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Ambient music is a musical genre in which sound is more important than notes. It is generally identifiable as being broadly atmospheric & environmental in nature.Ambient music evolved from early 20th century forms of semi-audible music, from the impressionism of Erik Satie, through musique concrete & the minimalism of Terry Riley & Philip Glass, & Brian Eno's deliberate sub-audible approach.Later developments found the dreamy non-linear elements of ambient music applied to some forms of rhythmic music presented in chill-out rooms at raves & other dance events, but always with the primary feature that the music is intended to drift in & out of the listener's awareness while creating its effect on the listener's consciousness.HistoryTu of the century French composer Erik Satie created an early form of ambient music that he referred to as "fuiture music" (Musique d'ameublement), in reference to something that could be played during a dinner whose sound would simply create an atmosphere for that activity rather than be the specific focus of attention.Early electronic soundscape music & theories come from the work of Pierre Schaeffer, considered as the inventor of "Musique Concrete", who followed the futurists in classifying music into categories such as man made, natural, short & long. He made some of the first electronic music using record players & natural sounds, & cutting up tape, making the first experimental music use of recording & magnetic tape. Even his work can be seen as preempted by Schopenhauer's ideas of 'soundworlds', literally worlds made up entirely of sounds. Karlheinz Stockhausen created pioneering electronic musical experiments later in 1955, & these two (amongst others) lay the groundwork for ambient music to appear decades later when music technology had developed.Brian Eno is generally credited with coining the term "ambient music" in the mid-1970s to refer to music that, as he stated, can be either "actively listened to with attention or as easily ignored, depending on the choice of the listener", & that exists on the "cusp between melody & texture." Eno, who describes himself as a "non-musician", termed his experiments in sound as "treatments" rather than as traditional performances. Eno used the word "ambient" to describe music that creates an atmosphere that puts the listener into a different state of mind; having chosen the word based on the Latin term "ambire", "to surround".The liner notes of Eno's 1978 release Ambient 1: Music for Airports includes a manifesto describing his philosophy of ambient music: "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting."Brian Eno, Music for Airports liner notes, September 1978Eno has acknowledged the influence of Erik Satie & John Cage, in particular Cage's use of chance such as throwing the I Ching to direct a musical composition; & minimalist music in general. This influence was manifested in Oblique Strategies, a set of cards devised by Eno & Peter Schmidt & intended to direct the musician or artist when a dilemma occurred in a working situation. Eno used the term "ambient music" to distance his work from elevator music & Muzak. Eno also acknowledged influences of the mood music of Miles Davis & Teo Macero, especially their 1974 epic piece, "He Loved Him Madly", about which Eno wrote, "that piece seemed to have the 'spacious' quality that I was after...it became a touchstone to which I retued frequently."Early albums (such as Ummagumma by Pink Floyd & by the "kosmische Musik"-oriented krautrock artists, like Tangerine Dream, Popol Vuh, & Cluster have greatly influenced the genre. Among the first electronic ambient albums were Affenstunde (1970) & In Den Garten Pharaos (1971) by Popol Vuh. Another important album was Sonic Seasonings (1972) by Wendy Carlos. Other early artists such as Klaus Schulze (a former member of Tangerine Dream & Ash Ra Tempel), Jean Michel Jarre, & Kraftwerk in the 1970s & 1980s were influential. In the 1970s, some ambient, krautrock, & other musicians who were influenced by new age spirituality created the eclectic genre known as New Age music, selling millions independent from the mainstream music industry by direct order or new age shops.This is a list of ambient music artists. This includes artists who have either been very important to the genre or have had a considerable amount of exposure (such as in the case of one that has been on a major label, but not limited to such). This list does not include little-known local artists. Artists are listed by the first letter in their name (not including the words "a", "an", or "the"), & individuals are listed by last name.A -Philip Aaberg -William Ackerman -Acoustic Alchemy -Adiemus -Aeoliah -Aes Dana -Air -Airiel -The Album Leaf -Ambeon -Amp -Androcell -Anomalous Disturbances -Anugama -Aphex Twin -David Arkenstone -Diane Arkenstone -Ash Ra Tempel -James Asher -Atom Heart -Augustine Leudar -Australis B -Bad Sector -Bass Communion -Bruno Sanfilippo -Peter Baumann -Bluetech -Boards of Canada -Richard Bone -Thom Brennan -Michael Brook -Harold Budd -Burzum (later works) -Ray Buttigieg -Wally Badarou -John Boswell -Bowery Electric -Bunk dataandOvdk -Peter Buffett -Peter Blake -Buckethead (trance-ambient) -Buddha Bar C -Carbon Based Lifeforms -Wendy Carlos -Clifford Carter (member of James Taylors band) -Cell -Chilled C'Quence -Craig Chaquico -Suzanne Ciani -The Circular Ruins -Tim Clark -Clouddead -Cluster -Cocteau Twins -Coil -B.J. Cole (pedal steel gutairist) -Colleen -Contagious Orgasm -Controlled Bleeding -Crab Smasher -Cusco -Holger Czukay D -Deathprod -De Facto (band) -Dead Can Dance -The Dead Texan -Death Ambient -Death Cube K -Stuart Dempster -Deutsch Nepal -DJ Spooky -Delerium -Kurt Doles -dreamSTATE -Malcolm Dalglish -David Darling -Constance Demby -Deuter -Suzanne Doucet -Dubasaurus Rex E -Earthstar -Danielle Egnew -Eluvium -Emerald Web -Justin Emerle -Enigma -Brian Eno -Roger Eno -Karlheinz Essl -Enya -Dean Evenson F -Tim Floyd -Future Sound of London Amorphous Androgynous -Robert Fripp -Don Falcone -Falling Up -Fantomas -The Fireman -Christopher Franke -Freescha -Edgar Froese -Frou Frou -Falling You -Fumio -Jim Fox -Ben Frost G -Gas -Peter Gabriel -Global Communication -Goldfrapp -Gandalf -Manuel Gottsching -Guru Guru -Grey Area -Ruben Garcia -Steve Gordon -Jack Gates H -Rob Haigh -Hammock -Halo Manash -Harmonia -Jon Hassell -Tom Heasley -Higher Intelligence Agency -Peter Hammill -Tim Hecker -Hum -Michael Hedges -Hemisphere I -Tetsu Inoue -Rafael Anton Irisarri -Mark Isham -Ishq -Ishvara -Iasos (musician) J -Karl Jenkins -Jean Michel Jarre -Jeff Johnson -Jaia -Michael Jones -Bradley Joseph -Lee Johnson K -Karl Sanders -Kater, Peter -Karunesh -Keller, Kevin -Ke, Kevin -Kettel -Kingsland, Paddy -Kitaro -KLF, The -Koan -Thomas Köner -Kraftwerk -Krylov, Andrei -Kuba L -Labradford -Lammergeyer -Daniel Lanois -Bill Laswell -Liquid Zen -Loscil -Lull -Lusine -Lustmord -Lydia -Ray Lynch -David Lanz -Laraaji -Mars Lasar -Ottmar Liebert -Lightwave -Thomas Leer -Luminaria -Brooke London -Ro London M -Mothers Vibe Ambient Music & Art -Maeror Tri -Main -Makyo -Mariae Nascenti -Matotumba -Michael Steas -Moby -Morgenste -Moodswings -The Moon Lay Hidden Beneath a Cloud -Mythos -Mannheim Steamroller -Paul McCandless -Loreena McKennitt -Billy McLaughlin -Robyn Miller -Marconi Union -John Mandeville -Deborah Martin -Mirror System N -Pete Namlook -Neptune Towers -R. Carlos Nakai (Native American flutist) -Andy Narell -Loren Nerell -Kenneth Newby -Nightingale -Nightnoise -Nine Inch Nails (mainly on The Fragile) -No-Man -Numina (NuminaCaul) O -Omar Rodriguez Lopez -Ombient -Omni Trio -On! Air! Library! -Open Canvas -Overdose kunst -The Orb -William Orbit (Strange Cargo series) -Orbital -O Yuki Conjugate -Patrick O'Hea -Mike Oldfield -Coyote Oldman -Vidna Obmana -Odd Nosdam -Jim Oliver -Ovdk P -Jeff Pearce (American artist) -Phish (The Siket Disc in particular) -Pink Floyd -Plastikman -Popol Vuh -Puff Dragon R -Radio Massacre Inteational -Radiohead -Raison D'être -Red -Riceboy Sleeps -Robert Rich -Terry Riley -Francis Rimbert -Steve Roach -Kim Robertson -Hans-Joachim Roedelius -Emmy Rossum -Rothko -Rurutia -Ryuta.k S -Erik Satie -Conrad Schnitzler -Neal Schon (from Jouey) -Klaus Schulze -Sco -Seay -Shadowfax -Shinjuku Thief -Shpongle -Shulman -Michael Shrieve -Shuttle Plume -Sigur Rós -Montana Skies -Simon Slator -Spacecraft -Spacetime Continuum -Spiral Realms -Stars of the Lid -Michael Steas -Sacred Fish Collections T -t.A.T.u (best known for their pop, electronica & alteeative rock, though also classified as ambient) -Hirokazu Tanaka -Takeshi.F(Usyukuro) -Team Sleep -Terre Thaemlitz -Thom Brennan -TimeShard -Amon Tobin -Troum -Tuu -Tangerine Dream -2002 -Henrik Takkenberg -Devin Townsend -Tosca U -Ulrich Schnauss -Ulver -Underworld V -Vangelis -Edgard Varèse -Velvet Cacoon -VLE W -Wavestar (with John Dyson) -We All Inherit The Moon -Within Temptation -Simon Webb -Windy & Carl -Jah Wobble -Woob -Kit Watkins -Paul Winter -Paul Winter Consort -Tim White Y -Kenji Yamamoto -Susumu Yokota -() Yapon kunst Z -Zero 7 -Zoviet FranceMusique d'ambiance est un genre musical dans lequel le son est plus important que les notes. Il est généralement identifiables comme étant largement atmosphérique et l'environnement dans la nature.Musique d'ambiance évolué à partir du début du 20ème siècle les formes de semi-audible la musique, de l'impressionnisme de Erik Satie, par l'intermédiaire de musique concrète et le minimalisme de Terry Riley et Philip Glass, Brian Eno et délibérée de sous-sonore.L'évolution ultérieure de rêve sur le non-linéaire des éléments de musique d'ambiance appliquées à certaines formes de musique rythmique en chill-out chambres à raves et autres spectacles de danse, mais toujours avec la principale caractéristique que la musique est destiné à la dérive dans et hors de la auditeur de sensibilisation lors de la création de son effet sur l'auditeur la conscience. HistoireTouant du siècle compositeur français Erik Satie créé une forme précoce de la musique ambiante qu'il dénommé "mobilier musique" (Musique d'ameublement), en référence à quelque chose qui pourrait être joué au cours d'un dîner dont le son ne ferait que créer une atmosphère de cette activité plutôt que d'être l'axe spécifique de l'attention. La petite musique électronique sonore et théories proviennent du travail de Pierre Schaeffer, considéré comme l'inventeur de la "musique concrète", qui a suivi la futuristes musique dans le classement en catégories telles que l'homme, naturel, à court et long. Il a fait quelques-unes des premières musique électronique en utilisant des Jukeboxen & sons naturels, et de découpe de la bande, ce qui rend la première utilisation expérimentale de la musique et l'enregistrement sur bande magnétique. Même son travail peut être considéré comme Schopenhauer anticipée par les idées de «soundworlds», littéralement mondes entièrement composé de sons. Karlheinz Stockhausen créé de musique électronique d'avant-garde des expériences plus tard, en 1955, et ces deux (entre autres) jeter les bases d'une musique d'ambiance à comparaître décennies plus tard lorsque la musique a mis au point la technologie.Brian Eno est généralement crédité de frappe le terme "musique d'ambiance" au milieu des années 1970 pour désigner la musique que, comme il l'a déclaré, peut être "activement écouté avec attention ou ignorés aussi facilement, selon le choix de l'auditeur" , Et qui existe sur la "coe entre mélodie et la texture." Eno, qui se décrit comme un «non-musicien», appelé ses expériences dans son comme «traitements» plutôt que comme des spectacles traditionnels. Eno a utilisé le mot «ambiants» pour décrire la musique qui crée une atmosphère qui met l'auditeur dans un état différent de l'esprit; avoir choisi le mot fondé sur le terme latin "ambire", "surround". Les notes de Brian Eno libération de 1978 Ambient 1: Music for Airports comprend un manifeste décrivant sa philosophie de la musique ambiante: "Ambient Music doit être en mesure de tenir compte de plusieurs niveaux d'écoute attention sans une application en particulier, elle doit être aussi ignorable comme il est intéressant." Brian Eno, Music for Airports notes, Septembre 1978Eno a reconnu l'influence de Erik Satie et John Cage, en particulier Cage utilisation de hasard tels que jeter le I Ching, à diriger une composition musicale; minimaliste et la musique en général. Cette influence se manifeste dans les stratégies obliques, un jeu de cartes conçu par Brian Eno et Peter Schmidt et destiné à orienter le musicien ou un artiste quand un dilemme a eu lieu dans une situation de travail. Eno a utilisé le terme "musique d'ambiance" à distance son travail de l'ascenseur et la musique Muzak. Brian Eno a aussi reconnu l'influence de l'humeur musique de Miles Davis Teo Macero et, en particulier à 1974 épique morceau, "Il l'aimait Madly", dont Eno a écrit, "cette pièce semble avoir la spacieux qualité que j'étais après .. . il est devenu une pierre de touche à laquelle je suis retoué souvent. "Au début albums (comme Ummagumma de Pink Floyd et par le "kosmische Musik" krautrock orientée vers les artistes, comme Tangerine Dream, Popol Vuh, Cluster et ont grandement influencé le genre. Parmi les premiers albums ont été ambiant Affenstunde (1970) et In Den Garten Pharaos (1971) par Popol Vuh. Un autre album est important Sonic Seasonings (1972) par Wendy Carlos. Début autres artistes tels que Klaus Schulze (un ancien membre de Tangerine Dream et Ash Ra Tempel), Jean Michel Jarre, Kraftwerk et dans l' Années 1970 et 1980 ont exercé une grande influence. Dans les années 1970, certains ambiant, krautrock, et d'autres musiciens qui ont été influencés par la spiritualité Nouvel Âge a créé le genre éclectique connu sous le nom de la musique Nouvel Âge, la vente des millions indépendant de l'industrie de la musique intégrer par ordre direct ou de nouveaux magasins âge .Il s'agit d'une liste des artistes de musique ambiante. Cela inclut des artistes qui ont été très importantes pour le genre ou avez eu une quantité considérable de l'exposition (comme dans le cas de celui qui a été mis sur une étiquette majeure, mais pas limité à l'). Cette liste ne comprend pas peu connu des artistes locaux. Les artistes sont classés par la première lettre de leur nom (non compris les mots "un", "un", ou "le"), et les individus sont classés par nom de famille.Ambient la música es un género musical en el que el sonido es más importante que toma nota. Es un hecho generalmente identificables como en general la atmósfera y el medio ambiente en la naturaleza.Ambient música evolucionó a partir de principios de siglo 20 formas de semi-acústica de música, desde el impresionismo de Erik Satie, a través de musique concretas y el minimalismo de Terry Riley y Philip Glass, Brian Eno y deliberada del sub-audible.Más tarde encontraron los acontecimientos de ensueño no lineal elementos de música ambiental se aplica a algunas formas rítmicas de la música se presenta en chill-out habitaciones en raves y otros eventos de danza, pero siempre con la principal característica que la música se destina a la deriva y en la salida de la oyente de la conciencia y crear al mismo tiempo su efecto sobre la conciencia del oyente .HistoriaCambio de siglo compositor francés Erik Satie creado una forma de música ambiental que se refirió como "mobiliario de la música" (Musique d'ameublement), en referencia a algo que puede desempeñar durante una cena cuyo sonido simplemente crear una atmósfera de actividad que en lugar de ser el enfoque específico de atención .A principios paisaje sonoro de música electrónica y las teorías proceden del trabajo de Pierre Schaeffer, considerado como el inventor de "Musique Concrete", que siguió a la futuristas en la clasificación de la música en categorías como hombre, natural, corto y largo. Hizo algunas de las primeras música electrónica usando tocadiscos y los sonidos naturales, y hasta el corte de cinta, haciendo el primer uso experimental de música y grabación de cinta magnética. Incluso su trabajo puede verse como preempted de las ideas de Schopenhauer de «soundworlds', literalmente, formado por mundos totalmente de sonidos. Karlheinz Stockhausen creado pioneros experimentos musicales electrónicos más tarde, en 1955, y estos dos (entre otros) sentar las bases para crear un ambiente de música a aparecer décadas más tarde, cuando la música se ha desarrollado la tecnología.Brian Eno es por lo general acredita con acuñar el término "música ambiental" a mediados del decenio de 1970 para referirse a la música que, según dijo, puede ser "activamente escuchado con atención o tan fácilmente ignorados, dependiendo de la elección del oyente" , Y que existe en la "cúspide entre melodía y textura." Eno, que se describe a si mismo como un "no músico", denominado experimentos en su sonido como "tratamientos" más que como funciones tradicionales. Eno utiliza la palabra "ambiente" para describir la música que crea una atmósfera que pone al oyente en un diferente estado de ánimo; haber elegido la palabra sobre la base del término latino "ambire", "rodear" .Las notas de Eno liberación del 1978 Ambient 1: Music for Aeropuertos incluye un manifiesto que describe su filosofía de la música ambiental: "Ambient Music debe poder dar cabida a muchos niveles de escucha sin hacer cumplir la atención una en particular, sino que deben ser tan ignorable como es interesante." Brian Eno, Música para Aeropuertos notas, septiembre de 1978Eno ha reconocido la influencia de Erik Satie y John Cage, Cage, en particular, del uso de azar, como tirar el I Ching para dirigir una composición musical; minimalista y la música en general. Esta influencia se manifiesta en estrategias oblicuas, una serie de tarjetas ideado por Eno y Peter Schmidt y la intención de dirigir el músico o artista, cuando se produjo un dilema en una situación laboral. Eno ha utilizado el término "música ambiental" a distancia su obra de música y ascensor Muzak. Eno también reconoce influencias de la música de Miles Davis y Teo Macero, especialmente en 1974 su obra épica, "Él lo amó Madly", sobre el cual escribió Eno ", pieza que parecía tener el 'amplio' de calidad que yo era después .. . se convirtió en una piedra angular a la que me regresó con frecuencia. "Los primeros álbumes (como Ummagumma por Pink Floyd y de la "Musik kosmische" krautrock orientado a artistas, como Tangerine Dream, Popol Vuh, Cluster y han influido en el género. Entre los primeros álbumes electrónicos ambiente se Affenstunde (1970) y En Den Garten Pharaos (1971) de Popol Vuh. Otro importante álbum fue Sonic sazonadores (1972) de Wendy Carlos. Temprana Otros artistas como Klaus Schulze (un ex-miembro de Tangerine Dream y Ash Ra Tempel), Jean Michel Jarre, Kraftwerk y en la 1970 y 1980 fueron influyentes. En el decenio de 1970, algunos ambient, krautrock, y otros músicos que fueron influidos por la nueva era espiritualidad ecléctica creó el género conocido como música New Age, la venta de millones independiente de la principal industria de la música por orden directa o new age tiendas .Esta es una lista de artistas de música ambiente. Esto incluye artistas que han sido muy importantes para el género o han tenido una cantidad considerable de la exposición (como en el caso de uno que ha estado en grandes discográficas, pero no se limita a tales). Esta lista no incluye los poco conocidos artistas locales. Los artistas son enumerados por la primera letra en su nombre (sin incluir las palabras "a", "uno", o "la"), y se enumeran las personas de apellido.Ambient-Musik ist ein musikalisches Genre, in dem Ton ist wichtiger als Noten. Es ist allgemein erkennbar als weitgehend atmosphärische & Umwelt in der Natur.Ambient-Musik entwickelte sich aus den Anfangsjahren des 20. Jahrhunderts Formen der halb-akustischen Musik, von der Impressionismus von Erik Satie, durch musique Beton & the Minimalismus von Terry Riley und Philip Glass, & Brian Eno's absichtliche sub-hörbaren Ansatz.Spätere Entwicklungen fanden die verträumten nicht-lineare Elemente der Ambient-Musik für einige Formen der rhythmischen Musik im Chill-Out Räume auf Raves und andere Tanzveranstaltungen, aber immer mit der primären Funktion, die Musik ist zur Drift in & out der Zuhörer das Bewusstsein zu schaffen, während seine Wirkung auf die Zuhörer das Bewusstsein. GeschichteWende des Jahrhunderts französische Komponist Erik Satie erstellt eine frühe Form des Ambient-Musik, dass er auch als "Möbel Musik" (Musique d'Ameublement), in Bezug auf etwas, was gespielt werden während eines Abendessen, deren Klang würde einfach schaffen eine Atmosphäre zu diese Tätigkeit eher als werden die besondere Konzentration der Aufmerksamkeit. Frühe elektronischen Soundscape Music & Theorien kommen aus der Arbeit von Pierre Schaeffer, als der Erfinder der "Musique Concrete", gefolgt, die Futuristen bei der Einstufung Musik in Kategorien wie Menschen, Natur-, kurz & lang. Er machte einige der erste elektronische Musik mit Plattenspieler & natürliche Klänge, Zerschneiden & Band, so dass der erste experimentelle Musik Verwendung von Aufnahmen & Magnetbände. Selbst seine Arbeit kann als preempted von Schopenhauer die Ideen der "soundworlds', wörtlich Welten, die sich völlig von Tönen. Karlheinz Stockhausen geschaffen wegweisende elektronische Musik-Experimente später in 1955, und diese zwei (unter anderem) legen den Grundstein für ein stimmungsvolles Ambiente Musik zu erscheinen Jahrzehnte später, als Musik-Technologie entwickelt hatte.Brian Eno ist in der Regel gutgeschrieben Prägung mit dem Begriff "Ambient-Musik" in der Mitte der 1970er Jahre zu beziehen sich auf Musik, die, wie er erklärte, kann es sich entweder um "aktiv angehörte mit Aufmerksamkeit oder als einfach ignoriert werden, je nach Wahl des Hörers" , & Das gibt es auf der "Scheitelpunkt zwischen Melodie & Textur." Eno,, beschreibt sich selbst als "Nicht-Musiker", als seine Experimente im Klang als "Behandlungen" und nicht als traditionelle Vorstellungen. Eno verwendet das Wort "ambient" zu beschreiben, dass die Musik schafft eine Atmosphäre, bringt den Zuhörer in einen anderen Zustand des Geistes; die Wahl des Wortes auf der Grundlage der lateinischen Begriff "ambire", "zu umgeben." Die Liner Notes von Eno's 1978 Release Ambient 1: Music for Airports umfasst ein Manifest beschreibt seine Philosophie der Umgebungs-Musik: "Ambient Music muss in der Lage, um viele Ebenen des Zuhörens, ohne die Durchsetzung Aufmerksamkeit auf ein bestimmtes, es muss so ignorable wie es ist interessant." Brian Eno, Musik für Flughäfen Liner Notes, September 1978Eno hat eingeräumt, den Einfluss von Erik Satie und John Cage, insbesondere Cages Verwendung des Zufalls wie das Werfen der I Ging auf direkte einer musikalischen Komposition; & minimalistische Musik im allgemeinen. Dieser Einfluss war manifestiert sich in Schräg-Strategien, eine Reihe von Karten, die von Eno & Peter Schmidt & zur direkten die Musiker oder Künstler, wenn ein Dilemma in einem Arbeits-Situation. Eno verwendet den Begriff "Ambient-Musik" zu distanzieren seine Arbeit aus dem Lift Musik & Muzak. Eno auch anerkannt Einflüsse der Stimmung Musik von Miles Davis & Teo Macero, vor allem ihre epische 1974 Stück, "Er liebte ihn Madly", über die Eno schrieb, "das Stück zu haben schien die" großzügige "Qualität war, dass ich nach .. . Es wurde zu einem Prüfstein, an denen ich häufig zurückgegeben. "Frühe Alben (z. B. Ummagumma von Pink Floyd und nach die "kosmische Musik"-orientierte krautrock Künstler, wie Tangerine Dream, Popol Vuh, & Cluster haben großen Einfluss auf das Genre. Unter den ersten elektronischen Ambient Alben wurden Affenstunde (1970) & In Den Garten Pharaos (1971) von Popol Vuh. Ein weiteres wichtiges Album wurde Sonic Gewürze (1972) von Wendy Carlos. Frühen Andere Künstler wie Klaus Schulze (ein ehemaliges Mitglied von Tangerine Dream & Ash Ra Tempel), Jean Michel Jarre, Kraftwerk und in der 1970er & 1980er Jahren einflussreich waren. In den 1970er Jahren, einige ambient, Krautrock, und andere Musiker waren, beeinflusst durch neues Zeitalter der Spiritualität geschaffen eklektischen Genre bekannt als New Age Musik, Verkauf von Millionen unabhängig von der Mainstream-Musikindustrie durch direkte oder um neue Geschäfte Alter .Dies ist eine Liste der Umgebungs-Musik Künstler. Dazu gehören Künstler, wurden entweder sehr wichtig, das Genre oder haben eine beträchtliche Höhe der Exposition (wie im Fall von einer, wurde auf einem großen Label, aber nicht beschränkt auf diese). In dieser Liste nicht enthalten wenig bekannten einheimischen Künstle. Künstler sind nach den ersten Buchstaben in ihrem Namen (ohne die Worte "a", "eins" oder "die"), und Einzelpersonen sind nach Nachnamen an.

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video i made comparing the guitarists of ozzy(george auditioned for the replacement of randy.. ozzy almost chose him but insted he chose jake...george i think had played with ozzy for 1 week)

shet guys!!!can anybody tell me where can i get a solo from jake e lee???fuk!!

George Lynch (b. September 28, 1954) is a Hard rock guitarist best known as a member of the band Dokken.

Lynch was born in Spokane, Washington and raised near Sacramento, California. He is a highly respected modern guitarist often compared with other guitar heroes such as Randy Rhoads, Steve Vai, Andy Timmons, Eddie Van Halen, Joe Satriani, Sammy McKee, Jimmie Vaughan, John Petrucci, and Yngwie J. Malmsteen. Lynch is well known for his famous legato technique and common use of the scale he calls the 'Gothic Octave'. Twice Lynch auditioned for the position of Ozzy Osbourne's lead guitarist, once in 1979 -- losing to Randy Rhoads -- and another time in 1982 to replace Brad Gillis. According to Lynch, he was hired for three days before Ozzy changed his mind and decided to go with Jake E. Lee. Lee, however claims that Lynch "got the gig, but only went on the road for two weeks to watch the show, and never actually played with Ozzy." Lynch looks back on the situation positively though, he has said "I won the consolation prize, Randy got to tour with Ozzy...and I got to teach at his mom's school."

Lynch came to fame in the 1980s through his work as the lead guitarist in the band Dokken (of which he had been a member since 1980). Dokken had a string of successful platinum albums such as "Under Lock And Key" and "Back For The Attack", that prominently featured Lynch's inventive lead guitar work and cemented his reputation as a bonafide guitar hero. The instrumental track "Mr. Scary" on Back For The Attack contributed to his popularity among guitar players. The band earned a grammy nomination for the "best rock instrumental" in 1989.

Jakey Lou Williams (born February 15, 1957 in Norfolk, Virginia, USA), better known as Jake E. Lee is a heavy metal guitarist best known for his work with Ozzy Osbourne.

When Ozzy Osbourne needed a permanent replacement for the deceased Randy Rhoads, he came to Los Angeles to audition players. Future Slaughter bassist Dana Strum recommended Lee to Osbourne. Strum had also recommended Rhoads to Osbourne. Osbourne's choice eventually came down to two guitarists, Dokken guitarist George Lynch and Lee. Osbourne almost chose Lynch but instead chose Lee. Lee played with Osbourne in late 1982 and early 1983 still supporting the Diary of a Madman tour. Osbourne's line-up was Lee on guitar, Don Airey on keyboards, Tommy Aldridge on drums and Pete Way on bass.

Osbourne and Lee then began the follow-up to Diary of a Madman. Osbourne and Jake kept touring though while working on Bark at the Moon, their next album. They released the hit single "So Tired", which got airplay regularly on MTV and radio. Other singles included "Bark At The Moon", and "Spiders" (which didn't make the original release of the album but has subsequently been included on some reissues). When released, the album was a commercial success.

Dokken is an American metal band which was formed in 1976. The group became one of the classic metal bands from their era, accumulating numerous charting singles and selling over 10 million albums. While the band became associated with bands like Ratt, Judas Priest, Quiet Riot, Warlock, and Def Leppard, their style of traditional metal characterized by extravagant use of lead guitars and soaring melodic vocals backed by a heavy thumping bass still sets them apart from similar acts to this day. Although their image was somewhat "glam," their music was traditionally heavy with technical expertise, and the band relied much less on a "glam" image than later glam metal bands such as Poison and Cinderella, focusing more on the musical aspect. Nevertheless, they failed to achieve the same commercial success as any of the aforementioned bands.

Dokken was comprised of founder Don Dokken on vocals, George Lynch on lead guitars, Jeff Pilson on bass, and Mick Brown on drums. Currently the band consists of Don Dokken on vocals, Jon Levin on guitar, Barry Sparks on bass, and Mick Brown on drums.

Dokken was formed in the late 1970s when guitarist George Lynch and drummer Mick Brown from the group Xciter teamed up with Don Dokken on vocals and Jim Monanteras as a temporary bassist to record Back in the Streets with Carerre Records. Lynch replaced earlier Dokken guitarist Greg Leon who was also a replacement for Randy Rhoads in Quiet Riot.

     
Album title; Un Nuit Dystopia/Hommage Michel Foucault (VA)Artist---song list: 1.Makryham--Raymond Roussel:Dysphoria 2.Bunk Data--From Foucault's pleasure 3.Kol sonzlgn--Neue Panopticon 4.sara ayers-La Tache politique actuelle 5.Ergo phizmiz-Mystery of Hadness 6.Henry Gwiazda-TheOtherwilderness 7.Ryuta.k-Truth got broken since May 68 (Toward pan-tonal world music) info; 1.Makryham Makryham is experimental artist who is inspired by Herbert Marshall McLuhan site; 2.Bunk Data Duluth-Minnesota native Nathan Larson has been creating various forms of electronic and experimental music for over 12 years under the names Samsa, Bunk Data, and Royal Obtuse. Nathan was one of the co-founders of the Green House Music label that released a wide variety of atmospheric and ambient music on CD from 1999-2002. In late 2002 Nathan created the Dark Winter net.label with a focus on dark ambient music. Besides his work with Dark Winter, Nathan is co-curating the Wandering Ear net.label with Mike Hallenbeck abd the Rotten Crab net.label . site; 3.Kol sonzlgn Dark experimental schizo usyukuro marxist band "Kol sonzlgn" Their moto; No music our life. not cummunist but marxists. we want only reach Kol sonzlgn (Body without organic) But it means Death. But All schizod will happen. site; 4.sara ayers Sara Ayers is an ambient music artist who uses her voice as a sound source. The Chemical Brothers used samples of Ayers' "Everyday We Die a Little" on their song "Come Inside" from their album Push the Button. VH1 used samples of "Angel #3" for the soundtrack of Behind the Music: Britney Spears. And the Russian electronic trio Figura constructed an entire album, The Sara Ayers Remixes, around her vocals. site; 5.Ergo phizmiz Ergo Phizmiz is a diverse and multifaceted artist, working across eccentric pop music, collage, radio-art, installations, and performance. His work is disseminated and presented globally on a regular basis across platforms and media, and his reputation as a typesetter and creative explorer is constantly growing. site; 6.Henry Gwiazda Henry Gwiazda (b. 1952, silent i) is a composer who specializes in virtual audio, the simulation of a three dimensional sound space in either headphones or precisely positioned speakers. He composes what may be called musique concrète, using samples usually without "tinker[ing]" with them. His most easily available music is on the CD noTnoTesnoTrhyThms, site; 7.Ryuta.k tokyo-chiba based experimental musician ryuta.k(aka RYU) releases mostly freeform ambient and experimental muziq  since 97 with powerbookG4 ,max/msp,etc. Also he has learning post modern Structuralism or Philosophy or modern art(art&Technology),modernscience . He calls The genre of fishy music he made Post sampling kinetic nonhierarchical nonlinear nonequilibrium forth world muziq ! site; ovdk

     
The potlatch is a festival or ceremony practiced among Indigenous peoples of the Pacific Northwest Coast. At these gatherings a family or hereditary leader hosts guests in their family's house and hold a feast for their guests. The main purpose of the potlatch is the re-distribution and reciprocity of wealth. During the event, different events take place, like either singing and dances, sometimes with masks or regalia, the barter of wealth through gifts, such as dried foods, sugar, flour, or other material things, and sometimes money. For many potlatches, spiritual ceremonies take place for different occasions. This is either through material wealth like foods and goods or immaterial things like songs, dances and such. For some cultures, like Kwakwaka'wakw, elaborate and theatrical dances are performed reflecting the hosts' genealogy and cultural wealth they possess. Many of these dances are also sacred ceremonies of secret societies like the hamatsa, or display of family origin from supernatural creatures like the dzunukwa. Typically the potlatching is practiced more in the winter seasons as historically the warmer months were for procuring wealth for the family, clan, or village, then coming home and sharing that with neighbors and friends. Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution or sometimes destruction of wealth, dance performances, and other ceremonies. The status of any given family is raised not by who has the most resources, but by who distributes the most resources. The hosts demonstrate their wealth and prominence through giving away goods. Chief O’wax̱a̱laga̱lis of the Kwagu'ł describes the potlatch in his famous speech to anthropologist Franz Boas, "We will dance when our laws command us to dance, and we will feast when our hearts desire to feast. Do we ask the white man, 'Do as the Indian does?' It is a strict law that bids us dance. It is a strict law that bids us distribute our property among our friends and neighbors. It is a good law. Let the white man observe his law; we shall observe ours. And now, if you come to forbid us dance, be gone. If not, you will be welcome to us." Celebration of births, rites of passages, weddings, funerals, namings, and honoring of the deceased are some of the many forms the potlatch occurs under. Although protocol differs among the Indigenous nations, the potlatch will usually involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter. It is important to note the differences and uniqueness among the different cultural groups and nations along the coast. Each nation, tribe, and sometimes clan has its own way of practicing the potlatch so as to present a very diverse presentation and meaning. The potlatch, as an overarching term, is quite general, since some cultures have many words in their language for all different specific types of gatherings. Nonetheless, the main purpose has and still is the redistribution of wealth procured by families. [edit] History Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka'wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim―providing they could be validated―with a suitable potlatch.[8] The potlatch was a cultural practice much studied by ethnographers. "Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia."[citation needed] Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called "coppers", and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it. [edit] Potlatch ban Potlatching was made illegal in Canada in 1885[9] and the United States in the late nineteenth century, largely at the urging of missionaries and government agents who considered it "a worse than useless custom" that was seen as wasteful, unproductive which was not part of "civilized" values.[10] The potlatch was seen as a key target in assimilation policies and agendas. Missionary William Duncan wrote in 1875 that the potlatch was “by far the most formidable of all obstacles in the way of Indians becoming Christians, or even civilized.”[11] Thus in 1885, the Indian Act was revised to include clauses banning the potlatch and making it illegal to practice. The official legislation read, “Every Indian or other person who engages in or assists in celebrating the Indian festival known as the "Potlatch" or the Indian dance known as the "Tamanawas" is guilty of a misdemeanor, and shall be liable to imprisonment for a term not more than six nor less than two months in a jail or other place of confinement; and, any Indian or other person who encourages, either directly or indirectly an Indian or Indians to get up such a festival or dance, or to celebrate the same, or who shall assist in the celebration of same is guilty of a like offence, and shall be liable to the same punishment.” Eventually it became amended to be more inclusive as earlier discharged on technicalities. Legislation was then expanded to include guests who participated in the ceremony. The indigenous people were too large to police, and enforce. Duncan Campbell Scott convinced Parliament to change the offense from criminal to summary, which meant ‘the agents, as justice of the peace, could try a case, convict, and sentence.”[12] [edit] Continuation Sustaining the customs and culture of their ancestors, indigenous people now openly hold potlatch to commit to the restoring of their ancestors' ways. Potlatch now occur frequently and increasingly more over the years as families reclaim their birthright. 最新版の事典をご利用下さい。 現在閲覧中の項目は、古いバージョンで作成されたものです。 最新版の事典は、こちらとなります。  ポトラッチ(potlatch) 【分類】  アメリカ神話(Native American mythology)  用語(Terminology) 【解説】  〔チヌーク語で「贈与」の意〕北太平洋沿岸の北米インディアンにみられる贈答の儀式。地位や財力を誇示するために、ある者が気前のよさを最大限に発揮して高価な贈り物をすると、贈られた者はさらにそれを上回る贈り物で返礼し互いに応酬を繰り返す。(大辞林第二版)  ポトラッチの儀式は、上記の様な贈り物の応酬として有名である。この応酬が激しさを増すと、お互いの富の破壊にまで及ぶこともある。マルセル・モースの『贈与論』、ルース・ベネディクトの『文化の型』などで取り上げられた。  マリノフスキーが報告したトロブリアンド諸島のクラと共に、贈与交換の有名な事例の一つ。 【参考文献】  ・『神話・伝承事典』 バーバラ・ウォーカー(大衆館書店)  ・『世界神話事典』  大林太良 他(角川書店)  ・『世界神話辞典』 アーサー・コッテル(柏書房)  ・『創造神話の事典』 D・リーミング/M・リーミング(青土社)  ・『世界史事典』 山崎宏/兼岩正夫(評論社)  ・『世界史用語集』 (山川出版社)  ・『角川外来語辞典』 荒川惣兵衛(角川書店)  ・『神話学入門』 大林太良(中央新書)  ・『神話学とは何か』 吉田敦彦/松村一男(有斐閣新書)  ・『神話学講義』 松村一男(角川書店)  ・『広辞苑第五版』(岩波書店) ovdk

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