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Articles 1 - 13 of 13
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What Studios Do, Eliot Bates
What Studios Do, Eliot Bates
Publications and Research
This essay is focused around a seemingly simple question – what do recording studios do? First, a clarification. I am not primarily asking “what are studios” or “what do people do in studios,” two comparatively straightforward questions that are tangentially addressed in academic and trade writing. Rather, I wish to consider some of the ways in which the studio itself shapes the kinds of social and musical performances and interactions that transpire within. I contend that studios must be understood simultaneously as acoustic environments, as meeting places, as container technologies, as a system of constraints on vision, sound and mobility, …
Negrocity: An Interview With Greg Tate, Camille Goodison
Negrocity: An Interview With Greg Tate, Camille Goodison
Publications and Research
No abstract provided.
Wells Teaches The Music Of Business And Jazz, Aldemaro Romero Jr.
Wells Teaches The Music Of Business And Jazz, Aldemaro Romero Jr.
Publications and Research
No abstract provided.
Ruth Slenczynska, The Pianist Who Took Her Future In Her Hands, Aldemaro Romero Jr.
Ruth Slenczynska, The Pianist Who Took Her Future In Her Hands, Aldemaro Romero Jr.
Publications and Research
No abstract provided.
Minear Teaches The Art Of Teaching Singing, Aldemaro Romero Jr.
Minear Teaches The Art Of Teaching Singing, Aldemaro Romero Jr.
Publications and Research
No abstract provided.
Smithiger Teaches The Magic Of Percussion, Aldemaro Romero Jr.
Smithiger Teaches The Magic Of Percussion, Aldemaro Romero Jr.
Publications and Research
No abstract provided.
For Truckenbrod, Being A Soprano Is Hard Work, Aldemaro Romero Jr.
For Truckenbrod, Being A Soprano Is Hard Work, Aldemaro Romero Jr.
Publications and Research
No abstract provided.
Bell Teaches Students Art Of Music Conducting, Aldemaro Romero Jr.
Bell Teaches Students Art Of Music Conducting, Aldemaro Romero Jr.
Publications and Research
No abstract provided.
Three Stravinsky Analyses: Petrushka, Scene 1 (To Rehearsal No. 8); The Rake’S Progress, Act Iii, Scene 3 (“In A Foolish Dream”); Requiem Canticles, “Exaudi”, Joseph N. Straus
Three Stravinsky Analyses: Petrushka, Scene 1 (To Rehearsal No. 8); The Rake’S Progress, Act Iii, Scene 3 (“In A Foolish Dream”); Requiem Canticles, “Exaudi”, Joseph N. Straus
Publications and Research
Most published work in our field privileges theory over analysis, with analysis acting as a subordinate testing ground and exemplification for a theory. Reversing that customary polarity, this article analyzes three works by Stravinsky (Petrushka, The Rake’s Progress, Requiem Canticles) with a relative minimum of theoretical preconceptions and with the simple aim, in David Lewin’s words, of “hearing the piece[s] better.”
Popular Music As Popular Expression In North India And The Bhojpuri Region, From Cassette Culture To Vcd Culture, Peter L. Manuel
Popular Music As Popular Expression In North India And The Bhojpuri Region, From Cassette Culture To Vcd Culture, Peter L. Manuel
Publications and Research
In the 1980s the Indian popular music scene was revolutionized by the advent of audio cassettes that dramatically decentralized production and precipitated the rise of syncretic folk-pop hybrids aimed at diverse regional audiences. In the years around 2000, the new medium of the VCD, or video compact disc, came to exert a similarly prodigious impact, enabling inexpensive popular music recordings marketed to diverse audiences to have visual as well as audio components. Song picturizations came to display a variety of approaches, from low-budget Bollywood imitations to new formats evolving in response to local sensibilities. This article outlines some of these …
The Trajectories Of Transplants: Singing Alha, Birha, And The Ramayan In The Indic Caribbean, Peter L. Manuel
The Trajectories Of Transplants: Singing Alha, Birha, And The Ramayan In The Indic Caribbean, Peter L. Manuel
Publications and Research
Indo-Caribbean music culture includes a stratum of traditional genres derived from North India’s Bhojpuri region. This article discusses three such genres: Alhâ-singing, an archaic form of birhâ, and an antiphonal style of singing the Tulsidas Râmâyan. Despite the lack of supportive contact with the Bhojpuri region after 1917, these genres flourished until the 1960s, after which the decline of Bhojpuri as a spoken language in Trinidad and Guyana, together with the impact of modernity in general, undermined their vitality. A comparative perspective with North Indian counterparts reveals illuminating parallels and contrasts.
The Social Life Of Musical Instruments, Eliot Bates
The Social Life Of Musical Instruments, Eliot Bates
Publications and Research
Accordion Crimes, a novel by E. Annie Proulx, traces the life of and routes travelled by a green diatonic button accordion: its birth in Sicily in the workshop of “The Accordion Maker,” its numerous changes of ownership in the Americas during encounters between various immigrant communities, and its death when it finally falls into disrepair in the town of Old Glory, Minnesota. There are other accordions in the book, and many temporary human owners, but it is one particular green accordion that is the book’s protagonist. We meet and experience other characters largely through their interactions with the green accordion, …
Cross-Talk: A Shared Parameter Space For Gesturally Extended Human/Machine Improvisation, William Brent, Adam James Wilson
Cross-Talk: A Shared Parameter Space For Gesturally Extended Human/Machine Improvisation, William Brent, Adam James Wilson
Publications and Research
This paper describes Cross-talk, a piece of music and performance system for two instruments augmented with infrared motion-tracking capability, and an artificial software improviser. Cross-talk was commissioned by the Ammerman Center for Arts and Technology at Connecticut College, for the 13th Biennial Symposium on Arts and Technology. The work is part of an ongoing collaboration focused on developing integrated hardware and software performance systems to extend the timbral and expressive capabilities of traditional musical instruments and to generate musical structure in response to information retrieved from human performers in real-time. Artistic motivations and prior related work are presented here, along …