Thursday, 5 May 2011
Gorillaz - Postmodern?
Freaky music at about 1.15 is haunted like and is not expected of the genre
Lots of chuckling and laughing in video are also put on the radio versions too which is unlikely to keep the special effects sounds out of the video format
Video all in cartoon which is rarely seen and keeps it unique
Mixing rap with dreary speaking lyrics mixes genres
Animal like (gorilla like) mumbling and rustling which is irony from the band name
Mixes humour of gorilla bums and man being groped with the sad lyrics and scary storyline - irony once again
Lot of The Gorillaz videos follow the same sort of theme mixing reality with cartoon and they even bring these cartoon characters to stage
Monday, 2 May 2011
Timbaland
Kramers Theory
The entire song is ironic as Timbaland is constantly making references to a Drive Through Restaurant and food to compare being with a woman
Even though when listened to carefully the lyrics are humerously bad, the song still ironically works as you do get that the song is basically one big metaphor to sexual references.
The music in the song sounds like jingling bells all the way through - once again nothing like what you would expect from such a renound dj like Timbaland. The music doesnt even run parralell with the lyrics to the song yet somehow the tinny beat in the background works
The song is unique and welcomes controversy as some women may find the song belittling to women - comparing us to going through a drive through and basically a 'piece of meat'
Stockhausen
Kramers Theory
The fact this is done in helicopters is ironic. As you automatically presume the music is going to sound rubbish and of poor quality, yet once listened to carefully, you can hear the quality of what is going on.
Also displays how there is no boundaries in music - anything is possible and can be done with a bit of creativity and imagination
Sort of mixes genres as you would associate a big expensive helicopter to be associates with a hiphop sort of genre with the artist trying to show off their wealth, whereas this music is obviously classical
No boundaries to producing music - technology allows you to create a unique peice even thousands of feet in the sky with a video camera.
Kramer - His View and My Translation
1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
- ?
2. is, on some level and in some way, ironic
- sometimes funny in the way it twists things - controversial
3. does not respect boundaries between sonorities and procedures of the past and of the present
- there is no boundaries in post modern music - anything is possible
4. challenges barriers between 'high' and 'low' styles
- mixes genres together
5. shows disdain for the often unquestioned value of structural unity
- ?
6. questions the mutual exclusivity of elitist and populist values
- has people unsure of their views and has them questioning with their original values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
- wants every piece to be unique and not formed from another peice of work
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
- music is used for more reasons than just enjoyment - to display morals and share views on society
9. includes quotations of or references to music of many traditions and cultures
- mixes many societies to create pieces that will appeal to people of many traditions and cultures.
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
- technology isnt just to save music and record onto, but to produce music that is unique to each individual due to its diversity
11. embraces contradictions
- welcomes irony and controversy
12. distrusts binary oppositions
- wont mix binary opposites
13. includes fragmentations and discontinuities
- ?
14. encompasses pluralism and eclecticism
-?
15. presents multiple meanings and multiple temporalities
- music isnt just to listen to, its to share many messages
16. locates meaning and even structure in listeners, more than in scores, performances, or composers
- hits the audience directly and makes them think about what theyve just listened to
- ?
2. is, on some level and in some way, ironic
- sometimes funny in the way it twists things - controversial
3. does not respect boundaries between sonorities and procedures of the past and of the present
- there is no boundaries in post modern music - anything is possible
4. challenges barriers between 'high' and 'low' styles
- mixes genres together
5. shows disdain for the often unquestioned value of structural unity
- ?
6. questions the mutual exclusivity of elitist and populist values
- has people unsure of their views and has them questioning with their original values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
- wants every piece to be unique and not formed from another peice of work
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
- music is used for more reasons than just enjoyment - to display morals and share views on society
9. includes quotations of or references to music of many traditions and cultures
- mixes many societies to create pieces that will appeal to people of many traditions and cultures.
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
- technology isnt just to save music and record onto, but to produce music that is unique to each individual due to its diversity
11. embraces contradictions
- welcomes irony and controversy
12. distrusts binary oppositions
- wont mix binary opposites
13. includes fragmentations and discontinuities
- ?
14. encompasses pluralism and eclecticism
-?
15. presents multiple meanings and multiple temporalities
- music isnt just to listen to, its to share many messages
16. locates meaning and even structure in listeners, more than in scores, performances, or composers
- hits the audience directly and makes them think about what theyve just listened to
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