DOCSLIB.ORG

Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona. I thank him for his constant commitment, dedication and above all, inspiration. I am equally thankful to Perfecto Herrera for his vast knowledge, infinite patience and unwavering support. To the most gigantic steppers of them all, the musketeers: Ángel, Dani and Martin, one for all and all for one. Thanks to Xavier, Cristina, Sonia, Lydia and the rest of UPF for making it a great environment for this lowly scholar. Shout out to all the MTG gang: Juanjo (particularly for the translations, squawk), Marius (expert courier), Alastair, Sergio, Frederick, Dimi, Oriol, Moha, Rafa, Sebas, Carles, Georgi. Dara, Gerard, Álvaro, Pano, Giuseppe, Martí etc. I am missing others I know but know that it is not intentional. Cheers to the Barcelona Laptop Orchestra for their collaboration. Thanks to the Barcelona crew for keeping me (in)sane these past years, and the Boni- tos for keeping the mandolin strings from rusting. Thanks to my Cork-based friends and my Dublin-based friends. I am indebted to Peter for reviewing some drafts. Faoi dheireadh caithfidh me an buíochas is mó a thabhairt do mo chlann (agus Julie), as ucht an grá agus an tachaíocht a thug sibh dom i rith an bhliain dorcha, deachair seo a bhí againn go léir. Go raibh maith agat James & Batchimeg, Colm & Melanie ’gus fáilte go dtí an domhan Marló beagaín! Míle buíochas freisin go dtí muintir McCarthy agus Ó Nuanáin. Go raibh maith agat a thuismitheoirí, ar dtús báire as ucht thabhairt dom an cheoil, mar ní bheadh mé abálta é seo a dhéanamh gan é. Go raibh maith agat, Joe as gach rud, ach go háirithe an cabhair, an bia, na deochanna, agus an Béarla! Agus le sin, go raibh míle maith agat Marian, tá brón orm níl tú in ann seo a léamh a chroí. VII Abstract The practice of music composition often stems from a small idea or motif that blos- soms into a complete work through careful application of repetition, variation and a dash of inspiration. In the highly rhythmic and repetitive strain of music that is electronic dance, this motif is the fundamental building block known as the loop, and is accorded greater importance than any other style. While other genres can depend upon long-established rules governing things like harmonic structure and form, many dance tracks do not stray far from its fundamental central theme in the traditional sense. Rather, the craft of this unique music is revealed through complex, layering arrangements of timbre and intensity arising from the liberal application of rhythmic activity and sonic effects. This dissertation explores computational methods for generating and varying that rhythmic activity that is so pivotal in composing effective loops. We begin the journey in the symbolic domain, and draw upon a wealth of historical methods for algorithmic composition coupled with the state of the art in rhythmic similarity perception to build GenDrum, an intelligent drum machine using genetic algorithms. Our listener survey reveals the validity of the approach, but we question the general adroitness of purely symbolic means in capturing the acute essence of timbre. Modern approaches to composing electronic music are distinguished by the liberal use of sampling and appropriation of existing sounds as well as the design of purely synthesised new sounds. Concatenative synthesis applies high-level rules and criteria that seek to combine phrases of sounds together in a more intelligent and systematic manner. It is a content-based approach that uses music information retrieval research to work directly with audio and its latent encoding of multidimensional spectral and timbral character. In the second contribution of the thesis we examine the relevance and application of concatenative synthesis in the specific context of electronic dance music production. We present a comprehensive review of key works in the area of concatenative syn- thesis and summarise the algorithmic underpinnings that tend to drive these systems. PyConcat, a research oriented synthesis framework, is offered to encapsulate many of the key approaches along with some novel improvements to the field and state of the art in the area of timbral feature choice as well as unit selection with Hidden Markov Models. But, above all, the concern remains with the implications of designing concatenative systems that consider the needs of the user and the place of such systems in their existing composition and production workflows. The final contribution of the thesis delivers RhythmCAT, a visually appealing virtual instrument plugin with a unique in- IX X ABSTRACT teraction metaphor for exploring concatenative synthesis in a practical, user-friendly manner. This focus on the user implications of concatenative synthesis leads natur- ally to the question of evaluation: not only in our system but also the wider ecosystem of generative and creative computational agents. Another evaluation methodology is proposed that expands on the one conducted in the symbolic domain and the results are presented and discussed in detail. The thesis concludes with our critical impres- sions of the work presented and the possible directions for future study. Resum La pràctica de la composició musical part sovint d’una petita idea o motiu que floreix en una obra completa mitjançant una acurada aplicació de la repetició, variació i una mica d’inspiració. En música electrònica de ball (que és altament repetitiva i basada en el ritme), aquest motiu conegut com loop és el seu component fonamental, i ad- quireix una importància més gran que en qualsevol altre estil. Mentre altres gèneres poden dependre de regles establertes per regir l’estructura harmònica i la forma, els temes de música electrònica de ball no s’allunyen molt del seu motiu central fonamen- tal en un sentit tradicional. Aquesta particular música s’elabora a través de complexos arranjaments de capes tímbriques i d’intensitat que sorgeixen a partir d’una aplicació lliure de l’activitat rítmica i dels efectes de so. Aquesta tesi explora mètodes computacionals per a la generació i variació de l’ac- tivitat rítmica, que és un peça clau en la composició de loops efectius. Comencem en el domini simbòlic, basant-nos en múltiples mètodes clàssics de composició algo- rítmica, i en el coneixement més avançat sobre percepció de similitud rítmica per a construir GenDrum, una caixa de ritmes intel·ligent basada en algoritmes genètics. Una avaluació amb oients demostra que és un enfocament vàlid, però ens qüestionem l’habilitat de mètodes purament simbòlics per a capturar l’essència del timbre. Els mètodes més moderns de composició de música electrònica es distingeixen per un ús liberal del samplejat i l’apropiació de sons preexistents, així com del disseny de nous sons purament sintetitzats. La síntesi concatenada aplica regles d’alt nivell i cri- teris que intenten combinar frases de sons d’una manera més intel·ligent i sistemàtica. Aquest enfocament basat en contingut utilitza la recerca en recuperació d’informació musical per treballar directament amb àudio i amb una codificació latent i multidi- mensional de l’espectre i de les característiques tímbriques. Com a segona contribució d’aquesta tesi, examinem la rellevància i aplicació de la sín- tesi concatenada per a producció de música electrònica de ball. Presentem una revisió exhaustiva de treballs clau en l’àrea de la síntesi concatenada i resumim els fonaments algorítmics en què se solen basar aquests sistemes. PyConcat, un entorn per a síntesi orientat a la recerca, encapsula molts dels mètodes més importants juntament amb al- gunes millores per a la selecció de característiques tímbriques, i la selecció d’unitats amb Models Ocults de Markov. Però, especialment, segueixen sent clau les implicacions en considerar les necessitats dels usuaris en el disseny de sistemes concatenats, i el lloc que aquests ocupen en els seus processos compositius i de producció. La contribució final de la tesi és Rhythm- CAT, un instrument virtual visualment atractiu i amb una metàfora d’interacció única per a l’exploració de la síntesi concatenada d’una manera pràctica i fàcil d’utilitzar. XI XII RESUM Aquest èmfasi en les implicacions de l’usuari de la síntesi concatenada porta natural- ment a la qüestió de l’avaluació, tant en el nostre sistema com en l’ampli ecosistema d’agents computacionals generatius i creatius.
Recommended publications
  • Amjad Ali Khan & Sharon Isbin

    Amjad Ali Khan & Sharon Isbin

    SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S.
  • An Investigation of Nine Acousmatic Compositions

    An Investigation of Nine Acousmatic Compositions

    A PORTFOLIO OF ACOUSMATIC COMPOSITIONS BY DAVID HINDMARCH A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham December 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This portfolio charts my development as a composer during a period of three years. The works it contains are all acousmatic; they investigate sonic material through articulation and gesture, and place emphasis on spatial movement through both stereophony and multi-channel environments. The portfolio is written as a personal journey, with minimal reference to academic thinking, exploring the development of my techniques when composing acousmatic music. At the root of my compositional work is the examination and analysis of recorded sounds; these are extrapolated from musical phrases and gestural movement, which form the basis of my musical language. The nine pieces of the portfolio thus explore, emphasise and develop the distinct properties of the recorded source sounds, deriving from them articulated phrasing and gesture which are developed to give sound objects the ability to move in a stereo or multi-channel space with expressive force and sonic clarity.
  • Highland Games. Kilts Galore. Help: Graduating

    Highland Games. Kilts Galore. Help: Graduating

    THEFriday, October 10, 2014 - Volume 61.5 14049 Scenic Highway,BAGPIPE Lookout Mountain, Georgia, 30750 www.bagpipeonline.com Burning at Help: Graduating and the Stage Highland Games. Kilts Galore. Headed into Law BY KRISITE JAYA BY MARK MAKKAR Burning at the Stage took place Life after Covenant can either be on Thursday (10/3) night. The exciting or foreboding, but hear- Overlook was crowded with music ing from people who are already performances, friends huddling there always helps in lighting the around straw-bales, and marshmal- path that is to come. During the lows roasting atop fire pits. Alumni Law Career Panel, organized by who happened to be in town for the Center for Calling & Career, Homecoming contributed to the students listened to three Covenant festivities, exchanging squeals and alumni who have pursued work in hugs with familiar faces. The event, the field of law since graduating. according to the Senior Class Dr. Richard R. Follet introduced Cabinet member Sam Moreland, the meeting by stating that “Cov- “has taken different forms over the enant has a list of 60 graduates that years, but tends to have the ele- have gone into some kind of law ments of music, the Overlook, fire after graduating from Covenant.” and s’mores, and relaxed fellowship Three of them were able to make as commonalities.” it to the Panel. Josh Reif, John Many have long associated the Huisman, and Pete Johnson shared event with the Homecoming tradi- stories about when they were at tion, but Burning at the Stage is an BYGARRET SISSON Around 150 people attended was featured as the announcer.
  • Négociations Fondation Maeght : Entre Célébrations Monaco - Union Européenne Et Polémique R 28240 - F : 2,50 € Michel Roger S’Explique

    Négociations Fondation Maeght : Entre Célébrations Monaco - Union Européenne Et Polémique R 28240 - F : 2,50 € Michel Roger S’Explique

    FOOT : SANS FALCAO ET JAMES, QUELLES AMBITIONS POUR L’ASM ? 2,50 € Numéro 135 - Septembre 2014 - www.lobservateurdemonaco.mc SOCIÉTÉ USINE D’INCINÉRATION : LES SCÉNARIOS POSSIBLES ECOLOGIE CHANGEMENT CLIMATIQUE : POURQUOI IL FAUT RÉAGIR CULTURE NÉGOCIATIONS FONDATION MAEGHT : ENTRE CÉLÉBRATIONS MONACO - UNION EUROPÉENNE ET POLÉMIQUE R 28240 - F : 2,50 € MICHEL ROGER S’EXPLIQUE 3 782824 002503 01350 pour lui Solavie pag Observateur 09/2014.indd 2 08/09/14 15:51 LA PHOTO DU MOIS CRAINTES epuis des mois, dans certains milieux, on ne parle que de ça. En principauté, le lancement des négociations avec l’Union européenne (UE) inquiète pas mal de monde. Notamment les professions libérales qui craignent Dde voir tomber le presque total monopole qu’ont les Monégasques sur ces professions très encadrées réglementairement. « Ceci entraînerait à très court terme la disparition de notre profession telle qu’elle existe depuis des siècles. Ce qui est très préoccupant. D’autant plus que ce sera la même chose pour les médecins, les architectes, les experts-comptables monégasques… », a expliqué à L’Obs’ le bâtonnier de l’ordre des avocats de Monaco, Me Richard Mullot. Une crainte qui a poussé les avocats, les dentistes, les médecins et les architectes à se réunir pour réfléchir à la création d’un collectif. Objectif : défendre auprès du gou- vernement leurs positions et leurs spécificités qui restent propres à chaque profession. En face, le gouvernement cherche à rassurer. Dans l’interview qu’il a accordée à L’Obs’, le ministre d’Etat, Michel Roger, le répète. Il est hors de ques - tion de brader ce qui a fait le succès de la princi- pauté : « Il n’y aura pas d’accord si Monaco devait perdre sa souveraineté ou si ses spécificités devaient être menacées.
  • UNIVERSITY of CALIFORNIA Los Angeles the Hubble

    UNIVERSITY of CALIFORNIA Los Angeles the Hubble

    UNIVERSITY OF CALIFORNIA Los Angeles The Hubble Constant and the ΛCDM Cosmology: A Magnified View using Strong Lensing A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Astronomy and Astrophysics by Anowar Jaman Shajib 2020 © Copyright by Anowar Jaman Shajib 2020 ABSTRACT OF THE DISSERTATION The Hubble Constant and the ΛCDM Cosmology: A Magnified View using Strong Lensing by Anowar Jaman Shajib Doctor of Philosophy in Astronomy and Astrophysics University of California, Los Angeles, 2020 Professor Tommaso Treu, Chair Recently, a significant tension has been reported between two measurements of the Hubble constant (H0) from early-Universe (e.g., cosmic microwave background) and late-Universe probes (e.g., cosmic distance ladder). If systematic errors are ruled out in these measure- ments, then new physics extending the ΛCDM model will be required to resolve the tension. Therefore, different independent probes of H0 { such as the strong-lensing time-delay { are essential to confirm or resolve the tension. The measured time-delays between the lensed images of a background quasar constrain H0, as they depend on the absolute physical dis- tances in the lens configuration. I led a team from the STRong-lensing Insights into the Dark Energy Survey (STRIDES) collaboration to analyze the lens DES J0408-5354. I modeled the mass distribution of this lens using Hubble Space Telescope imaging, and combined it +2:7 −1 −1 with analyses from my collaborators to infer H0 = 74:2−3:0 km s Mpc with the highest precision (3.9 per cent) from a single lens to date.
  • Physicality of the Analogue by Duncan Robinson BFA(Hons)

    Physicality of the Analogue by Duncan Robinson BFA(Hons)

    Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player.
  • DAFTAR PUSTAKA Arida, Wiratsi. 2015

    DAFTAR PUSTAKA Arida, Wiratsi. 2015

    DAFTAR PUSTAKA Arida, Wiratsi. 2015. “Alih Kode dan Campur Kode Dalam Lirik Lagu First Love, Can You Keep A Secret, Final Distance Oleh Utada Hikaru”. Padang: Skripsi Sarjana Sastra Jepang Universitas Andalas Aslina dan Leni Syafhya. 2007. Pengantar Sosiolinguistik. Bandung: PT Refika Aditama Chaer, Abdul dan Leonie Agustina. 2004. Sosiolinguistik. Jakarta: Rineka Cipta Dhamasyraya, Priyade. 2012. “Alih Kode dan Campur Kode Dalam Lirik Lagu Rebel:Sick, Shadow:Six Antar Bahasa Jepang Dengan Bahasa Inggris”. Padang: Skripsi Sarjana Sastra Jepang Universitas Andalas Kesuma. Tri Mastoyo Jari. 2007. Pengantar (Metode) Penelitian Bahasa. Yogyakarta: Carasvatibooks Kridalaksana, Harimurti. 2008. Kamus Linguistik. Jakarta: PT Gramedia Pustaka Utama Mahsun. 2005. Metode Penelitian Bahasa. Jakarta: PT Raja Grafindo Persada Nababan, P.W.J. 1984. Sosiolinguistik: Suatu Pengantar. Jakarta: PT. Gramedia Pustaka Utama Nur, Afief Rahman. 2015. “Alih Kode Dalam Film Jepang Beck”. Padang: Skripsi Sarjana Sastra Jepang Universitas Andalas Oktavianus, 2006. Analisis Wacana Lintas Bahasa. Padang: Andalas University Press Padmadewi, Ni Nyoman dkk. 2014. Sosiolinguistik. Singaraja:Graha Ilmu 53 Rusyana, Yus. 1975. Interferensi Morfologi Pada Penggunaan Bahasa Indonesia oleh Anak-Anak yang Berbahasa Pertama Bahasa Sunda Murid Sekolah Dasar Provinsi Jawa Barat. Disertasi. Jakarta: Universitas Indonesia Sudaryanto. 1993. Metode dan Aneka Teknik Analisis Bahasa. Yogyakarta: Duta Wacana University Press Undang Undang Dasar. Undang Undang Dasar No 8 Tahun 1992, [pdf], (http://www.hukumonline.com/pusatdata/detail/859/node/667/uu-no-8-tahun- 1992-perfilman, diakses padang 5 Januari 2016) Verhaar, J.W.M. 2010. Asas-Asas Linguistik Umum. Yogyakarta. Gajah Mada University Press 54.
  • Press 1 April 2021 the Famous Artists Behind History's Greatest Album

    Press 1 April 2021 the Famous Artists Behind History's Greatest Album

    CNN Style The famous artists behind history's greatest album covers Leah Dolan 1 April 2021 The famous artists behind history's greatest album covers Throughout the 20th-century record sleeves regularly served as canvases for some of the world's most famous artists. From Andy Warhol's electric yellow banana on the cover of The Velvet Underground & Nico's 1967's debut album, to the custom-sprayed Banksy street art that fronted Blur's 2003 "Think Tank," art has long been used to round out the listening experience. A new book, "Art Sleeves," explores some of the most influential, groundbreaking and controversial covers from the past forty years. "This is not a 'history of album art' type book," said the book's author, DJ and arts writer DB Burkeman over email. Instead, he says the book is a "love letter" to visual art and music culture. For the 45th anniversary of "The Velvet Underground & Nico" in 2012, British artist David Shrigley illustrated a special edition reissue cover for Castle Face Records. Image: David Shrigley/Rizzoli Featured records span genres and decades. Among them are Warhol's cover for The Rolling Stones' 1971 album "Sticky Fingers," featuring the now-famous close-up of a man's crotch (often assumed, incorrectly, to be frontman Mick Jagger in tight jeans) as well as an array of seminal covers designed by graphic designer Peter Saville, co-founder of influential Manchester-based indie label Factory Records. Despite having relatively little art direction experience under his belt, Saville was behind iconic covers such as Joy Division's "Unknown Pleasures" (1979), depicting the radio waves emitted by a rotating star, and the brimming basket of wilting roses -- a muted reproduction of a 1890 painting by French artist Henri Fantin-Latour -- that fronted New Order's "Power, Corruption & Lies" (1983).
  • Fēnix®‎ 6 Series Owner's Manual

    Fēnix®‎ 6 Series Owner's Manual

    FĒNIX® 6 SERIES Owner’s Manual © 2019 Garmin Ltd. or its subsidiaries All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Garmin. Garmin reserves the right to change or improve its products and to make changes in the content of this manual without obligation to notify any person or organization of such changes or improvements. Go to www.garmin.com for current updates and supplemental information concerning the use of this product. Garmin®, the Garmin logo, ANT+®, Approach®, Auto Lap®, Auto Pause®, Edge®, fēnix®, inReach®, QuickFit®, TracBack®, VIRB®, Virtual Partner®, and Xero® are trademarks of Garmin Ltd. or its subsidiaries, registered in the USA and other countries. Body Battery™, Connect IQ™, Garmin Connect™, Garmin Explore™, Garmin Express™, Garmin Golf™, Garmin Move IQ™, Garmin Pay™, HRM-Run™, HRM-Tri™, tempe™, TruSwing™, TrueUp™, Varia™, Varia Vision™, and Vector™ are trademarks of Garmin Ltd. or its subsidiaries. These trademarks may not be used without the express permission of Garmin. Android™ is a trademark of Google Inc. Apple®, iPhone®, iTunes®, and Mac® are trademarks of Apple Inc., registered in the U.S. and other countries. The BLUETOOTH® word mark and logos are owned by the Bluetooth SIG, Inc. and any use of such marks by Garmin is under license. The Cooper Institute®, as well as any related trademarks, are the property of The Cooper Institute. Di2™ is a trademark of Shimano, Inc. Shimano® is a registered trademark of Shimano, Inc. The Spotify® software is subject to third-party licenses found here: https://developer.spotify.com/legal/third- party-licenses.
  • James Holden & the Animal Spirits Biography

    James Holden & the Animal Spirits Biography

    james holden & the animal spirits biography The release of James Holden's long-anticipated second album The Inheritors in the summer of 2013 kicked off a bold new phase in the enduring British electronic guru's musical career. An epic 75 minute long English pagan saga, the immersive and idiosyncratic alternative electronic universe of The Inheritors was the product of Holden's late night studio jams on his modular synthesizer and custom hybrid analogue- digital machines. But with a recording process that had become so focused around the capturing of these private in-the-moment live performances, it was not long before the public act of travelling the world playing other people's records as part of Holden's international DJ career of over ten years standing began to feel increasingly out of step with his most recent studio explorations. The time had come to take the plunge with a live show all of his very own. London-born jazz-trained drummer Tom Page (of brotherly synth-and-drum improv duo Rocketnumbernine) was Holden’s first recruit, joining Holden and a portable incarnation of his modular synth in an improvised reimagining of tracks from The Inheritors, in answer to an impossible-to-turn-down invitation from Thom Yorke to support his Atoms For Peace supergroup on their North American arena tour in the Autumn of 2013. Then once back home on the European festival circuit, the improvisational flourishes of French saxophonist Etienne Jaumet (Zombie Zombie) - whose free-sax freak-out adorns Inheritors highlight The Caterpillar’s Intervention - were a welcome occasional addition to the newly-formed synth-and-drum duo’s continuing live adventures.
  • Transizioni E Dissoluzioni Di Fine Anno Electroshitfing

    Transizioni E Dissoluzioni Di Fine Anno Electroshitfing

    SENTIREASCOLTARE online music magazine GENNAIO N. 27 The Shins 2006: transizioni e dissoluzioni di fine anno Electroshitfing Fabio Orsi Alessandro Raina Coaxial Jessica Bailiff Larkin Grimm The Low Lows Deerhunter Cul De Sac The Long Blondess e n tTerry i r e a s c o lRiley t a r e sommario 4 News 8 The Lights On The Low Lows, Coaxial, Larkin Grimm, Deerhunter 8 2 Speciali The Long Blondes, Alessandro Raina, Jessica Bailiff, Fabio Orsi, Electroshifting, The Shins, Il nostro 2006 9 Recensioni Arbouretum, Of Montreal, Tin Hat, James Holden, Lee Hazlewood, Ronin, The Earlies, Ghost, Field Music, Hella, Giardini Di Mirò, Mira Calix, Deerhoof... 8 Rubriche (Gi)Ant Steps Miles Davis We Are Demo Classic Ultravox!, Cul De Sac Cinema Cult: Angel Heart Visioni: A Scanner Darkly, Marie Antoinette, Flags Of Our Fathers… 2 I cosiddetti contemporanei Igor Stravinskij Direttore Edoardo Bridda Coordinamento Antonio Puglia 9 Consulenti alla redazione Daniele Follero Stefano Solventi Staff Valentina Cassano Antonello Comunale Teresa Greco Hanno collaborato Gianni Avella, Gaspare Caliri, Andrea Erra, Paolo Grava, Manfredi Lamartina, Andrea Monaco, Massimo Padalino, Stefano Pifferi, Stefano Renzi, Costanza Salvi, Vincenzo Santarcangelo, Alfonso Tramontano Guerritore, Giancarlo Turra, Fabrizio Zampighi, Giusep- pe Zucco Guida spirituale Adriano Trauber (1966-2004) Grafica Paola Squizzato, Squp, Edoardo Bridda 94 in copertina The Shins SentireAscoltare online music magazine Registrazione Trib.BO N° 7590 del 28/10/05 Editore Edoardo Bridda Direttore responsabile Ivano Rebustini Provider NGI S.p.A. Copyright © 2007 Edoardo Bridda. Tutti i diritti riservati. s e n t i r e a s c o l t a r e La riproduzione totale o parziale, in qualsiasi forma, su qualsiasi supporto e con qualsiasi mezzo, è proibita senza autorizzazione scritta di SentireAscoltare news a cura di Teresa Greco E’ morto “Mr.
  • Donnacha Dennehy's Riveting New Opera, the Hunger Featuring Alarm

    Donnacha Dennehy's Riveting New Opera, the Hunger Featuring Alarm

    Donnacha Dennehy’s riveting new opera, The Hunger featuring Alarm Will Sound premieres at BAM, Sep 30 & Oct 1 Spellbinding soprano Katherine Manley makes her New York debut Bloomberg Philanthropies is the Season Sponsor. The Hunger By Donnacha Dennehy Alarm Will Sound Conducted by Alan Pierson Directed by Tom Creed Presented in association with Irish Arts Center Set and video design by Jim Findlay BAM Howard Gilman Opera House (30 Lafayette Ave) Sep 30 & Oct 1 at 7:30pm Tickets start at $20 Talk: Understanding The Hunger Co-presented by BAM and Irish Arts Center With Tom Creed, Maureen O. Murphy, Donnacha Dennehy, and other panelists to be announced Oct 1 at 4:30pm Irish Arts Center (553 West 51st Street) Free with RSVP More information at irishartscenter.org Sep 1, 2016/Brooklyn, NY—Rooted in the emotional, political, and socioeconomic devastation of Ireland’s Great Famine (1845-52), The Hunger is a powerful new opera by renowned contemporary composer Donnacha Dennehy, making its New York premiere at BAM on September 30 and October 1. Performed by the chamber band Alarm Will Sound, soprano Katherine Manley, and legendary sean nós singer Iarla Ó Lionáird, the libretto principally draws from rare, first-hand accounts by Asenath Nicholson, an American humanitarian so moved by the waves of immigrants arriving in New York that she travelled to Ireland to bear witness, reporting from the cabins of starving families. By integrating historical and new documentary material, the opera provides a unique perspective on a period of major upheaval during which at least one million people died, and another million emigrated—mainly to the US, Canada, and the UK—forever altering the social fabric.