Elektronisk musik

As one of club culture's most notorious - and best loved - figures, Tony is a complete force of nature. Here he tells the most extraordinary stories of depravity and hedonism, of week-long benders and extreme self-destruction - and of recovery, redemption, friendship and the joy of a good tune.'If you want to change your life but can't.. I strongly advise you read this book' TRACEY EMIN'This is a story that should never have been told' KATE MOSS 'I love this man so much. He was, and always will be, my knight in shining Westwood.' DAVINA MCCALL'Anyone can get a party started, but no one keeps it going like Fat Tony, the energy never dips andwhat a life he's lived.. He's a tosser but we still love him.' ELTON JOHN & DAVID FURNISHDJ Fat Tony has been described as 'the closest thing that club culture has to a national treasure' and the 'unlikely cult hero of quarantine'. Few people have crammed so many lives into one: when your first line of cocaine is aged 16 with Freddie Mercury, where do you go from there?I Don't Take Requests is Fat Tony's breathtakingly candid and outrageous memoir of a life of extremes. From his childhood on an estate in Battersea where he honed his petty criminality, was abused by an older man and made friends with Boy George, to his teenage years spent parading the Kings Road in his latest (stolen) clobber, working as a receptionist for a prostitute, hanging out with Leigh Bowery and Sue Tilley and creating his drag persona, to his life as DJ to the stars and his spiral into serious drug addiction. Now, he is 16 years sober and, alongside working to help others overcome addiction, DJing for everyone from Elton John to Louis Vuitton and the Beckhams - and running one of lockdown's most popular Instagram accounts with its wickedly funny memes. It is all here in horrifying, glorious, heart-breaking detail.'Whenever we host a party, Tony is our first port of call. He'll have everyone dancing, guarantee great memories, and the stories he tells... Just don't f*****g ask for any requests!' DAVID & VICTORIA BECKHAM'There is nobody in London, let alone the world who has lived a more extraordinary life... his journey from villain to real life hero is one of the most beautiful examples of humanity I have ever witnessed. I wouldn't be without this c*nt.' KELLY OSBOURNE'Hearing Tony's story is brutal and shocking. He is nothing short of a miracle and his willingness to be of service to others seeking sobriety is testament to how far he has come from the days of pulling his own teeth out.' MARC JACOBS

Mit Leichtigkeit und Spaß am Klavier zu üben und die Liebsten mit wunderschönen Melodien überraschen zu können, wer träumt nicht davon? Immer mehr Musikliebhaber möchten auch nach jahrelanger Pause wieder anfangen Klavier zu spielen.In der Notenheft-Reihe "Melodies for Piano" finden Sie Kompositionen, die inspirierend schön klingen und ohne großen Aufwand erlernbar sind.Diese Reihe enthält gefühlvolle und abwechslungsreiche Melodien für Wiedereinsteiger und Fortgeschrittene, welche für ein schnelles Wiedereinfinden in das Klavierleben sorgen. Die Melodien sind mittel bis schwer arrangiert, die jedoch ad libitum verwendet werden können. Sie eignen sich sowohl für das Selbststudium als auch für den Klavierunterricht. Außerdem bieten die Hefte einen ästhetischen Anblick dank bezaubernder Aquarell-Illustrationen und stellen ein perfektes Geschenk für einen Musikbegeisterten dar.Der fünfte Band enthält zehn Kompositionen:. Contemplation. A Spark Will Burn. By the Fireplace. Easter Sunday . Gentle Look. Tailwind. Inspiration. Please Do Not Forget Me. The Last Dance. AwakeningDoesn't everybody dream of practicing and playing the piano with ease, fun and surprising the audience with beautiful melodies. More and more music-lovers like to start playing again after several years' break.In the music book series "MELODIES for PIANO", you will find easy-to-learn compositions of inspiring beauty. This series contains emotional and versatile melodies for returners as well as for advanced learners for a quick piano restart.The arrangements of the melodies are on a medium to advanced level and can be used ad libitum. They are suitable for self-study as well as for piano lessons. Thanks to charming water colors, these music books offer a very aesthetic sight and are the perfect present for every music fan. Volume 5 of the exclusive edition "MELODIES for PIANO" contains 10 compositions:. Contemplation. A Spark Will Burn. By the Fireplace. Easter Sunday . Gentle Look. Tailwind. Inspiration. Please Do Not Forget Me. The Last Dance. Awakening

How has The Wizard of Oz become so popular on film, television, and stage? This book offers new insights into American identity through the special relationship between musicals and L. Frank Baum's children's novel. Drawing on personal experience, Ryan Bunch offers new readings of the MGM film (1939), The Wiz (1975), Wicked (2003), and other Oz musicals to reveal how the performative magic of the fairy tale musical, with its impliedinclusions and exclusions, imagines an American utopia.

This completely revised, updated, and expanded edition of Jon Burlingame's 1996 classic book covers themes not touched upon in the original version. With hundreds of interviews conducted over a 35-year span, this book is the most comprehensive history of television scoring to date.

"A comprehensive overall survey of the tools and techniques used in the field of computer music, aimed at beginners as well as intermediate and advanced users"--

This bibliography includes all available citations of books, articles, and monographs pertaining to "musique concrète," "Elektronische Musik," "tape music," and "computer music" from publications in fourteen languages.

In 1958, an anonymous group of overworked and under-budgeted BBC employees set out to make some new sounds for radio and TV. They ended up changing the course of 20th-century music. For millions of people, the work of the BBC Radiophonic Workshop was the first electronic music they had ever heard. Sampling, loops, and the earliest synthesizers-long before audiences knew what they were-made up the groundbreaking scores for news programs, auto maintenance shows, and children's programming. They also produced the Doctor Who theme, one of the first electronic music masterpieces. The Beatles, Pink Floyd, and others borrowed from them. A generation of musicians raised on BBC programming-Aphex Twin, Portishead, and Prodigy among them-took these once-alien sounds and carried on the Workshop's legacy. Ignored for decades by music historians, the Workshop is now recognized as one of the most influential forebears of electronica, psychedelia, ambient music, and synth-pop.

A fascinating look at the history of Sun Records, the label that started Rock n' Roll, told through 70 of its iconic recordings.In Memphis, Tennessee, in the 1950s, there was hard-edged blues playing on Beale Street, and hillbilly boogie on the outskirts of town. But at Sam Phillips' Sun Records studio on Union Avenue, there was something different going on - a whole lotta shakin', rockin', and rollin'. Sun Records: the company that launched Elvis Presley, Jerry Lee Lewis, Johnny Cash, Roy Orbison, and Carl Perkins. The label that brought the world, "Blue Suede Shoes," "Whole Lotta Shakin' Goin' On," "Breathless," "I Walk the Line," "Mystery Train," "Good Rockin' Tonight."The Birth of Rock 'n' Roll: 70 Years of Sun Records is the official history of this legendary label, and looks at its story in a unique way: through the lens of 70 of its most iconic recordings. From the early days with primal blues artists like Howlin' Wolf and B.B. King to long nights in the studio with Elvis and Jerry Lee Lewis, you will see how the label was shaped and how it redefined American music. Accompanying the recordings is the label's origin story and a look at the mission of the label today, as well as "Sun Spot" sidebars-a fascinating dive into subjects such as how the iconic logo was created, the legendary Million Dollar Quartet sessions, and how the song "Harper Valley, PTA" funded the purchase of the label.Written by two of the most acclaimed music writers of our time, Peter Guralnick and Colin Escott, and featuring hundreds of rare images from the Sun archives as well as a foreword by music legend Jerry Lee Lewis, this is a one-of-a-kind book for anyone who wants to know where it all started.

In this critical history, DeForrest Brown, Jr "makes techno Black again" by tracing the music's origins in Detroit and beyondIn Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to "make techno Black again." DeForrest Brown, Jr is a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.

Rev. ed. of: Generation ecstasy. Boston: Little, Brown, c1998.

Das Buchprojekt »M_Dokumente« nimmt die explizit weibliche Sichtweise der All Female Bands Mania D., Malaria! und Matador auf die Westberliner Musik- und Kunstszene ab den späten 1970er-Jahren in den Fokus. Die drei Bands um Bartel, Köster und Gut spielten ab 1979 in unterschiedlicher Zusammensetzung Konzerte, veröffentlichten Platten und tourten um die ganze Welt. Herausstechend und neu war das selbstbestimmte Auftreten der Musikerinnen, das sich sowohl in der Musik und den Texten als auch in ihrem einzigartigen Stil und dem genreübergreifenden Ansatz »Mehr Kunst in die Musik, mehr Musik in die Kunst« wiederfand. Bis heute gelten die drei M_Bands als visionär, sie prägten ein neues Frauenbild in der Popkultur und sind Vorreiterinnen und Vorbild für wichtige und notwendige emanzipatorische Bewegungen in der Musikbranche.

Die umfassende Publikation setzt das Schaffen des Musikerkollektivs in historischen Kontext und dient als Inspiration fu¿r eine neue Netzwerkmusik-Generation.Das US-Ensemble The Hub zählt zu den Pionieren der Netzwerkmusik und des Live-Codings. Die aus Tim Perkis, Scot Gresham-Lancaster, Chris Brown, John Bischoff, Phil Stone und Mark Trayle bestehende Formation ging 1986 aus der League of Automatic Music Composers hervor. Sie revolutionierte die elektronische Musik mit demokratisch organisierten und in Netzwerken agierenden Kompositions- und Performanceprozessen und erhielt den Giga-Hertz-Preis des ZKM | Hertz-Labors.Die Publikation bildet das Schaffen des Kollektivs im historischen Kontext ab, lässt Wegbegleiter*innen und Musikwissenschaftler*innen zu Wort kommen und versammelt erstmals die (kommentierten) Spielanleitungen der Gruppe.Jene Scores bilden das Herzstu¿ck des Buchs und verstehen sich nicht nur als Archivalien, sondern auch als Ausgangspunkt zuku¿nftiger Projekte einer Netzwerkmusik.

This book is a journey ¿ a ride through the depths of Germany¿s modern musical roots:At the beginning of the 1970s, experimental and progressive music in Germany developed far from the mainstream. Although few initially noticed it, it is now internationally celebrated as a cult phenomenon called ¿Krautrock¿. Today, bands like Kraftwerk, Can, Amon Düül II, NEU!, Cluster, and Tangerine Dream are considered pioneers of groundbreaking sound experiments.In order to understand the Krautrock era and its impact, it¿s worth delving deeper into the history of German rock music and taking a closer look at the overall picture.Times & Sounds offers a comprehensive insight into the mechanisms of post-war Germany¿s music industry and sheds light upon its diverse musical styles, as well as their mutual influences and connections, which have received little attention until now: From the onset of German Jazz and Swing orchestras to the first Rock ¿n` Roll bands around Hamburg`s Star Club and electronic synthesizer pioneers. From the intact world of Schlager to agitprop and left-wing protest songs. From the avant-garde compositions of Stockhausen and his presumed disciples of Krautrock to the Neue Deutsche Welle.This book is a journalistic diary tracing Germany¿s dynamic culture from the late 40s to the early 90s. Those who take this journey experience the ups and downs of five decades, thus developing an understanding deeper than any other of the Krautrock phenomenon.

Der renommierte Schlagzeuger Christian Dierstein hat zusammen mit einer Forschungsgruppe der Hochschule für Musik Basel die Spieltechniken auf dem Schlagzeug aus neuartiger Perspektive erforscht. Im Zentrum stehen nicht die Schlaginstrumente, sondern ihre Anreger: Schlägel, Hämmer, Bögen, spezifische Handtechniken bis hin zu elektronischen Impulsgebern. Sie alle werden im Buch detailliert beschrieben und ihr Anwendungsspektrum in sorgfältig ausgewählten und kommentierten Literaturbeispielen dargestellt.Zahlreiche Essays von Gastautoren wie Nicolaus A. Huber, Steven Schick, Fritz Hauser und Bernhard Wulff verankern die spieltechnischen Beschreibungen im zeitgenössischen ästhetischen Diskurs. Sie verdeutlichen, dass im aktuellen Komponieren und seinem erweiterten Material- und Performancebegriff gerade die Frage der Anregung und der Interaktion mit Klangobjekten ins Zentrum rückt. Entstanden ist ein umfassendes Nachschlagewerk für Komponisten und Interpreten, das sich auch als Inspiration für zukünftige und innovative Herangehensweisen ans Schlagzeugspiel versteht.Die AutorenChristian Dierstein absolvierte sein Musikstudium bei Bernhard Wulff in Freiburg, bei Gaston Sylvestre in Paris und bei Wassilios Papadopulus in Mannheim. Er ist Preisträger zahlreicher Wettbewerbe. Seit 1988 ist er Schlagzeuger des "ensemble recherche", seit 1994 des "Trio accanto" zusammen mit Nic Hodges und Marcus Weiss und seit 2001 Professor für Schlagzeug und neue Kammermusik an der Hochschule für Musik in Basel.Michel Roth ist Professor für Komposition und Musiktheorie an der Hochschule für Musik Basel und Mitglied der dortigen Forschungsabteilung. Als Komponist ist er regelmäßiger Gast bei internationalen Musikfestivals, in jüngerer Zeit besonders im Bereich Musiktheater. Zusammen mit Mike Svoboda veröffentlichte er 2017 bei Bärenreiter den Band "Die Spieltechniken der Posaune".Jens Ruland studierte von 2007 bis 2012 bei Carlos Tarcha an der HfMT Köln Schlagzeug und schloss das künstlerische und pädagogische Diplom mit Auszeichnung ab. Seit 2012 vertieft er seine Studien in Basel bei Christian Dierstein. Er ist Gründungsmitglied bei "handwerk" (Köln), "232 percussion" (Köln), "Ensemble New4Art" (Schweiz) und dem Musiktheaterduo "Akt-tkA" (Spanien/Schweiz).

I EFTERKLANG fortæller komponisten Fuzzy om et spændende og begivenhedsrigt liv som musiker, komponist og menneske.Vi kommer ind i Fuzzys liv på det tidspunkt, hvor han har bestemt sig for at blive komponist. Efter en mislykket periode på seminariet er han blevet smidt ud. Til gengæld har han spillet meget – især dansemusik og jazz – og bliver optaget på Musikkonservatoriet med en betydelig erfaring som musiker. Hans beretninger fra Københavns musikalske natteliv er munter læsning.Komponisten Per Nørgård bliver Fuzzys mentor, lærer og ven, og vi får en varm og engageret beretning om denne helt afgørende del af Fuzzys liv og hertil om livet på konservatorierne i København og Aarhus – og et meget aktivt liv som alsidig komponist. Film, teater og tv bliver Fuzzys foretrukne virkefelter. Han arbejder bredt med mange genrer fra elektronisk musik, film- og teatermusik og til decideret ’partiturmusik’ – og hans fortællinger vil blive læst med interesse af såvel de umiddelbart implicerede som af de mange, der er kommet i berøring med Fuzzys spændende og mangfoldige verden.Fuzzys erindringer er dansk musikhistorie og kulturhistorie gennem næsten 80 år.Bogen er gennemillustreret i farver.

I 1968 etablerer digteren Per Højholt (1928-2004) den eksperimenterende og tværkunstneriske gruppe Show-Bix i et samarbejde med fotografen og billedkunstneren Poul Ib Henriksen og komponisten og elektronmusikeren Gunner Møller Pedersen. Gruppen eksperimenterer med digtningen og videreudvikler den i en performativ og mediebevidst retning. De rejser rundt i Danmark vest for Storebælt og besøger gymnastiksale, forsamlingshuse og folkebiblioteker, hvor de opfører deres eksperimenterende og genrenedbrydende shows, såkaldte ”stykker”, indtil gruppen opløses i 1971. Show-Bix & Per Højholts mediebevidste praksis er den første samlede behandling af Per Højholts mediebevidste praksis og af Show-Bix, der har været stort set ubeskrevet indtil nu. Bogen er et vigtigt og originalt bidrag til Højholt-forskningen. Morten Søndergaard viser, hvordan Show-Bix blev afgørende for udviklingen af Højholts kunstneriske praksis efter 1967, og at hele Per Højholts produktion efter 1967 med fordel kan ses ud fra en mediebevidst poetik, der involverer performative elementer, udforskning af kunstens kommunikation med publikum og punkteringer af alle forventninger til kunst i det hele taget – ikke mindst af litteraturens og poesiens egne genrer og rammer: Forfatterrollen bliver for Højholt mediebevidst og performativ, hvilket også kommer til udtryk i de folkekære Gitte-monologer. Bogen er illustreret med dokumentation af og originalmateriale fra Højholts og Show-Bix’ værker fra 1968-1971, hvor gruppen gik i opløsning, både via farvegenoptryk af manuskripter, billeder og partiturer samt dvd-gengivelser af film og lyd. Morten Søndergaard, cand.mag., ph.d., lektor i Interaktiv Mediekunst ved Institut for Kommunikation, Aarhus Universitet og tidligere museumsinspektør ved Museet for Samtidskunst i Roskilde. Medredaktør af flere antologier, bl.a. MELLEM ØRERNE – PERformer HØJHOLT. Mediekunst 1967> (Informations Forlag, 2004). Forfatter til en lang række artikler om moderne kunst.