(313) free idea for academic paper in Musicology....
When I defended my Master's Project I promised myself never to go back to school. After nearly 30 years of schooling I realized that I'm a terrible student. Ironically my work now is in an Academic department of the College of Medicine. I work with and for professors and grad students. But I just write software -- I leave it to them to do the academics. Suckers! But every so often I have an idea that has academic potential, and when I think of following through on it I break out in a cold sweat. But no reason not to share it: Detroit Techno's signature sound is based in part on dramatic string or string-like chord patterns over a bed of beats not that far from classic Chicago House. Contrary to the norm in western music, the chords are likely to be 'parallel' -- i.e. a pattern of 4 chords will be one chord, transposed from the root 3 times. The traditional harmonic rules of Western music, by contrast are more parsimonious in tonal motion -- i.e. any two chords in sequence will most likely retain any common notes. The transition between two dissimilar chords will move from one chord to the inversion of the second chord with the least interval distance from the notes of the first. If you are not a musician, your eyes are probably rolling up in your head by now, so more concretely: The Detroit way if played on a piano would involve moving your whole hand, but using (roughly) the same spacing of your fingers. The traditional way would keep your hand mostly in the same place, but change the spacing between your fingers. My suspicion is that the 'Detroit' chords came at least in part from a feature of the Roland Alpha Juno synthesizer, which had a feature called 'chord memory' -- you could play a chord, push a button, and thereafter, you could play that same chord with one finger on the lowest note of the original chord. Or, you could play a transposed chord by playing a different single note. A perfect example of the meshing of these two approaches in one song is UR's 'Jupiter Jazz' -- there is the signature stacatto chords of the synthesizer -- with parallel chord transposition, and a denser female chorus sound that exhiibits the more traditional conservation of harmonic motion. That contrast and overlay of two different harmonic strategies is part of what makes that song so compelling. Well, that, and the bubbling acid line. And Mad Mike's soaring synth soloing...
RE: (313) free idea for academic paper in Musicology....
I just cut and pasted that off into an application form for the Royal College of Music, Kent. Thanks ;-) -Original Message- From: kent williams [mailto:[EMAIL PROTECTED] Sent: Thursday, September 25, 2008 4:25 PM To: list 313 Subject: (313) free idea for academic paper in Musicology When I defended my Master's Project I promised myself never to go back to school. After nearly 30 years of schooling I realized that I'm a terrible student. Ironically my work now is in an Academic department of the College of Medicine. I work with and for professors and grad students. But I just write software -- I leave it to them to do the academics. Suckers! But every so often I have an idea that has academic potential, and when I think of following through on it I break out in a cold sweat. But no reason not to share it: Detroit Techno's signature sound is based in part on dramatic string or string-like chord patterns over a bed of beats not that far from classic Chicago House. Contrary to the norm in western music, the chords are likely to be 'parallel' -- i.e. a pattern of 4 chords will be one chord, transposed from the root 3 times. The traditional harmonic rules of Western music, by contrast are more parsimonious in tonal motion -- i.e. any two chords in sequence will most likely retain any common notes. The transition between two dissimilar chords will move from one chord to the inversion of the second chord with the least interval distance from the notes of the first. If you are not a musician, your eyes are probably rolling up in your head by now, so more concretely: The Detroit way if played on a piano would involve moving your whole hand, but using (roughly) the same spacing of your fingers. The traditional way would keep your hand mostly in the same place, but change the spacing between your fingers. My suspicion is that the 'Detroit' chords came at least in part from a feature of the Roland Alpha Juno synthesizer, which had a feature called 'chord memory' -- you could play a chord, push a button, and thereafter, you could play that same chord with one finger on the lowest note of the original chord. Or, you could play a transposed chord by playing a different single note. A perfect example of the meshing of these two approaches in one song is UR's 'Jupiter Jazz' -- there is the signature stacatto chords of the synthesizer -- with parallel chord transposition, and a denser female chorus sound that exhiibits the more traditional conservation of harmonic motion. That contrast and overlay of two different harmonic strategies is part of what makes that song so compelling. Well, that, and the bubbling acid line. And Mad Mike's soaring synth soloing...
Re: (313) free idea for academic paper in Musicology....
You started a sentence with Or? ;-) MEK kent williams [EMAIL PROTECTED] wrote on 09/25/2008 10:24:46 AM: When I defended my Master's Project I promised myself never to go back to school. After nearly 30 years of schooling I realized that I'm a terrible student. Ironically my work now is in an Academic department of the College of Medicine. I work with and for professors and grad students. But I just write software -- I leave it to them to do the academics. Suckers! But every so often I have an idea that has academic potential, and when I think of following through on it I break out in a cold sweat. But no reason not to share it: Detroit Techno's signature sound is based in part on dramatic string or string-like chord patterns over a bed of beats not that far from classic Chicago House. Contrary to the norm in western music, the chords are likely to be 'parallel' -- i.e. a pattern of 4 chords will be one chord, transposed from the root 3 times. The traditional harmonic rules of Western music, by contrast are more parsimonious in tonal motion -- i.e. any two chords in sequence will most likely retain any common notes. The transition between two dissimilar chords will move from one chord to the inversion of the second chord with the least interval distance from the notes of the first. If you are not a musician, your eyes are probably rolling up in your head by now, so more concretely: The Detroit way if played on a piano would involve moving your whole hand, but using (roughly) the same spacing of your fingers. The traditional way would keep your hand mostly in the same place, but change the spacing between your fingers. My suspicion is that the 'Detroit' chords came at least in part from a feature of the Roland Alpha Juno synthesizer, which had a feature called 'chord memory' -- you could play a chord, push a button, and thereafter, you could play that same chord with one finger on the lowest note of the original chord. Or, you could play a transposed chord by playing a different single note. A perfect example of the meshing of these two approaches in one song is UR's 'Jupiter Jazz' -- there is the signature stacatto chords of the synthesizer -- with parallel chord transposition, and a denser female chorus sound that exhiibits the more traditional conservation of harmonic motion. That contrast and overlay of two different harmonic strategies is part of what makes that song so compelling. Well, that, and the bubbling acid line. And Mad Mike's soaring synth soloing...
Re: (313) free idea for academic paper in Musicology....
http://www.getitwriteonline.com/archive/032601.htm Most likely, many people believe they should not start a sentence with a coordinating conjunction because their grammar teachers in grade school discouraged them from doing so. Yet such a rule is completely unjustifiable. ;-) [EMAIL PROTECTED] wrote: You started a sentence with Or? ;-) MEK kent williams [EMAIL PROTECTED] wrote on 09/25/2008 10:24:46 AM: When I defended my Master's Project I promised myself never to go back to school. After nearly 30 years of schooling I realized that I'm a terrible student. Ironically my work now is in an Academic department of the College of Medicine. I work with and for professors and grad students. But I just write software -- I leave it to them to do the academics. Suckers! But every so often I have an idea that has academic potential, and when I think of following through on it I break out in a cold sweat. But no reason not to share it: Detroit Techno's signature sound is based in part on dramatic string or string-like chord patterns over a bed of beats not that far from classic Chicago House. Contrary to the norm in western music, the chords are likely to be 'parallel' -- i.e. a pattern of 4 chords will be one chord, transposed from the root 3 times. The traditional harmonic rules of Western music, by contrast are more parsimonious in tonal motion -- i.e. any two chords in sequence will most likely retain any common notes. The transition between two dissimilar chords will move from one chord to the inversion of the second chord with the least interval distance from the notes of the first. If you are not a musician, your eyes are probably rolling up in your head by now, so more concretely: The Detroit way if played on a piano would involve moving your whole hand, but using (roughly) the same spacing of your fingers. The traditional way would keep your hand mostly in the same place, but change the spacing between your fingers. My suspicion is that the 'Detroit' chords came at least in part from a feature of the Roland Alpha Juno synthesizer, which had a feature called 'chord memory' -- you could play a chord, push a button, and thereafter, you could play that same chord with one finger on the lowest note of the original chord. Or, you could play a transposed chord by playing a different single note. A perfect example of the meshing of these two approaches in one song is UR's 'Jupiter Jazz' -- there is the signature stacatto chords of the synthesizer -- with parallel chord transposition, and a denser female chorus sound that exhiibits the more traditional conservation of harmonic motion. That contrast and overlay of two different harmonic strategies is part of what makes that song so compelling. Well, that, and the bubbling acid line. And Mad Mike's soaring synth soloing...
Re: (313) free idea for academic paper in Musicology....
It all depends on whether the sentence really IS a sentence (or a fragment). Ask any of my former comp students. ;-) jeff Jacob Arnold wrote: http://www.getitwriteonline.com/archive/032601.htm Most likely, many people believe they should not start a sentence with a coordinating conjunction because their grammar teachers in grade school discouraged them from doing so. Yet such a rule is completely unjustifiable. ;-) [EMAIL PROTECTED] wrote: You started a sentence with Or? ;-) MEK kent williams [EMAIL PROTECTED] wrote on 09/25/2008 10:24:46 AM: When I defended my Master's Project I promised myself never to go back to school. After nearly 30 years of schooling I realized that I'm a terrible student. Ironically my work now is in an Academic department of the College of Medicine. I work with and for professors and grad students. But I just write software -- I leave it to them to do the academics. Suckers! But every so often I have an idea that has academic potential, and when I think of following through on it I break out in a cold sweat. But no reason not to share it: Detroit Techno's signature sound is based in part on dramatic string or string-like chord patterns over a bed of beats not that far from classic Chicago House. Contrary to the norm in western music, the chords are likely to be 'parallel' -- i.e. a pattern of 4 chords will be one chord, transposed from the root 3 times. The traditional harmonic rules of Western music, by contrast are more parsimonious in tonal motion -- i.e. any two chords in sequence will most likely retain any common notes. The transition between two dissimilar chords will move from one chord to the inversion of the second chord with the least interval distance from the notes of the first. If you are not a musician, your eyes are probably rolling up in your head by now, so more concretely: The Detroit way if played on a piano would involve moving your whole hand, but using (roughly) the same spacing of your fingers. The traditional way would keep your hand mostly in the same place, but change the spacing between your fingers. My suspicion is that the 'Detroit' chords came at least in part from a feature of the Roland Alpha Juno synthesizer, which had a feature called 'chord memory' -- you could play a chord, push a button, and thereafter, you could play that same chord with one finger on the lowest note of the original chord. Or, you could play a transposed chord by playing a different single note. A perfect example of the meshing of these two approaches in one song is UR's 'Jupiter Jazz' -- there is the signature stacatto chords of the synthesizer -- with parallel chord transposition, and a denser female chorus sound that exhiibits the more traditional conservation of harmonic motion. That contrast and overlay of two different harmonic strategies is part of what makes that song so compelling. Well, that, and the bubbling acid line. And Mad Mike's soaring synth soloing...
Re: (313) free idea for academic paper in Musicology....
Note that a) it was a complete sentence and b) what Jacob said. It is also something that would be completely reasonable in spoken English. On Thu, Sep 25, 2008 at 1:01 PM, theREAL [EMAIL PROTECTED] wrote: It all depends on whether the sentence really IS a sentence (or a fragment). Ask any of my former comp students. ;-) jeff Jacob Arnold wrote: http://www.getitwriteonline.com/archive/032601.htm Most likely, many people believe they should not start a sentence with a coordinating conjunction because their grammar teachers in grade school discouraged them from doing so. Yet such a rule is completely unjustifiable. ;-) [EMAIL PROTECTED] wrote: You started a sentence with Or? ;-) MEK kent williams [EMAIL PROTECTED] wrote on 09/25/2008 10:24:46 AM: When I defended my Master's Project I promised myself never to go back to school. After nearly 30 years of schooling I realized that I'm a terrible student. Ironically my work now is in an Academic department of the College of Medicine. I work with and for professors and grad students. But I just write software -- I leave it to them to do the academics. Suckers! But every so often I have an idea that has academic potential, and when I think of following through on it I break out in a cold sweat. But no reason not to share it: Detroit Techno's signature sound is based in part on dramatic string or string-like chord patterns over a bed of beats not that far from classic Chicago House. Contrary to the norm in western music, the chords are likely to be 'parallel' -- i.e. a pattern of 4 chords will be one chord, transposed from the root 3 times. The traditional harmonic rules of Western music, by contrast are more parsimonious in tonal motion -- i.e. any two chords in sequence will most likely retain any common notes. The transition between two dissimilar chords will move from one chord to the inversion of the second chord with the least interval distance from the notes of the first. If you are not a musician, your eyes are probably rolling up in your head by now, so more concretely: The Detroit way if played on a piano would involve moving your whole hand, but using (roughly) the same spacing of your fingers. The traditional way would keep your hand mostly in the same place, but change the spacing between your fingers. My suspicion is that the 'Detroit' chords came at least in part from a feature of the Roland Alpha Juno synthesizer, which had a feature called 'chord memory' -- you could play a chord, push a button, and thereafter, you could play that same chord with one finger on the lowest note of the original chord. Or, you could play a transposed chord by playing a different single note. A perfect example of the meshing of these two approaches in one song is UR's 'Jupiter Jazz' -- there is the signature stacatto chords of the synthesizer -- with parallel chord transposition, and a denser female chorus sound that exhiibits the more traditional conservation of harmonic motion. That contrast and overlay of two different harmonic strategies is part of what makes that song so compelling. Well, that, and the bubbling acid line. And Mad Mike's soaring synth soloing...
Re: (313) New Luomo--Paper Tigers
On Oct 13, 2006, at 6:54 PM, Wes Prince wrote: http://www.luomoweb.com/ ...beautiful. I like this too... really don't mind is pretty great. I see the mp3 and CD is for sale... anyone know if there's vinyl available? (old habits die hard) peace -- MM http://sonicsunset.com http://moodmat.com
Re: (313) New Luomo--Paper Tigers
Looks like a solid sorta: http://www.discogs.com/release/759623 On Oct 15, 2006, at 21:35, Matt MacQueen wrote: On Oct 13, 2006, at 6:54 PM, Wes Prince wrote: http://www.luomoweb.com/ ...beautiful. I like this too... really don't mind is pretty great. I see the mp3 and CD is for sale... anyone know if there's vinyl available? (old habits die hard) peace -- MM http://sonicsunset.com http://moodmat.com -- matt kane's brain http://hydrogenproject.com aim - mkbatwerk [EMAIL PROTECTED]
Re: (313) New Luomo--Paper Tigers
still waiting for my CD to arrive, but I've been enjoying the really don't mind 12 and listened to the promo thats floating around, with delays baby crying over the music every couple of minutes :) looks like there will be another vinyl single Good to be with http://www.huumerecordings.com/seasonal Jernej www.octex.si Matt Kane's Brain wrote: Looks like a solid sorta: http://www.discogs.com/release/759623 On Oct 15, 2006, at 21:35, Matt MacQueen wrote: On Oct 13, 2006, at 6:54 PM, Wes Prince wrote: http://www.luomoweb.com/ ...beautiful. I like this too... really don't mind is pretty great. I see the mp3 and CD is for sale... anyone know if there's vinyl available? (old habits die hard) peace -- MM http://sonicsunset.com http://moodmat.com -- matt kane's brain http://hydrogenproject.com aim - mkbatwerk [EMAIL PROTECTED]
(313) New Luomo--Paper Tigers
http://www.luomoweb.com/ ...beautiful. -- Wes Prince, Ph.DAuckland, New Zealand ~
(313) I Bet It Looked Good On Paper
http://www.youtube.com/watch?v=NVUUCdZA_EI Should have stayed meta... m
Re: (313) I Bet It Looked Good On Paper
ha ha classicStevie Wonder kinda saves it for me but then only for a short period.. http://www.youtube.com/watch?v=NVUUCdZA_EI Should have stayed meta... m -- www.midnightbeats.de www.reactor-bookings.com www.aonpromotions.com www.kube72.com
Re: (313) I Bet It Looked Good On Paper
LOL!! - I love right before Stevie starts singing (the best part). They're all randomly jumping from keyboard to keyboard. Thomas Dolby is playing a 303 that is triggering samples? Then he and Stevie are practically jumping up and down on the keys. It's complete chaos when the vocoder voice-over says Get it together guys... Dolby looks like Weird Al Yankovic and truly seems to be getting into it, Herbie Hancock tries to keep up the enthusiasm, Howard Jones is looking for the exit toward the end, and it might have been the only time Stevie was happy to be blind. I'm addicted to this car crash - it's brilliant MEK Ian Cheshire [EMAIL PROTECTED] yonder.co.uk To Martin Dust [EMAIL PROTECTED] 03/01/06 07:34 AM cc 313@Hyperreal.Org 313 313@hyperreal.org Please respond to Subject [EMAIL PROTECTED] Re: (313) I Bet It Looked Good On onder.co.ukPaper ha ha classicStevie Wonder kinda saves it for me but then only for a short period.. http://www.youtube.com/watch?v=NVUUCdZA_EI Should have stayed meta... m -- www.midnightbeats.de www.reactor-bookings.com www.aonpromotions.com www.kube72.com
Re: (313) I Bet It Looked Good On Paper
Wow!!! YouTube is awsome!!! Strawberry Switchblade, Rita Mitsouko, Housemartins, DM takes me back.. A the good ol days... - Original Message - From: Martin Dust [EMAIL PROTECTED] To: 313@Hyperreal.Org 313 313@hyperreal.org Sent: Wednesday, March 01, 2006 8:08 AM Subject: (313) I Bet It Looked Good On Paper http://www.youtube.com/watch?v=NVUUCdZA_EI Should have stayed meta... m
Re: [313] News clipping from today's paper
Sorry - i hope people dont think this too off topic - and I would agree certainly lets not (here) start any discussions on the merits of drugs - but I did feel that this was of some relevance: Its the so called dangers and distributions of E that the authorities so often use as the major excuse to persecute people who try to put parties on. - Original Message - From: Matthew MacQueen [EMAIL PROTECTED] With all due respect (and I mean that) to people really interested in ecstasy, I always come back to 313 because as a list it discussed and celebrated the city and it's flavors of electronic music more than it focused on the other elements of the party scene(s). All I'm asking is that we please not turn this thread into a forum for debate on the effects of various drugs? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] News clipping from today's paper
Ecstasy theory 'may be flawed' Research claiming that ecstasy damages the brain is flawed and has misled politicians and the public, scientists said today. An inquiry by New Scientist magazine found that many of the findings purporting to show long or short-term damage could not be trusted because of huge variations in results. In addition, said the report, other scientific journals appeared reluctant to publish 'null' results which showed no difference in tests comparing ecstasy users with non-users. must send this to my dear ma-ma . i've been trying to tell her this 4 years Regards Mike Tyrer 020 7701 7113 07949 232 174 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] News clipping from today's paper
Ecstasy theory 'may be flawed' Research claiming that ecstasy damages the brain is flawed and has misled politicians and the public, scientists said today. With all due respect (and I mean that) to people really interested in ecstasy, I always come back to 313 because as a list it discussed and celebrated the city and it's flavors of electronic music more than it focused on the other elements of the party scene(s). All I'm asking is that we please not turn this thread into a forum for debate on the effects of various drugs? Respectfully, Matt MacQueen - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Jaguar paper
This is the last email about it I swear (and sorry for any cross posts), but the final draft of my Jaguar UR/Sony/BMG paper is up and on the web, along with all of my sources. If you read the rough draft, I did not add much, just a little bit about content commodification. Oh yeah, and the URL is www-personal.umich.edu/~michalak. Please feel free to email me any feedback if you read it. -christos
jaguar paper...
If anyone is interested, I have a rough draft (only a rough draft) of my Jaguar paper on my website www-personal.umich.edu/~michalak Check it out if you want, and I encourage feedback, both positive and negative. --- Christos Michalakis If you want to kiss the sky, you better learn how 734.332.1256 to kneel [EMAIL PROTECTED] -Paul Hewson ---
paper
Some of you may remember that I am writting a paper on media conglomerates trying to sell unerground music/culture, and that I am trying to get as much information as I can about the UR vs. Sony case. I know that this has been asked recently, and I apologize for that, but can anyone tell me who officially produced the fake Jaguar, what label it is currently on, and where I can find information about it, including an mp3 of it? Thanks in advance and hit me up privatly if necessary. -christos
pAPER RECORDINGS
cOULD some one point me to some audio of paper recordings? Comments on this label? I don't think i've heard them. POinters to some good releases?
Re: [313] pAPER RECORDINGS
They have a website at http://paper.state51.co.uk/ I think that has some audio clips on it. Hope that helps. Paul cOULD some one point me to some audio of paper recordings? Comments on this label? I don't think i've heard them. POinters to some good releases?
Re: [313] pAPER RECORDINGS
www.paperecordings.com audio in the back catalogue From: Perry, Jeff [EMAIL PROTECTED] To: 313@hyperreal.org, [EMAIL PROTECTED] Subject: [313] pAPER RECORDINGS Date: Tue, 24 Oct 2000 11:42:00 -0400 cOULD some one point me to some audio of paper recordings? Comments on this label? I don't think i've heard them. POinters to some good releases? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] pAPER RECORDINGS
paper 001 classic write the book if correcT 022 lara's them as featured on 1 Juan Atkins mixcd (ah 313) 036 classic to be Grazy pennis aka todd ?? problem kids all eye got - Original Message - From: Paul V [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, October 24, 2000 6:17 PM Subject: Re: [313] pAPER RECORDINGS www.paperecordings.com audio in the back catalogue From: Perry, Jeff [EMAIL PROTECTED] To: 313@hyperreal.org, [EMAIL PROTECTED] Subject: [313] pAPER RECORDINGS Date: Tue, 24 Oct 2000 11:42:00 -0400 cOULD some one point me to some audio of paper recordings? Comments on this label? I don't think i've heard them. POinters to some good releases? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
