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Zappa, c'est bien.

 
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Perellis


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MessagePosté le: Ven 2 Avr - 19:38 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant


_________________
--
"Arf", she said.


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Publicité






MessagePosté le: Ven 2 Avr - 19:38 (2010)    Sujet du message: Publicité

PublicitéSupprimer les publicités ?
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Perellis


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Messages: 27

MessagePosté le: Dim 4 Avr - 18:35 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant

This is the CENTRAL SCRUTINIZER... again. Hi!... It's me again, the CENTRAL SCRUTINIZER...
 
Les beaux jours reviennent, c'est encore inéluctable, et avec eux, c'est heureux, s'annonce une revigorante soirée dans une des plus belles salles parisiennes. Mais laissons la parole au soliste puissant du groupe Arf! :
  • Arf ! réveille Zappa au Réservoir
    Après avoir comblé récemment le Triton et la Péniche Antipode, les spécialistes parisiens du grand Zappa vont tâcher de remplir le Réservoir lundi 12 avril. 
    Invité par le GL-Band qui présentera son nouveau CD  ‘Don’t stop Rock n’ Roll’, Arf! emmènera ses spectateurs dans un fleuve de débauche zappaïenne. On va vous faire un set serré, rageur où se mêleront riffs dévastateurs et mesures composées, du Rock n’ Roll, quoi, à la Zappa. 
    Soyez à l’heure, on commence à 20h00. 
    Sylvain Frey, gratte d’Arf!
    Lundi 12 avril 2010 à 20h.
    Entrée + conso : 12 euros
    Le Réservoir, 16 rue de la Forge Royale, 75011 Paris, métro Faidherbe ou Ledru-Rollin
    http://www.myspace.com/arfparis       http://www.myspace.com/glbandparis

_________________
--
"Arf", she said.


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Perellis


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MessagePosté le: Ven 9 Avr - 00:06 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant

WUSB-FM’s Zappathon Returns

If you’re a regular reader, you’ll know that us here at KUR have
supported wusb.fm’s Zappathon ever since we first heard of it. The last
edition featured KUR-pal SOFA live on air, as well as a bunch of
soundbites which had been recorded and sent in by KUR-readers. Great
fun! That was 2006…

…but lo and behold, the Zappathon is back!
Says Bill “Ol’ Baggy Eyes” Amutis:

    WUSB-FM, broadcasting from Stony Brook University, will once again
be hosting a twelve hour celebration of Frank Zappa and his music. It
will be running on Sunday, April 11, beginning at 12 noon and run until
midnight EDT. And yes, the whole thing will be available as a stream at
wusb.fm. John Tabacco and Mr. Edison (moi) will be hosting this marathon
and while it may be daunting to some, we know from past experience that
we’ll only scratch the surface of what we wanted to play.

Be sure to tune in!
http://wusb.fm/
_________________
--
"Arf", she said.


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Perellis


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Messages: 27

MessagePosté le: Mar 13 Avr - 19:16 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant

Edgard Varèse: in wait for the future

His experiments anticipated electronic music and inspired artists from
Morton Feldman to Chris Cunningham – but technology had to catch up
first. As the Southbank Centre begins a tribute to Edgard Varèse,
Gillian Moore explains why he was 50 years ahead of the curve

Gillian Moore
guardian.co.uk, Thursday 8 April 2010 22.30 BST
http://www.guardian.co.uk/music/2010/apr/08/edgard-varese-national-youth-or…



'We need new instruments very badly' … Edgard Varèse. Photograph:
Katherine Young/Getty


There is a story that the 15-year-old Frank Zappa, who had already
tracked down the only Edgard Varèse LP in La Mesa, California, was
allowed, as a 15th-birthday present, to put in a long-distance call to
the 73-year-old composer. "I figured Mr Varèse lived in New York because
the record was made in New York and [that] because he was so weird, he
would live in Greenwich Village," Zappa related. "I got New York
Information, and sure enough, he was in the phone book." A
correspondence ensued, and Zappa's devotion to Varèse's music
<http://www.a42.com/node/536> continued undimmed to the end of his life.

There is another story that Charlie Parker used to follow Varèse round
the streets of Greenwich Village, trying to pluck up courage to ask him
for composition lessons. Eventually, he found the nerve. "He stopped by
my place a number of times," said Varèse. "He'd come in and exclaim,
'Take me as you would a baby and teach me music. I only write one voice.
I want to have a structure. I want to write orchestral scores.'" Varèse,
who himself learned many things from jazz musicians, never got to teach
the great man to write orchestral scores. He went to Paris to work on
his piece Déserts, and Parker was dead from a heroin overdose by the
time he returned to New York.

French-born Varèse was trained in Paris and Berlin at the start of the
20th century. His early music, touched by Debussy, Strauss and Busoni,
was destroyed in a Berlin warehouse fire in 1918. So it was with tabula
rasa that the immigrant Varèse hit the artistic and technological
hothouse of interwar New York, mixing with the likes of Man Ray and
Marcel Duchamp, forming the International Composers' Guild and even
appearing as a bit-part actor in silent movies. The wonderful and
strange music that Varèse created between his arrival in New York and
his death in 1965 can be fitted on to only two CDs, or performed in
three short concerts – which is exactly what will happen at Southbank
Centre next weekend.

At the time of the Zappa and Parker encounters, the mid-1950s, Varèse
was emerging from a long period of obscurity, depression and frustration
about his inability to realise a new kind of music. Varèse had been
dreaming of new sounds, of electronic music
<http://www.guardian.co.uk/music/electronicmusic>, a generation before
it was technically possible. As early as 1916, he wrote: "We need new
instruments very badly … Musicians should take up this question in deep
earnest with the help of machinery specialists." In the absence of "new
instruments", Varèse spent years creating a kind of proto-electronic
music for live musicians, using percussion and conventional instruments
to build great sound masses, unearthly harmonies and noise-based music
that sounds for all the world like it could have been made in an
electronic studio. The wailing sirens, the industrial percussion and
scientific titles such as Integrales, Ionisation and Hyperprism speak of
the machine age. Yet, I often get the feeling when I'm listening to
Varèse that the music has existed since the beginning of time: sounds
seem to call out across the universe, to be at once audaciously
futuristic and unutterably ancient.

Technology didn't catch up with Varèse until 1953. His long depression
began to lift when he received an anonymous gift of an Ampex tape
recorder and was able to assemble the electronic sounds that he had
dreamed of. The result was the bleakly expressive Déserts, for orchestra
and tape and the space-age bleeps and demented electronic choirs of
Poème Électronique, commissioned by Le Corbusier as a sound installation
for the Philips Pavilion at the Brussels World's Fair in 1958.

My own first encounter with Varèse was in 1983, when I ran the London
Sinfonietta's first major project in London schools. This was around the
time when composing became part of the curriculum. Children were being
encouraged to invent their own music, not just recreate other people's.
While the inner-city teenagers rejected more conventional classical
music, they felt the impact of Varèse's sounds. Sirens, percussion and
the idea of "organised sound" were irresistible ideas for kids trying to
work out what it meant to compose their own music. After hearing
Varèse's austerely beautiful Integrales, one girl wrote: "It was all
about sound. Even the trumpet sounded like a sound." Her perceptive
comment chimes with Morton Feldman's remark to John Cage: "Varèse
connects me to the direct impact of the sound, without letting it become
a symbol."

A few years later, at the Proms, I heard the National Youth Orchestra
let rip in Amériques, Varèse's noisy love poem to the limitless energy
and promise of his adopted country: an urban Rite of Spring. The young
musicians shook the foundations of the Albert Hall with the pounding,
dancing and wailing of that most gigantic and poetic of orchestral
pieces. This is music for young people. But the massive work that I
heard then was actually the cut-down version of Amériques. In our
Southbank Centre Varèse festival, 170 musicians will jam the Royal
Festival Hall stage to form the biggest and loudest orchestra ever
fielded by the NYO as they perform the original, 1922 version of
Amériques, which long languished unperformed as it was thought too
impractical.

Maybe it's because he was 50 years ahead of his time that Varèse
continues to be revered by all kinds of musicians today: Harrison
Birtwistle wouldn't have created his big blocks of sound without Varèse,
and echoes can be heard in spectralist and electronic composers such as
Gérard Grisey and Kaija Saariaho, while today's laptop generation of
musicians will pay homage to Varèse at this year's Ether festival. Video
artist and musician Chris Cunningham will perform set influenced by the
composer, and DJ Scanner will create a new electronic score, using
fragments of Varèse's music, to the 1920 silent movie Dr Jekyll and Mr
Hyde, in which the darkly handsome Varèse plays the part of a London bobby.

While I was writing this article, my Southbank Centre colleague, Ralph
Rugoff, director of the Hayward Gallery, told me a priceless, first-hand
Varèse story. As a child, Ralph lived in the same block as Varèse in
Greenwich Village. "It was a night when the water mains burst open, and
dozens of firemen came by to order everyone out of their houses, as they
were afraid the street would buckle and the houses would collapse.
Everyone rushed outside where the fire engines were throbbing away and a
huge pump was pounding away as it tried to drain the flooding water.
Varèse stood amid the mayhem, marvelling in his bathrobe, rapturously
declaring: "Listen to the rhythm of it all!"

The National Youth Orchestra perform works by Varèse on 16 April at the
Sage, Gateshead, and on 18 April at the Royal Festival Hall, the final
day of the Southbank Centre's Varèse 360° festival. Details:
southbankcentre.co.uk/varese. Gillian Moore is the Southbank Centre's
head of contemporary culture
_________________
--
"Arf", she said.


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Lenxt


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Inscrit le: 05 Mar 2010
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MessagePosté le: Sam 24 Avr - 04:31 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant

Girl, you thought he was a man, but he was a muffin !!!

(Après le solo est assez dur à écrire..)


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Griffith


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Messages: 31

MessagePosté le: Mar 27 Avr - 15:44 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant

Zappa = Caca

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Lews


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Messages: 24
Localisation: Suisse

MessagePosté le: Mar 27 Avr - 18:12 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant

Oula comment tu l'attaques sur son terrain, il va te owned la tronche d'une force, prépare toi Griffith
_________________
All of this has happened before. But a question remains. Does all of this have to happen again?


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Griffith


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MessagePosté le: Jeu 29 Avr - 15:27 (2010)    Sujet du message: Zappa, c'est bien. Répondre en citant

Np je vanish !

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MessagePosté le: Aujourd’hui à 00:40 (2018)    Sujet du message: Zappa, c'est bien.

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