Studio Work with Meisner and Chekhov

2020 ◽  
pp. 116-126
Author(s):  
Robb Maus
Keyword(s):  
2021 ◽  
Vol 16 (2) ◽  
pp. 105-116
Author(s):  
Harmanto Harmanto ◽  
Suyoto Suyoto ◽  
Jody Diamond

This study aimed to reveal the concept of Tumbuk in Javanese gamelan tuning, namely gamêlan agêng with Sléndro and Pélog. This study used a qualitative method with an ethical emic perspective. The data collection was done by conducting literature review, observation, interviews, and studio work, then processed with data analysis. The data analysis then was followed up through data interaction by interpreting the relationship reactions of the three elements of analysis consisting of data collection, data reduction, and data presentation. The interpretation of the data was done inductively, so that the conclusion was drawn entirely from the development of the data according to the realities of the field. The results showed that tumbuk was not only limited to a note that has the same high and low, but it is a musical concept that integrates the Sléndro and Pélog scales in the tuning of a set of gamelans. There are basically only two types of tumbuk: nêm tumbuk and lima tumbuk. Other than those, it means that they are the strut. The thing is,tumbuk has a central tone that serves as a benchmark and a supporting tone whose position strengthens the integration of each type of tumbuk. As a concept, it was found that tumbuk plays several important roles including equalizing the highs and lows of certain notes, equalizing the range of certain notes, and conditioning the range of notes or the addition of the tune.


2005 ◽  
Vol 24 (1) ◽  
pp. 68-92
Author(s):  
John Paul Tassoni ◽  
Cynthia Lewiecki-Wilson
Keyword(s):  

2019 ◽  
pp. 146-163
Author(s):  
Ate van Delden
Keyword(s):  

This chapter describes Rollini's many activities as a member of various jazz groups that did studio work. The first was Red Nichols's Five Pennies, followed by accompaniments for singers Annette Hanshaw and Jay C. Flippenand the forming of Joe Venuti's Trio. Kirkeby continued to organize record dates under several names such as Ted Wallace and his Orchestra. Rollini would be a fixture.


1990 ◽  
Vol 43 (3) ◽  
pp. 26
Author(s):  
Mark Cigolle ◽  
Kim Coleman

2005 ◽  
Vol 15 ◽  
pp. 28-35 ◽  
Author(s):  
David Toop

The author considers the importance of the voice as a transformative instrument in 20th-century art, particularly in relation to the tape recorder and digital audio technology. He examines his collaborative work with sound poet Bob Cobbing in the 1970s and compares this with a recent gallery installation created with artist John Latham. Research from the 1970s into acoustic voice masking and resonance is contrasted with the use of analog tape process-ing and the sonic potential of computer audio software programs both in studio work and in improvised performance. Finally, the author discusses the implications of these con-frontations between body and machine.


2017 ◽  
Vol 28 (2) ◽  
pp. 593-611
Author(s):  
Elif Merve Alpak ◽  
Doruk Görkem Özkan ◽  
Tuğba Düzenli

1990 ◽  
Vol 43 (3) ◽  
pp. 26-33
Author(s):  
Mark Cigolle ◽  
Kim Coleman

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