Labels: Adorno : TO find something new and different? On Composing and Studio Performance. Modern Advertisement Appropriation of Music. It is no longer the value derived from the piece of music, but rather the veneration of the money which allows a person to buy concert tickets to Coachella, to buy the IPod, or the sold in specific stores album versions.
I chose the IPod commercial, to show an example of modern day use of music as a means of supporting the growth of this commercial and capitalistic engulfment of music. That is, it is the disguise of exchange-value for the as the object of enjoyment that leads to pleasure in the caprices of commodities, in this case the purchase of the IPod. Basically, the feelings of the money commodity exchange value create the appearance of immediacy, but at the same time ignore the absence of a relation to the object itself.
Taste no longer exists for the organization of the whole of a piece no longer matters. Instead, the disconnected parts with climax and repetition subvert the listening experience into one of isolated popular passages and advertisement. Posted by Karen Z. Labels: Adorno Fetish Character of Music. Labels: Adorno: A new problem with Hendrix? Adorno-- Art is an Uncommitted Crime. This clip is taken from the documentary, Ginger Baker in Africa. The performance takes place in , shortly after the Nigerian Civil War, and the scene is a truly amazing spectacle.
Rain pours from the sky, but it can do nothing to dampen the electrical energy of his performance. Wild-eyed and proud, Fela dominates the floor. Around him, scantily clad women gyrate in ecstasy, their bodies dripping wet.
At the end, one of the musicians starts rolling around on the ground in a convulsive fit while Fela slaps his back. It looks like the religious experience of someone who has been seized by a divine encounter with the sublime. To give a little background information on the politically charged and controversial history of Fela Kuti's music, I've excerpted the following from his Wikipedia article : Fela Anikulapo Kuti was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.
After Fela and his band returned to Nigeria, the band was renamed The Africa '70, as lyrical themes changed from love to social issues. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state.
Fela also changed his middle name to Anikulapo meaning "he who carries death in his pouch" , stating that his original middle name of Ransome was a slave name. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent.
In Fela and the Afrika '70 released the hit album Zombie , a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune.
Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed had it not been for the intervention of a commanding officer as he was being beaten. Now, simmer on that while you watch the following clip from a Broadway production of Fela! Someone had the brilliant idea to appropriate Fela's music for commercial consumption in a milieu almost certainly made to appeal to -- let's face it -- white people.
The music, the dancing, the traditional African garb are all there, but the production itself is sterile, inoccuous, boring. The gesture has been completely de-politicized and what's left is nothing but an empty husk. Watch and listen to the way the female vocalist performs. Her gestures and gesticulations are so dramatically contrived. You can also tell she's received formal voice training -- this, and her emphatic pronunciation of every word she sings, contrast starkly with the original music.
You can hear contemporary Western influences in the way she sings, but not in the instrumental music itself, which all lends to create a really cringe-worthy experience. What do you guys think of this contrast? Is Fela rolling in his grave or what? Thursday, April 14, Labels: Adorno Night Music. Sid Vicious "My Way".
The Beatles' Ode to Joy and Adornoa. Surrounded by noise, the works preserve themselves in silence. Adorno Night Music Interpretability. Labels: Adorno Night Music Schumann. Sid Vicious "My Way" Cover. The state of turth in works corrresponds to the state of truth in history. This is the only convincing way to disprove the objection that one need only change people sufficiently, reawaken their lost sense of scale, form and inwardness, and works that bore them today will bloom once more for them, inducing them to turn away from kitsch in favour of the true originals.
Sinatra "My Way" One Version. Post 1 of 2 of My Way. A Fifth of Beethoven. Beethoven's Symphony No. Adorno and Beethoven Dame Myra Hess. In light of today's discussion, I was interested by the notion of recording technology and its ability to effect changes in the voice. When Reese mentioned how he hated hearing his own voice in recordings, I understood it as a common anxiety. Somehow, there must be a discrepancy between how people think they should sound and how they actually sound when the voice is disembodied and reflected back to them through an apparatus.
Content to work for low-budget packagers and publishers, and to write TV episode scores on assignment, he was hardlly known to the public. But his range of haunting themes used on radio and television over three decades, demonstrate what an excellent composer he was.
In fact, this particular tune was sought out so much by high school bands across the country, it was later published in a marching band arrangement under the name "Game of the Week March". He could also write a haunting dramatic theme like Parade of the Chessman, which was another library track that emerged as the end credits theme of the early TV series "Racket Squad".
He could then turn around and write a little ditty to introduce "Private Secretary" , one of two themes used for a whimsical TV series starring Ann Sothern. He began as an arranger, often scoring the compositions of his colleague Herschel Burke Gilbert and others. For Four Star, he also wrote episode scores, and the main title theme for "Zane Grey Theatre" , one of the finest western signature themes ever written. But it was his work in TV that was to have the most widespread audience.
The track "Sweet Honey" is the quintessential sexy blues theme, with saxophone and strings. They were together 39 years until her death in He died at his home in Pasadena, California in He was the son of an orchestra musician, and came to the U. He found that he could get eager composers to work for him, and take credit or share credit with them by paying "a buy-out fee".
He offered a kind of "ghost writing" opportunity to those who wanted to work in the business. This is not unheard of although the practice may seem shoddy. TV composer Mike Post had so many projects being scored that he hired writers to "ghost write" episode scores under his aegis during the ss.
In the world of screenwriting, author credits may not include all the people who worked on a script either. So the renaming of compositions and composers, is just another example of how the system works, especially in the low-budget music syndication business. Kraushaar even managed to recycle some of Republic's old cues through his library also. Although his name appears as co-composer or composer on several cues or main title themes, Kraushaar was primarily a publisher of themes composed by others.
His credit as composer of the original "Lassie" TV theme, is actually a curious case. The first season theme, called "Secret of the Silent Hills", was actually composed by William Lava, a composer who met Kraushaar while working at Republic Studios.
It's amazing the extent some music packagers went to get not only the publisher's share, but the composer's share as well. Kraushaar passed away at the age of 93 in Pompano Beach, Florida. Gordon's publishing company "Gordon Music" during the s and s. Although the names of Raoul Kraushaar and "Melvyn Lenard" may have appeared on the cue sheets, Kahn was the actual composer of many themes, such as "Leave It to Beaver" and "Overland Trail", and others which were licensed from these libraries which ended up on the air.
In later seasons, other arrangements of this whimsical classical piece were written by Stanley Wilson and Jeff Alexander. Kahn went on to work as a music editor for several series, actually splicing cues written by himself and other composers, into the music tracks at certain points in various TV shows, including "Mr. Ed", "Green Acres" and "Beverly Hillbillies".
David Gordon would often "share" credits with his composers, using a pseudonym of made up names, usually based upon a combination of various family member names--Melvyn Lenard, Melvyn Lenard Gordon, G. David, Jay Marilyn, Ruth Layne, and other endless variations. In some cases, the actual composer turned out to be Dave Kahn, who also worked for Raoul Kraushaar and others suppliers of music, or William Lava who was with Kraushaar when he worked at Republic Studios.
Gordon published sheet music of the Lassie theme under the name "Secret of the Silent Hills", and he gave proper credit to William Lava as composer.
Irving Gertz and other composers for B-Pictures sometimes found that their "works for hire" had been sold to Gordon who would make a deal with the producers, and sometimes re-title and put his name on the tracks for royalty purposes.
More about this practice later. Gordon also published arrangements of music which started out as a library track in other libraries but became so popular with the public, that band arrangements were requested for high school marching bands. Such was the case with a march composed by Joseph Mullendore appearing in the Mutel library as "March of the Rams". Gordon published a band arrangement of it under the name of "Game of the Week March".
The other edit of the piece--"Mood No. The above way that this one piece was licensed to two libraries, and then edited into two different marches--which generated two new sets of royalties, is indicative of the way music syndicators could re-package music to generate new uses.
It is similar to the way that every part of a pig is used in the meat processing business -- "everything but the whistle.
In later years, Gordon retired to Palm Springs, California and left the publishing business to his sons. Although he studied Mathematics and Physics at the University of Washington, intending to become a science teacher, he played saxophone in local bands and orchestras while in college to pay his tuition.
He found the music business was so much more fun and lucrative that he took the step of changing his major to music. He switched to Washington State University at Pullman where he studied both music and education, graduating in He was employed as a music teacher briefly in Redmond, Washington. But his ambition for the more professional side of music was gaining momentum.
Enrolling in graduate studies at the prestigious Chicago Conservatory of Music, he studied with reknowned composition instructor Leo Sowerby who also wrote for saxophone. Merrick played in bands in the Davenport, Iowa area near the town where he was born before returning to the West Coast.
After coming back to the West, he worked briefly in Spokane playing in hotel orchestras and his first radio job at the spokane radio station KHJ call letters that would later be re-assigned to a Hollywood radio station. Courtney Traub. Tripsavvy's Editorial Guidelines. Share Pin Email. Continue to 2 of 6 below. August 30, Retrieved August 1, NBC New York. Archived from the original on December 25, Retrieved December 25, ABC7 New York. Dance Theatre Etcetera.
Archived from the original on February 20, Red Hook Crit. Retrieved September 3, Retrieved September 13, Retrieved September 4, On Monday, two miles from where he grew up in the apartments known as the Red Hook Houses, Anthony was on the floor of the new Barclays Center, still dribbling, and scoring, as he tried to lead the Knicks over the Nets in the official christening of their New York-Brooklyn rivalry.
Biz Journals. Retrieved March 4, The H. Lovecraft Archive. Retrieved January 28, — via Google Books. For the last four and a half years, the couple have lived on the waterfront in Red Hook, Brooklyn, above a Fairway Market and above the fray with their 6-year-old, Sylvie.
The Aquarian Weekly. A well-schooled, well-mannered giant of a man, Steele's imposing frame hid the fact he was a sensitive individual with a waveringly thick Brooklyn accent.
Born in the Red Hook section of Kings County, the heavily-pierced body builder seemed to be straightening his life out before dying of heart failure, April 14, In , she headed to far-flung Red Hook, where she shacked up with then-beau Jason Segel above the Fairway food market.
Scarcely had the artists Dustin Yellin and Charlotte Kidd moved to Red Hook three years ago when they fell so in love with the hood that they started looking for something big, for a way to build a mixed-use bohemian dream house—with studios, gallery, and plenty of flexible living space.
March 3, Dublin-born Thomas Malone is a writer playing at detective work in New York when a nasty case in the Brooklyn neighborhood of Red Hook earns him a rest cure in bucolic Pascoag, Rhode Island. Miller's experience in Red Hook gave him the background for A View From the Bridge and the young lawyer furnished part of the characterization of Alfieri.
The Philadelphia Inquirer. Spike gets involved with the beleaguered local mob boss a very appealing performance by Ernest Borgnine , gets the big guy's daughter Maria Patillo pregnant, gets banished from his home neighborhood of Bensonhurst, moves in with a Puerto Rican family in Red Hook, throws all the drug pushers out of that neighborhood, gets let back in his own neighborhood, messes up again, finally wins a fight, then suffers a final reversal.
Dies at 75; Wrote 'Last Exit to Brooklyn ' ". And when Last Exit, which consists of 'Tralala' and five other loosely connected stories, was published in England in , a jury found it to be obscene and fined its publisher.
The novel describes the seedy underbelly of the Red Hook waterfront neighborhood in the Brooklyn of the s, which is depicted as a wasteland prowled by gangs, whores and transvestites. Frontier Psychiatrist. Archived from the original on August 30, Would be happy to work on your projects and share musical experiences with you.
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I'm brand new here, and excited to start! Jones, Jr. He emigrated to the US in where he taught music in Chicago, then he moved to New York state, and finally settled in Hollywood. Although music director Edward Kay was credited, it was Laszlo's who actually composed the cues. However, nothing in Laszlo's business files points to a particular cue, despite an exhaustive search. Alexander Laszlo creates a second library in Hollywood called "Structural Music" which he marketed primarily to low-budget TV series producers.
For "Structural Music", he used an architectural analogy to explain the roles of various cues. For the first few volumes, he even tries a complicated coding system in three dimensions of emotion - for identifying happy, serious, and mechanical moods.
But all of this may have been a marketing gimmick, since he dropped the complicated coding system after a few volumes. Laszlo provided about cuts in 38 Volumes of "Structural Music", which were copyrighted between - Emil Ascher was a pianist, organist and small orchestra leader born in Hamburg, Germany in In at the age of 20 he started Emil Ascher music publishing in Germany.
He composed, arranged and published sheet music which was profitable in the 19th century before radio and records. In , at age 30, he moved to New York City.
At first he wrote and arranged music for other publishers. But within a few years he incorporated his own music publishing company at Broadway.
In addition to his own compositions for piano, violin, band and orchestra he published a series of "Student Orchestra Books" for school ensembles containing arrangements of public domain works and some original pieces. To make his books stand apart from the competition circa his arrangements were advertised as playable by a variable-sized group that could include such "modern" instruments as the mandolin and the saxophone or not.
Ascher had two sons -- Adolph and Morton -- who learned music and worked with their father to build up the business. They published works arranged for piano and wind band, mostly from Classical sources, older standard songs, folk tunes, hymns, negro spirituals, and Operas.
In father and founder Emil Ascher passed away at 63, leaving his sons to run the company. Adolph and Morton continued to expand in areas that had been successful but became aware of new opportunities.By the s, in the United States, two New York selling agents (Emil Ascher, Inc. and Thomas J. Valentino) began to offer exclusive representation of various European libraries. Music packagers in Hollywood during the s, found ways to re-package B-movie film cues into libraries to score the new medium of television and a few radio shows along the way.