The gala program was given without intermission, to taped music.
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Mr. Taylor began to use taped music for most seasons between 1991 and 2013.
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At the Pillow, the company dances to taped music, a drawback to which you grow accustomed.
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Her percussive footwork enhanced the taped music, her floor patterns and gestures dramatized its spirit with tender vivacity.
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JN: Can you describe the sound of the home-taped music you first made in the early '280s?
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Ms. Kent also welcomed back the Washington Ballet Orchestra, which, for financial reasons, has sometimes been replaced by taped music in recent years.
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Using taped music by Monteverdi, Bach, Mozart and Bach, it sets big, showy movements and emphatic dynamics where the music is subtle and often gentle.
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All three employ taped music: This works best for Mr. McIntyre's "The Accidental" (2014), the program's centerpiece, which is danced to appealing songs by Patrick Watson.
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A range of taped music was played (uncredited in the program), largely showing different kinds of descent from African music, but there were also extensive passages of silence.
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Ms. Mudgal, dancing to taped music, had already proved herself a beautiful exponent of nritta, marvelously coordinating lower-body steps, upper-body gesture, facial expression and changes of direction.
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Two items are rarities from the 1980s, to taped music: "The 'Tamil Film Songs in Stereo' Pas de Deux" (1983) and "O Rangasayee" (1984), both of which show Mr. Morris's early absorption in aspects of Indian music and culture.
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In August 2017, some of the Kalanidhi "Lalla Rookh" scenes (set to taped music) were brought to New York under the aegis of the Erasing Borders festival of Indian dance; I loved those, especially Ms. Nehru's use of tableaus that, swaying as if in the wind, evoked several layers of Orientalism.
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In 2010 to 2011, the Music Industry Studies Program taped "Music News", a news update on the music industry in Studio C. The news update was previously called "Loyola Music News" and also produced an update in Spanish under the same title.
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The swing band era was at a low, and major casinos were switching from live bands to taped music, which resulted in a musicians' strike. Interest in swing bands was waning. When traveling for territory bands waned, his orchestra played regularly in Las Vegas until his retirement.
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10, 1960, BMI Snags More ASCAP Writers, pg. 3 He graduated to become musical director and arranger for Columbia Pictures and Screen Gems. He also got into the business of supplying taped music programming for radio stations, as Billboard of May 23, 1970 reveals he had been appointed music director of popular products (as opposed to classical) for American Tape Duplicators. But he spent a decade co-writing music along with Bill Loose, which ended up in various libraries, including Capitol Hi-Q.
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As one researcher writes: "One of the most effective ways of establishing contact with deafblind children and so encouraging a communicative response is to share activities with a high levels of physical contact and pleasant sensations. These include [...] Tacpac, a package where taped music is linked to a range of tactile sensations." The number of research projects around Tacpac is growing. It has found support from the Royal National Institute of Blind People in the UK, and has growing followers amongst multi-sensory impairment networks.
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Ezra Sims (January 16, 1928 in Birmingham, Alabama — January 30, 2015 in Boston, Massachusetts) was one of the pioneers in the field of microtonal composition. He invented a system of notation which was adopted by many microtonal composers after him, including Joseph Maneri. His professional debut (12 note ET music) occurred on a Composers Forum program in New York, 1959. In 1960, compelled by his ear, he began writing microtonal music, and continued to do so for the rest of his life, with the occasional exception being taped music for dancers. His last composition in quarter tones (his sixth microtonal one) was his Third Quartet (1962).
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To these are added a fourth recurring theme that appears in the very first sequence, after Gelsomina meets Zampanò, and is often interrupted or silenced in his presence, occurring less and less frequently and at increasingly lower volumes as the film progresses. Claudia Gorbman has commented on the use of these themes, which she deems true leitmotifs, each of which is not simply an illustrative or redundant identifying tag, but "a true signifier that accumulates and communicates meaning not explicit in the images or dialogue". In practice, Fellini shot his films while playing taped music because, as he explained in a 1972 interview, "it puts you in a strange dimension in which your fantasy stimulates you". For La Strada, Fellini used a variation by Arcangelo Corelli that he planned to use on the sound track.
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The term "grateful dead" appears in folktales from a variety of cultures. Other supporting personnel who signed on early included Rock Scully, who heard of the band from Kesey and signed on as manager after meeting them at the Big Beat Acid Test; Stewart Brand, "with his side show of taped music and slides of Indian life, a multimedia presentation" at the Big Beat and then, expanded, at the Trips Festival; and Owsley Stanley, the "Acid King" whose LSD supplied the tests and who, in early 1966, became the band's financial backer, renting them a house on the fringes of Watts and buying them sound equipment. "We were living solely off of Owsley's good graces at that time. ... [His] trip was he wanted to design equipment for us, and we were going to have to be in sort of a lab situation for him to do it", said Garcia.
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