10 bandas sonoras increíblemente extrañas Electrónica primitiva, instrumentos de juguete, Eric Clapton con un mechero... Todo vale a la hora de poner música a películas más allá de la imaginación. Por YAGO GARCÍA Página 1 de 11 ¿De qué hablamos cuando hablamos de bandas sonoras? Generalmente, de arreglos de cuerda suntuosos, grandes orquestaciones y (en los últimos años) de greatest hits pop y rock recopilados para la ocasión. 0 comentario Rose McDowall Rose McDowall (born 21 October 1959) is a Scottish musician. Along with Jill Bryson, in 1981 she formed the pop/New Wave band Strawberry Switchblade.[1] History[edit] McDowall is best known as a vocalist but also plays guitar, keyboards, melodica and drums. She has two daughters, and a son; Keri McDowall from her marriage to Drew McDowall, and Bobi and Velocity Lee from her marriage to Robert Lee. Discography[edit] Rose McDowall[edit] Strawberry Switchblade[edit] Spell[edit] Sorrow[edit] Track appears on: Appears in[edit] Current 93[edit] See Current 93 Nature and Organisation[edit] Backworld[edit] References[edit] External links[edit] Official[edit] Official myspace page Unofficial[edit]
Vocoder Vocoder hecho de encargo para el grupo Kraftwerk. Principios de los 70. Un vocoder (nombre derivado de voice coder, «codificador de voz») es un analizador y sintetizador de voz. Anteriormente fue ampliamente empleado por el grupo alemán Kraftwerk durante los años 70's por lo que son considerados los padres de la música electrónica experimental y todas sus variantes, siendo algunas de sus más conocidas interpretaciones Die Roboter y Autobahn. El vocoder está relacionado con el algoritmo denominado phase vocoder, aunque esencialmente es diferente de éste. Cómo funciona un vocoder[editar] Esquema básico de un vocoder. Teoría del vocoder[editar] El vocoder examina el habla encontrando su onda básica, que es la frecuencia fundamental, y midiendo cómo cambian en el tiempo las características espectrales, es decir los formantes, que son bandas de frecuencia donde se concentra la mayor parte de la energía sonora de un sonido, grabando el habla. Primeros vocoders[editar] Aplicaciones musicales[editar]
Italo disco Italo disco es una de las primeras formas de música de baile completamente electrónica de la historia, inventado en Italia en los años 70. La música Italo disco tiene un sonido distintivo y futurista que se creó con sintetizadores, cajas de ritmos, y vocoderes. Etimología[editar] El término "italo disco" se originó a partir de la serie Italo Boot Mix, un megamix formado por música disco de procedencia italiana y alemana, de Bernhard Mikulski, fundador del sello alemán ZYX Music. Los presentadores del programa musical italiano Discoring (producido por RAI) llamaban a los temas de italo disco "rock elettronico" (rock electrónico) o "balli da discoteca" (disco dance) antes que el término "italo disco" llegara a existir. Historia[editar] Orígenes: 1976–1985[editar] Hacia 1980, el italo estaba totalmente desarrollado en Italia y otras partes de Europa. 1983 está considerado como el cénit del italo, cuando una multitud de singles alcanzaron posiciones de hit y surgieron un buen número de sellos.
Ondas Martenot Ondas Martenot. Las ondas de Martenot es un instrumento electrónico inventado en 1928 por el compositor, ingeniero y cellista francés Maurice Martenot. El instrumento está formado por un teclado, un altavoz y un generador de baja frecuencia. Maurice Martenot ofreció la primera demostración de las ondas Martenot en el Conservatorio de París el 20 de abril de 1928 con una obra de Dmitrios Levidis. Bryan Ferry usa este instrumento en el álbum As Time Goes By; Jonny Greenwood de Radiohead también usa este instrumento en varias canciones como The National Anthem y en Where i end , and you begin , para muchos una verdadera obra de arte. Videos[editar] Ondas Martenot en YouTube: Thomas Bloch Enlaces externos[editar] Wikimedia Commons alberga contenido multimedia sobre Ondas Martenot.
SynthAxe Synthaxe MIDI Controller The SynthAxe is a fretted, guitar-like MIDI controller, created by Bill Aitken, Mike Dixon, and Tony Sedivy and manufactured in England in the middle to late 1980s. It is a musical instrument that uses electronic synthesizers to produce sound and is controlled through the use of an arm resembling the neck of a guitar in form and in use. Its name comes from the words synthesizer and axe, a slang term meaning guitar. The SynthAxe itself has no internal sound source; it is purely a controller and needs synthesizers to produce sound. The fretboard is continuously scanned and sends signals to synthesizers which produce the sound. An electronic tremolo bar can be used for standard whammy bar effects, or can be redefined to produce different MIDI output (e.g., filter cutoffs, volume, etc.). When originally produced, the SynthAxe was priced at 10,000 pounds (approximately $13,000 US dollars) and eventually sold for about $8,000.00. References[edit] External links[edit]
Damo Suzuki Biography[edit] As a teenager, Suzuki spent the late 1960s wandering around Europe, often busking.[1] Suzuki converted to the Jehovah's Witness.[citation needed] He returned to music in 1983, and currently leads what is known as Damo Suzuki's Network - as he tours, he performs live improvisational music with various local musicians, so-called "Sound Carriers".[4] Discography[edit] Damo Suzuki performs on the following albums: References[edit] External links[edit] May 2007 Oh Happy Days! I finally got a hold of this Electric Love Muffin Cd that I have been trying to get for years. This is one album that was responsible for really turning my head around for some amazingly well-written kick ass college rock! (haha--yes, i am fully aware of how hopelessly geeky that sounds). The year was 1988 and i wasn't much older than 13 at the time. As a kid living out in the heartland of America and forced to live a bit of a sheltered life, there really weren't too many chances for me to be exposed to a large amount of music. anyway...Let's just say that the radio station and the DJ's selections were frying my mind on a minute-by-minute basis every night. Once a week, they would have a segment of their show where they would select a newly released record and play a full side of the record straight through to help promote it. I also taped a lot of other stuff on that tape, but the Electric Love Muffin stuff really began to grow on me and get burnt into my mind.
Reseñas HOLY OTHER Held TriAngleRecords Es una dicha descubrir que algunos proyectos poseen cierta propensión hacia el olvido. Música que parte de cierto desinterés por la permanencia: líneas de bajo densas y apretadas, beats que entran y salen como ligeros pececillos, y modulaciones que bien podrían observarse en un microscopio. La consecución de esta clase de fenómenos imperceptibles tiende a desentenderse por completo de otros fenómenos. Y por lo mismo, esta música habrá de formarse únicamente en el olvido si acaso no prestamos atención al escucharla; su atractivo es minúsculo, pero nos hace recordar desde el Untrue de Burial hasta los trabajos de Biblo. SHINTARO SAKAMOTO How to Live with a Phantom Other Music Háganse un favor y acérquense de nuevo a la música de Oriente. JOE VOLUME Lonesome Water, Lonely Sea Independiente Lo cabrón con Joe Volume es que sólo escucha música cabrona. TEGO CALDERÓN The original gallo del país Jiggiri Records DEERHOOF Breakup songs Polyvinil
Sonoluminescence Single-bubble sonoluminescence - A single, cavitating bubble. Video of synthetic wound cavity collapsing creating sonoluminescence. Long exposure image of multi-bubble sonoluminescence created by a high-intensity ultrasonic horn immersed in a beaker of liquid History[edit] The sonoluminescence effect was first discovered at the University of Cologne in 1934 as a result of work on sonar.[citation needed] H. In 1989 an experimental advance was introduced by Felipe Gaitan and Lawrence Crum, who produced stable single-bubble sonoluminescence (SBSL). Properties[edit] Sonoluminescence can occur when a sound wave of sufficient intensity induces a gaseous cavity within a liquid to collapse quickly. Some facts about sonoluminescence: Rayleigh–Plesset equation[edit] The dynamics of the motion of the bubble is characterized to a first approximation by the Rayleigh-Plesset equation (named after Lord Rayleigh and Milton Plesset): Mechanism of phenomenon[edit] In 2002, M. Other proposals[edit] [edit]
Drone (música) Drone doom Phill Niblock y el drone en Ars Sonora. Monográfico sobre música drone dentro del programa radiofónico Ars Sonora, dirigido y presentado por Miguel Álvarez-Fernández en Radio Clásica de RNE. Intelligent dance music Intelligent dance music (IDM) describe un género de música electrónica que surgió a principios de los años 1990 en Gran Bretaña en el contexto del final de la escena rave. Este género toma elementos de diferentes estilos musicales, especialmente del detroit techno y del ambient. Estilísticamente, la IDM se caracteriza más por la experimentación individual que por estar dotada de un conjunto de características musicales fijas. De ahí que pueda abarcar música y músicos muy dispares. Historia[editar] En la época en que el fenómeno rave se desarrollaba en Inglaterra, un número de productores musicales de esa escena comenzaron a explorar el campo de la experimentación sonora. (...) Consolidación[editar] El carácter comprensivo del IDM, que desde su consolidación lo configura como una amalgama de géneros cuyo vector principal es su carácter experimentador, hace que puedan asociarse a sus composiciones múltiples géneros musicales. Críticas al término[editar] Producción[editar] Bibliografía[editar]
Shoegazing Style[edit] Common musical elements of shoegazing consist of distortion, droning riffs and a "wall of sound" from noisy guitars. Typically, two distorted rhythm guitars are played together to give an amorphous quality to the sound. Although lead guitar riffs were often present, they were not the central focus of most shoegazing songs. Vocals are typically subdued in volume and tone, but a strong sense of melody generally exists underneath the layers of guitars. The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegazing by the British press because the bandmembers stared at the stage while they performed.[1] The term was often considered pejorative, especially by the English weekly music press who considered the movement as ineffectual, and it was disliked by many of the groups it purported to describe, Shoegazing was originally a slag-off term. "We didn't want to use the stage as a platform for ego, like the big bands of the time did, like U2 and Simple Minds.
Hank Williams III Shelton Hank Williams, also known as Hank Williams III and Hank 3[1] (born December 12, 1972), is an American musician, singer and multi-instrumentalist, including guitar, bass, drums, banjo and vocals. In addition to his honky tonk recordings, Williams' style alternates between country, punk and metal. He is the principal member of the punk metal band Assjack, the drummer for the Southern hardcore punk band Arson Anthem, and was the bassist for Pantera singer Phil Anselmo's band Superjoint Ritual. Music career[edit] Early career[edit] Williams spent much of his early career playing drums in punk rock bands during the late 1980s and early to mid-1990s. Risin' Outlaw and contract issues (1999–2004)[edit] Williams' first solo album, Risin' Outlaw, was released in September 1999 to respectable sales and strong reviews. Williams has had significant contractual conflicts with Curb Records. Thrown out of the Bar and Straight to Hell (2004–06)[edit] Independent releases (2007–present)[edit]