PROG Vol. 1 & 2
St. David's Hall Galleries, Cardiff, Warning Contemporary Art, Belfast
MetadataDangos cofnod eitem llawn
An Exhibition of paintings made between 2008-2011 that in their execution rely on a sonic atmosphere in the studio. The result is a fusion not unlike what one might experience upon synthesising the improvisatory electronics of some of Progressive Rock music or teh German counterpart: Krautrock’s 'cosmische musik'; what Erik Davis defines as "not just an object but a quality of conciousness". Progressive rock (also referred to as prog rock or prog) is a subgenre of rock music4 that developed in the late 1960s and early 1970s as part of a "mostly British attempt to elevate rock music to new levels of artistic credibility." 5John Covach, in Contemporary Music Review, says that many thought it would not just "succeed the pop of the 1960s as much as take its rightful place beside the modern classical music of Stravinsky and Bartók." 6 Progressive rock bands pushed "rock's technical and compositional boundaries" by going beyond the standard rock or popular verse-chorus-based song structures. The Oxford Companion to Music states that progressive rock bands "...explored extended musical structures which involved intricate instrumental patterns and textures and often esoteric subject matter."7 Additionally, the arrangements often incorporated elements drawn from classical, jazz, and world music. Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy. Progressive rock bands sometimes used "concept albums that made unified statements, usually telling an epic story or tackling a grand overarching theme."8 Progressive rock developed from late 1960s psychedelic rock, as part of a wide-ranging tendency in rock music of this era to draw inspiration from ever more diverse influences. The term was initially applied to the music of bands such as Pink Floyd, King Crimson, Yes, Genesis, Jethro Tull and Emerson, Lake & Palmer, reaching its peak of popularity in the mid 1970s.
13 January - 10 February 2012, St David's Hall Galleries, Cardiff / 25 May – 15 June 2012, Crescent Arts Centre, Belfast
Cardiff City Council
Yn dangos eitemau sy’n perthyn drwy deitl, awdur, pwnc a chrynodeb.
An evaluative study of the impact of the introduction of informal learning on motivation, participation and attainment in music in year eight Vaughan, Samantha (2013)Informal learning is a relatively new concept in music education. lt involves peer group and peer led learning, rather than teacher led learning, allowing pupils to discover music for themselves. Pupils learn in a very ...
The introduction of 'Musical Futures' in Wales: what is the impact of learner co-construction on the musical learning of year 9 pupils in a South Wales school?. John, Vivienne (University of Wales Institute, Cardiff., 2011)The following case study analyses the nature and impact of learner co-construction within an informal learning environment in music and specifically evaluates the effectiveness of Musical Futures, a music education ...
Analysing the media discourses surrounding DJs as authentic performers and artists within electronic dance music culture magazines Jaimangal-Jones, Dewi (Taylor & Francis Group, 2017-06-26)This paper critically analyses how the media construct, consolidate and perpetuate discourses surrounding DJs as artists. It explores representations of their status and roles in a selection of dance music magazines (Mixmag ...