By C. S. Fuqua
Within the past due Sixties and early Seventies, mythical artists like Aretha Franklin, the Rolling Stones, Willie Nelson and Bob Dylan traveled to North Alabama to list with the Muscle Shoals Rhythm part, often referred to as the Swampers. yet Alabama hasn't simply attracted musical stars with its talent--it additionally has a historical past of making stars of its personal. subscribe to writer and musician C.S. Fuqua as he showcases the breadth of Alabama's musical expertise during the profiles and tales of its ancient performers and innovators. From the "father of the blues," W.C. convenient, to Hank Williams, the originator of contemporary state song, to people track hero Odetta and everybody in among, this is often an remarkable compendium of Alabama's groundbreaking tune makers.
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Extra info for Alabama Musicians: Musical Heritage from the Heart of Dixie
The compositional timeline constantly shifts as it proceeds through networks of writing, recording, repurposing, editing, processing, and mixing. Music is made new through these expanded networks of process that have been transformed by the application of digital technology. The breakdown of traditional modes of communication, the exploitation of repurposing, and the deliberate confusing of the distinction between original and copy have also been witnessed in media other than music. Commentaries on the relationship of the copy to the original may take a more literal kind of interpretation in the visual arts.
The objective of both forms of variation, and both modes of implementation (the human and the programmed), is a greater emotional impact. In Performing Rites, Frith notes Charles Keil’s model of participatory discrepancies: “A PD is ‘a slight human inconsistency’ in the way that a musician executes rhythm, pitch and timbre,”20 and goes on to provide a good summary of various positions regarding PDs. 21 Epstein suggests that the mechanized in›uence of the metronomic click track robs the potential for a truly “musical” performance.
Although I do not feel the need to adjust the timing of any of the vocal lines, this is something that is also done in contemporary production. Vocal lines (or words) may be moved slightly to “improve” their rhythmical accuracy. They may even be moved by beats or bars to ‹t into the overall composition in a different way, creating a different vocal arrangement. Certain functions, such as vamps at the end of songs where there might be a long passage of vocal ad-libbing, are often the result of extensive editing.