Paul carr listening paper to be read at conferencePaul Carr
Here is a paper I read at aCardiff University IASPM conference regarding the creative activities that took place in The James Taylor Quartet when I was a member. It is only in draft format - but is a development of an earlier paper I posted a while back. I will also post the associated Powerpoint slides too.
The document is a summary of shots from a film. It begins with white noise and a black screen before cutting to a radio interview warning girls not to go alone in the woods. The film then shows a man watching a girl walk her dog before panning to the man's room covered in photos of girls. Later, the girl's dog goes missing in the woods while the man watches from afar.
This document provides an overview of using Facebook for business purposes. It discusses why social media is important for businesses, the features of Facebook pages, how to create a business page, and how to develop a strategy for promotion and engagement. The key points are that social media allows businesses to communicate, build relationships and share information; Facebook has over 200 million active users and growing; and an effective strategy involves using features like ads, events and insights to promote the business, engage customers and gain feedback.
Lesson 5 - Create Projects And Upload FilesInformatica
How This Lesson Will Help You
This lesson will provide you with the steps used to setup the collaborative
workspace where you can upload and share artwork, images, and other digital
assets with your colleagues.
Topics in This Lesson
After completing this lesson, you will be able to:
• Define and Create a Project
• Upload Files Into a Project
• Describe Additional Upload Options
This document provides an introduction to Portal Products, including Kodak InSite Creative Workflow, Asset Library, Kodak InSite Prepress Portal, Matchprint Virtual, and Kodak PressProof. It describes the products, their features, and how they can be configured and integrated to streamline creative collaboration and print production workflows. The benefits of Portal Products include improved communication, increased efficiency, and reduced production time.
Emily Sheina started an online shoe selling business in 2008 that grew but remained home-based. They came to the Business Incubation Center (BIC) and got a mailbox to use as a professional business address. BIC accepts their mail and packages, and Emily and Sheina can check for mail by phone or pick it up in person. They can use the business address on their website, business cards, brochures, and letterheads.
The document describes a magazine project about indie and rock music. It summarizes how the magazine represents its target audience of teenagers interested in indie music through its branding, layout, and content choices. The magazine aims to attract this audience while also appealing to a wide gender range and not being too dark or niche in its style. Distribution would likely be through music shops that this audience frequents. In creating the magazine, the author learned skills in PowerPoint, image editing, and page layout.
Paul carr listening paper to be read at conferencePaul Carr
Here is a paper I read at aCardiff University IASPM conference regarding the creative activities that took place in The James Taylor Quartet when I was a member. It is only in draft format - but is a development of an earlier paper I posted a while back. I will also post the associated Powerpoint slides too.
The document is a summary of shots from a film. It begins with white noise and a black screen before cutting to a radio interview warning girls not to go alone in the woods. The film then shows a man watching a girl walk her dog before panning to the man's room covered in photos of girls. Later, the girl's dog goes missing in the woods while the man watches from afar.
This document provides an overview of using Facebook for business purposes. It discusses why social media is important for businesses, the features of Facebook pages, how to create a business page, and how to develop a strategy for promotion and engagement. The key points are that social media allows businesses to communicate, build relationships and share information; Facebook has over 200 million active users and growing; and an effective strategy involves using features like ads, events and insights to promote the business, engage customers and gain feedback.
Lesson 5 - Create Projects And Upload FilesInformatica
How This Lesson Will Help You
This lesson will provide you with the steps used to setup the collaborative
workspace where you can upload and share artwork, images, and other digital
assets with your colleagues.
Topics in This Lesson
After completing this lesson, you will be able to:
• Define and Create a Project
• Upload Files Into a Project
• Describe Additional Upload Options
This document provides an introduction to Portal Products, including Kodak InSite Creative Workflow, Asset Library, Kodak InSite Prepress Portal, Matchprint Virtual, and Kodak PressProof. It describes the products, their features, and how they can be configured and integrated to streamline creative collaboration and print production workflows. The benefits of Portal Products include improved communication, increased efficiency, and reduced production time.
Emily Sheina started an online shoe selling business in 2008 that grew but remained home-based. They came to the Business Incubation Center (BIC) and got a mailbox to use as a professional business address. BIC accepts their mail and packages, and Emily and Sheina can check for mail by phone or pick it up in person. They can use the business address on their website, business cards, brochures, and letterheads.
The document describes a magazine project about indie and rock music. It summarizes how the magazine represents its target audience of teenagers interested in indie music through its branding, layout, and content choices. The magazine aims to attract this audience while also appealing to a wide gender range and not being too dark or niche in its style. Distribution would likely be through music shops that this audience frequents. In creating the magazine, the author learned skills in PowerPoint, image editing, and page layout.
1) Revision of last week
2) Starting points for Production Analysis - The Song, Arrangement and Track
3) Immanent Analysis -Analytical Priorities of the Elements of Music
This lecture provides an overview of musicology and how it relates to the analysis of popular music. It discusses the history of musicology focusing originally on art music, and how it has expanded to include popular music. The goals of the module are introduced as analyzing popular music forms, developing critical skills, and improving writing and presentation abilities. An overview of the course schedule is given along with details on assessments, which include a group presentation and written essay. Various analytical tools and layers involved in analyzing songs, arrangements, and recorded tracks are defined and examples are discussed.
Powerpoint slides paul carr iaspm conferencePaul Carr
This document summarizes a phenomenological analysis of musical engagement when recording, performing, and rehearsing with the James Taylor Quartet. It discusses research questions around how musicians employ listening to recreate past styles authentically. The summary describes the band's intentional/extensional listening process and how it impacts composition, arrangement, and is shaped by social parameters and the environment. Comparisons are made between album tracks and live performances focusing on elements like grooves, harmony, form, and collective texture.
The documentary "Bite my Tongue" focuses on the British rock band You Me at Six and documents their struggles as a band leading up to the recording of their third album "Sinners Never Sleep". It uses interviews with band members and those related to the band to tell the story without narration. The documentary shows how the band members met and their personal and professional issues, culminating in their excitement for the future as they record the song "Bite my Tongue".
There is a need for instructional materials to help these aspiring jazz musicians to learn how to play jazz. In fact, a lot of such material is available. Much of it isn’t very good,
but there are some outstanding exceptions (which are mentioned at appropriate points in this book). This book was writ ten with a very specific audience in mind: college-level music majors who have completed a standard
two-year music theory sequence. Jamming is of
course the best learning tool for jazz.
This document provides an overview of the structure of jazz, which consists of three principal components: rhythm, form, and harmony. Rhythmically, jazz features three layers - melody, chords, and bass - with the melody typically in eighth notes, bass in quarter notes, and chords in half or quarter notes. Form in jazz is based on popular song structures like AABA, ABAC, and ternary. Harmonically, jazz relies on a small set of chord progressions and variations that provide the framework for improvisation. The rigid yet flexible structure allows jazz musicians to collaborate through mostly improvised performances.
This document provides an overview of the structure of jazz, which consists of three principal components: rhythm, form, and harmony. Rhythmically, jazz features three layers - melody, chords, and bass - with the melody typically in eighth notes, bass in quarter notes, and chords in half or quarter notes. Form in jazz is based on popular song structures like AABA, ABAC, and ternary. Harmonically, jazz relies on a small set of chord progressions and allows for variation and elaboration of individual chords. Understanding this underlying structure allows jazz musicians to improvise together effectively.
Progressive and glitter rock powerpointDouglas Lull
The document discusses the origins and development of progressive and glitter rock in the late 1960s and 1970s. It was inspired by The Beatles' album Sgt. Pepper's Lonely Hearts Club Band and involved adding orchestral instruments and experimenting with classical forms and electronic music. Key progressive rock bands like The Moody Blues, Genesis, Jethro Tull, and Electric Light Orchestra incorporated orchestras into their music. Bands like Yes and Emerson, Lake & Palmer composed in classical structures and recorded versions of classical pieces.
Please find Refrenced sources in the footnotes the links will be below-
Thurston Moore Interivew - https://www.youtube.com/watch?v=BZpBe0cyHE4
Current Joys -Nick Rattigan Writing Style (interview)- https://soundblab.com/interviews/20149-interview-current-joys
(145) Sonic Youth - Do You Believe In Rapture?- https://www.youtube.com/watch?v=y4RdKzzTU8E
h2g2 - Nick Drake - Singer/Songwriter - Edited Entry - https://h2g2.com/edited_entry/A662924#conversations
"Title Fight Floral Green Review"-https://www.bbc.co.uk/music/reviews/nfrj/
Midi Source - https://blog.landr.com/what-is-midi/
Lee Ranaldo - Kit tour - https://www.youtube.com/watch?v=tVMo4F2H0dY
Blaze Foley – Clay Pigeons Live - https://www.youtube.com/watch?v=uM3YROq_cLY
1) The document discusses research on Frank Zappa's music conducted by Dr. Paul Carr, including conferences and publications on analyzing Zappa's integration of various musical styles and traditions.
2) It examines how Zappa both embraced and subverted rock music conventions to categorize his work, while continuously incorporating elements of classical music and other genres.
3) Key concepts discussed include Zappa's use of "project/object," "conceptual continuity," and "xenochrony" to fuse musical elements from different times and places.
- The document discusses Frank Zappa as a case study for interdisciplinary teaching between music and drama. It outlines Zappa's diverse influences and compositional techniques that integrated various musical styles.
- A university project brought together music and drama students to work on "Fish - An Anti Off Off Off Broadway Musical", inspired by Zappa's music and concepts. The goal was to explore how different art forms can complement each other.
- Potential future projects discussed applying Zappa's techniques and concepts to interdisciplinary works between music and drama.
This document discusses a proposed musicological research project focusing on Frank Zappa and his music. It outlines several key questions for the research, including examining whether music can communicate beyond just sounds, where musical meaning comes from, and how to analyze music from different theoretical perspectives. The document then provides an overview of Zappa's unique style which blended many genres and employed techniques like musical quotation and xenochrony. It proposes analyzing several of Zappa's songs and albums in depth to better understand his innovative approaches to composition and meaning-making.
Session 4 Phil Tagg’s Musicological ModelPaul Carr
Phil Tagg's methodology for musicological analysis involves several key steps:
1) Selecting an "Analysis Object" (AO) that has broad communication potential.
2) Identifying the musical "Parameters of Expression" and elements in the AO.
3) Finding short meaningful segments called "musemes" within the AO.
4) Comparing the AO to similar "Inter-objective Comparison Materials" (IOCM) to understand collective meanings.
This document describes the music production process of adding a big band brass sound to a rockabilly composition. In the pre-production phase, the rockabilly genre and style were defined. A full arrangement was prepared that included parts for the brass sections as well as the original rock band instruments. The standard production stages of recording, mixing, and post-production were then carried out using a Digital Audio Workstation. Rather than recording the full brass sections together, each line was recorded individually by a single player to allow for precise timing adjustments during editing. This produced a punchy, rhythmically accurate sound while blending the rockabilly and big band styles.
Friends Don't Let Friends Clap on One and Three: a Backbeat Clapping StudyEthan Hein
Taj Mahal stopped playing blues music twice during a concert in Germany because the audience was clapping on beats 1 and 3 of the 4/4 time signature instead of the expected backbeat of beats 2 and 4. He explained to the audience that for "schvartze (black) music" like blues, the correct way to clap is on beats 2 and 4, not 1 and 3. Only after his explanations did the audience finally clap along correctly on the backbeat.
The group discussed doing a music video for a rock band. They decided on Avenged Sevenfold as the band because the members all enjoy rock music and Avenged Sevenfold in particular. Avenged Sevenfold was chosen over similar band Bullet for My Valentine because Avenged Sevenfold is currently more popular and well-known, so their songs would be more recognizable to audiences. The group brainstormed potential Avenged Sevenfold songs that would work well for a music video based on the lyrics and conventions from their existing music videos.
The document discusses an interview with the sludge/stoner metal band Vendorbelly. It provides background on the band members' previous group Jettatura and Vendorbelly's formation in 2012. The band has since played numerous shows around London and released their first EP. The interview will take place in a music studio and will include questions about the band's origins, recording process, promoting their new EP, favorite performance venues, and experiences as a sludge metal band.
Evolution of Jazz & Rock FALL 2015 .docxgitagrimston
Evolution
of
Jazz
&
Rock
FALL
2015
Extra
Credit
Opportunity
Concert
Review
Paper
For
a
maximum
total
of
10
points
extra
credit,
you
may
attend
one
of
the
concerts
listed
at
the
end
of
this
document,
and
submit
a
review
following
this
structure:
Section
I:
Introduction
(who,
what,
when,
where).
This
is
also
where
you
will
state
your
central
idea
(thesis)
as
to
whether
or
not
you
believe
the
concert
was
successful.
Section
II:
Overview
of
the
musical
works
featured
on
the
program,
the
type
and
number
of
works
and
performers
on
the
program,
and
the
instruments
or
instrumental
ensembles
involved.
Use
a
topic
sentence
that
refers
back
to
your
thesis
to
introduce
this
paragraph.
Section
III:
Brief
historical
profile
of
the
composer
or
arranger
of
one
selected
work
performed
on
the
concert.
Again,
use
a
topic
sentence
that
refers
back
to
your
thesis.
Also
cite
your
source
of
information
for
the
composer/arranger
using
MLA
formatting
guidlines.
Section
IV:
Description
of
that
selected
work
using
as
much
musical
terminology
you
have
learned
in
this
class
as
possible.
This
should
be
written
in
your
own
words
and
based
on
what
you
heard.
Do
not
conduct
research
for
this
section.
Use
your
notes
or
the
textbooks
for
this
class
if
you
need
definitions
for
musical
terms.
You
might
also
address
the
socio-‐cultural
environment
for
which
the
musical
work
was
created.
This
paragraph
should
also
start
with
a
topic
sentence
that
refers
back
to
your
thesis.
Section
V:
Conclusion
Your
personal
response
to
the
music
and
the
event.
Begin
with
a
topic
sentence
that
again
refers
back
to
your
thesis.
The
review
should
be
2
1/2
to
3
pages
long
(EWP—750
words
minimum),
typed,
double-‐spaced,
12-‐point
Times
New
Roman
font,
1-‐inch
margins.
Please
cite
the
source
you
use
for
Section
III
(historical
profile),
and
also
turn
in
the
program
from
the
concert.
Concert
listing:
Sept.
13
7:30pm
Orchid
Ensemble
...
Effects Of Listening To Music While Studying
The Art of Music Essay
Essay Outline on Music
Positive Effects of Music Essay
Descriptive Essay On Music
Piano Music Essay
Personal Narrative
The Healing Power of Music Essay
Descriptive Essay About Music
Music Appreciation Essay
My Favorite Music Essay
Personal Narrative: I Believe In Music
Defining Music Essay
Descriptive Essay About Music
My Love For Music Started
The Power of Music Essay
Music Therapy
My Love Of Music
Written Music Essay
Music in My Life Essay
1. The document discusses different ways that music can communicate or refer both within itself and outside of itself.
2. It summarizes Allan Moore's view that music refers within itself through relationships between sections, and Tagg's view that music communicates between individuals and groups.
3. Ferdinand de Saussure's theory of the sign, signifier, and signified in semiology is also summarized, and how this applies to understanding how musical elements can signify meanings.
The document defines and describes various musical concepts used to analyze song structure, including motifs, question and answer phrases, sentences, sections, structural and compositional forms. It then discusses techniques for comparing these elements diachronically (through time), such as melodic repetition, rhythmic repetition, transposition, identical melody with changing harmony, and new answering phrases. Examples of popular songs that demonstrate each technique are provided.
More Related Content
Similar to Paul Carr Listening Paper - Ecocritical Listening
1) Revision of last week
2) Starting points for Production Analysis - The Song, Arrangement and Track
3) Immanent Analysis -Analytical Priorities of the Elements of Music
This lecture provides an overview of musicology and how it relates to the analysis of popular music. It discusses the history of musicology focusing originally on art music, and how it has expanded to include popular music. The goals of the module are introduced as analyzing popular music forms, developing critical skills, and improving writing and presentation abilities. An overview of the course schedule is given along with details on assessments, which include a group presentation and written essay. Various analytical tools and layers involved in analyzing songs, arrangements, and recorded tracks are defined and examples are discussed.
Powerpoint slides paul carr iaspm conferencePaul Carr
This document summarizes a phenomenological analysis of musical engagement when recording, performing, and rehearsing with the James Taylor Quartet. It discusses research questions around how musicians employ listening to recreate past styles authentically. The summary describes the band's intentional/extensional listening process and how it impacts composition, arrangement, and is shaped by social parameters and the environment. Comparisons are made between album tracks and live performances focusing on elements like grooves, harmony, form, and collective texture.
The documentary "Bite my Tongue" focuses on the British rock band You Me at Six and documents their struggles as a band leading up to the recording of their third album "Sinners Never Sleep". It uses interviews with band members and those related to the band to tell the story without narration. The documentary shows how the band members met and their personal and professional issues, culminating in their excitement for the future as they record the song "Bite my Tongue".
There is a need for instructional materials to help these aspiring jazz musicians to learn how to play jazz. In fact, a lot of such material is available. Much of it isn’t very good,
but there are some outstanding exceptions (which are mentioned at appropriate points in this book). This book was writ ten with a very specific audience in mind: college-level music majors who have completed a standard
two-year music theory sequence. Jamming is of
course the best learning tool for jazz.
This document provides an overview of the structure of jazz, which consists of three principal components: rhythm, form, and harmony. Rhythmically, jazz features three layers - melody, chords, and bass - with the melody typically in eighth notes, bass in quarter notes, and chords in half or quarter notes. Form in jazz is based on popular song structures like AABA, ABAC, and ternary. Harmonically, jazz relies on a small set of chord progressions and variations that provide the framework for improvisation. The rigid yet flexible structure allows jazz musicians to collaborate through mostly improvised performances.
This document provides an overview of the structure of jazz, which consists of three principal components: rhythm, form, and harmony. Rhythmically, jazz features three layers - melody, chords, and bass - with the melody typically in eighth notes, bass in quarter notes, and chords in half or quarter notes. Form in jazz is based on popular song structures like AABA, ABAC, and ternary. Harmonically, jazz relies on a small set of chord progressions and allows for variation and elaboration of individual chords. Understanding this underlying structure allows jazz musicians to improvise together effectively.
Progressive and glitter rock powerpointDouglas Lull
The document discusses the origins and development of progressive and glitter rock in the late 1960s and 1970s. It was inspired by The Beatles' album Sgt. Pepper's Lonely Hearts Club Band and involved adding orchestral instruments and experimenting with classical forms and electronic music. Key progressive rock bands like The Moody Blues, Genesis, Jethro Tull, and Electric Light Orchestra incorporated orchestras into their music. Bands like Yes and Emerson, Lake & Palmer composed in classical structures and recorded versions of classical pieces.
Please find Refrenced sources in the footnotes the links will be below-
Thurston Moore Interivew - https://www.youtube.com/watch?v=BZpBe0cyHE4
Current Joys -Nick Rattigan Writing Style (interview)- https://soundblab.com/interviews/20149-interview-current-joys
(145) Sonic Youth - Do You Believe In Rapture?- https://www.youtube.com/watch?v=y4RdKzzTU8E
h2g2 - Nick Drake - Singer/Songwriter - Edited Entry - https://h2g2.com/edited_entry/A662924#conversations
"Title Fight Floral Green Review"-https://www.bbc.co.uk/music/reviews/nfrj/
Midi Source - https://blog.landr.com/what-is-midi/
Lee Ranaldo - Kit tour - https://www.youtube.com/watch?v=tVMo4F2H0dY
Blaze Foley – Clay Pigeons Live - https://www.youtube.com/watch?v=uM3YROq_cLY
1) The document discusses research on Frank Zappa's music conducted by Dr. Paul Carr, including conferences and publications on analyzing Zappa's integration of various musical styles and traditions.
2) It examines how Zappa both embraced and subverted rock music conventions to categorize his work, while continuously incorporating elements of classical music and other genres.
3) Key concepts discussed include Zappa's use of "project/object," "conceptual continuity," and "xenochrony" to fuse musical elements from different times and places.
- The document discusses Frank Zappa as a case study for interdisciplinary teaching between music and drama. It outlines Zappa's diverse influences and compositional techniques that integrated various musical styles.
- A university project brought together music and drama students to work on "Fish - An Anti Off Off Off Broadway Musical", inspired by Zappa's music and concepts. The goal was to explore how different art forms can complement each other.
- Potential future projects discussed applying Zappa's techniques and concepts to interdisciplinary works between music and drama.
This document discusses a proposed musicological research project focusing on Frank Zappa and his music. It outlines several key questions for the research, including examining whether music can communicate beyond just sounds, where musical meaning comes from, and how to analyze music from different theoretical perspectives. The document then provides an overview of Zappa's unique style which blended many genres and employed techniques like musical quotation and xenochrony. It proposes analyzing several of Zappa's songs and albums in depth to better understand his innovative approaches to composition and meaning-making.
Session 4 Phil Tagg’s Musicological ModelPaul Carr
Phil Tagg's methodology for musicological analysis involves several key steps:
1) Selecting an "Analysis Object" (AO) that has broad communication potential.
2) Identifying the musical "Parameters of Expression" and elements in the AO.
3) Finding short meaningful segments called "musemes" within the AO.
4) Comparing the AO to similar "Inter-objective Comparison Materials" (IOCM) to understand collective meanings.
This document describes the music production process of adding a big band brass sound to a rockabilly composition. In the pre-production phase, the rockabilly genre and style were defined. A full arrangement was prepared that included parts for the brass sections as well as the original rock band instruments. The standard production stages of recording, mixing, and post-production were then carried out using a Digital Audio Workstation. Rather than recording the full brass sections together, each line was recorded individually by a single player to allow for precise timing adjustments during editing. This produced a punchy, rhythmically accurate sound while blending the rockabilly and big band styles.
Friends Don't Let Friends Clap on One and Three: a Backbeat Clapping StudyEthan Hein
Taj Mahal stopped playing blues music twice during a concert in Germany because the audience was clapping on beats 1 and 3 of the 4/4 time signature instead of the expected backbeat of beats 2 and 4. He explained to the audience that for "schvartze (black) music" like blues, the correct way to clap is on beats 2 and 4, not 1 and 3. Only after his explanations did the audience finally clap along correctly on the backbeat.
The group discussed doing a music video for a rock band. They decided on Avenged Sevenfold as the band because the members all enjoy rock music and Avenged Sevenfold in particular. Avenged Sevenfold was chosen over similar band Bullet for My Valentine because Avenged Sevenfold is currently more popular and well-known, so their songs would be more recognizable to audiences. The group brainstormed potential Avenged Sevenfold songs that would work well for a music video based on the lyrics and conventions from their existing music videos.
The document discusses an interview with the sludge/stoner metal band Vendorbelly. It provides background on the band members' previous group Jettatura and Vendorbelly's formation in 2012. The band has since played numerous shows around London and released their first EP. The interview will take place in a music studio and will include questions about the band's origins, recording process, promoting their new EP, favorite performance venues, and experiences as a sludge metal band.
Evolution of Jazz & Rock FALL 2015 .docxgitagrimston
Evolution
of
Jazz
&
Rock
FALL
2015
Extra
Credit
Opportunity
Concert
Review
Paper
For
a
maximum
total
of
10
points
extra
credit,
you
may
attend
one
of
the
concerts
listed
at
the
end
of
this
document,
and
submit
a
review
following
this
structure:
Section
I:
Introduction
(who,
what,
when,
where).
This
is
also
where
you
will
state
your
central
idea
(thesis)
as
to
whether
or
not
you
believe
the
concert
was
successful.
Section
II:
Overview
of
the
musical
works
featured
on
the
program,
the
type
and
number
of
works
and
performers
on
the
program,
and
the
instruments
or
instrumental
ensembles
involved.
Use
a
topic
sentence
that
refers
back
to
your
thesis
to
introduce
this
paragraph.
Section
III:
Brief
historical
profile
of
the
composer
or
arranger
of
one
selected
work
performed
on
the
concert.
Again,
use
a
topic
sentence
that
refers
back
to
your
thesis.
Also
cite
your
source
of
information
for
the
composer/arranger
using
MLA
formatting
guidlines.
Section
IV:
Description
of
that
selected
work
using
as
much
musical
terminology
you
have
learned
in
this
class
as
possible.
This
should
be
written
in
your
own
words
and
based
on
what
you
heard.
Do
not
conduct
research
for
this
section.
Use
your
notes
or
the
textbooks
for
this
class
if
you
need
definitions
for
musical
terms.
You
might
also
address
the
socio-‐cultural
environment
for
which
the
musical
work
was
created.
This
paragraph
should
also
start
with
a
topic
sentence
that
refers
back
to
your
thesis.
Section
V:
Conclusion
Your
personal
response
to
the
music
and
the
event.
Begin
with
a
topic
sentence
that
again
refers
back
to
your
thesis.
The
review
should
be
2
1/2
to
3
pages
long
(EWP—750
words
minimum),
typed,
double-‐spaced,
12-‐point
Times
New
Roman
font,
1-‐inch
margins.
Please
cite
the
source
you
use
for
Section
III
(historical
profile),
and
also
turn
in
the
program
from
the
concert.
Concert
listing:
Sept.
13
7:30pm
Orchid
Ensemble
...
Effects Of Listening To Music While Studying
The Art of Music Essay
Essay Outline on Music
Positive Effects of Music Essay
Descriptive Essay On Music
Piano Music Essay
Personal Narrative
The Healing Power of Music Essay
Descriptive Essay About Music
Music Appreciation Essay
My Favorite Music Essay
Personal Narrative: I Believe In Music
Defining Music Essay
Descriptive Essay About Music
My Love For Music Started
The Power of Music Essay
Music Therapy
My Love Of Music
Written Music Essay
Music in My Life Essay
Similar to Paul Carr Listening Paper - Ecocritical Listening (20)
1. The document discusses different ways that music can communicate or refer both within itself and outside of itself.
2. It summarizes Allan Moore's view that music refers within itself through relationships between sections, and Tagg's view that music communicates between individuals and groups.
3. Ferdinand de Saussure's theory of the sign, signifier, and signified in semiology is also summarized, and how this applies to understanding how musical elements can signify meanings.
The document defines and describes various musical concepts used to analyze song structure, including motifs, question and answer phrases, sentences, sections, structural and compositional forms. It then discusses techniques for comparing these elements diachronically (through time), such as melodic repetition, rhythmic repetition, transposition, identical melody with changing harmony, and new answering phrases. Examples of popular songs that demonstrate each technique are provided.
Session 4‘the elements of music and form’Paul Carr
Most popular music follows a common structure with sections like introductions, verses, choruses, and bridges that are typically divided into phrases of 4, 8, or 16 bars. These sections contrast melodically and through other musical elements to maintain interest. While most songs change harmony between verses and choruses, some like "Stand By Me" use the same harmony. Structure can also be delineated through polyrhythms, as in "Kashmir" by Led Zeppelin, or variations in meter.
Here are three examples of episodic markers, sonic/tactile/kinetic anaphones, genre synecdoche, or experiments with time and place that could be placed on the blog:
1. Drum fills are often used as episodic markers in popular music to signal that a musical event such as a chorus is about to begin.
2. The distinctive guitar sound of Jimi Hendrix, produced through effects pedals and technique, acts as a sonic anaphone closely associated with his musical persona.
3. The blending of hip hop and rock elements in a song like "Walk This Way" by Run DMC and Aerosmith employs genre synecdoche, using elements of one
Here are 3 questions for discussion based on the reading:
1. How might Adler's separation of musicology into historical and systematic approaches apply to the study of popular music? What are the benefits and limitations of each approach?
2. What are the implications of Eco, Foucault, and Barthes' ideas about authorship and the open work for how meaning is created and interpreted in popular music? How might this challenge traditional notions of musical analysis?
3. What role do social and cultural contexts play in interpreting popular music according to these theoretical perspectives? How might understanding these contexts enhance musical analysis?
This is an updated presentation of a lecture I give on Frank Zappa, as an example of how a musician can be used as a case study for musical research. After exploring some methodological themes, it uses 'Frank Zappa and Gesture' as an indicative example.
Here is the powerpoint presentation that I have been using for the Welsh Music Foundation forums. This is work in progress, but it provides a snapshot of some of the topics being discussed.
This document discusses Frank Zappa's political views and how they were expressed through his music. It analyzes two of his songs, "Dickie's Such An Asshole" and "Reagan at Bitburg", that satirized American presidents Nixon and Reagan. Zappa was a vocal critic of authority figures and the American political system. He distrusted governments and emphasized freedom of speech and citizens' right to vote. His unique and unconventional music was both politically and socially commentary through its lyrics, themes, and blending of diverse styles.
Research Skills Musicology Final Session Prior To Easter BreakPaul Carr
This document provides guidance for a 2000-word musicology essay final assignment. Students can analyze a single piece of music or compare two pieces using discussed methodologies, such as Philip Tagg's approach. Alternatively, students can present a contextual analysis of an artist, discussing factors like authenticity, local/global influences, and how the artist relates to other musicians and styles. The essay should include transcriptions, recordings, and references. Assessment will consider the analysis detail, use of examples, and cross-referencing of academic texts. The deadline is May 7th, 2010.
This document discusses various elements of music and how they contribute to musical form and meaning. It begins by summarizing a paper on the band Korn that analyzed the interrelationship between lyrics and music using different techniques. It then defines common musical elements like timbre, texture, harmony, and rhythm. Examples are given of how elements like rhythm, harmony, melody, and instrumentation can determine musical form. Specific techniques like stop time, changes in harmony, and unusual bar structures are examined. The document concludes by outlining sections of popular music forms and providing homework tasks of adding examples to a musicology wiki.
This document discusses theories of musical meaning from various musicologists. It outlines Guido Adler's distinction between historical and systematic musicology. It discusses Eduard Hanslick's view that music does not directly impact extra-musical feelings. It also summarizes Mayer's triadic model of musical meaning, which examines the stimulus, what it refers to, and who understands it. Mayer believes meaning arises from awareness of implications of a musical stimulus. The document also discusses absolutist and referentialist views of musical meaning.
The document provides an overview of musicology and the requirements for an assessment in a musicology module. It discusses the history and goals of musicology, focusing on analyzing popular music. The assessment consists of a 2,000-word essay analyzing a musical work and a 5-minute technological presentation on a musicological topic. The essay must use concepts like form, harmony, melody, and rhythm to analyze compositions.
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This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
Reimagining Your Library Space: How to Increase the Vibes in Your Library No ...Diana Rendina
Librarians are leading the way in creating future-ready citizens – now we need to update our spaces to match. In this session, attendees will get inspiration for transforming their library spaces. You’ll learn how to survey students and patrons, create a focus group, and use design thinking to brainstorm ideas for your space. We’ll discuss budget friendly ways to change your space as well as how to find funding. No matter where you’re at, you’ll find ideas for reimagining your space in this session.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
BÀI TẬP BỔ TRỢ TIẾNG ANH 8 CẢ NĂM - GLOBAL SUCCESS - NĂM HỌC 2023-2024 (CÓ FI...
Paul Carr Listening Paper - Ecocritical Listening
1. An Emic and Etic Analysis Of The Impact Of Creative Listening When Recording And Performing With The James Taylor Quartet <br />Dr Paul Carr<br />University of Glamorgan<br />This paper proposes to explore the creative listening roles employed by myself when working with the ‘Acid Jazz’ ensemble The James Taylor Quartet (JTQ) during the years 1989 – 1990. During this time the band recorded their 2nd album Get Organized (Polydor Records 1989) in addition to undertaking several European tours, releasing two mini albums, a promotional video and a single. SLIDE 2 It is proposed that my dual role today as both an ex band member and academic enables a unique opportunity to analyse factors such as the impact of creative listening on the progressive development of songs, arrangements, productions and performance paradigms. Gioia’s (1988) comment that ‘jazz musicians cannot look ahead at what [they are] going to play, but can look behind at what [they] have just done’ is pertinent, and this paper will apply this philosophy by including my own and others reflections on the creative listening process. As noted by Keith Sawyer (2007), ‘all innovations result from a collaborate web’, and the epistemological paradigms through which listening is an essential aspect in the group creative process will be discussed, drawing on personal reflection, interviews with James Taylor himself and academic insights from the likes of Aaron Copeland, William Cahn, Keith Sawyer and Eric Clarke. After contextualising my role in JTQ, the paper will be constructed to progressively examine research questions that have particular relevance for performing musicians and composers as follows: SLIDE 3<br />What are the means through which musicians employ listening to recreate ‘pastiche’ sounds of the past?<br />How and why do musicians incorporate listening skills to integrate authenticity into their work by ensuring specific sounds, styles, production techniques and performance conventions comply with the canon?<br />How does creative listening impact group composition, live performance, rehearsals and improvisation?<br />How do environmental factors impact creative listening?<br />As JTQ have a wide range of commercial recordings from this period, both live and studio based, the paper will also include textual and phenomenological analysis of selected compositions and arrangements. <br />SLIDE 4 The James Taylor Quartet (JTQ) are a British based ensemble formed by Hammond Organ player James Taylor (b.1964) in 1986. Their debut single several months later was a cover of Herbie Hancock’s ‘Blow Up’, and was released independently through Re Elect The President, a forerunner of the successful Acid Jazz label. This was followed by the band’s debut album Mission Impossible (1987) the following year, a recording that continued what was to be a long association with film music covers themes, with pieces such as ‘Goldfinger’, ‘Mrs Robinson’ and ‘Alfie’ being amongst the works included. My personal involvement with the group started around October 1988, soon after the band had secured a record deal with their first major label – Polydor Records. Having just recorded a third studio album Wait A Minute (1987), it was apparent that the band at this point was in a stage of transition, attempting to forge a more original, highly produced funk based style that involved more original composition and less pastiche than earlier efforts<br />James Taylor verified the transitory nature of the album when stating<br />The various pressures on me at that time were enormous, record company deadlines and personnel, money, musical output, performance, also I had just split with my old band, including my brother, so it was a painful time for me, therefore very rich artistically! There were also some big egos present, including mine. So it was an interesting time with a kind of ferrel nature dominating the atmosphere.<br />After a short rehearsal period learning existing material and auditioning new members, JTQ spent the end of 1988 doing a number of one-off performances in the UK and Europe. These live performances facilitated a testing ground to refine what was to be the new version of the group, which undertook a number of further changes during this period. This included using four bass players, in addition to reducing a three piece brass section to a single saxophone. As JTQ’s Wait A Minute album contained numerous arrangements for full brass section, the ideal solution was to tour with a similar line up. However, financial and logistical constraints compromised this decision, and the impact this reduced and ever changing band personnel had on band members’ creative listening will be discussed later. Once the line up was reasonably established, a period of intense rehearsal, touring and recording commenced, which in the initial stages occurred simultaneously, before touring commitments began to dominate. The dialogic pairing of touring and recording is a tried and tested methodology in popular music performance, in the case of JTQ being used as a means of ensuring that the permanent recorded versions of specific songs were not only performed well, but in an agreed and acceptable stage of compositional development. As indicated by Sawyer, creativity occurs over time, with each member of an organisation contributing small but important ideas toward the ‘big picture’. Sawyer continues to discuss how these collaborations remain invisible without scientific analysis, and how successful innovation occurs when ‘organisations combine just the right ideas in just the right structure’. By the time I had joined the band there were no founding members left aside from James Taylor himself, so it appeared to be an ideal opportunity to develop material with new colleagues. Retrospectively, much of the early rehearsal activity involved either recreating sounds from the previous album - Wait A Minute, preparing for touring commitments, or developing new material for the next album, which was to eventually be entitled Get Organized (1989). This dual role of appreciating and understanding past musical events while simultaneously creating new musical relationships and compositions was probably the most significant task that the new ensemble had to achieve, and it is noticeably similar to what Sawyer describes as ‘deep listening’. The author considers this as being the ability to focus not only on one’s own performative actions, but also that of others, and this is possibly one of the main listening skills that inexperienced or egocentric musicians do not consider. As outlined by academics, historians and musicians such as Lucy Green, Paul Berliner and John Stephens, music is a social discourse, and it is proposed that the ways in which listening was precipitated in JTQ was greatly impacted by the social space the band were working in.<br />The Intentional/Extensional Listening Process SLIDE 5 (my pic)<br />As I had been earning my living up to this point as a freelance guitarist I felt comfortable with reproducing musical parts, although I was more experienced in simply playing what was on the notated page. As originally outlined by Chester, this ‘intentional /extensional’ dialogic is important regarding the expected autonomy a musician has when performing, and has a profound impact on the ways that musicians listen to music. Whist the latter is usually associated with notated classical music that often has little room for creative interpretation, the complexity of intentional music is seen to be achieved by ‘modulation of the basic notes, and by inflection of the basic beat’. Allan Moore continues this debate when discussing the potential creative attributes of parameters such as tempo, dynamic level and rhythm and pitch, regarding them as being ‘precisely the devices a performer of intentional music will utilise’. However, it is proposed that when copying these parameters from a recording for a pastiche performance, they become extensional in nature (to the musician) – the equivalent of replicating the notes and dynamic markings from a musical score. During JTQ rehearsals it was originally considered important to not only learn the notes and recreate the sound of Wait A Minute, but also for each musician to musically interrelate with new colleagues to formulate a fresh unified voice for the new album, the latter being an intentional process. Both of course require very different listening competencies from the musician. As no members of the original band were available, precisely replicating previous sounds and style parameters from the earlier album proved a difficult task, and although the current line up comprised of numerous seasoned session players, it was problematic to exactly recreate the raw style of the earlier band. It is hypothesised that this is the reason why an unwritten code naturally developed that enabled new band members to indoctrinate their own performance idiolects (and listening competencies) into the music. In retrospect, this was an important decision regarding the progressive movement of JTQ from a mod sounding ensemble to what is now considered a sophisticated funk band. The All Music Guide seems to confirm this point, describing Get Organized as ‘the unexpected missing link between the James Taylor Quartet’s early mod-cum spy theme sound and the later polished acid jazz feel without sounding like either of them’. Regarding my own creative listening role when learning these pieces, my first impression was it sounded like music I had been aware of for a number of years, despite its new Acid Jazz labelling. For example, many of the pieces featured on ‘Wait A Minute’ employed a James Brown funk style guitar, which was often played through a wah wah pedal. Additionally other tracks featured Bossa Nova rhythms, blues based progressions, and funk based grooves not unlike those performed by Jimmy Smith, Jack McDuff and Maceo Parker. Although mine and my colleagues’ performance styles were not the same as our predecessors, the pieces provided a stylistic framework that we were comfortable with, enabling us to straddle the divide between intentional innovation and extensional replication. As stated by Sawyer, ‘innovation emerges from the bottom up, [often] unpredictably and improvisationally, and it’s often only after the innovation has occurred that everyone realises what has happened’. In JTQ, it is proposed that innovation occurred because the correct balance of extensional prescription and intentional freedom was facilitated within our social space, which was largely precipitated by James Taylor himself. Upon reflection, it is apparent that when re arranging the earlier album’s material the adaptation of musical events is often small, with the extensional elements dominating. Examination of freshly arranged songs such as ‘Wait A Minute’ and ‘Starsky and Hutch’ taken from an ITV broadcast reveal the basic grooves to be identical to the recordings, however there is enough autonomy for band members to input into factors such as form, tempo and instrumental timbre. In the case of the guitar theme of ‘Wait A Minute’ for example, small variations in melody and rhythm enable the melody to comply with the busier groove of the new version. Many of these changes were of course not conducted purely because of band personnel reasons, but were logistical due to the smaller ensemble line up. However, all of the changes enabled the ensemble to engage with the intentional – extensional divide, with both requiring specific listening skills and competencies. It is important to emphasise that all of the members of the new ensemble were employed as session musicians, so were effectively being paid to perform to the requirements of James Taylor and the record company. Regarding the latter, James Taylor confirmed that Polydor threatened to drop JTQ unless he ‘split the old band and put together a new one’, in addition to allowing specific record company personnel to be involved in the record’s production. As discussed later, these factors precipitate a specific social space with associated listening styles and habits. However, core members such as myself were also in a position to assist with the song writing process. Having grown up listening to many of JTQ’s principal influences in addition to a range of other musical styles, this proved to be a relatively natural process, and in my case resulted in a co written piece with James Taylor entitled ‘Touchdown’, which I will now discuss to illustrate how intentional and extensional listening combines with social factors to foster creativity.<br />The Potential Impacts Of Social Parameters on Music Making SLIDE 6 – listen to track first<br />‘Touchdown’ entered the rehearsal studio as a series of fragmented ideas that were based on a harmonic pattern similar to Van Morrison’s ‘Moondance’. When listening to the up tempo swing sequence, it is apparent that this groove would not be possible if all participants were either not familiar, or able to be quickly taught the stylistic conventions of the Hard Bop tradition. After jamming through the sequence several times, James Taylor was quickly inspired to document the melody of the verse, a modal theme taught by rote, and originally played on Hammond organ in unison with myself on guitar. After further experimentation, it became apparent that part of the theme could be played as a fugue, a factor that would not have been apparent without the creativity that Jamming precipitates. After playing the theme and soloing over the harmonic progression a few times, Taylor struggled to find a complementary section for the chorus, so I suggested a 7/8 melodic theme which was originally intended to be part of another piece. Although this is not stylistically similar, it was decided collectively that the section provided important contrast and worked musically. These decision making processes were rapid, and to quote Simon Frith, were facilitated ‘not only through knowledge and interpretation of musical forms, but also the social conventions in which they occur’. Frith’s notion that the meaning of music for listeners can change as it enters new social situations is also true for the performing musician, who listen according to the environmental factors they find themselves encountering. In the case above, social factors such as record company pressures, the informal rehearsal environment, current life experiences and the personality/egos of the musicians, in addition to the fact that I was working principally as a session musician, combine with the intentional and extensional listening abilities of improvisation, awareness of style, pastiche development and musical memory. Eric Clarke discusses the importance of what he describes as an ‘ecological’ approach to determining musical meaning. Like Frith, his philosophy is suited to establishing the means through which musicians’ interact with their evolving musical environments by reorientating and ‘tuning’ themselves to new situations, and how the ‘goodness of fit between and organism and its environment is not a matter of chance, [but a] product of mutual adaptation brought about by an evolutionary process. This Darwinian approach is pertinent to the situation all members of JTQ found themselves in when undertaking rehearsals, performing past material, composing new music and negotiating changing band members. Although it may have been possible to reproduce earlier sounds and textures more precisely, this adaptive approach is more ‘naturally selective’, enabling members to build upon their skills and experience in order to develop something new, albeit based on the JTQ tradition. It is proposed that the means through which this is achieved is principally through creative listening, where the experienced performing musician develops non only sensitivity to various conventions of musical style and the playing idiosyncrasies of other performers, but also an awareness of <br />where and when to use these factors, depending on their social setting. As Clarke states – ‘perception and action are inextricably bound together‘(23) and this is often passive, with the results often only being apparent retrospectively. <br />SLIDE 7<br />In conclusion, it is proposed that the ‘intentional mode’ of participation requires the musician to quite simply listen more creatively, while the extensional in its more contemporary perspective requires the ability to ‘recreate’ not only notes on a page, but also textures, timbres, style indicators, etc. It is apparent that all songs on Get Organised were either composed by James Taylor, or James Taylor and another band member, although this was usually after extensive development of the composition in the rehearsal studio where everyone was involved in the act of creative listening. This process required the ensemble to rapidly reference specific grooves, learn harmonic and melodic components quickly by ear and be sensitive to sounds that referenced the JTQ tradition, in addition to being aware of the social environment in which all of this was occurring. Although many of these factors are intentional in nature when analyzing the recordings, they are extensional to the musician at the time, as they have to be reproduced exactly. Regarding James Taylors own perceptions of the listening experience, he commented<br />I think for any artist in this sort of situation it is important to have some kind of understanding as to what one's value system is, ie, what is [the] music and why am I playing it? For me, music has always been a means to an end. That end being a kind of merger and extreme level of emotional engagement and connection with the listener/audience.<br />This external ‘connection’ with the listener is of course only possible if the participating musicians are communicating internally, and Cahn’s observation that ‘in a cultural environment where physically active “doing” is valued highly, it is sometimes necessary to draw attention to mentally active doing’ is important. This paper has hopefully provided an insight into this process.<br />