On Monday, April 17, 2017

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Table 1 on Monday, April 17, 2017 Show Notes: meh Time Artist Song Title Album Label Year 6:04 am mccoy tyner “speak low” inception impulse! 1962 6:12 am matthew shipp vs “staph” antipop consortium thirsty ear 2003 antipop 6:15 am zavala “roosevelt & letting fantasmas (new) fake four inc. 2017 go” 6:19 am the jeff suburu “a noy ying” tell no one band 6:25 am birth “smile” ﬁnd hopscotch 2002 6:44 am 75 dollar bill “beni said” wood/metal/plastic/ thin wrist 2016 pattern/rhythmn/ rock setbreak 6:51 am squarepusher w/ “don't go plastic” elektrac (new) warp 2017 shobaleader one 6:57 am supersilent “13.3” 13 (new) smalltown 2017 supersound 7:07 am sexmob meets “willisau suite 1” live in willisau 2006 thirsty ear 2006 medeski 7:27 am jimmy whoo “cruisin” motel music part ii zappruder 2017 (new) setbreak 7:39 am lera lynn “lying in the sun” lying in the sun 7:43 am orgone “dramatic times” killion vaults 7:46 am charles bradley “you put the flame victim of love daptone 2013 on it” 7:50 am meshell “article 3” the world has made decca 2007 ndegeocello me the man of my dreams 7:53 am valerie june “got soul” the order of time concord 2017 7:57 am the sound “i can't escape jeopardy myself” 8:08 am elvis costello & the “alison” 11.15.77, san fran is it live or is it attractions memorex? !1 8:08 am elvis costello & the “miracle man” 11.15.77, san fran is it live or is it attractions memorex? 8:11 am elvis costello & the “lipstick vogue” 11.15.77, san fran is it live or is it attractions memorex? 8:15 am elvis costello & the “watching the 11.15.77, san fran is it live or is it attractions detectives” memorex? 8:19 am elvis costello & the “mystery dance” 11.15.77, san fran is it live or is it attractions memorex? 8:22 am toots & the maytals “time tough” reggae vibrations mango 2001 8:28 am pj harvey “the wind” brokedown palace soundtrack setbreak 8:39 am los campesinos! “sad supper” sick scenes wichita 2017 8:42 am old 97's “irish whiskey pretty graveyard whistling girls” 8:46 am spoon “whisperi'lllistentoh hot thoughts matador 2017 earit” 8:51 am father john misty “when the god of pure comedy sub pop 2017 love returns there'll be hell to pay” 8:57 am the icebergs “needleworker” eldorado imaginator 2017 8:59 am idle bloom “interlude” little deaths fraternity as vanity 2017 !2.

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Thesis Submitted for the Degree Of
THE UNIVERSITY OF HULL School of Arts How do electronic musicians make their music? Creative practice through informal learning resources. being a Thesis submitted for the Degree of MA in Music by Research (25004) in the University of Hull by Wai Kuen Wan (BEng University of Leeds, BA Leeds Metropolitan University) June 2017 Contents Abstract iv Introduction 1 Context and literature review 7 1. Compositional approaches 16 1.1 Curation 17 1.1.1 Context of materials 17 1.1.2 Juxtaposition 19 1.1.3 Assemblage 20 1.1.4 Personal sound archive 22 1.2 Sound manipulation 24 1.2.1 Custom modular tools 25 1.2.2 Destruction and degradation 28 1.2.3 Manipulating recorded performance 30 1.3 Indeterminacy and serendipity 31 1.4 Specificity of objectives 34 2. Conditions for creativity 40 2.1 Motivation 41 2.1.1 Self-serving 42 2.1.2 Enthusiasm 44 2.1.3 Commercial success 46 2.1.4 Reactionary responses 50 2.2 Personal growth 53 2.2.1 Exploratory learning 53 2.2.2 Early experiences 56 2.3 Discography for reflection 59 ii 2.4 Duration and nature of composition 61 2.4.1 Intensive work practice 62 2.4.2 Promoting objectivity 65 2.4.3 Learning vs making 66 3. Technological mediation 70 3.1 Attitudes to technology 70 3.1.1 Homogenisation of technologies 71 3.1.2 New ideas do not require new technologies 74 3.1.3 Obsessing and collecting 76 3.2 Tools for realisation 80 3.2.1 Proficiency and fluency with instruments 83 3.2.2 Opacity and affordance - enslaved to the (quantised) rhythm 86 3.3 Redefining technology 89 3.3.1 Subversion – extending the lexicon 90 3.3.2 Active Limitation 94 3.4 Instruments and their influence 97 3.4.1 Resisting conformity 98 3.4.2.
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Dance Music Simon Halstead
After Techno and Rave: Status and Validity in Post- Dance Music by Simon Halstead Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording University of Surrey July 2009 © Simon Halstead 2009 ProQuest Number: 27558661 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27558661 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This dissertation explores the idea of electronica as a descendent of electronic dance music, which, although embodying many related aesthetic qualities, operates within a different set of musical values. This needs to be understood in the context of how dance music's character, form and modes of performance relate to its specific cultural function. Repetitive beats (as espoused by house and techno in particular) comprise part of the cultural experience of rave. In combination with drug technologies and an ethos of collectivity, rave encapsulates a set of political phenomena that are entrenched within the formal and textural priorities of dance music. I discuss how modes of reception are affected by changes in these priorities, and to what extent post-dance music neglects the physicality that defines the political dimension of dance music's relationship to the body.
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Digital Cultures Listening Lists
Digital Cultures: Music Recommended Listening and Reading (Prof Andrew Hugill) The following long (but nowhere near long enough to cover everything) listening list not only illustrates some of the key ideas about modernism and postmodernism, structuralism and deconstruction, but also adds up to a mini-history of the evolution of electronic and electroacoustic music in the 20th Century. Some brief descriptive notes are included to indicate the salient features, but there is no substitute for careful and repeated listening, with perhaps some attempt to analyse what is heard. It should be remembered that Modernism and Postmodernism are not musical styles, nor words that artists and composers use to describe their work, but rather terms from critical and cultural theory that seem to sum up broad tendencies in art. In fact, all the pieces below will probably be heard to exhibit characteristics of both ‘isms’. Some useful questions to ask when listening are: what is the artist’s intention? How well is it realized? What is the cultural context for the work? What are its compositional techniques? What is the musical language? Pierre Schaeffer ‘Etude aux chemins de fer’ from ‘Cinq études de bruits’ (1948) on OHM: the early gurus of electronic music: 1948-1980. Roslyn, New York: Ellipsis Arts. This was the first time recorded sound was assembled into a musical composition. The sounds included steam engines, whistles and railway noises. Pierre Schaeffer and Pierre Henry Symphonie pour un homme seul (1950) on Pierre Schaeffer: l’oeuvre musicale EMF EM114. A 12-movement musical account of a man’s day using recorded sounds.
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Novou Desku Elektrac Přiveze V Březnu Do Meetfactory Shobaleader One, Kapela Legendárního Squarepushera
Novou desku Elektrac přiveze v březnu do MeetFactory Shobaleader One, kapela legendárního Squarepushera 7. březen, Praha – Jeden z nejvlivnějších britských hudebníků posledních dvou dekád Tom Jenkinson alias Squarepusher přijede 29. března do MeetFactory. V rámci projektu Shobaleader One představí společně s čtyřčlennou kapelou v LED maskách a hábitech svůj progresivní jazz a zbrusu novou desku Elektrac, která vyjde 10. března. Tom „Squarepusher“ Jenkinson je pojem elektronické hudby posledních dvou dekád britské scény. Manický, schizoidní, experimentální drum´n´bass je jen základní označení toho, co Squarepusher během posledních dvaceti let předvedl. Jako syn jazzového muzikanta vyrůstal na hudbě Milese Davise, Augusta Pabla nebo Charlie Parkera. Na střední škole začal hrát na basu a bicí, pak ale uslyšel elektro techno LFO nebo Carla Craiga a klasickému jazzu bylo odzvoněno. Vzdát se ho ale nehodlal. V jeho muzice se sice začaly objevovat prvky techna a junglu, zároveň je ale na jeho prvních nahrávkách zřetelný silný vztah k jazzu, který se pomalu transformuje do progresivního stylu. Post-acid house, experimentální hudba, drum and bass – to všechno se v souvislosti se Squarepusherem začíná spojovat. V roce 1997 vzniklo první z mnoha alb, které Jenkinson nahrál u legendárního labelu Warp – Hard Normal Daddy. Album bylo nadšeně přijato veřejností i kritikou, britský magazín The Wire ho zařadil mezi nejlepší desky roku, Stylus Magazine hovořil o „zázraku.“ Bylo to také poprvé, kdy se Jenkinson pokusil oprostit od jazzu a hudbu směřoval více funkově alá hudba Herbie Hencocka. Mezi roky 1997 a 2009 vzniklo dalších jedenáct desek, např. Music is Rotted One Note, Go Plastic (píseň „Tommib“ zazněla ve filmu Lost in Translation), Do you Know Squarepusher, na kterém zazní cover verze Joy Division Love Will Tear Us Apart nebo Ultravisitor, kterému podle slov samotného umělce porozumí jen on sám; sám za sebe ostatně mluví i obal desky, kde je jen Jenkinsonova tvář.
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Algorithmically Assisted Improvised Music
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THE TUFTS DAILY Est
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Materiality and Silence in Madonna's
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