Frank Zappa Research Papers - Academia.edu (original) (raw)

2025

Il saggio offre una lettura del romanzo The Road to Los Angeles di John Fante alla luce delle dinamiche inter-etniche della Los Angeles degli anni 1930, evidenziando come il protagonista italoamericano avesse assimilato le gerarchie razziali imposte dalla cultura dominante e cercasse di elevarsi intellettualmente attraverso la scrittura letteraria. Le sue velleità intellettuali vengono tuttavia smentite dalla sua realtà quotidiana di soggetto etnico, povero e appartenente alla classe lavoratrice, i cui interlocutori non sono scrittori bianchi borghesi ma operai filippini e messicani. Si prova quindi a dimostrare come questo cortocircuito sia alla base anche della schizofrenia formale del romanzo.

2025, Stefania Mileo

Che cos'è il '68? Ebbene, in riferimento al fatto che "tutto è fonte", è possibile utilizzare una serie di fonti variegate che permettono di rispondere a questa domanda attraverso una ricostruzione storica in modo scientifico. Tra le fonti immateriali utilizzate, particolare in quanto digitale e non scritta, è il DVD "La grande contestazione" di Marco Revelli, che si apre con le parole di un anonimo blogger che ha vissuto il '68: "Fine della mia adolescenza. Secondo scientifico, liceo Righi di Roma, Maggio 1968. Gli studenti francesi danno inizio a quello che verrà ricordato come il più grande tentativo di modificare gli schemi immobili e immutati di una società per certi versi obsoleta. Avevo in camera i muri tappezzati con i fogli di giornale che ritraevano i carri armati russi a Praga. Ricordo poi le manifestazioni...

2025

This essay was submitted for the bachelor's degree course titled Aesthetics and Theories of Artistic Experience, taught by Prof. S. Marino at the University of Bologna, academic year 2023/2024.
With the present essay, my aim lies in reconciling seemingly distant artistic expressions, seeking, through an aesthetic and philosophical analysis, to investigate the points of contact and the changes that art has undergone from the archaic Greek period to the modern era of reproducibility. I propose a critical examination of the relationship between art and the individual, as well as art and society, with the intention of constructing a critical framework through the theories of Plato, T.W. Adorno, W. Benjamin, A. Noë, and Frank Zappa.

2024

The Ionian and Aeolian modes are two diatonic modes. Maybe not only two of the seven diatonic modes can be harmonic and double harmonic. This idea yields ten scales, which can be thought of as being in the same family as the harmonic and... more

The Ionian and Aeolian modes are two diatonic modes. Maybe not only two of the seven diatonic modes can be harmonic and double harmonic.
This idea yields ten scales, which can be thought of as being in the same family as the harmonic and double harmonic major and minor scales.
The same ten scales can be obtained by other methods.

2024, Vijenac

Esej Kako pokrenuti vrijeme daje pregled upotrebe glazbe u slavnom filmu Bilo jednom u Americi Sergia Leonea. Slijedi se četiri lajtmotiva Ennia Morriconea: glavnu temu filma, Deborahinu temu, temu siromaštva i temu Cockeyea. Istražuje se kako bliska suradnja redatelja i skladatelja objašnjava pomake u vremenu između 1921., 1933. i 1968. Lajtmotivi sudjeluju u karakterizaciji likova: dječaka/mladića koji kroz dugi vremenski period postaju moćni mafijaši, pokazujući njihovu društvenu i političku transformaciju. Tu je i nekoliko poznatih glazbenih brojeva iz područja zabavne i klasične glazbe koji prikazuju glazbeni ukus vremena, a služe i kao glazbeni komentar narativnih događaja. Članak je objavljen u časopisu Vijenac, 30. rujna 2004. godine (br. 276, str. 28-29).

2024, Not the American Comparative Literature Association State of the Discipline

Preface: How Did Comparative Literature Fall From Its Apex in the 1980s? (a political cartoon) reads like a parody of a "serious" contribution and collapses under its tired witticisms, not to mention its numerous typos. It is certainly political, and cartoonish, but unfit for a State of the Discipline Report. This submission is a very broad, unfocused, and fragmentary overview of the struggles of contemporary theory/Theory and Comparative Literature. The author tends to revisit some of the old points in the decades-long debate about the discipline, which do not add much value to this paper (excuse the tautology). The facetious and often conversational tone adopted by the author does not improve it either. Whatever the strengths and shortcomings of this piece may be (which for some reason are never mentioned), the State of the Discipline Report is not the right venue for it.

2024, Dada and Music: Tackling Musical Conventions

Although few Dadaists in Zurich, Berlin, Cologne or Paris concerned themselves with music as a means of Dadaist expression, their rebellious and anti-conventional spirit, and in some cases their experimental music, had a great impact on later musicians and composers. John Cage was strongly influenced by Marcel Duchamp, who used chance as a creative method, also for some musical compositions. The ‘Neo-Dada’ movement Fluxus was in turn influenced by Cage as well as by Dada. Pierre Schaeffer created musical collages, ‘musique concrète’ or ‘concrete music’, methods similarly used by Frank Zappa. Other Dada-inspired rock acts include The Residents, Einstürzende Neubauten, Cabaret Voltaire and Throbbing Gristle.

2024

This paper describes a method to convert Voynich MS text to music. This is done just for entertainment purposes-it is not meant to suggest that this is what the text in the MS represents. There are countless ways in which one can convert the Voynich MS text to music. In order to obtain a result that is at least somewhat pleasing, many properties of the Voynich MS text are taken into account into the selected conversion method. After a brief introduction, the various rules for this conversion are explained. This is based primarily on a new word model for the Voynich MS text by the author, which is being published in parallel. Next, the paper presents a detailed mapping of Voynich MS characters to musical notes, and all additional rules that help to create music rather than a succession of notes. Finally, a link to several pieces of example music is provided. As this activity was undertaken for the purpose of the first annual international Voynich MS day (4 August 2024), this link will only be active from that date onward. This paper is best fitted to those who already have some knowledge of Voynich MS text analysis and of music theory. It will be of no interest for readers who have neither.

2024, HAL (Le Centre pour la Communication Scientifique Directe)

Les « nouvelles technologies musicales » ont près de 100 ans, voire plus si on songe à Cros et Edison 1. Voici plus d'un siècle que la musique et l'acoustique tentent le ballet de la séduction réciproque. Le temps de la simple description technologique militante est en voie d'être achevé pour laisser place aux bilans critiques. Dans cet esprit, il importe de sonder les conditions profondes d'adoption des nouvelles technologies par la communauté musicale : ce sont des facteurs esthétiques et artistiques bien plus significatifs que les seules mutations technologiques. Les conditions d'apparition de l'électricité musicale et ses utopies fondatrices ont coloré de façon irrémédiable non seulement les débuts mais bien l'ensemble des développements ramifiés des nouvelles technologies jusqu'à nos jours. Il faut donc décrypter ces différents facteurs. Cet article développe plus particulièrement deux de ces causes 2 , avant de conclure par une illustration assez singulière. A Conditions d'existence L'exemple 1 présente un ensemble de conditions préalables à l'apparition des technologies musicales électriques : 1 Voir le tableau résumé des principales inventions musicales de 1898 à nos jours dans LALIBERTE, Martin, « Problématique générale des outils dans l'histoire de l'électroacoustique » in Du sonore au musical, cinquente années de recherches concrètes (1948-1998), Paris, L'Harmattan, 2001, pp 35-37. 2 Ibid. Voir particulièrement les tableaux 2-4, pp. 39-42.

2024

Recent research suggests that older people who lack adequate social support can experience inordinate shame. The present writing examined the life and work of legendary musician, poet, and painter Don Van Vliet (1941-2010), better known as Captain Beefheart. In the late 1970's, after having already released a series of critically-acclaimed but low-selling albums, Van Vliet was diagnosed with multiple sclerosis. Recent shame research was paired with psychoanalytic insights to shed light on Van Vliet's successful transition to life as a respected painter. A qualitative research schema, featuring a hermeneutical-interpretative paradigm and a psychobiographical approach, was employed. The chapter concluded that the subject's infusing into his art his lifelong feeling of shame over American society's unconcern with environmentalism, animal rights, and women's rights allowed him to overcome a history of personal and professional adversity.

2024

Le milieu freak, apparenté au mouvement hippy, reste passablement distinct (plus festif, moins politique ? et légèrement plus tardif) ; c'est un milieu anticonformiste et expérimentateur caractéristique de la région de LA, alors que le... more

2024, Expressions Maghrebines

Le « Malaise du figuier » ou de la rencontre d'un poète et d'un philosophe par REDA BENSMAÏA

2024, Proceedings: KISMIF Conference 2021 - DIY Cultures and Global Challenges

2024

If ever a musician employed the most hidden secrets of harmony with the most skilled artistry, it was certainly Bach. J F Agricola, 1754 Foreword I received some formal elementary education in what is traditionally known as music theory but not in any theory of harmony other than the descriptive naming of chords. When I first came across augmented sixth chords I was puzzled as to how to describe them. I soon discovered that I was not the only one puzzled. It appeared that for some time they had been an enigma. In the literature I found seemingly contradictory statements such as: they are Subdominant, they are Dominant, they are predominant , they are leading-note chords, even they are not chords at all. I did not find a rational explanation and I began to realise that I had no rational explanation for harmony in music. This was the stimulus for a self-led exploration into harmony. Cost has restricted my exploration. My lack of education and experience in this area and my limited access to publications will have imposed limitations as to what I could achieve. But this was my exploration and I have discovered wonderful things about music that have led me to develop a personal and, to me, useful operational model for harmony. I reasoned that harmony and our tonal music system could only arise from two things: the harmonic series and us. The question is how do they arise from these? This essay gives my view on harmony, its source, and the structure of tonal music. Much of it may have been said and understood before but not by me. It is an investigation that has provided me with an explanation at an operational level of harmony, harmonic function, and the cyclic structure of tonal music. My approach stems from the notion that biology uses simple, efficient and effective processes that may be beyond our full comprehension but are within the power and scope of our imagination.

2024

This article examines the development trends of the modern Uzbek novel. On the example of the novels “Fields left by my father”, “You cannot die in this world” by T. Murad, “The Beast” by Sh.Kholmirzaev, “Lives Passed in a Dream” by U. Khashimov, “Fotima and Zukhra” by U. Umarbekov, “On all four sides ”,“ Square ”by O. Mukhtar,“ Bazar ”,“ Sage Sisyphus ”by H. Dustmukhammad and others, genre-style contamination in the genre of the Uzbek novel was studied.

2024, Circuit: Musiques contemporaines

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.

2024, Circuit: Musiques contemporaines

Ce texte tente d’analyser les raisons pour lesquelles, dix ans après la mort de Zappa, il semble encore aujourd’hui problématique de cerner de façon claire l’apport du compositeur au paysage musical de la seconde moitié du XXe siècle. En plus d’expliquer la profonde originalité de la démarche de Zappa sur les plans stylistique et compositionnel, le texte souligne la difficulté qu’éprouve la musicologie à considérer sérieusement une oeuvre qui refuse de se prendre trop au sérieux, tout en mettant en évidence la caractère éminemment postmoderne de la musique de Zappa.

2023, The American Historical Review

2023, HAL (Le Centre pour la Communication Scientifique Directe)

2023, Carnets

Dédié à Hermínia Amado Laurel, à Isabel Pereira Leite, à la beauté de la vie et à son impossibilité possible 1. D'où vient la musique ? 1 Au début, c'était le Son. Pas certainement le Mot. Pas encore la Parole. Mais déjà la partie audible des signes. Quelque chose qui bouge, même si la chose est invisible. Le Son est avant le Verbe, il est avant la création du discours. Si le Cosmos naît du verbe de Dieu et le Mot de la Parole de la mère, l'enfant écoute d'abord la totalité du Son, en effet, premier sens du monde. Le langage naît de cette confiance faite au son, entendu mais pas encore compris. En grec, phoné (Φωνή) signifie « son », mais aussi « voix », la voix des êtres humains, des animaux et des instruments de musique, mais aussi « expression », « langage », et « langue » (Pereira, 1969 : 622). Au début, nous sommes tous des étrangers, des barbares qui envahissent le monde. Et nous faisons confiance à la douceur des sons écoutés. Et nous nous méfions des sons qui nous semblent menaçants. Et la saveur douce ou aigre nous dit ce que nous avons besoin de savoir. Le son qui se répète devient après un rythme, une cadence. Les cycles individuels e

2023, Carnets

2023, Rhetorica Scandinavica

S kriftet der er oversat nedenfor om det ophøjede, das Erhabene, i musikken, stammer fra vaerket Encyclopädie der gesammten musikalischen Wissenschaften, oder Universal-Lexicon der Tonkunst, der udkom i seks bind og et supplementsbind i Stuttgart i 1835-1838. Uddraget nedenfor er fra vaerkets bind 2. Det var redigeret og til dels skrevet af Gustav Schilling (1805-1880), der var musiker, musikskribent og musikpaedagog. Han udgav en lang raekke vaerker ud over dette, de allerfleste om musik-både om musikteori, om bestemte komponister, og klaverspil (han havde selv optrådt som pianist fra 10-årsalderen). Hans vigtigste vaerk var en stort anlagt musikaestetik, Versuch einer Philosophie des Schönen in der Musik, oder Aesthetik der Tonkunst. Zugleich ein Supplement zu allen grösseren musikalischen Theorieen, und ein Hand-und Lesebuch für die Gebildeten aus allen Ständen zur Förderung eines guten Geschmacks in musikalischen Dingen, udgivet i Mainz 1838. Ud over dette skrev han også vaerker om teologi, om moral, om egnen omkring Göttingen og om huset Hozenzollern. En umådelig alsidig og produktiv mand-men hans produktivitet saettes i et vist perspektiv af at meget i hans hovedvaerk om musikaestetik er lånt fra et tidligere vaerk af Carl Seidel, Charinomos: Beiträge zur allgemeinen Theorie und Geschichte der schönen Künste. Desuden veg han ikke tilbage for at genbruge store passager fra sig selv. Det gaelder netop bl.a. teksten om det ophøjede, der et par år efter sin første publikation i encyklopaedien i 1835 optrådte ordret på ny, nu suppleret med mere tekst, i den store musikaestetik. Når man tilføjer at Schilling trods sin arbejdsomhed havde problemer med kreditorer og udvandrede til USA i 1857, hvor han skrev vaerker under navnet G. Penny (penny = Schilling), kan man måske få den idé at han ikke skal tages saerlig alvorligt som taenker. Alligevel er en tekst som leksikonopslaget om det ophøjede, og meget af hans Christian Kock er professor i retorik ved Institut for medier, erkendelse og formidling, Københavns Universitet.

2023

Parece-me que a mais importante das nossas reflexões relativas à classificação é classificar os fatos e eventos de tal forma que as categorias de que fazemos uso em sua classificação tenham influência real sobre nosso interesse teórico.

2023, Qualitative Inquiry

This article describes and critically examines the process of creating and performing alternative identities associated with a mythic band called “The Ethnogs.” Specifically, the authors tell individual narratives regarding their performances as rock stars, groupies, roadies, and security, and reveal the value of and the personal and institutional risks associated with these performances. The authors conclude by describing a line of scholarship represented by their project that they call “automythography,” the excavation of cultural myths through the critical reading of narrative accounts about a particular period or set of events.

2023, International Journal of Advanced Engineering Research and Science

In this article we formally introduce an original method, the purpose of which fundamentally lies in providing musicians with a reliable instrument that may effectively assist them in carrying out, as simply and intuitively as possible, the analysis of whatever chord progression, without resorting to the so-called "modal interchange". Net of a single exception (a routine named "structure reduction"), the whole method is based on a series of harmonic transformations. The above-mentioned transformations, named CAT (the acronym stands for Cataldo Advanced Transformations), turn out to be nothing but inverse chord substitutions characterized by specific conditions and restrictions. The method arises from the analysis of a considerable number of chord progressions, devoting particular (although not exclusive) attention to traditional jazz compositions: in this regard, it is worth highlighting how a significant improvement of CAT has been achieved by conducting an extremely thorough analysis of the so-called LEGO Bricks (public domain harmonic patterns).

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2023, Performance Philosophy

2023, The Nordic Journal of Aesthetics

2023, Kronos: journal of Cape history

The following essay is part of a body of work titled Signal to Noise: sound and fury in (post)apartheid South Africa. These are a collection of creative non-fiction essays set against the backdrop of my involvement with a small, independent mobile recording studio based in Johannesburg between 1983 and 1997. The metaphor of a drowning signal, pushing through and making itself heard above the noise, resonates throughout the collection. The complexities of the political versus artistic nature of what we were involved with provide a setting for an anecdotal approach to what is part history, part biography, part memoir and part theoretical sonic exploration. The following essay falls into this approach and is constructed from memories enhanced by diaries, scrap-books, shards of notes, lyrics, photos and conversations. These have been employed in reconstructing a narrative arc that covers the recording of the first album made by the band Sankomota, who were banned from entry into South Africa and were based in Maseru, mostly playing to audiences at one of the leading hotels. Sankomota, then called Uhuru, experienced extraordinary, almost metaphysical, peaks and troughs throughout their nearly thirty-year existence hence the hauntological device in the title. The record was also the first made in our fledgling mobile studio using newly affordable equipment that kickstarted many such do-it-yourself projects worldwide. This was the first in a steady stream of technologies that would eventually break the hegemony of mainstream record companies. In apartheid South Africa, this was hugely significant, as being able to sideline the censorship of state-owned media enterprises meant immense freedom in the kind of projects one came to consider. Savage incidents of force and brutality were still common then, and our small venture has to be seen in the context of broader unrest and suffering. Frank Leepa was an uncompromising survivor. His words and melodies still move and inspire a younger generation.

2023, Qualitative Inquiry

2023, Contemporary Theatre Review

2023, Sex und populäre Musik

2023, Journal of Popular Music Studies

Good Old Rock and Roll 167 on rock and roll records, before contributing to the development of rock music. For them, the rock and roll revival entailed a return to their earliest musical experiences as both listeners and players. Lennon, in particular, conveyed a strong sense that by playing rock and roll songs, he was digging down to the bedrock of his own artistic identity. On the recording of The Plastic Ono Band's set at Toronto, Lennon introduces the group by saying ''We're just gonna do numbers that we know, you know, 'cause we've never played together before.'' The implication is that rock and roll songs like ''Blue Suede Shoes,'' ''Money,'' and ''Dizzy Miss Lizzie'' are so basic to the vocabulary of rock that any randomly assembled group of rock musicians should be able to play them without rehearsal. On his album Rock 'n' Roll, a collection of cover versions of well-known songs from the 1950s, recorded in 1973-1974 and released in 1975, Lennon reiterates this point in explicitly autobiographical terms by associating the songs with his own youth and formation as a musician. Among the many credits listed on the album's back cover is the statement: ''Relived by: JL.'' The front cover reproduces a photograph of Lennon in Hamburg, Germany, taken when he was 22 years old. Lennon is seen leaning against the side of an arched entryway, looking at passers-by through hooded eyes. He is dressed in the uniform associated with the British working-class subculture of rockers: black leather jacket, black jeans, and leather boots. This photograph evokes the historical moment in the very early 1960s when many British groups, including The Beatles, found work as cover bands, churning out versions of rock and roll songs in the disreputable clubs on Hamburg's Reeperbahn. Wiener, one of Lennon's biographers, describes the significance of the song selection on Rock 'n' Roll in detail: The songs John decided to cover on Rock 'n' Roll were not just any old oldies. They represented his own personal musical history. John sang Buddy Holly's ''Peggy Sue'' on Rock 'n' Roll. The name ''Beatles'' had been inspired by Buddy Holly's Crickets and ''That'll Be the Day'' was the first song John learned to play on the guitar in 1957. He had sung many other Buddy Holly songs: ''It's So Easy'' as Johnny and the Moondogs in his first TV appearance in 1959, and ''Words of Love,'' which the Beatles recorded in 1964 (268-9).

2023, Qualitative Inquiry

2023

In this paper, the structure of the KeyKit-generated song, ”Tides in Five Score” is presented. ”Tides in Five Score” is composed of a mixture of algorithms and predetermined notes. Its base structure imitates many popular new age songs.

2023, Sex und populäre Musik

2023, Contemporary Theatre Review

2023

The German edition of The Golden Burrow. Translated from the English into German by Eike Schönfeld. Hamburg: Hoffmann und Campe, 2023. Katja Eßbach, NDR Kultur: “Cătălin Partenie erzählt mit leichtem, anarchischem Humor eine wunderbar... more

2023, Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura

The music media have constructed the identity of groupies as sexual and passive objects, submissive, inauthentic consumers of music. The stereotype, although still present in popular culture, is criticized by both the interested parties and rock artists. This article is an attempt to discuss the role that groupies played in the creation of the myth and character of the rock god, while taking into account the preconceived assumptions held by the popular media. Narratives of groupies’ participation in the emerging rock and metal scene have also been included as the ones which created a male rock musician identity: wild, aggressive and powerful. The basis for the discussion of groupies and their role in building identity in the context of rock music is the result of a deep, rhetorical analysis of groupies’ biographies, press materials, films, scientific literature and own research.

2023

A análise das letras de músicas guardam um grande potencial de desvelar
a linguagem artística. Para demonstrar esta potência, estudamos a estilística gótica em letras de banda de rock cômico de metal, dando destaque para aquelas que realizam uma descrição de um local de plenitude, que caracterizamos, grosso modo, como um local almejado em que a felicidade se concretiza. As letras selecionadas foram as das
bandas Steel Panther (2000), Massacration (2002), Nanowar of Steel (2003) e Green Jelly (1981), que fazem parte desse circuito paródico e que são as mais conhecidas pelo grande público. A seleção das letras
baseou-se em uma apreciação do catálogo das bandas e da seleção de composições relacionadas a temáticas que descrevem lugares de transcendência, com os quais o eu-lírico funde-se por sentir-se completo em sua missão enquanto artista. Para construir o instrumento de análise, utilizamos um indicador que cruza os conceitos de gótico (ROSSI, 2008), de metal (MARTINS, 2011) e de plenitude (TAYLOR, 2015): assim, foram
selecionados nos textos momentos em que esse lugar é construído e descrito. Os dados indicam que esse mundo pleno é construído a partir da violência e da estética do rock, e remetem a uma ritualística
propriamente cristã de negar o mundo cultural.

2023

La thèse traite des musiques qui, tout en étant enracinées dans la tradition du rock, dépassent les frontières — stylistiques mais aussi sociologiques et économiques — propres au rock : pour cette raison elles sont souvent regroupées dans le « genre » du rock expérimental. Mes recherches portent sur un choix d'artistes qui sont universellement considérés comme faisant du rock expérimental, à savoir Frank Zappa, le collectif Rock In Opposition, ainsi que le groupe italien Yugen, toujours en activité et en quelque sorte héritier de Rock In Opposition. L'analyse des démarches artistiques de ces artistes, ainsi que celle du cadre socio-économique où ils opèrent, met en cause l'idée que le rock expérimental puisse exister en tant que véritable genre de musique. Ce travail de recherche suit une approche pluridisciplinaire. Dans un premier temps, il est question de définir les traits constitutifs du rock, au niveau musical, sociologique et économique, et de comprendre dans quel...

2023, Rock Music Studies

The aim of this article is to frame the Beatles' White Album by linking it to other significant albums released in 1968 (by Pink Floyd, Frank Zappa, and the Soft Machine). These works contribute to two main trends for the development of rock music in subsequent decades: on the one hand, the desire to establish itself as an artistic expression in its own right, thanks to the inclusion of stylistic elements and creative approaches unrelated to its own tradition; on the other hand, reference to the roots of rock itself.

2022, DBA

The Portuguese edition of The Golden Burrow. Translated from the English by Tanize Mocellin Ferreira

2022, Music Educators Journal

LABEL hat is it that could prompt South Carolina Senator Ernest Hollings to say "maybe I could make a good rock star" and musician Frank Zappa to declare that the Senate will eventually attempt to make us all wear the same clothes? The recent proposal to post warning labels on some rock records, of course. At a time when it looked like rock and roll was finally cleaning up its image with events like Live Aid, Farm Aid, and U.SA. for Africa, a group calling itself the Parents Music Resource Center (PMRC) captured the media spotlight with a proposal to have warning labels placed on albums containing sexually explicit or violent lyrics. Publicity has been extensive and spectacular, because the issue attracted some of the biggest names in pop music to testify before Congress, often emotionally. This exposure Robert Cutietta is a music educator, assistant professor of music eduation at Kent State University. Kent. Ohio, and father of three children

2022, The Nordic Journal of Aesthetics

2022

This recital is in fulfillment of the degree B.M. Percussion Performance. Ethan Cowburn is from the studio of Mike Truesdell.

2022, Moebius Ecritures Litterature

2022

Predmet ovoga rada je pojam konceptualnog kontinuiteta Franka Zappe te njegove uloge i prisutnosti unutar njegova stvaralaštva, koji se u radu razmatra kroz tri filma te njihove popratne albume – "200 Motels", "Baby Snakes" i "Uncle Meat" – uz reference na ostatak njegova stvaralaštva gdje je to opravdano i potrebno. Rad započinje pokušajem determiniranja pojma konceptualnog kontinuiteta i čitanja njegove uloge unutar Zappina cjelokupnog stvaralaštva te na koji se način manifestira. Središnji dio rada fokusiran je na na prisutnost konceptualnog kontinuiteta unutar Zappina filmskog stvaralaštva i specifičnosti vezane za filmski medij, propitivanje njegove uloge unutar Zappine glazbe. Zaključni dio rada propituje prisutnost te povezanost tema i motiva vezanih za seksualnost, popularnu kulturu i glazbenu industriju unutar okvira konceptualnog kontinuiteta.The central subject of this thesis is Frank Zappa’s term of conceptual continuity and its role and pre...

2022

The Spanish edition of The Golden Burrow. Translated from the English by Laura Fernández. Sagrario Fernández-Prieto (La Razón): “Lo major: Es conmovedora, divertida, y habla del poder liberador de la música incluso bajo una tiranía. Lo... more