Kramer

Timbaland - Bounce

This song can be seen as quite controversial, due to the degrading comments, throughout the whole song, when it comes to how men see women.
Throughout the song, but mostly evident in the ending of the song, it also sounds as if there is a remix of a girl laughing, something different and unique.
It can also be seen as ironic due to their being a female singer, Missy Elliot, also featuring on the song, and she herself is making degrading comments about her own sex.
The entire song is based on sexual references.

The music in the chorus, has a tune that sounds almost like it could be a piece of 'sci-fi' music. This could demonstrate a lack of cohesion as you would not expect to hear that in a hip hop song.

Stockhausen - Gesang der Junglinge

The vocals within this piece of music derive from "Songs of the Youths in the Fiery Furnace" from Daniel. This shows how Stockhausen is clearly making reference to music from other cultures and traditions.

He also challenges the barriers between 'high' and 'low' styles.

It is also quite a fragmented piece of music, due to the combination of different pieces of music and sounds.

Creates more of a meaning in listeners than a score, performance or composer would achieve.

Alvin Lucier - I Am Sitting In A Room

Technology is a key aspect in the production of the music, not just the broadcasting of it.

Includes fragmentations and discontinuities - a lack of cohesion.

Creates more of a meaning in listeners than a score, performance or composer would achieve.

Kramer's Theory: Postmodern Music

1. It doesn't reject modernism or its continuation, but has aspects of a break and an extension

2. Is somewhat ironic

3. There is no boundaries between the past and the present

4. Challenges barriers between 'high' and 'low' styles

5. Shows disdain for the often unquestioned value of structural unity

6. Questions the mutual exclusivity of elitist and populist values

7. It doesn't want to place things into a certain category

8. Music is relevant to all contexts

9. Makes reference to a wide diversity of music from different cultures and traditions

10. Technology is a key aspect in the production of music, not just the broadcasting of it

11. Embraces contradictions

12. Distrusts binary oppositions

13. Includes fragmentations and discontinuities - a lack of cohesion

14. Encompasses pluralism and eclecticism

15. It creates multiple meanings and temporalities

16. Creates more of a meaning in listeners than a score, performance or composer would achieve

My Mixtape

1. The Beach Boys - Wouldn't It Be Nice - 1966

I love this song so much, thanks Dad!

2. Mungo Jerry - In The Summertime - 1970

In memory of my Uncle Ian, whose nickname was Mungo. [The sideburns!]

3. Lynryd Skynryd - Sweet Home Alabama - 1974

Fantastic song, enough said.

4. Hanson - Mmmbop - 1997

Me, my brother and my sister used to want to be in a band after we discovered Hanson. I was going to be the drummer.

5. S Club 7 - Bring It All Back - 1999

Used to be my all time favourite band, [and my brother's, though he probably won't admit to it]

6. Britney Spears - Lucky - 2000

This woman, is amazing.

7. The Offspring - Want You Bad - 2000

Brilliant band!

8. Phantom Planet - California - 2002

Great song, and the theme song to my favourite TV show, 'The O.C'

9. Jagged Edge - Girls Gone Wild - 2003

The Florida song! My family always play this, every time we go to Florida as we're driving down the highway.

10. Blink 182 - Feeling This - 2003

Favourite band.

11. Michael Tolcher - Sooner Or Later - 2004

Favourite song.

12. Backstreet Boys - Just Want You To Know

Me, my mum and my sister's obsession. We even saw them live in 2008!

13. Weezer - Beverly Hills - 2005

Yes, it's cliche, but I am definitely moving to California when I'm older.

14. Paris Hilton - Nothing In This World - 2006

This used to be mine and Emma's favourite song...wow.

15. Metro Station - Shake It - 2007

Summer with Emma and Georgy.

16. Coldplay - Viva La Vida - 2008

This will always remind me of my dance shows, as we did a dance to this, probably my favourite dance yet.

17. Chris Daughtry - What About Now - 2008

What a voice. And Westlife's cover has nothing on this.

18. Iglu & Hartly - In This City - 2008

Amazing band, seen them live twice, met them, and the lead singer tweeted me! [And follows me on Twitter!]

19. Nice Peter - Shaycarl and the Shaytards - 2010

Purely for the fact that I watch a daily vlogger on Youtube called Shaycarl and this is a song someone did for them. Uncool? No such thing, just ask Brian Eno.

20. Mac Miller - Best Day Ever - 2011

Awesome song, and will always remind me of my brother as he introduced me to it!

This is my 'mixtape of my life', ordered by the date in which they were released.

Weezer Pastiche

This video is a clear example of a ‘pastiche’ by Weezer. A pastiche is a literary or other artistic genre that is a "hodge-podge" or an imitation. It is now seen as a part of Postmodernism.

Weezer Postmodern Presentation

Weezer

View more presentations from AbbiStilgoe.

1. What is the relationship between lyrics and visuals?

In my music video, the visuals are quite a large contrast to the lyrics of the song, ‘Sleepyhead’. The lyrics are quite confusing and do not really make sense, however this is something that can be applied to my video, as it can be quite confusing until the end when the audience realises it’s a dream. The only lyrics that are really relevant to my video are the lines of ‘Sleepyhead’ as it again, refers to the narrative within my video being a dream.
"You were one inch from the edge of this bed
I dragged you back a sleepyhead, sleepyhead."

These lyrics from the song make me think of a relationship and the intimate side to it. This is included within my video, as we show a relationship, or developing relationship between the two main characters, Steve and Chloe. However, we decided to focus our entire video on the aspects of a relationship and a dream, something which is not used throughout the song.
Although, due to the high pitched vocals in the song, it is sometimes quite hard to understand all of the lyrics that are being sung. This could also relate to the aspects of a dream as it is a sense of disorientation and confusion, until you wake up, and things are made clear.

2. What is the relationship between music and visuals?
The music relates quite well to the visuals within my music video. The music is very upbeat and ‘happy’, something reflected throughout my video, especially through the use of bright, vibrant colours regularly in my footage. In the music, there is a recurring sound of two claps, and I incorporated this is my visuals as, after feedback, I decided it would work really well and was something that the audience enjoyed and thought worked effectively.
Also, when the music, in some ways, changes, I slowed down the visuals in the ‘party’ scene, to emphasise the build up of the instrumental chorus part within the song. I also did this in terms of the footage speeding up, when the chorus had kicked in.

3. Are there close-ups of the artist and star image motifs?
There is several close ups of the main character, Steve, who is also the lead vocalist of the band. This is beneficial to the record company looking to sell the track as it gets the band recognised and more well known by the public. The image we offer is of an ‘ordinary’ person, someone who the audience would easily be able to relate to, yet with a quirky style to the band and their image, based on the different music video.

Dust Brothers Biography

The Dust Brothers were among the preeminent producers of the 1990s, helming records for everyone from Tone-Loc to Beck to Hanson while influencing countless others with their signature cut-and-paste marriage of hip-hop and rock. Not to be confused with the British production duo the Chemical Brothers, who began their career under the same name before receiving a cease-and-desist order, the Los Angeles-based Dust Brothers were Mike Simpson and John King, who met in 1983 while working at the Pomona College radio station. They originally teamed to DJ at parties, and by the end of the decade scored a production deal with the Delicious Vinyl label. In 1989, they scored chart success producing debuts from rappers Tone-Loc (the monster hit "Wild Thing") and Young MC, but their most distinctive early work was on the Beastie Boys' groundbreaking Paul's Boutique, widely acclaimed among the most innovative and influential albums of the period for its pioneering use of digital sampling. In the years to follow, the Dust Brothers emerged among the most sought-after remixers and producers in the industry, working on projects for everyone from White Zombie to Technotronic to Shonen Knife; they also founded their own label, Nickel Bag (later changed to Ideal), and in 1996 helmed Beck's extraordinary Odelay. Branching out even further, in 1997 they produced Hanson's chart-topping "MMMBop," as well as a handful of tracks from the Rolling Stones' Bridges to Babylon LP. Their first full-length solo record was the score for the 1999 film Fight Club.