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"Musical styles"
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Beat happening
\"This is the album that sent a shockwave of empowerment through the nation's cultural underground. In 1985, Olympia, Washington band Beat Happening released their eponymous debut of lo-fi pop songs on K Records and challenged every conception held about music. At the center of the group was the enigmatic Calvin Johnson and his revolutionary vision of artistic creation. His foresight and industriousness allowed him to recruit to the K Records roster other free-spirited artists like Beck, Modest Mouse, and Built to Spill long before they gained widespread acclaim. This book, structured in abecedarian fashion, breaks down the fundamental components that defined Beat Happening's self-titled album. Organized in a light-hearted yet incisive format, each of the book's chapters details one particular facet of the record-band members, historic shows, recording sessions, songs, and ideologies. Open to any page, read a chapter or two; the individual parts and episodes of the album exist as reflections of the album as a whole. Here is the story of a band that popularized do-it-yourself projects and home recording with four-track tape machines decades before the digital revolution would extend an open hand to garage bands everywhere. This is the story of musical pioneers. This is Beat Happening\"-- Provided by publisher.
Book
Domenico Scarlatti’s Musical Style: His Keyboard Sonata K. 288
This study focuses on the musical style in Scarlatti’s sonata K. 288, as K. 288 has not yet been explored in detail in the Scarlatti scholarship. Not only the form, but also other musical elements, such as melody, harmony, and rhythm are being explored. Furthermore, irregular groupings are discussed. By examining some characteristics shown in K. 288, this paper shows Scarlatti’s ‘originality’ and contributes to discovering Scarlatti as “the interesting historical figure” (Sutcliffe 2003, 1). In addition to the analysis, the scope of this paper was expanded by including a comparison with a contemporary pastiche composition by the author of this paper. This pastiche composition was written to emulate Scarlatti’s style, and this paper discusses the similarities and differences between the two pieces. In this way, theory and practice are combined, which would broaden the horizon of musicology and music theory. Therefore, this research would be of interest to not only musicologists but also musicians and composers. Pričujoča raziskava se osredotoča na Scarlattijev glasbeni slog v Sonati K. 288, saj ta v literaturi o Scarlattijevem delu še ni bila podrobneje opazovana. Opazuje ne samo obliko, ampak tudi druge glasbene prvine, kot so melodija, harmonija in ritem. Ob tem se posveča tudi nenavadnemu povezovanju taktov. Z opazovanjem nekaterih značilnosti Sonate K. 288 poskuša prispevatu k odkrivanju Scarlattija kot »zanimive zgodovinske osebe« (Sutcliffe 2003, 1). Poleg analize je članek dopolnjen še s primerjavo avtoričine sonate, ki poskuša posnemati Scarlattijev slog. Na zaključku članka avtorica razpravlja o podobnostih in razlikah med obemi deli. Na ta način povezuje teorijo in prakso ter razširja obzorji glasbene teorije in muzikologije. Zato raziskava ni zanimiva le za muzikologe, ampak tudi za glasbenike in skladatelje.
Journal Article
A live one
\"Twenty years after its release, Phish's double-CD collection A Live One has something rare and precious going for it: it still doesn't sound like anybody else. Oversized, perverse, requiring an unusual amount of listener background knowledge? Yes to all. Yet the collective improvisations it captures, unprecedentedly coherent yet freewheeling and open-ended, are unique in rock 'n' roll.This book considers the music and moment of Phish's ecstatically inventive 1995 live document, a mix of weirdo acid-psych, ambient moonscapes, vaudevillian Americana, and riotous arena-rock energy, all filtered through bandleader Trey Anastasio's screwball compositional sensibility and the band's idiosyncratic approach to spontaneous group creativity. It places Phish and their fandom in historical and cultural context, and picks apart the mechanics of their extended group jams. And it examines the mystery of how a quartet of nice boys from Burlington, VT could have been, all at once, one of America's biggest touring acts and one of its best-kept secrets\"-- Provided by publisher.
Book
Brief Exposure to Notated Scores: Pianists' Quick Impressions of Musical Style
This study concerns classical musicians' ability to recognize style periods from very brief visual exposure to musical notation. 25 professional pianists were shown nine 500-ms displays of musical excerpts from piano works by J. S. Bach, L. v. Beethoven, and F. Chopin. The pianists were told to describe what they saw and to assess the style period of the music. Recognition was relatively good: 49% of the verbal protocols included a correct style period label or the right composer name. Verbal protocols also supported the notion that style recognition chiefly relies on intuitive, holistic integration of information, rather than on reflective, analytic processing. First, correct responses regarding style period occurred significantly earlier than incorrect ones, which suggests that they may have taken place more intuitively. Second, correct recognitions were not preceded by richer spoken contents than was found in the case of non-recognition. Indeed, the opposite was the case for composer recognition, which again associates recognition with intuitive processing. It is argued that the rapid recognition of musical style characteristics is a prerequisite for stylistically sensitive sight reading.
Journal Article
Harry Styles : the unauthorized biography
What happens to the boy next door when he becomes part of the planet's hottest boy band? Here, his relationships with Caroline Flack, Emily Atack, Taylor Swift and the married Lucy Horobin are laid bare. And what next for Harry and 1D? This book will give you the low down on how Harry and the boys are set to take on the world.
Book
From the erotic to the demonic : on critical musicology
This book is an attempt to decode, explain, and account for the way that social meaning in music is perceived. It is concerned throughout with the socially constituted values of musical styles, and contains a collection of wide-ranging chapters exploring aspects of sound and meaning, production and status, dissemination and reception, and criticism and aesthetics. Each chapter considers the workings of a particular relationship between ideology and musical style, offering different perspectives on how ideas are communicated through music. The book illustrates how musical styles construct ideas of class, sexuality, and ethnic identity. In doing so, it is concerned to demonstrate how such constructions relate to particular stylistic codes in particular cultural and historical contexts. The book is divided into four parts, covering the areas of gender and sexuality, ideology in relation to popular music, the sacred and profane, and ideology and cultural identity. The subjects debated include erotic representation from Monteverdi to Mae West, the sexual politics of 19th-century musical aesthetics, the Native American in popular music, the sacred and the demonic, Orientalism, and the initial impact of African-American music-making on the European classical tradition. The book's arguments are supported by ninety musical examples taken from such diverse sources as baroque and romantic opera, symphonic music, jazz, and 19th- and 20th-century popular songs.
eBook
The Jacksons legacy
A visual history of the Jacksons combines exclusive interviews, anecdotes, quotes, and previously unseen family archive photographs to trace their meteoric rise and history-making tours.
Book
Advancements in End-to-End Audio Style Transformation: A Differentiable Approach for Voice Conversion and Musical Style Transfer
Introduction: This study introduces a fully differentiable, end-to-end audio transformation network designed to overcome these limitations by operating directly on acoustic features. Methods: The proposed method employs an encoder–decoder architecture with a global conditioning mechanism. It eliminates the need for parallel utterances, intermediate phonetic representations, and speaker-independent ASR systems. The system is evaluated on tasks of voice conversion and musical style transfer using subjective and objective metrics. Results: Experimental results demonstrate the model’s efficacy, achieving competitive performance in both seen and unseen target scenarios. The proposed framework outperforms seven existing systems for audio transformation and aligns closely with state-of-the-art methods. Conclusion: This approach simplifies feature engineering, ensures vocabulary independence, and broadens the applicability of audio transformations across diverse domains, such as personalized voice assistants and musical experimentation.
Journal Article
Blank generation
\"To wander the streets of a bankrupt, often lawless, New York City in the early 1970's wearing a tee shirt with PLEASE KILL ME written on it was an act of arch nihilism, and one often recounted in the first reports of Richard Hell filtering into pre-punk UK. Pete Astor, an archly nihilistic teenager himself at the time, was most impressed. The fact that it emerged (after many years) that Hell himself had not worn the garment but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor's older, wiser, and more knowing self. Here was an artist who could not only embody but also frame the punk urge; just what was needed to make one of the defining records of the era.Having seeded and developed the essential look and character of punk since his arrival in New York in the late 1960's, Richard Hell and The Voidoids released Blank Generation in 1977. Pete Astor's portmanteau approach uses objective and subjective perspectives to articulate the meanings of the album, combining academic rigour with the reception-based subjectivities that are key to understanding our relationships to popular culture\"-- Provided by publisher.
Book
Individual Differences in Musical Taste
Several studies have investigated the relationship between (usually a narrow set of) personality dimensions and liking for a small number of individual musical styles. To date there has been no attempt to investigate, within a single methodology, the extent to which personality factors correlate with liking for a very wide range of musical styles. To address this, 36,518 participants rated their liking for 104 musical styles, completed a short form of the Big 5 personality inventory, and provided other data about their favorite musical styles. Personality factors were related to both liking for the musical styles and participants’ reasons for listening to this music. However, on the whole these latter variables were related more closely to participants’ age, sex, and income than to Big 5 scores. Thus, personality is related to musical taste, but other individual differences are arguably related more closely.
Journal Article