Third exam, second essay, and final marks.

Student#....Essay 2......Exam 3....Mark......Grade



41076884......27..........5.5.......67.........5
40763338......45...........7........90.........7
41197163......40...........7........80.........6
41178975..... DNS..........3........27.........1
40986511......11..........5.5.......50.........4
41180969......45...........4........86.........7
40774071......35..........3.5.......73.........5
41001916......32..........6.5.......76.........6
41239205......24..........3.........54.........4
40556428......37..........5.........76.........6
41187025......15..........0.........32.........2
40554330......45..........5.5.......87.........7
40277732......32..........3.........65.........5
41000414......43..........7.........87.........7
41187119......38..........4.........73.........5
40254274......37..........4.........71.........5
41212981......35..........3.5.......71.........5
40793586......42..........6.5.......81.........6
40975515......35..........6.........75.........6
40902203......37..........5.........70.........5
40793894......38..........6.5.......78.........6
41215496.......0..........0.........26.........1
40999294......33..........5.........74.........5
40547480......38..........4.........77.........6
41207594......DNS.........0.........25.........1
40754550......42..........6.........81.........6
41181902......35..........5.........72.........5
41002856......40..........4.5.......78.........6
40536466......37..........4.........72.........5
41216578......45..........6.5.......92.........7
40503002......33..........5.........67.........5
41203626......42..........6.........83.........6
41209945......16..........4.........46.........3
41008474......45..........7.........92.........7
40518958
41195301......38..........4.........71.........5
40536466......DNS.........0.........23.........1
41201547......40..........3.........74.........5
41210017......35..........6.........72.........5
4116907.......38..........4.5.......78.........6
40109048......42..........5.........82.........6
40780643......DNS.........0.........20.........1
40961620......33..........0.........51.........4
40778127......40..........0.........74.........5
40996323......33..........0.........57.........4
41139695......15..........6.5.......56.........4
40982997......35..........5.........73.........5
41193213......40..........2.5.......70.........5
41267141......32..........5.5.......72.........5
40764643......43..........5.........85.........7
41003983
41198786......40..........5.5.......82.........6
40254416......37..........2.........62.........4
41292620......DNS.........0.........29.........1
41219261......DNS.........0..........9.........1
40778350......38..........3.........76.........6


Any discrepencies may just be a case of blog formatting error (it was hard to get this to look right), so if you think there is a problem, before you have a heart attack email me at c.messenger@uq.edu.au

Missing essays Pt.2

Marks are due in a few days, and I have not received essays from the following:

Brooks, Murray
Hoelscher, Daniel
Nathan, Matthew
Phillips, Patrick
Winslett, Richard
Zahnow, Anastasia


I hate failing people, so if you're on this list (and you haven't dropped the course), I suggest you email me something resembling an essay. That way there is a slight chance you may still be able to scrape a pass.

Essay pick up

If you ask very nicely at the School of Music office, they will return your marked essay for MUSC2700. Be polite, because essay handling is not part of their job; I asked them to as a special favour.

If you handed your essay in late (i.e. after 11am on Monday the 6th), don't ask for it, because I haven't marked it yet. I'll get the late essays to the office by the 28th. Apart from Shan and Scott, if you emailed me your essay it is also there to be picked up.

If enough people want (i.e. leave comments), I will post all your assessment marks here under your student numbers.

Death metal, doom metal...soccer metal.

In Lincoln, England, Greenbank Football Club Under-10s have signed a sponsorship deal with Motörhead. The team now wear an all-black jersey featuring the Motörhead skull logo, and run out on to the pitch accompanied by 'Ace of Spades'.

Missing 1st essays

I don't recall receiving 1st essays from the following students:

Matthew Johnston
Richard Meredith
Toby Patterson
Scott-John Pointing
Evan Setiawan
Anastasia Zahnow


If this is you, or if you know whether or not the student has dropped the course, please contact me at c.messenger@uq.edu.au

Final lecture notes, week 13

‘Indie’ and ‘Australia’

Last week: Indie as industry/style:

‘After money, credibility is the most precious commodity in circulation. As far as the majors are concerned, once you buy that the rest is easy.’ (Wark 1993: 108)
Geoffrey Hull: independents are ‘development area’ for major labels.
Hibbert: ‘new aesthetic’ + satisfies desire for social differentiation (cultural capital)
DIY: demystifying record-making process, but production usually does not meet radio/TV standards
Indie must perpetually seek out new sounds, ‘artistic elsewhere’: Athens, Georgia/Minneapolis/ Boston/Manchester/ Seattle/Iceland etc.

Noise rock/Post-rock/Math rock:

Post-rock: Tortoise, Mogwai, Godspeed! You Black Emperor etc.
Re-emergence of prog-rock, but ‘in a world where punk had happened’.
New York ‘No Wave’: Glenn Branca, Sonic Youth; ‘inspired by the intensity of punk’
Math rock: Polvo, Slint

Lo-fi:

Beat Happening, Guided By Voices, Sebadoh, Smog, Cat Power, Will Oldham etc.
Production values/musical style/often just ‘home recordings’
Much post-Nevermind ‘alternative’ music still conformed to industry production standards
Lo-fi: coarse sounds, hum, static, tape hiss, amateurish playing, off-key singing, ‘slacker music.
Art v. commerce debate: aesthetic choices, conscious reaction against prevailing standards of production, economic necessity?
Grajeda: lo-fi as ‘feminisation/domesticifation’ of masculine processes of music production/technological perfection
Avant-garde: ‘making strange’, foregrounding the apparatus

Australian Independent Labels and Globalisation:

Independent labels: for some, protection against cultural imperialism; but subject to international music economy.
Until 1950s, no local labels or recording stars
1970s: pub circuit/oz rock
Most pub rock bands signed to foreign-owned labels, thus these companies tightened hold on local music.
Marcus Breen: local indies a ‘working class challenge to the middle class respectability of the mainstream music industry’.

‘Glocalization’:

Australia’s recording industry sub-branch of global entertainment complex; foreign corporations control over 80% of local market (95% if you don’t count Festival as Australian).
Local artists signed to foreign-owned labels expected to contribute to global balance sheet; A&R look for those acts that display most international appeal.

Case study: Half a Cow:

Nic Dalton (Plunderers/ Lemonheads) began in bedroom, 1980s.
Local distributors: Polygram, Festival, MGM.
Various OS independent deals
Publishing arm: Moo Chewns

Dealing with the devil:

Indies need marketing and promotion muscle; majors want instant ‘indie cred’.
Polygram/Mercury deal: HAC pressured to supply product for company’s other media arms, movie soundtracks.
OS Polygram had first right of refusal; HAC waits nine months before dealing with other OS labels.
Currently distributed by MGM.

Consultation

Turns out I will be on campus this Monday (the 30th), so if anyone requires consultation, email me at c.messenger@uq.edu.au