The South Wedge Quarterly
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Uma Perspectiva Musicológica Sobre a Formação Da Categoria Ciberpunk Na Música Para Audiovisuais – Entre 1982 E 2017
Uma perspectiva musicológica sobre a formação da categoria ciberpunk na música para audiovisuais – entre 1982 e 2017 André Filipe Cecília Malhado Dissertação de Mestrado em Ciências Musicais Área de especialização em Musicologia Histórica Setembro de 2019 I Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais – Área de especialização em Musicologia Histórica, realizada sob a orientação científica da Professora Doutora Paula Gomes Ribeiro. II Às duas mulheres da minha vida que permanecem no ciberespaço do meu pensamento: Sara e Maria de Lourdes E aos dois homens da minha vida com quem conecto no meu quotidiano: Joaquim e Ricardo III Agradecimentos Mesmo tratando-se de um estudo de musicologia histórica, é preciso destacar que o meu objecto, problemática, e uma componente muito substancial do método foram direccionados para a sociologia. Por essa razão, o tema desta dissertação só foi possível porque o fenómeno social da música ciberpunk resulta do esforço colectivo dos participantes dentro da cultura, e é para eles que direciono o meu primeiro grande agradecimento. Sinto-me grato a todos os fãs do ciberpunk por manterem viva esta cultura, e por construírem à qual também pertenço, e espero, enquanto aca-fã, ter sido capaz de fazer jus à sua importância e aos discursos dos seus intervenientes. Um enorme “obrigado” à Professora Paula Gomes Ribeiro pela sua orientação, e por me ter fornecido perspectivas, ideias, conselhos, contrapontos teóricos, ajuda na resolução de contradições, e pelos seus olhos de revisora-falcão que não deixam escapar nada! Como é evidente, o seu contributo ultrapassa em muito os meandros desta investigação, pois não posso esquecer tudo aquilo que me ensinou desde o primeiro ano da Licenciatura. -
Music for Boys, Girls, Queens and Kings: New Album Reviews
Music For Boys, Girls, Queens And Kings: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world After a short break where Titel Kulturmagazin went on an 18-30 holiday by mistake, we return this week with more album reviews than any sane person could ever need. After having to endure the tortured strangulations of EBM, and the hen party screeches of Ibiza for the last fortnight, fantastic albums by 2814, Wild Beasts, Bryan Ferry, Dinosaur Jr., Conduct, Gerd Janson, John Roberts, Riley Reinhold, Carl Craig are like manna to our ears. By JOHN BITTLES So, before we start trying to show off our sunburn, pass on an STD, or bore you with our holiday snaps, we had better begin… Last year’s Birth Of A New Day was an album which succeeded in immersing the listener within its own retro-futurist world. Overflowing with melancholy and wistfulness, it took the sounds associated with the burgeoning vaporwave scene, and created something visceral and real. This summer the duo of Telepath and HKE once again don their 2814 moniker to release the eagerly anticipated follow-up LP. Poignant, and dripping with a vivid sense of nostalgia, fans of Birth Of A New Day will be delighted to find that Rain Temple is every bit as good. Before The Rain opens proceedings with a feeling of hushed longing, somehow conjuring the image of standing lost within a cold metropolis where nobody knows your name. Further in, Guided By Love sounds like hearing long forgotten, but once beloved childhood songs coming from some far-off place, This Body can cause the unguarded to break down in tears, while Inside The Sphere brims with quiet resonance. -
An Interview with Diamondstein
Music For Darkened Dreams: An Interview With Diamondstein Music | Bittles’ Magazine: The music column from the end of the world Since its formation in ›2814‹ UK label Dream Catalogue have released some of the most beautiful, beguiling and futuristic music you could ever hope to hear. Superb albums by the likes of 2814, Telepath Remember and Yoshimi ably create lush aural worlds which form an emotional panorama which could make even the most hard-faced listener get all misty eyed. This is music best listened to with your eyes closed and your imagination open wide! Yet, over the years Dream Catalogue have shown that they have a lot more to offer the world than just Blade Runner inspired ambiance. Key releases by DJ Alina, Flash Kostivich and Lillith add beats and a sense of toughness to their repertoire. By taking the vaporwave template, and completely scrunching it up, these producers re-energise the ghosts of rave, techno and hardcore to create a strange, yet beautiful music which takes great delight in fucking with your head. Already termed as hardvapor by some, these cassettes are far too good to be revered only by a knowledgeable few, and will work on dance floors as well as in the mind. All of which brings us to LA-based producer Diamondstein, who made his Dream Catalogue debut in March with the spectacular industrial ambient crunch of ›The Ridges‹. In a sonically rich and exciting record propulsive, angular rhythms mix with harsh drones and ambient pulses to create a piece of art which sounds likes nothing else around. -
Digital Sampling and Appropriation As Approaches to Electronic Music Composition and Production Gene Shill
Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Author Shill, Gene Published 2016-12 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3631 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/370569 Griffith Research Online https://research-repository.griffith.edu.au Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Gene Shill BA, MA (Distinction) Queensland Conservatorium Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 2016 “The most beautiful experience we can have is the mysterious - the fundamental emotion which stands at the cradle of true art and true science.” Albert Einstein Abstract Through analysis, observation, critical listening, interviews and creative practice, this study explores how techniques of appropriation via digital music sampling are used for electronic musical composition and production. Included is an examination of literature and creative work focused on the Golden Age of Hip-Hop that explores early sampling processes and techniques. Through original compositions and an exegesis, the study provides unique and significant contributions to the field including the identification of four approaches to the design and construction of sample-based composition and associated techniques for achieving them using contemporary music technologies. The Golden Age of Hip-Hop is presented as a historical period of musical significance, not only for defining new genres and sub genres of music, but because of the influencing factors that emerging technologies had on new compositional processes and outcomes. -
Vaporwave Is a Microgenre of Electronic Music and an Internet Meme That Emerged in the Early 2010S
home origins outreach influence critics Vaporwave is a microgenre of electronic music and an Internet meme that emerged in the early 2010s. The style is defined by its appropriation of 1980s and 1990s mood music styles such as smooth jazz, elevator music, R&B, and lounge music, typically sampling or manipulating tracks via chopped and screwed techniques and other effects. Its surrounding subculture is sometimes associated with an ambiguous or satirical take on consumer capitalism and popular culture, and tends to be characterized by a nostalgic or surrealist engagement with the popular entertainment, technology and advertising of previous decades. It also incorporates early Internet imagery, late 1990s web design, glitch art, anime, 3D-rendered objects, and cyberpunk tropes in its cover artwork and music videos. Originating as an ironic variant of chillwave, vaporwave was loosely derived from the experimental tendencies of the mid-2000s hypnagogic pop scene. The style was pioneered by producers such as James Ferraro, Daniel Lopatin, and Ramona Xavier under various pseudonyms. A circle of online producers were particularly inspired by Xavier’s Floral Shoppe (2011), which established a blueprint for the genre. The mvovement subsequently built an audience on sites Last.fm, Reddit, and 4chan while a flood of new acts, many operating under online pseudonyms, turned to Bandcamp for distribution. Following the wider exposure of vaporwave in 2012, a wealth of subgenres and offshoots emerged, such as mallsoft, and hardvapour. Vaporwave found wider appeal over the middle of 2012, building an audience on sites like Last.fm, Reddit, and 4chan. After a flood of new acts turned to Bandcamp for distribution, various online music publications such as Tiny Mix Tapes, Dummy and Sputnikmusic began covering the movement.