Classical Through the 20Th Century
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Musical Imaginary, Identity and Representation: the Case of Gentleman the German Reggae Luminary
Ali 1 Musical Imaginary, Identity and Representation: The Case of Gentleman the German Reggae Luminary A Senior Honors Thesis Presented in partial fulfillment of the requirements for graduation with distinction in Comparative Studies in the undergraduate colleges of The Ohio State University By Raghe Ali April 2013 The Ohio State University Project Advisors Professor Barry Shank, Department of Comparative Studies Professor Theresa Delgadillo, Department of Comparative Studies Ali 2 In 2003 a German reggae artist named Gentleman was scheduled to perform at the Jamworld Entertainment Center in the south eastern parish of St Catherine, Jamaica. The performance was held at the Sting Festival an annual reggae event that dates back some twenty years. Considered the world’s largest one day reggae festival, the event annually boasts an electric atmosphere full of star studded lineups and throngs of hardcore fans. The concert is also notorious for the aggressive DJ clashes1 and violent incidents that occur. The event was Gentleman’s debut performance before a Jamaican audience. Considered a relatively new artist, Gentleman was not the headlining act and was slotted to perform after a number of familiar artists who had already “hyped” the audience with popular dancehall2 reggae hits. When his turn came he performed a classical roots 3reggae song “Dem Gone” from his 2002 Journey to Jah album. Unhappy with his performance the crowd booed and jeered at him. He did not respond to the heckling and continued performing despite the audience vocal objections. Empty beer bottles and trash were thrown onstage. Finally, unable to withstand the wrath and hostility of the audience he left the stage. -
“My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (Guest Post)*
“My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (guest post)* The Temptations, c. 1964 The Temptations’ 1964 recording of “My Girl” came at a critical confluence for the group, the Motown label, and a culture roiling with the first waves of the British invasion of popular music. The five-man cell of disparate souls, later to be codified by black disc jockeys as the “tall, tan, talented, titillating, tempting Temptations,” had been knocking around Motown’s corridors and studio for three years, cutting six failed singles before finally scoring on the charts that year with Smokey Robinson’s cleverly spunky “The Way You Do the Things You Do” that winter. It rose to number 11 on the pop chart and to the top of the R&B chart, an important marker on the music landscape altered by the Beatles’ conquest of America that year. Having Smokey to guide them was incalculably advantageous. Berry Gordy, the former street hustler who had founded Motown as a conduit for Detroit’s inner-city voices in 1959, invested a lot of trust in the baby-faced Robinson, who as front man of the Miracles delivered the company’s seminal number one R&B hit and million-selling single, “Shop Around.” Four years later, in 1964, he wrote and produced Mary Wells’ “My Guy,” Motown’s second number one pop hit. Gordy conquered the black urban market but craved the broader white pop audience. The Temptations were riders on that train. Formed in 1959 by Otis Williams, a leather-jacketed street singer, their original lineup consisted of Williams, Elbridge “Al” Bryant, bass singer Melvin Franklin and tenors Eddie Kendricks and Paul Williams. -
Outsiders' Music: Progressive Country, Reggae
CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C. -
Reggae Bass Pdf, Epub, Ebook
REGGAE BASS PDF, EPUB, EBOOK Ed Friedland | 32 pages | 01 Nov 1998 | Hal Leonard Corporation | 9780793579945 | English | Milwaukee, United States Reggae Bass PDF Book Reggae Rock. Here's a cool trick I learned to get super sub dubby bass tone: use an envelope filter, but turn the sensitivity all the way down so that it never opens. Print this page Do you know your Reggae Bass? No effects. May 26, Chapel Hill, NC. Fender Mustang Amp Review. Walking lines and swung bass lines in reggae tend to stay behind the beat and generally play very relaxed. Reggae Guitar. Reggae Love Songs. All rights reserved. You can accomplish everything with a few basic EQ and technique changes. Mostly no effects, it is really about the groove, not the tone. Do you use effects in reggae? It was also during this time that bass players were given a little bit more musical freedom and bass lines during this period began to become more intricate — relatively speaking bearing the standards set by ska and rocksteady in mind from before. Extra sustain and super round, phat but clean bass. Reggae Bass Scales. Use the previous reggae grooves as a blueprint for creating your own and listen to a lot of reggae bands for inspiration. Reggae Instrumental. The earliest form of music to come from Jamaica was a mid-tempo style of music called ska. While the One Drop Rhythm is fundamentally a single strike of the kick and the snare at the same time, there is some ambiguity on whether or not the drop is on beat three or just on beats two and four. -
HMF 2018 Survival Guide V3
!1 Hamtramck Music Festival 2018 Sponsors Hamtramck Music Festival HSCREYENP PREINT Survival Guide 2018 !2 Thursday - March 1 — Kickoff Party creation, molding heavy trance-rock grooves into a fluid and melodic sonic landscape, has Warhorses redefining what a rock group can be. Ant Hall/Ghost Light (1) "Hypnotic. Alluring. Captivating. Warhorses embellish a sense of wonder with their music; they drag you in and intoxicate you.” 8:00 Funkwagon – A vocally-driven, over-the-top dance band that has been touring the northeast for the past decade. Opening for such acts as 10:30 The My Ways – Travis Harrett toured and recorded for seven years Morris Day and the Time and Parliament. Recently settled in the Detroit with Bloodshot Records artists the Deadstring Brothers and labelmates area they are breaking down doors with their stunning live performances. Whitey Morgan and the 78s. In 2014, the My Ways released their self- titled debut record and a follow up in 2016. In 2017, the live show hit the 8:30 Abul on Fire – Bangladesh-American Abul Hossain performs his road with gigs around Michigan. original Bangali pop songs and ballads about peace and mankind backed by psychedelic and progressive rock. 11:00 Nadir Omowale – "To 9:00 Fizzbang – Proggy without being pretentious, poppy without being label Nadir as a obnoxious, this loud, exciting rock group seeks to get booties movin and neo-soul artist hearts singin. would be neglecting his rock roots; to call him a rock artist would be overlooking his hip- hop and jazz influences. Fully encompassing all the talents that Nadir possesses would be comparable to expanding the mathematical term Pi to its last digit." - Michigan Chronicle 11:30 Cye Pie and Ya Homies – A sound that is equal parts R&B, funk and soul. -
{FREE} the Drummers Bible: How to Play Every Drum Style from Afro
THE DRUMMERS BIBLE: HOW TO PLAY EVERY DRUM STYLE FROM AFRO-CUBAN TO ZYDECO PDF, EPUB, EBOOK Mick Berry,Jason Gianni | 224 pages | 01 Sep 2012 | See Sharp Press | 9781937276195 | English | Arizona, United States The Drummers Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco PDF Book This chapter not only provides the specific patterns to play, but also includes examples of how to apply the patterns when accompanied by other percussionists. While African music dates back to prehistoric times, the primary concern of the drum set player is contemporary African music. Heavy metal music - Wikipedia Heavy metal or simply metal is a genre of rock music that developed in the late s and early s, largely in the United Kingdom and the United States. All rights reserved. Baqueteo: The musical figure played by the timbale player, primarily in the Afro-Cuban Danzon style. The term anti-accent is more specific. Polyrhythm: The combination of two contrasting rhythmic pulses simultaneously. The Drum Set Crash Course. Related Authors. With the introduction of radio throughout Africa after World War II, and later through television broadcasts, contemporary African music achieved mass popularity across the continent. March 29, Alfred Music Publishing. The two accompanying CDs feature performances of nearly of the grooves, including every primary style example, all performed both with and without a click track. Ghost notes, however, are not simply the unaccented notes in a pattern. Alternate bass drum patterns are possible as well, though they are not used as frequently as the other types of variations. Includes approximately musical examples, organized by style, with historical information preceding the drumming groves. -
Jazzweek with Airplay Data Powered by Jazzweek.Com • June 14, 2010 Volume 6, Number 29 • $7.95
JazzWeek with airplay data powered by jazzweek.com • June 14, 2010 Volume 6, Number 29 • $7.95 Jazz Album No. 1: Joe Chambers, Horace To Smooth Album No. 1s: Bernie Williams, Max (Savant) Moving Forward (Reform/Rock Ridge); Sade, Soldier of Love (Sony) World Music No. 1: Hot Club of Detroit, It’s Smooth Single No. 1: Bernie Williams, About That Time (Mack Avenue) “Ritmo De Otono” (w/ Dave Koz) (Artistry/ Mack Avenue) JazzWeek Summit 2010: Register now at http://summit.jazzweek.com/ Jazz Album Chart .................... 3 Jazz Add Dates ...................... 7 Smooth Jazz Album Chart ............. 4 Jazz Radio Currents .................. 8 Smooth Singles Chart ................. 5 Jazz Radio Panel ................... 11 World Music Album Chart.............. 6 Smooth Jazz Current Tracks........... 13 Smooth Jazz Station Panel............ 14 Jazz Birthdays June 14 June 25 July 7 Lucky Thompson (1924) Joe Chambers (1942) Tiny Grimes (1916) June 15 June 26 Doc Severinsen (1927) Erroll Garner (1921) Dave Grusin (1934) Hank Mobley (1930) Jaki Byard (1922) Reggie Workman (1937) Joe Zawinul (1932) Tony Oxley (1938) Joey Baron (1955) July 8 June 16 June 27 Louis Jordan (1908) Joe Thomas (1933) Elmo Hope (1923) Billy Eckstine (1914) Albert Dailey (1938) June 28 July 9 Tom Harrell (1946) Jimmy Mundy (1907) Frank Wright (1935) Javon Jackson (1965) June 29 July 10 June 17 Julian Priester (1935) Noble Sissle (1899) Tony Scott (1921) Ivie Anderson (1905) June 30 Joe Thomas (1933) Cootie Williams (1911) Lena Horne (1917) Chuck Rainey (1940) Milt Buckner -
Carlton Barrett
! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures. -
Why the Red Hot Chili Peppers?
Red Hot Chili Peppers Group 3 Kaitlin Gaedtke Lauren Lalumiere Maisey Pierce Why the Red Hot Chili Peppers? The Red Hot Chili Peppers are an innovative rock group formed in the early 80s. They have seemingly always been hugely influential in the style of rock and alternative rock. Still successful in creating music and performing today. Group Biography RHCP were formed from a California high school friendship and a mutual appreciation for punk rock and funk. Started out as “Tony Flow & the Miraculously Majestic Masters of Mayhem,” this is also where their performing nude “trademark” started They began a recording contract with EMI and gained popularity when their videos were featured on MTV Group Biography (Cont.) Several members fought drug addiction along the way; one (Slovak) even died from a heroin overdose. They’ve had many different members but current members Kiedis and Flea are founders Flea (left in both pictures) and Kiedis (right in both pictures) have been friends since they went to highschool together! Current Members Anthony Kiedis: lead vocals (1983-present) Flea: bass, trumpet, piano, backing vocals (1983-present) Chad Smith: drums, percussion (1988-present) Josh Klinghoffer: guitar, keyboards, backing vocals (2009-present) Anthony Kiedis: went to highschool with Flea in California, where they acknowledged their mutual admiration of punk rock and funk groups by forming a band together. talent for poetry and was convinced by Flea and Slovak to write music. Even after his friend Slovak’s death due to an overdose, Kiedis still battled a drug addiction. In the 2000’s, he attempted to turn his autobiography called “Scar Tissue” into a TV show, which failed. -
The Social and Cultural Changes That Affected the Music of Motown Records from 1959-1972
Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 Lindsey Baker Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Baker, Lindsey, "The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972" (2015). Theses and Dissertations. 195. https://csuepress.columbusstate.edu/theses_dissertations/195 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 by Lindsey Baker A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Music in Performance Schwob School of Music Columbus State University Thesis Advisor Date Dr. Kevin Whalen Honors Committee Member ^ VM-AQ^A-- l(?Yy\JcuLuJ< Date 2,jbl\5 —x'Dr. Susan Tomkiewicz Dean of the Honors College ((3?7?fy/L-Asy/C/7^ ' Date Dr. Cindy Ticknor Motown Records produced many of the greatest musicians from the 1960s and 1970s. During this time, songs like "Dancing in the Street" and "What's Going On?" targeted social issues in America and created a voice for African-American people through their messages. Events like the Mississippi Freedom Summer and Bloody Thursday inspired the artists at Motown to create these songs. Influenced by the cultural and social circumstances of the Civil Rights Movement, the musical output of Motown Records between 1959 and 1972 evolved from a sole focus on entertainment in popular culture to a focus on motivating social change through music. -
Controllers As Musical Instruments, Controllerism As Musical Practice
Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy. -
The Swell and Crash of Ska's First Wave : a Historical Analysis of Reggae's Predecessors in the Evolution of Jamaican Music
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2014 The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music Erik R. Lobo-Gilbert California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Lobo-Gilbert, Erik R., "The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music" (2014). Capstone Projects and Master's Theses. 366. https://digitalcommons.csumb.edu/caps_thes/366 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Erik R. Lobo-Gilbert CSU Monterey Bay MPA Recording Technology Spring 2014 THE SWELL AND CRASH OF SKA’S FIRST WAVE: A HISTORICAL ANALYSIS OF REGGAE'S PREDECESSORS IN THE EVOLUTION OF JAMAICAN MUSIC INTRODUCTION Ska music has always been a truly extraordinary genre. With a unique musical construct, the genre carries with it a deeply cultural, sociological, and historical livelihood which, unlike any other style, has adapted and changed through three clearly-defined regional and stylistic reigns of prominence. The music its self may have changed throughout the three “waves,” but its meaning, its message, and its themes have transcended its creation and two revivals with an unmatched adaptiveness to thrive in wildly varying regional and sociocultural climates.