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The Flap-O-Phone, A Site-Specific Turntable, Christopher Delaurenti
The Flap-O-Phone, A Site-Specific Turntable, Christopher Delaurenti
Articles
This article gives an overview of the author's site specific turntable, the flapophone. Supplemental attached files include images, audio, and video of the flapophone being played by the author.
A Secret History Of Phonography, Christopher Delaurenti
A Secret History Of Phonography, Christopher Delaurenti
Articles
The version posted here is the expanded version of an essay that first appeared in The Believer in 2008.
Review: On Audio Culture, Christopher Delaurenti
Review: On Audio Culture, Christopher Delaurenti
Articles
A review of the book Audio Culture edited by Christoph Cox and Daniel Warner.
On Phonography: A Response To Michael Rüsenberg, Christopher Delaurenti
On Phonography: A Response To Michael Rüsenberg, Christopher Delaurenti
Articles
A published response to Michael Rüsenberg's review of the composer's audio release Live at the WTO Protest, November 30, 1999.
The Qur'Ân In Indonesian Daily Life: The Public Project Of Musical Oratory, Anne K. Rasmussen
The Qur'Ân In Indonesian Daily Life: The Public Project Of Musical Oratory, Anne K. Rasmussen
Articles
In Indonesia, amidst a plethora of unique Southeast Asian popular and folk music, Western music, and traditional gamelan styles, the recitation of the Qur'an pervades daily life as an archetype of Muslim authenticity. Removed by thousands of miles and hundreds of years from the source of Islam, Indonesians perform and experience the Qur'an in allegedly the same way as Muslims did during the time of the prophet, Muhammad. This article distills eight months of research as a student of professional male and female reciters of the Qur'an in Jakarta, Indonesia, the capital city of the country that is home to …
Theory And Practice At The 'Arabic Org': Digital Technology In Contemporary Arab Music Performance, Anne K. Rasmussen
Theory And Practice At The 'Arabic Org': Digital Technology In Contemporary Arab Music Performance, Anne K. Rasmussen
Articles
The synthesizer is ubiquitous on the Arab–American musical scene. Heard at every party, and on every recording, the synthesizer sings the lingua franca of international popular music. While the facade and the body of the synthesizer consist of neutral, slick, black plastic and metal technology, the soul of the instrument, when played by Arab–American musicians, is capable of a completely indigenous, if synthetic, musical idiom. In this article I draw on my experience of six performers of the Arabic ‘org’, commonly known today as ‘keyboards’, to present a sketch of a modern musical tradition.