Download The Wire, Issue 378 (August 2015) PDF
Ashtray Navigations
Phil Todd’s slime-surfing DIY outfit were reverberating for 21 years, a relentless presence in Yorkshire’s ever-bubbling psych underground. through Alex Neilson
Bristol UFOs
As guitarist David Pearce returns after 15 years within the wasteland with a brand new Flying Saucer assault album, he and individuals of Movietone, Crescent and 3rd Eye beginning inform the tale of the West Country’s cosmic opposite. by way of Joseph Stannard
The Primer Yorkshire Psychedelia
Frances Morgan takes a visit throughout the crucial catalogue of Ashtray Navigations and fellow seekers Vibracathedral Orchestra, Astral Social membership and more
Ornette Coleman 1930–2015
AB Spellman remembers his encounters with the overdue saxophonist in ny within the 1960s
Invisible Jukebox Mark Perry
The ATV frontman and Sniffin’ Glue founder says “You bastard” to The Wire’s secret list choice. verified by way of Mike Barnes
Bites
Ka
The Brooklyn rapper proves that age ain’t nothin’ yet a bunch. by means of Francis Gooding
Mikael Seifu
The Ethiopian manufacturer wages sonic war on globalisation. via Maya Kalev
Charlotte Prodger
The Glasgow dependent artist explores a number of temporalities through rave sonics and YouTube fetishists. through Dan Barrow
Global Ear Łódź
Confrontational track replaces heavy within the Polish urban. by way of Jakub Bożek
The internal Sleeve
Karen Gwyer on Florence Foster Jenkins’s the honour (????) Of The Human Voice
Epiphanies
The massed sounds of Rara bands and church bells positioned Leah Gordon in a trance
Print Run
New track books: radical Jewish tune, black energy tv, Stanford’s digital breakthroughs and more
On display
New movies and DVDs: Floris Vanhoof’s amazing global and Domingo Garcia-Huidobro’s haunted landscapes
On web site
Recent exhibitions: Ken Cox, Ghost within the computer tune, we all Have a feeling Of Rhythm
On position
Recent fairs, gigs and golf equipment: Ornette Coleman Memorial, Arca, lifeless Rider, David Rosenboom, Alien Jams and more
Soundcheck A–Z
A Taut Line
Arthur’s touchdown
Author & Punisher
Blood Quartet
Allison Cameron + touch
Laura Cannell
John Chantler
Charcoal Owls
Mike Cooper
Alessandro Cortini
EEK
The Ex & Fendika
Fountainsun
Malcolm Goldstein
Billy Jenkins
Benjamin Jeptha
The Labourer
Louise Landes Levi
Los Lichis
MESH
Natural info Society And Bitchin Bajas
Thandi Ntuli
Moritz von Oswald Trio
William Parker
Qwanqwa
Maja SK Ratkje/Jon Wesseltoft/Camille Norment/Per Gisle Galåen fifty five Omar Souleyman
Mark Springer
Matt ‘MV’ Valentine
Various dwelling In A Shadow fifty four quite a few computer track quantity 1
Seymour Wright
Yo l. a. Tengo
Michael Yonkers
Pekka Airaksinen
Anthony Braxton
John Butcher/Phil Durrant/John Russell
Alejandro Jodorowsky
Adan Jodorowsky
Karin Krog
Pere Ubu
Pavement
Glen Phillips
Arturo Ruiz Del Pozo
David Shea
Various Disco 2: one other high quality choice of self sustaining Disco, smooth Soul And Boogie 1976–80
Various Spritual Jazz 6: Vocals
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From the Preface :
This e-book illustrates a suite of track manuscripts which used to be made lately to learn the root for modern functionality Arts. the gathering was resolute via conditions instead of any means of choice. hence it indicates the various instructions during which tune notation is now going. The manuscripts aren't prepared in keeping with types of track, yet alphabetically based on the composer's identify. No explanatory info is given.
The textual content for the ebook is the results of a method applying I-Ching likelihood operations. those decided what percentage phrases concerning his paintings have been to be written by way of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specially written for this e-book, they're preceded through a paragraph signal and by way of the author's identify. different comments have been selected or written by way of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all made up our minds unintentionally operations. This strategy was once on the way to decrease the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor appropriate to it. ) A precedent for the absence of knowledge which characterizes this booklet is the modern aquarium (no longer a gloomy hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass apartment with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this e-book. The editors are thankful to the various composers and track publishers who've made this presentation of mid-twentieth century tune notation attainable.
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Extra info for The Wire, Issue 378 (August 2015)
Sample text
Barker GMW II, 156 also regards this passage as substantially sound. 90 Cf. Aristox. El. harm. 2. 38 (= 48, ll. 11 ff. Da Rios), especially the statement that §k dÊo går dØ toÊtvn ≤ t∞! ik∞! ¤! e≈! yai m¢n går de› tÚ ginÒmenon, mnhmoneÊein d¢ tÚ gegonÒ!. ) within Aristoxenus’ reflection see Rossi 1963, 29 n. 7 and 32 n. 76. 91 As to the increasing disaffection displayed by the Athenian audience towards the choral lyric in general and Pindar in particular, at least from the last quarter of the fifth century BC onwards, see Irigoin 1952, 12–21 (especially 19–21).
M¢n går pezØ l°ji! oÈdenÚ! oÎte ÙnÒmato! oÎte =Æmato! biãzetai toÁ! xrÒnou! in, éllÉ o·a! ei tå! ullabå! tã! te makrå! ka‹ tå! , toiaÊta! fulãttei. in aÈtå! te pollãki! efi! ténant¤a metaxvre›n: oÈ går ta›! ullaba›! i toÁ! , éllå to›! xrÒnoi! tå! ullabã!. The same thing happens also with regard to rhythm. Prose diction does not infringe or change the quantities of a noun or a verb but preserves the syllables, the long as well as the short ones, just as it found them to be by nature. On the contrary the rhythmike and the mousike change the time value of the syllables by shortening or lengthening them so that they are often converted into their opposites: in fact the rhythmike and the mousike do not adapt the time values to the quantity of the syllables but the quantity of the syllables to the time values.
KenÚ! braxÊ!. Yet the concrete surviving examples of leimma trans- 17 Gentili 1988, 11–2: “[. ] dobbiamo presumere che già nel V sec. C. ” In this direction, although at a more embryonic stage, see also Wilamowitz’s final observations in id. 1895, 31–2. More recently Gentili 1998, 146–9 has further developed his reflections on free responsion. 18 Gentili’s remarks, however correct in themselves, need anyway to be circumscribed. The statistically low incidence of free responsion in Greek lyric as a whole limits significantly the extent to which this phenomenon could be measured by the audience during the performance.