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War (Henry Cow Song)
"War" (originally entitled "War (Is Energy Enslaved)") is a 1975 song composed by Anthony Moore with lyrics by Peter Blegvad for the English avant-pop group Slapp Happy. It was recorded in November 1974 by Slapp Happy with Henry Cow for their collaborative album, ''Desperate Straights'', but was only released in May 1975 on their second collaborative album, Henry Cow's ''In Praise of Learning''. Moore later rearranged "War" for his 1979 solo album, '' Flying Doesn't Help'', crediting himself as Anthony More. The song was also covered by the Fall on their 1994 album, '' Middle Class Revolt'', and Sol Invictus used Blegvad's lyrics for their version of "War" on their 2014 album, ''Once Upon A Time''. A jazz interpretation of "War" was recorded by the with spoken texts by John Greaves and released on their 2019 album, '' Echoes of Henry Cow''. Development After recording Slapp Happy's first album for Virgin Records, ''Slapp Happy'' (also known as ''Casablanca Moon'') in early 19 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slapp Happy
Slapp Happy was a German/English avant-garde pop, avant-pop group, formed in Germany in 1972. Their lineup consisted of Anthony Moore (keyboards), Peter Blegvad (guitar) and Dagmar Krause (vocals). The band members moved to England in 1974 where they merged with Henry Cow, but the merger ended soon afterwards and Slapp Happy split up. Slapp Happy's sound was characterised by Dagmar Krause's unique vocal style. From 1982 there have been brief reunions to create an opera called ''Camera'', record the album ''Ça Va'' in 1998, and perform shows around the world. History Germany Slapp Happy was formed in 1972 in Hamburg, Germany by British Experimental music, experimental composer Anthony Moore. Moore had recorded two avant-garde/experimental solo LP album, LPs at Faust (band), Faust's studio in Wümme, Bremen, Germany for Polydor Records. When he presented them with a third album, they rejected it, stating that they wanted something more commercial. Moore obliged and asked his Am ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slapp Happy (album)
''Slapp Happy'' (also known as ''Casablanca Moon'') is a studio album by German/British avant-pop group Slapp Happy, recorded at Virgin Records' Manor Studio in 1974. This album was originally recorded in 1973 in Germany under a working title of ''Casablanca Moon'' with Faust as Slapp Happy's backing band, but Polydor Records in Germany rejected it. After moving to London and signing with Virgin Records, Slapp Happy re-recorded the album (at Virgin's request) with session musicians under the direction of violinist , and with new arrangements of the songs by Roger Wootton of Comus. Virgin released the album in 1974 as ''Slapp Happy''. A second UK pressing of the album used the title ''Casablanca Moon'' on the label (though not on the cover). Later CD reissues officially used the title ''Casablanca Moon''. In 1980 Recommended Records released the original recording (with Faust) as '' Acnalbasac Noom'' (''Casablanca Moon'' with the words written backwards). Reception Reviewing th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Time Signature
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat. In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or (read ''common time'' or ''four-four time'', respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter. There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., and ), and compound (e.g., and ); or involves shifting beat patterns, including complex (e.g., or ), mixed (e.g., & or & ), additive (e.g., ), fractional (e.g., ), and irrational met ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Degree (music)
In music theory, the scale degree is the position of a particular note on a scale relative to the tonic, the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor. In the most general sense, the scale degree is the number given to each step of the scale, usually starting with 1 for tonic. Defining it like this implies that a tonic is specified. For instance, the 7-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the C-major scale C–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. In set theory, for instance, the 12 degrees of the chromatic scale usually are numbered starting from C=0, the twelve pitch classes being numbered from 0 to 11. In a more specific sense, scale degrees are given names that indicate their particu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metre (music)
In music, metre ( Commonwealth spelling) or meter (American spelling) refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener. A variety of systems exist throughout the world for organising and playing metrical music, such as the Indian system of '' tala'' and similar systems in Arabic and African music. Western music inherited the concept of metre from poetry, where it denotes: the number of lines in a verse; the number of syllables in each line; and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of rhythmic notation in modern Western music was based on rhythmic modes derived from the basic types of metrical unit in the quantitative metre of classical ancient Greek and Latin poetry. Later music for dances such as the pavane and galliard consisted of m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pulse (music)
In music theory, the pulse is a series of uniformly spaced beats—either audible or implied that sets the tempo and is the scaffolding for the rhythm. By contrast, rhythm is always audible and can depart from the pulse. So while the rhythm may become too difficult for an untrained listener to fully match, nearly any listener instinctively matches the pulse by simply tapping uniformly, despite rhythmic variations in timing of sounds atop the pulse.Fitch, W. Tecumseh and Rosenfeld, Andrew J. (2007). Definitions The pulse may be audible or implied. The tempo of the piece is the speed of the pulse. If a pulse becomes too fast it would become a drone; one that is too slow would be perceived as unconnected sounds.P. Fraisse, ''Les Structures Rhythmiques'', Erasme Paris 1956, H Woodrow ''Time Perception'' in "A Handbook of Experimental Psychology", ed. S.S. Stevens, Wiley, NY 1951, both quoted at http://www.zeuxilogy.home.ro/media/manifesto.pdf zeuxilogy.home.ro) When the period o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The World Is A Problem
''The'' () is a grammatical article in English, denoting persons or things that are already or about to be mentioned, under discussion, implied or otherwise presumed familiar to listeners, readers, or speakers. It is the definite article in English. ''The'' is the most frequently used word in the English language; studies and analyses of texts have found it to account for seven percent of all printed English-language words. It is derived from gendered articles in Old English which combined in Middle English and now has a single form used with nouns of any gender. The word can be used with both singular and plural nouns, and with a noun that starts with any letter. This is different from many other languages, which have different forms of the definite article for different genders or numbers. Pronunciation In most dialects, "the" is pronounced as (with the voiced dental fricative followed by a schwa) when followed by a consonant sound, and as (homophone of the archaic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Refrain
A refrain (from Vulgar Latin ''refringere'', "to repeat", and later from Old French ''refraindre'') is the line or lines that are repeated in music or in poetry — the "chorus" of a song. Poetic fixed forms that feature refrains include the villanelle, the virelay, and the sestina. In popular music, the refrain or chorus may contrast with the verse melodically, rhythmically, and harmonically; it may assume a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. Usage in history In music, a refrain has two parts: the lyrics of the song, and the melody. Sometimes refrains vary their words slightly when repeated; recognizability is given to the refrain by the fact that it is always sung to the same tune, and the rhymes, if present, are preserved despite the variations of the words. Such ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Blake
William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his life, Blake is now considered a seminal figure in the history of the poetry and visual art of the Romantic Age. What he called his " prophetic works" were said by 20th-century critic Northrop Frye to form "what is in proportion to its merits the least read body of poetry in the English language". His visual artistry led 21st-century critic Jonathan Jones to proclaim him "far and away the greatest artist Britain has ever produced". In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons. While he lived in London his entire life, except for three years spent in Felpham, he produced a diverse and symbolically rich collection of works, which embraced the imagination as "the body of God" or "human existence itself". Although Blake was considered mad by contemporaries for his idiosyncratic views, he is held in high regard b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
East Side Digital Records
East Side Digital is a record label and distributor based in Minneapolis, Minnesota. History ESD was started and curated by Rob Simonds (who also created Rykodisc) in 1981 to import and distribute vinyl records on Japanese labels to record stores and other retailers. In 1982, ESD became one of the first U.S. distributors of compact discs, soon releasing records by rock and experimental performers on the ESD label. Subsequently, Ryko Distribution Partners took over ESD's distribution duties, allowing ESD to primarily be a record label. ESD is now a sub-label of NorthSide Records, a label Simonds created that specializes in Nordic roots music. Due to the advent of streaming and downloads of digital music, ESD has reduced operations to only offering music by local band Halloween, Alaska. Artists This section contains a partial list of artists who released records on the ESD label. A–F * Eric Ambel * Terry Anderson * Laurie Anderson * Marc Anderson * The Barracudas * Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martin Bisi
Martin Bisi (born 1961) is an American producer and songwriter. He is known for recording important records by Sonic Youth, Swans, John Zorn, Material, Bill Laswell, Helmet, Unsane, The Dresden Dolls, Cop Shoot Cop, White Zombie, Boredoms, Angels of Light, J.G. Thirlwell, and Herbie Hancock's Grammy-winning song " Rockit". Early life Martin Bisi was born in 1961 to Argentinian parents and grew up in Manhattan. His mother was a concert pianist who specialized in Liszt and Chopin and toured extensively, and his father played tango-style piano as a hobby. As a child in the 1960s his parents sent him to a French school, gave him music lessons, and took him to performances by the New York Philharmonic and the opera, all of which he rebelled against. Career In 1981, he started ''B.C. Studio'' (initially named OAO, Operation All Out, Studio) with Bill Laswell and Brian Eno in the Gowanus section of Brooklyn, where he recorded much of the No Wave, avant garde, and hip-hop of the ea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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