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Stick To Your Gun - Palm Springs International Short Fest 2016
No full textWorld Premiere.
Academy Award qualifying festival.
A seriously twisted variation on a Tom and Jerry cartoon, with a side of bondage. A wild blend of live action and animation
Graduate Employability and Communication Competence: Are Undergraduates Taught Relevant Skills?
No full textThis research establishes the role of communication education in employability by determining how employers of graduates view communication, identifying communication skills that employers view as relevant, and establishing whether these skills are included in communication courses. To achieve these aims, local businesses were surveyed, and the results were compared with communication course descriptors. The research shows, consistent with worldwide trends, that local employers value communication competencies highly when recruiting new graduates, and specific communication skills required in an industry reflect course content. However, some skills are still lacking, and the research questions where the responsibility lies in developing these skills
Raglan Art to Wear
No full textRaglan Art to Wear Biennial
Raglan Art to Wear runs every two years in May. The shows attract a large number of entries, mostly from Raglan but also from Hamilton and the greater Waikato, held at the Raglan Town Hall with live video screening at Raglan Old School.
I was a judge for the 4th time
Tales of Nikolai Gogol
Get PDFIt is an exciting new musical based on the life and works of the satirical and fantastic writings of Russian writer Nikolai Gogol presented in its entirety in concert form for the first time
The Illusion of Reality in Recorded Music
Get PDFIn recent scholarship on recorded music, authors have addressed, implicitly and explicitly, the twin notions of “reality” and “illusion”. The prevailing position amongst writers is that what matters is not whether a recording is “real”, so much as whether the illusion of reality is accurately conveyed, and how it is done so. This idea finds a clear representation in Moore’s work on authenticity (2002, 2012) and Zagorski-Thomas’ concept of “sonic cartoons” (2014).
Led by Braae, this panel begins with four case studies that address the notion of “reality” in recorded music with a particular focus on how artists’ studio and performance practices engage, and respond to this idea. The first section works from an historical perspective; Jason Long considers the technological and aesthetic shifts in the 1960s and early 1970s that enabled artists to disengage from the idea that a recorded text presented some version of reality. Long examines David Bowie’s Ziggy Stardust and the artist’s self-conscious creation of a character that belongs to selected texts.
Nick Braae continues this theme, in reference to the singing styles of Freddie Mercury. Braae argues that Mercury’s experimentation with different voice types on Queen’s 1970s records presented an alternative realisation of the idea that there was no “real” artist, simply different personae who inhabited the worlds of different songs.
The following two panellists, Jeremy Mayall and Kent Macpherson, address contemporary practices. Focusing on the role of timbral manipulation as a compositional tool, Mayall compares the practices of popular musicians with jazz and classical performers. He suggests that the musicians have contrasting attitudes towards evoking the impression of “reality” despite the fact that all of them work in the same production context.
Macpherson presents a contrary case study. He discusses Icelandic composer Olafur Arnalds’ “The Chopin Project”, which involved using old instruments and intimate spaces to intimate the presence of a “real” space in the recorded texts. Macpherson looks at specific production techniques, instruments and microphones and their role in achieving spatial and temporal fidelity, thus raising the question of whether it is actually possible to capture a “real” performance.
The attached slides present the introduction and Braae's contribution to the panel
Penny Black - Original Soundtrack
No full textOriginal Music composed for the independent feature film - Penny Black
www.pennyblackmovie.com
Penny Black Movie score was composed by the Scorelocks Collective, supervised by composer Jeremy Mayall. The band consisted of four musicians who have performed with NZSO, a punk rock drummer (who teaches music) and one of NZ’s favourite children’s entertainers. The process let the musicians watch one scene at a time, then improvise music for the scene without knowing what’s coming in the following scene.
"This music is the result of creativity, communication and camaraderie. Sitting in a room with some extremely talented musicians, accompanied by vague musical concepts and rough cut of the film, we collaboratively composed over two hours of music in two days - which meant the film could be fine-cut with the final music. It was a unique and rewarding experience." - Jeremy Mayall, Music Supervisor/Compose
Penny Black - The Vic Theatre
No full textSelf-centered twenty-something Penny Black (Astra McLaren) travels down the North Island of New Zealand in an attempt to save her job and opulent lifestyle. Along the way she meets a guy name Guy (Anton Tennet); who makes her slow her down and question how the world works
Penny Black - Nga Taonga Sound and Vision
No full textSelf-centered twenty-something Penny Black (Astra McLaren) travels down the North Island of New Zealand in an attempt to save her job and opulent lifestyle. Along the way she meets a guy name Guy (Anton Tennet); who makes her slow her down and question how the world works
Penny Black - Picton Cinema
No full textSelf-centered twenty-something Penny Black (Astra McLaren) travels down the North Island of New Zealand in an attempt to save her job and opulent lifestyle. Along the way she meets a guy name Guy (Anton Tennet); who makes her slow her down and question how the world works