Gebhardt* Junior D2 Written-By – Sæther* Plan #1 D3 Written-By – Sæther*, Ryan*, Burt* Sheer Profoundity D4 Written-By – Sæther*, Ryan*, Gebhardt* The One Who Went Away D5 Written-By – Sæther* Companies, etc. Recorded At – Brygga Studio Mastered At – Strype Audio Credits Artwork [Cover Concept] – Wizz Art Artwork [Supersonic Scientist Drawing] – Kim Hiorthøy Mastered By – Audun Strype Narrator – Matt Burt Performer – Bent*, Snah*, Gebhardt* Photography By [Gatefold Photo] – Ragnar Wold Producer – Motorpsycho Producer, Noises [Noise Generation], Effects [Audio Virus] – Deathprod Recorded By – Helge Sten Recorded By, Keyboards, Backing Vocals – Lars Lien Sitar [Coral Electric] – Vegar Moen Notes 180 Gram black vinyl edition. ©&℗ 1993/2014 Rune Grammofon Voices of Wonder Motorpsycho Recorded at Brygga Studios, December 1992. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
WXU Und Hat Hut – Stets Auf Der Suche Nach Neuem Werner X
r 2017 te /1 in 8 W ANALOGUE AUDIO SWITZERLAND ASSOCIATION Verein zur Erhaltung und Förderung der analogen Musikwiedergabe Das Avantgarde-Label «Hat Hut» Wenig bekannte Violinvirtuosen und Klavierkonzerte Schöne klassische und moderne Tonarme e ill R Aus der WXU und Hat Hut – stets auf der Suche nach Neuem Werner X. Uehlinger, Modern Jazz und Contemporary Music Von Urs Mühlemann Seit 42 Jahren schon gibt es das Basler Plattenlabel «Hat Hut». In dieser Zeit hat sich die Musikindust- rie grundlegend verändert. Label-Gründer Werner X. Uehlinger, Jahrgang 1935, Träger des Kulturprei- ses 1999 der Stadt Basel, hält allen Stürmen stand – und veröffentlicht mit sicherem Gespür immer wieder aussergewöhnliche Aufnahmen. «Seit 1975, ein Ohr in die Zukunft»: Dieses Motto steht als Signatur in allen E-Mails von Werner X. Uehlinger (auch als ‚WXU‘ bekannt). Den Gründer des unabhängigen Schweizer Labels «Hat Hut», das u.a. 1990 von der progressiven New Yorker Zeitschrift «Village Voice» unter die fünf weltbesten Labels gewählt wurde und internationale Wertschätzung nicht nur in Avantgarde-Kreisen geniesst, lernte ich vor mehr als 40 Jahren persönlich kennen. Wir verloren uns aus den Augen, aber ich stiess im Laufe meiner musikalischen Entwicklung immer wieder auf ‚WXU‘ und seine exquisiten Produkte. Nun hat er – als quasi Ein-Mann-Betrieb – sein Lebenswerk in die Hände von «Outhere» gelegt; das Unterneh- men vereint verschiedene Labels für klassische und für zeitgenössische Musik unter einem Dach. Das war für mich eine Gelegenheit, wieder Kontakt aufzunehmen. Wir trafen uns im Februar und im Mai 2017 zu längeren Gesprächen und tauschten uns auch schriftlich und telefonisch aus. -
Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn. -
Information VICTO Cd074-075-076 Cecil Taylor Marilyn Crispell Paul Plimley / John Oswald «Complicité» Cd 074 PAUL PLIMLEY / JOHN OSWALD 1
Information VICTO cd074-075-076 Cecil Taylor Marilyn Crispell Paul Plimley / John Oswald «Complicité» cd 074 PAUL PLIMLEY / JOHN OSWALD 1. WON (John Oswald-SOCAN) . .10’09” 2. TO (Plimley/Oswald) . .6’43” 3. TOON (Plimley/Oswald) . .5’11” 4. FREE (Plimley/Oswald) . .10’11” p SOCIÉTÉ RADIO-CANADA 5. FOREMOST (Paul Plimley-SOCAN) . .9’14” c Les Éditions Victoriaville et Les Disques VICTO, SOCAN 2001 cd 075 MARILYN CRISPELL Of Trees, Limbs and Springs 1. PRAYER (Mitchell Weiss-BMI) . .5’33” Three pianists-Cecil Taylor, Marilyn Crispell 2. TRIPLOS PART I (Marilyn Crispell-BMI) . .14’36” and Paul Plimley-and an alto saxist-John 3. GESTURE WITHOUT PLOT (Annette Peacock-PRS/MCPS) . .9’24” Oswald-gathered to play, in a triple-header 4. PARIS (Mitchell Weiss-BMI) . .9’38” that meandered blissfully and chaotically, and 5. TRIPLOS PART II.a (Marilyn Crispell-BMI) . .6’15” showed us a vision of measured abandon. 6. SILENCE (Marilyn Crispell-BMI) . .2’40” Freedom rang out, amidst floating bits of 7. TRIPLOS PART II.b (Marilyn Crispell-BMI) . .3’49” structure and melody, and it also stretched out 8. NOT (Anders Jormin-STIM) . .1’27” over three hours (which seemed like less, a 9. TRIPLOS PART II.c (Marilyn Crispell-BMI) . .5’06” sign that music is working, and time is being artfully subverted). And it’s a very good thing, cd 076 indeed, that it is now captured for posterity on CECIL TAYLOR a recording. The occasion turned out, through CONCERT DÉDIÉ À JIMMY McDONALD serendipitous circumstances, to be festive, and 1. -
Myra Melford & Snowy Egret Language of Dreams
Saturday, November 19, 2016, 8pm Zellerbach Hall Myra Melford & Snowy Egret Language of Dreams Conceived and composed by Myra Melford Myra Melford’s Snowy Egret Myra Melford, piano, melodica, and sampler Ron Miles, cornet Liberty Ellman, guitar Stomu Takeishi, acoustic bass guitar Tyshawn Sorey, drums David Szlasa, video artist and lighting design Oguri, dancer and choreography Sofia Rei, narrator/spoken text Hans Wendl, artistic direction and production Texts excerpted from Eduardo Galeano’s Memory of Fire (Memoria del Fuego ) trilogy: Genesis (1982) Faces and Masks (1984) Century of the Wind (1986) Copyright 1982, 1984, 1986 respectively by Eduardo Galeano. Translation copyright 1985, 1987, 1988 by Cedric Belfrage. Published in Spanish by Siglo XXI Editores, México, and in English by Nation Books. By permission of Susan Bergholz Literary Services, New York, NY and Lamy, NM. All rights reserved. e creation and presentation of Language of Dreams was made possible by Yerba Buena Center for the Arts, a Guggenheim Fellowship, the Doris Duke Performing Artist Award, and a University of California Faculty Research Grant. Jazz residency and education activities generously underwritten by the Thatcher-Meyerson Family. n e s i o B s e l y M Myra Melford (far right) with Snowy Egret Language of Dreams I Prelude e Promised Land Snow e Kitchen II e Virgin of Guadalupe A Musical Evening For Love of Fruit/Ching Ching III Language IV Times of Sleep and Fate Little Pockets/Everybody Pays Taxes Market e First Protest V Night of Sorrow Day of the Dead e Strawberry VI Reprise – e Virgin of Guadalupe This performance will last approximately 75 minutes and will be performed without intermission. -
Høst På Sterke Vinger Mp3, Flac, Wma
Høst På Sterke Vinger mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: På Sterke Vinger Country: Norway Released: 1991 Style: Hard Rock, Prog Rock MP3 version RAR size: 1562 mb FLAC version RAR size: 1679 mb WMA version RAR size: 1861 mb Rating: 4.9 Votes: 755 Other Formats: MP2 AHX MIDI AA MMF FLAC MP4 Tracklist A1 Fattig Men Fri 4:50 A2 For Sent Å Angre 2:55 A3 I Ly Av Mørket 5:11 A4 Satans Skorpe 4:17 B1 Dit Vi Må 4:14 B2 Samhold 3:41 B3 På Sterke Vinger 9:57 Companies, etc. Phonographic Copyright (p) – PolyGram Records A/S Phonographic Copyright (p) – On Records Phonographic Copyright (p) – Phonogram Copyright (c) – On Records Copyright (c) – Phonogram Recorded At – Arctic Studios Credits Bass – Bernt Bodahl Composed By – G. Jahren* (tracks: B1), S. Rønning* (tracks: A1 to A4, B2, B3) Drums, Vocals – Knut R. Lie Guitar – Lasse Nilsen Guitar, Keyboards [Clavinet], Organ, Synthesizer [String Ensemble, Mini Moog], Piano [Grand], Vocals – Svein Rønning Producer, Technician [Assistant], Photography, Artwork By [Layout & Design] – Nils B. Kvam* Technician – Rune Nordal Vocals – Geir Morgan Jahren* Notes Recorded at Arctic Studios, Trondheim, October 1974. On back cover: ℗ & © 1974, On Records/Phonogram. Printed and made in Norway. On labels: (P) PolyGram Records A/S 1974 Made in EEC Barcode and Other Identifiers Matrix / Runout (Side A runout stamped): PALP 03 A 1 1 C 1 Matrix / Runout (Side A runout stamped): PALP 03 B 1 1 C 1 Matrix / Runout (Sides A & B runout etched): K.G. Rights Society: nⒸb Other versions Category Artist -
Weirdo Canyon Dispatch 2018
Review: Roadburn Thursday 19th April 2017 By Sander van den Driesche It’s that time of the year again, the After Yellow Eyes it’s straight to the much anticipated annual pilgrimage to Main Stage to see Dark Buddha Rising Tilburg to join with many hundreds of perform with Oranssi Pazuzu as the travellers for Walter’s party at Waste of Space Orchestra, which is Roadburn. As I get off the train the another highly anticipated show, and in heat kicks me right in the face, what a this case one that won’t be played massive difference to the dull and rainy anywhere else (as far as I know). What morning I left behind in Scotland. This happened on that big stage was is glorious weather for a Roadburn phenomenal, we witnessed a near hour Festival! Bring it on! of glorious drone-infused psychedelic proggy doom. In fact, it felt a bit too early for me personally in the timing of the festival to experience such an extraordinarily mind-blowing set, but it was a remarkable collaboration and performance. I can’t wait for the Live at Roadburn release to come out (someone make it happen please!). Yellow Eyes by Niels Vinck After getting my bearings with the new venues, I enter Het Patronaat for the first of my highly anticipated performances of the festival, Yellow Eyes. But after three blistering minutes of ferocious black metal the PA system seems to disagree and we have our first “Zeal & Ardor moment” of 2018. It’s Waste of Space Orchestra by Niels Vinck not even remotely funny to see the On the same Main Stage, Earthless Roadburn crew frantically trying to played the first of their sets as figure out what went wrong, but luckily Roadburn’s artist in residence. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
Skar.Pdf (2.070Mb)
Under overflaten: En undersøkelse av norske kvinnelige populærmusikkartisters iscenesettelser av kjønn, seksualitet og sjangerdiskurs Anja Kristin Solheim Skar Masteroppgave i sosiologi Institutt for Sosiologi og Samfunnsgeografi Det samfunnsvitenskapelige fakultet UNIVERSITETET I OSLO Våren 2011 © Anja Kristin Solheim Skar 2011 Under overflaten: En undersøkelse av norske kvinnelige populærmusikkartisters iscenesettelser av kjønn, seksualitet og sjangerdiskurs Anja Kristin Solheim Skar http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo Sammendrag Fokus i min masteroppgave er norske kvinnelige musikkartister, nærmere bestemt hvordan norske kvinnelige musikkartister iscenesetter kjønn og seksualitet. Mitt formål har vært å finne ut av, med hovedvekt på det visuelle, hvordan artistene iscenesetter seg selv i forhold til normer og forventninger til kjønn og seksualitet, og hvordan iscenesettelsene påvirkes av å befinne seg i konteksten populærmusikk, med særlig fokus på betydningen av sjangertilhørighet og autentisitet. Mitt overordnede teoretiske perspektiv er et poststrukturalistisk queerperspektiv, med forankring i Judith Butlers perspektiver på kjønn og seksualitet. Fordi kjønn og seksualitet i oppgaven blir forstått som i stor grad diskursivt konstruert, og fordi jeg vil undersøke kjønn og seksualitet i et kulturelt felt, drar jeg også nytte av perspektiver på diskurs, kultur og hegemoni. Fordi mye av materialet mitt er av visuell og ikke tekstlig art, er det nødvendig å finne frem til analytiske grep som gjør at jeg kan ”oversette” fotografiene til tekst. For å gjøre dette benytter jeg meg av en semiotisk tilnærming til fotografiene, i tillegg til Erving Goffmans studie Gender Advertisments (1979). Analysefokus ligger hovedsakelig på visuelle iscenesettelser, som analyseres gjennom artistenes albumcovre og pressefotografier, men også tekst i form av offentlig publiserte intervjuer og omtaler. -
Audio ART Festiwal2000
Stowarzyszenie Artystyczne Muzyka Centrum Goethe-Institute Kraków m u z y k a koncerty b e z instalacje g r a n i c AUdio ART performance FEStiwaLw w w . a2000 u d i o a r t . z . p l 11 LISTOPADA, 18:00, SYNAGOGA ul. Szeroka EVAN PARKER (Londyn) saksofon EVAN PARKER EVAN PARKER Born Bristol, 5 April 1944; Tenor and soprano saxophones. Urodzony Bristol, 5 kwiecieñ 1944; bieg i sopranu saksofony. Evan Parker started to play (alto) saxophone around the age of Evan Parker zaczynany bawiæ siê (alt) saksofon dooko³a wieku 14, being particularly interested in the music of Paul Desmond. 14, bêd¹cego szczególnie zainteresowanego w muzyce Paul At 16 he started to play the soprano saxophone and there fol- Desmond. Przy 16 on zaczyna³ siê graæ sopranu saksofon i tam lowed a period where he concentrated on soprano only, influ- nastêpowaæ okres gdzie on koncentrowa³ siê na sopranie tylko, enced by John Coltrane. Following his undergraduate studies at wp³ywany przez John Coltrane. Nastêpuj¹cy jego student studiuje Birmingham University, he moved to London and, in late 1966/ przy Birmingham Uniwersytecie, on rusza³ siê do Londynu i, w early 1967 began playing in the Spontaneous Music Ensemble pónym 1966 / wczenie 1967 zaczyna³ grê w Spontanicznym (SME) who, at that time, along with Parker, comprised John Muzyki Zespole (SME) kto, w tamtym czasie, wzd³u¿ z Parker, Stevens, Kenny Wheeler, Paul Rutherford, Trevor Watts and Derek zawiera³ John Stevens, Kenny Konia dyszlowy, Paul Ruterford, Bailey. The regular venue for these sessions was the Little Thea- Trevor Waty i Derek Mur zamku.