Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music
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Badass Band 47- MAKAR
Badass Band 47- MAKAR (hps://badassbandsblog.files.wordpress.com/2012/08/makar.jpg) Jonesing for a dynamic guy/girl duo to add to your music repertoire? Look no further music lovers. Not only is this duo talented musically, they are after this music fiend’s own heart considering that the members are writers aside from their songwriting, Andrea is even a published poet. They are quite out of the ordinary as you will find in listening to their tunes, and their range is broad which offers ear solace to any kind of music lover. Badass Band 47 is New York’s MAKAR. MAKAR is another band that found me, and once their tunes hit my ears, I had a hard time deciding which of them I liked best. It was almost as if I went into super ADD mode, I was clicking on all their tracks trying to decide which I liked best right off the bat and they were all so different I couldn’t sele on one. I ended up forcing myself to just download them all and listen to them in order from start to finish. So, that being said, let’s start by talking about the vocals. Andrea’s vocals I can really only describe as light and refreshing. They have power, but not in the traditional sense, in the sense that they are so soft and singsongy that you just can help but listen. For me this is especially exemplified on songs like ‘I Wanna Know What I Don’t Know’ or ‘Belong Here’ As for Mark, his voice is deep but also keeps the more light, singsongy quality that Andrea’s has. -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
"World Music" and "World Beat" Designations Brad Klump
Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
What Shall We Do Now? Pdf Free Download
WHAT SHALL WE DO NOW? PDF, EPUB, EBOOK Dorothy Canfield Fisher | 304 pages | 02 Sep 2017 | Createspace Independent Publishing Platform | 9781975854263 | English | none What Shall We Do Now? PDF Book Contributed by T. What shall we do for wives for those who are left, since we have sworn by the LORD that we will not give them any of our daughters for wives? David Gagne. Shall we get into fights? Related 0. From the election to the pandemic, all atop systemic injustice continuing to manifest itself in many areas of our society. Message calling all believers to action; to move forward in servitude and stop delaying. It's not something that we need to take it without we taking likely you may have lost your finances. Don't Leave Me Now 6. Sixteenth, A man of God said, do not be afraid and that is what I'm coming to share with us this afternoon. The World's Greatest Pi…. That's a great promise. Vera SmartHumanism: it's all about making sure your tense matches what you are trying to say. Leave a Reply Want to join the discussion? We shall never still any of your glory will give them completely back to you for you deserve them all in the name of Jesus Christ, our Lord, Amen and Amen and Amen. Fathers Against Irrational Reasoning. Yes No. Hey You Two flowers — one phallic, the other yonic — timidly dance around each other before copulating for lack of a more discrete word , morphing from humanistic figures to animalistic creatures. Speak out, speak louder. -
Volume CXXVIII, Number 19, April 1, 2011
FEATURes OP/ED A & E SPORTS A weekend of gardeneing Devisive leader sparked Tom reminisces with Spring Break at SISA campus debate in 1967 Bright Eyes recap >> page 4 >> pages 3 >> page 9 >> page 10 FRIDAY, APRIL 1, 2011 THE LAWRENTIAN Vol. CXXVIII, No. 19 Lawrence University's student newspaper since 1884 www.Lawrentian.com Sigma Phi Epsilon house search raises policy questions Tammy Tran meeting room have been closed Monday, March 21. Associate Features Editor and locked. Sigma Phi Epsilon has According to Uecke, there are ____________________________________ also been placed on social proba- two general ways that the admin- Associate Dean of Students tion and is prohibited from putting istration deals with drug use on for Campus Life, Amy Uecke and on any events this year. campus. If an individual student Assistant Dean of Students for The house is subject to ran- were to be caught violating drug Campus Life Curt Lauderdale went dom searches at any time, and policies, campus security would to the Sigma Phi Epsilon house members who were off campus address the situation individually. March 16 with the intention of tak- during spring break were given Campus Life staff would then fol- ing pictures of items in the house heavy warnings. low up with the student. that needed remodeling. According to junior Kyle “That follow up,” stated Uecke, Uecke noticed an open window Simon, the president of Sigma Phi “would usually take an educational with no screen from outside the Epsilon, the house will be up for approach. We would remind the house. When entering the common re-evaluation in one month, put- student of drug policies not only area to close the window, marijua- ting the group in a tough situation. -
Coheed and Cambria Partners with Wevideo to Launch New Album, the Afterman: Descension
Coheed and Cambria Partners with WeVideo to Launch New Album, The Afterman: Descension Palo Alto, CA (February 6, 2013) – Just in time for the release of their new album, The Afterman: Descension, prog-rock band, Coheed and Cambria today announces a creative partnership with cloud-based video editing company, WeVideo™, to engage fans in creating their own music videos for the song Dark Side of Me. “Storytelling has always been a significant part of Coheed and Cambria’s music so we’re excited about this new, fan-made component to their work,” says Griffin McCabe of Velvet Hammer Music and Management Group, which manages Coheed and Cambria. “The band’s music has a narrative tapestry that fans connect with and we can’t wait to see the music videos they come up with.” Coheed and Cambria fans can create their own music videos on the band’s website, http://www.coheedandcambria.com/videolab/ENTER.html in a designated “Video Lab” where they will have access to the song Dark Side of Me, inside a video editing window, powered by WeVideo. Fans can import pictures, videos and sounds from their own computer and also from their Facebook, Instagram, Box and other cloud media storage locations. Final videos are exported to the fan’s YouTube account and selected videos will be made public on Coheed and Cambria’s website. “The world is becoming evermore social and we see fan-engagement services like WeVideo becoming a natural part of music industry promotion,” says Mark Floisand, Vice President of Marketing at WeVideo. “We’re pleased that Coheed and Cambria is working with us and engaging their fans in this collaborative, creative way.” About Coheed and Cambria Over the past 10 years, Coheed and Cambria—singer-guitarist Claudio Sanchez, guitarist Travis Stever, bassist Zach Cooper and drummer Josh Eppard—have distinguished themselves as amongst the most gifted storytellers in rock. -
Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University. -
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
MTO 17.3: Osborn, Understanding Through-Composition
KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres by Brad Osborn 2011 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Osborn, Brad. 2011. “Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres.” Music Theory Online 17, no. 3 Published version: http://www.mtosmt.org/issues/mto.11.17.3/ mto.11.17.3.osborn.pdf Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml This work has been made available by the University of Kansas Libraries’ Office of Scholarly Communication and Copyright. Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres (1) Brad Osborn NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.php KEYWORDS: form, through-composition, rock, experimental rock, post-millennial rock, art rock, post-rock, math-metal, progressive rock, Radiohead, Animal Collective, The Beatles ABSTRACT: Since the dawn of experimental rock’s second coming in the new millennium, experimental artists have begun distancing themselves from Top-40 artists through formal structures that eschew recapitulatory verse/chorus conventions altogether. In order to understand the correlation between genre and form more thoroughly, this paper provides a taxonomic approach to through-composition in several post-millennial experimental rock genres including post-rock, math-metal, art rock, and neo-prog. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
Broadcasting Regulatory Policy 2010-819
Broadcasting Regulatory Policy 2010-819 PDF version Ottawa, 5 November 2010 Revised content categories and subcategories for radio This regulatory policy revises the list of content categories and subcategories for radio by adding a new subcategory 36 (Experimental Music), as announced in Broadcasting Regulatory Policy 2010-499 which sets out the new policy for campus and community radio. This regulatory policy will take effect only when the Radio Regulations, 1986 are amended to make reference to it. 1. In Broadcasting Regulatory Policy 2010-499, which sets out the new policy for campus and community radio, the Commission announced its intention to revise the content categories and subcategories for radio by adding a new subcategory 36 (Experimental Music). The Commission indicated that, in interpreting the new definition of Experimental Music, it would rely on the definitions of musique actuelle, electro acoustic and sound ecology set out in the appendix to Broadcasting Notice of Consultation 2009- 418, as well as the Turntablism and Audio Art Study 2009, which was prepared to assist parties in preparing their comments for the review of campus and community radio. The Commission also provided clarification as to how it would measure the Canadian content of musical selections falling into this new subcategory at paragraphs 77 and 78 of Broadcasting Regulatory Policy 2010-499. 2. In order to implement this determination, the content categories and subcategories contained in the appendix to this regulatory policy, including the new definition of Experimental Music, will replace the content categories set out in the appendix to Public Notice 2000-14. The Commission will propose amendments to the Radio Regulations, 1986 for the purpose of removing all references to the appendix to Public Notice 2000-14 and replacing them with references to the appendix to this regulatory policy.