The Big Picture

Total Page:16

File Type:pdf, Size:1020Kb

The Big Picture THE BIG PICTURE Om iscenesettelse av stemmen Ingvild Koksvik Amundsen Masteroppgave Institutt for musikkvitenskap Universitetet i Oslo August 2006 Forord Veien fra en idé til ferdig skrevet masteroppgave kan virke ganske så lang. Å skrive om musikk er ikke alltid like lett, kanskje spesielt når man skal skrive om musikk som man har et nært forhold til. På den ene siden er ønsket om å formidle noe av ens egen sterke opplevelse av musikken. På den andre siden kan det å skulle produsere en konkret tekst ut i fra et kaos av tanker og idéer være litt av en utfordring. Prosessen med å ferdigstille denne masteroppgaven har på mange måter vært en bevisstgjøringsprosess der jeg etter hvert har klart å si noe om sider ved musikken, og spesielt stemmen, som før har vært vanskelig å gripe tak i. Jeg har vært så heldig å få fordype meg i musikk som har betydd, og fremdeles betyr, mye for meg. Jeg vil rette en stor takk til Odd Skårberg for kyndig og engasjert veiledning, støtte og inspirasjon. Jeg vil også få takke Anne Mali Koksvik Amundsen for korrekturlesning, og ikke minst Lars Jakob Rudjord, for all støtte, oppmuntring og tålmodighet gjennom det siste året. Oslo, august 2006 Ingvild Koksvik Amundsen ii Innhold Forord .................................................................................................................................................................... ii 1. Innledning og problemstilling .......................................................................................................................... 1 Vokal iscenesettelse ........................................................................................................................................... 3 Hvorfor iscenesettelse? ...................................................................................................................................... 4 Musikalsk analyse og innfallsvinkel .................................................................................................................. 6 Jeg som lytter ..................................................................................................................................................... 7 2. Om stemmen.................................................................................................................................................... 12 Hvem eier stemmen?........................................................................................................................................ 14 Den personlige stemmen .................................................................................................................................. 17 Stemmen som instrument ................................................................................................................................. 18 Stemmen som kropp......................................................................................................................................... 19 Stemmen som person ....................................................................................................................................... 20 Stemmen som karakter..................................................................................................................................... 23 Et lite drama ..................................................................................................................................................... 24 Stemmen som beveger ..................................................................................................................................... 25 3. Analyse av utvalgte låter ................................................................................................................................30 Mitt utgangspunkt ............................................................................................................................................ 30 Singer-songwriteren ......................................................................................................................................... 31 JONI MITCHELL............................................................................................................................................ 34 This Flight Tonight........................................................................................................................................... 34 Singer-songwriteren i dag ................................................................................................................................37 ELLIOTT SMITH............................................................................................................................................ 40 Overdubbing; én sanger, to stemmer................................................................................................................ 42 Roman Candle.................................................................................................................................................. 43 Stemmen i det fysiske og sosiale rom .............................................................................................................. 48 I Didn’t Understand.......................................................................................................................................... 51 Et visualisert rom?............................................................................................................................................ 53 BRIGHT EYES................................................................................................................................................ 55 The Big Picture................................................................................................................................................. 57 De instrumentale omgivelsene ......................................................................................................................... 65 DAMIEN JURADO ......................................................................................................................................... 66 December ......................................................................................................................................................... 68 4. Oppsummering og konklusjon....................................................................................................................... 73 Den vokale iscenesettelsen som opplevelse?.................................................................................................... 76 Den manipulerte stemmen................................................................................................................................78 Stemmen som rolle........................................................................................................................................... 79 Litteratur og diskografi...................................................................................................................................... 82 Sammendrag........................................................................................................................................................ 86 Vedlegg: I Kapittel 1 1. Innledning og problemstilling Det er mange mulige innfallsvinkler når det gjelder analyse av musikk som inneholder vokal. Når fokus har vært sangens «mening», har temaer som komponistens intensjoner og spørsmål knyttet til sangens persona vært sentrale. Gjennom komponistens behandling av teksten, gjennom melodiføringer og akkompagnement, formidles komponistens stemme. Mye av litteraturen som tar for seg forholdet mellom tekst og musikk tar utgangspunkt i den klassiske lied.1 Felles for de fleste av arbeidene er at analysen av musikken er basert på partituret. Når det videre er snakk om en «stemme» så er det komponistens stemme som fremheves, eventuelt poetens eller en blanding av disse. Disse arbeidene tar i liten eller ingen grad hensyn til betydningen av fremføring og interpretasjon av verket. Sangens «mening» er å finne i komponistens partitur, og forholdet mellom tekst og musikk blir indikert ved å vise til form, melodiføring, harmoniske forløp, tonehøyde og andre enkelt noterbare parametere. Når man så har å gjøre med populærmusikk så faller det seg litt annerledes. Dette skal vi komme tilbake til i kapittel 2, som handler om stemmen. Men jeg vil allerede her trekke frem en vesentlig forskjell, og det er at i analyse av populærmusikk så forholder vi oss til innspilt musikk fremfor partituret. Dette betyr at en tilnærming til musikken krever andre metoder enn de som har vært rådende innenfor analyse av den klassiske lied. Fordi det «originale» verket foreligger i innspilt form, så må vi også ta utgangspunkt i det vi hører, og ikke et eventuelt partitur.2 At vi har å gjøre med innspilt musikk innebærer også at stemmen får en annen rolle i populærmusikken. Vi forholder oss til en konkret klingende stemme, og denne stemmen formidler avgjørende informasjon som man ikke kan lese ut i fra noe partitur. Fokus på form, harmonikk, melodiføring og akkompagnement er altså ikke tilstrekkelig når vi skal analysere populærmusikk. Allerede i 1979 lanserte den engelske populærmusikkforskeren Philip Tagg begrepet «notational centricity» som en diagnose på den tradisjonelle musikkvitenskapens hang til å 1 Se for eksempel Cone 1974 og 1989, Frye 1957, Kramer 1984, Scher 1992, Spillmann og Stein 1996 2 Det finnes en rekke «partiturer» av populærmusikk, men disse er gjerne transkriberinger
Recommended publications
  • 2015 Year in Review
    Ar#st Album Record Label !!! As If Warp 11th Dream Day Beet Atlan5c The 4onthefloor All In Self-Released 7 Seconds New Wind BYO A Place To Bury StranGers Transfixia5on Dead Oceans A.F.I. A Fire Inside EP Adeline A.F.I. A.F.I. Nitro A.F.I. Sing The Sorrow Dreamworks The Acid Liminal Infec5ous Music ACTN My Flesh is Weakness/So God Damn Cold Self-Released Tarmac Adam In Place Onesize Records Ryan Adams 1989 Pax AM Adler & Hearne Second Nature SprinG Hollow Aesop Rock & Homeboy Sandman Lice Stones Throw AL 35510 Presence In Absence BC Alabama Shakes Sound & Colour ATO Alberta Cross Alberta Cross Dine Alone Alex G Beach Music Domino Recording Jim Alfredson's Dirty FinGers A Tribute to Big John Pa^on Big O Algiers Algiers Matador Alison Wonderland Run Astralwerks All Them Witches DyinG Surfer Meets His Maker New West All We Are Self Titled Domino Jackie Allen My Favorite Color Hans Strum Music AM & Shawn Lee Celes5al Electric ESL Music The AmazinG Picture You Par5san American Scarecrows Yesteryear Self Released American Wrestlers American Wrestlers Fat Possum Ancient River Keeper of the Dawn Self-Released Edward David Anderson The Loxley Sessions The Roayl Potato Family Animal Hours Do Over Self-Released Animal Magne5sm Black River Rainbow Self Released Aphex Twin Computer Controlled Acous5c Instruments Part 2 Warp The Aquadolls Stoked On You BurGer Aqueduct Wild KniGhts Wichita RecordinGs Aquilo CallinG Me B3SCI Arca Mutant Mute Architecture In Helsinki Now And 4EVA Casual Workout The Arcs Yours, Dreamily Nonesuch Arise Roots Love & War Self-Released Astrobeard S/T Self-Relesed Atlas Genius Inanimate Objects Warner Bros.
    [Show full text]
  • Course Syllabus
    Course Syllabus Jump to Today The Basics Applied Behavioral Economics for Information Systems (Info 232) meets Tuesdays and Thursdays from 2­3:30 p.m. in 210 South Hall. Your instructors, Steve Weber (stevew@ischool (mailto:[email protected]) ) and Galen Panger (galen@ischool (mailto:[email protected]) ) are available for office hours by appointment. Just send one of us a note when you'd like to meet. Download the course reading packet from the "Files" link to your left. Please purchase or borrow Thinking, Fast and Slow because we are excerpting heavily from it in Week 3. You should be able to find films on this syllabus available widely for streaming, rent or purchase. Team up and watch them in groups! Each week, please review the core readings, and then read one or two cases of interest to you. If you're stumped on which cases to choose, just read the first two. You do not have to read all of the cases. We've selected readings and cases that are meant to be interesting, useful and occasionally provocative—they're not a broad review of the literature, but rather are meant to highlight key concepts and opportunities for application. There is a group assignment each week, two individual experiential assignments, and one final group presentation. You'll get full points on an assignment if it's been completed on time; however, your final grade will be based on an overall assessment of your individual effort and engagement in the class. More details about assignments. Please be mindful of your Internet use during class.
    [Show full text]
  • Razorcake Issue #25 As A
    ot too long ago, I went to visit some relatives back in Radon, the Bassholes, or Teengenerate, during every spare moment of Alabama. At first, everybody just asked me how I was my time, even at 3 A.M., was often the only thing that made me feel N doing, how I liked it out in California, why I’m not mar- like I could make something positive out of my life and not just spend N it mopping floors. ried yet, that sort of thing. You know, just the usual small talk ques- tions that people feel compelled to ask, not because they’re really For a long time, records, particularly punk rock records, were my interested but because they’ll feel rude if they don’t. Later on in the only tether to any semblance of hope. Growing up, I was always out of day, my aunt started talking to me about Razorcake, and at one point place even among people who were sort of into the same things as me. she asked me if I got benefits. It’s probably a pretty lame thing to say, but sitting in my room listen- I figured that it was pretty safe to assume that she didn’t mean free ing to Dillinger Four or Panthro UK United 13 was probably the only records and the occasional pizza. “You mean like health insurance?” time that I ever felt like I wasn’t alone. “Yeah,” she said. “Paid vacation, sick days, all that stuff. But listening to music is kind of an abstract.
    [Show full text]
  • Music for Guitar
    So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour
    [Show full text]
  • P36-37 Layout 1
    lifestyle MONDAY, APRIL 10, 2017 GOSSIP Gallager once threatened Third Blind Eye guitarist Cadogan iam Gallagher reportedly “threat- After the show he said, ‘You could have ened” Third Blind Eye guitarist Kevin gotten stabbed.’ Literally said that. I said, LCadogan after a show in the US. The ‘What are you talking about?’ He was like, former Oasis frontman is known for his ‘You threw that can at me, man’. I did not outspoken ways, and 46-year-old Kevin throw a can at him.” And the ‘Semi has now claimed that the rocker once Charmed Life’ hitmaker also claims Liam, threatened to stab him after the star acci- 44, told him his band would “never make dently hit him with an empty can of Coca- it”, although he praised Liam’s brother Cola when his band supported the and Oasis guitarist Noel - who Liam fre- ‘Wonderwall’ hitmakers in 1996. He quently blasts on social media despite recalled: “That was a really cool move to the band splitting in 2009 - as being “the get us that opening gig in San Francisco. serious one”. Kevin added to Billboard It was pretty ballsy. It was just incredible. magazine: “Noel [Gallagher] was studying “I got threatened by Liam that night with one of my guitars, geeking out on it, and I physical violence. I was drinking a can of could tell he was the serious one. Liam Coke and had finished it and crumpled it afterwards said, ‘You guys are shite, you’ll up and was going to throw it, basketball- never make it’.
    [Show full text]
  • Song Title Artist GILLIGAN LOVES MARYANN SONGLIST
    GILLIGAN LOVES MARYANN SONGLIST 800.930.6456 Song Title Artist BIG GIRLS DON’T CRY FERGIE STARS FELL ON ALABAMA JIMMY BUFFETT WHO SAID YOU CAN’T GO HOME? BONJOVI / SUGARLAND BLACK HORSE IN A CHERRY TREE K.T. TUNSTALL ALL I WANNA DO SUGARLAND BEFORE HE CHEATS CARRIE UNDERWOOD ALL SUMMER LONG “SWEET HOME ALABAMA” KIDD ROCK IT'S FIVE o'CLOCK SOMEWHERE ALAN JACKSON / JIMMY BUFFETT KOKOMO BEACH BOYS GAME OF LOVE SANTANA LOVE SONG SARA BAREILLES WILD NIGHT VAN MORRISON / JOHN MELLENCAMP FAST AS YOU DWIGHT YOAKAM STRAWBERRY WINE DEANNA CARTER THE NIGHT THEY DROVE OLD DIXIE DOWN THE BAND / JOAN BAEZ BROWN EYED GIRL VAN MORRISON / JIMMY BUFFETT STAY SUGARLAND - JENNIFER NETTLES SMOOTH SANTANA RED HIGH HEELS KELLY PICKLER LOVE IS FREE SHERYL CROW BOOTS SURF MEDLEY NANCY SINATRA / JOHNNY RIVERS I’M GONNA MISS HER (THE FISHING SONG) BRAD PAISLEY THE CHAIN FLEETWOOD MAC MY FAVORITE MISTAKE SHERYL CROW THIS IS OUR COUNTRY JOHN MELLENCAMP THAT DON'T IMPRESS ME MUCH SHANIA TWAIN FLIRTIN WITH TIME TOM PETTY ONLINE BRAD PAISLEY SHIFTWORK KENNY CHESNEY / GEORGE STRAIT GET TOGETHER THE YOUNGBLOODS SAVE A LIFE THE FRAY YOU DON’T HAVE TO CALL ME BY MY NAME DAVID ALLAN COE TIME OF YOUR LIFE GREEN DAY JUST A SONG CROSBY STILLS & NASH ALL I WANNA DO SHERYL CROW WIDE OPEN SPACES DIXIE CHICKS NO SHOES NO SHIRT NO PROBLEM KENNY CHESNEY WHAT I AM EDIE BRICKELL CIRCLE OF FRIENDS EDIE BRICKELL ALL I WANT TOAD THE WET SPROCKET TIN CUP CHALICE JIMMY BUFFETT I HOPE YOU DANCE LEEANN WOMACK CHANGES IN LATITUDE JIMMY BUFFETT FINS JIMMY BUFFETT PAGE 1 GILLIGAN LOVES MARYANN SONGLIST 800.930.6456 Song Title Artist SUDDENLY I SEE K.T.
    [Show full text]
  • Bright Eyes Free
    FREE BRIGHT EYES PDF Catherine Anderson | 432 pages | 01 Jun 2004 | Penguin Publishing Group | 9780451212160 | English | New York, NY, United States Bright Eyes | Music | The Guardian We are so happy see everyone! We are looking forward to a great school year full of learning, exploration, excitement, friends and more. Not a part of the Bright Eyes Bright Eyes Contact us today to find out more information. Thanks to our great families and friends, we have made it to the Top 5! Keep those votes coming! Come see the difference! Virtual learning can be overwhelming to young students. We have increased staffing in our School Age classrooms to guide and encourage students on their Bright Eyes journey. Contact us today for availability, spaces are limited. August 5, We are currently enrolling for the School year! Contact the center closest to you for more Bright Eyes and enrollment availability. We are here to help! Contact us today! Spaces are limited. June 1, We appreciate all of the kindness and support you have given us. We thank you! Thank you for Bright Eyes Be sure to check your emails for Bright Eyes newsletter! Returning to Full Capacity. Welcome Back to School Everyone! Take a Virtual Tour. We are in the Top 5! Vote Now! Learn More about us. Monthly Newsletter- September. Career Opportunities. Bright Eyes is here to help with Virtual Learning! Contact Us Today! Tour and Enroll within Bright Eyes weeks of your tour and Election Day. Veteran's Day. BE Closed in observance of Labor Day. See Details. August 5, We are currently enrolling for the School year! Learn More.
    [Show full text]
  • To Download a Song List
    Gina DeLuca SONG LIST 4 Non Blondes Long December George Michael What’s Up? Mr. Jones Faith Alanis Morrissette Crowded House Father Figure Hand In My Pocket Don’t Dream It’s Over Gloria Gaynor Head Over Feet Something So Strong I Will Survive Right Through You Dada Goo Goo Dolls You Oughta Know Dim Iris Your House David Alan Coe Green Day Albert Collins You Never Call Me By My Name The Time Of Your Life Shoe On The Other Foot David Gray Howard Jones Allman Brothers Babylon No One Is To Blame Melissa Deep Blue Something Huddie Leadbetter Beth Hart Breakfast At Tiffany’s Where Did You Sleep Last Night? L.A. Song Depeche Mode Indigo Girls Bette Midler Nothing Closer To Fine The Rose Somebody INXS Black Crowes Dido Never Tear Us Apart She Talks To Angels Thank You James Blind Melon Dishwalla Laid No Rain Counting Blue Cars Say Something Blondie Don McLean- $10 Jane's Addiction The Tide Is High American Pie Jane Says Bob Dylan Erasure Janis Joplin Don’t Think Twice A Little Respect Me & Bobby McGee Buck Owens Eurythmics Mercedes Benz Act Naturally Here Comes The Rain Again Jann Arden Cab Callaway Fastball Insensitive Minnie The Moocher The Way Jewel Chris Isaak Fats Domino Down So Long Wicked Game Ain’t That A Shame Who Will Save Your Soul Christina Aguilera Five For Fighting You Were Meant For Me Beautiful Superman Jimmy Buffet-$50! Coldplay Fleetwood Mac Margaritaville Yellow Dreams Joan Osborne Collective Soul Landslide One Of Us Run Freedy Johnston John Denver Concrete Blonde Bad Reputation Leaving On A Jet Plane Joey Frente! Johnny Cash
    [Show full text]
  • Varför Låter Det Så Bra? Att Härma Andra För Att Bli En Bättre Låtskrivare
    Varför låter det så bra? Att härma andra för att bli en bättre låtskrivare Anna Svensson Rova Musik, konstnärlig kandidat 2017 Luleå tekniska universitet Institutionen för konst, kommunikation och lärande Varför låter det så bra? -Att härma andra för att bli en bättre låtskrivare Anna Svensson Rova Studiomusiker Konstnärlig kandidat Institutionen för konst, kommunikation och lärande Luleå tekniska Universitet 2017 Handledare: Maria Engström Juuso Examinator: Åsa Unander Scharin Abstrakt Jag tror att låtskrivning är något de flesta av oss endast kan utveckla om vi övar på det. Att lyssna och härma hur andra har gjort, tror jag, är en ypperlig metod för att utveckla sitt eget låtskrivande. Jag har använt mig av detta arbete för att öva på att skriva låtar genom att utgå från andra artisters musik. Syftet har varit att bredda mitt eget låtskrivande och att få resultat som jag är mer nöjd med än vad jag brukar bli när jag skriver låtar och inte har någon tydlig startpunkt. Jag har valt fem låtskrivare/artister vars musik jag analyserat. Sedan har jag försökt plocka in element från deras musik i mitt eget låtskrivande. Resultatet blev fem låtar som jag gjort enkla demoinspelningar på. Jag har undersökt hur det påverkar min kreativa process att skriva utifrån andras musik. Jag har även reflekterat över hur resultatet av låtskrivningen påverkats och om jag fått med mig några kreativa verktyg som jag kan använda mig av i framtiden när jag skriver låtar. Innehållsförteckning Inledning 1 Syfte 3 Ordlista 4 Metod 5 Min tolkning av Norah Jones musik
    [Show full text]
  • We Talk to Radio
    APRIL 20, 2002 Volume 20, Issue 17 £3.95 Music euros 6.5 Pet Shop Boys' Release (Parlophone) is this week's highest new entry on M&M's European Top 100 Albums chart, at num- ewe talkis® to radio ber five. M&M chart toppers this week EMI overtakes UniversalNRJ in 'play Eurochart Hot 100 Singles SHAKIRA in European album sharefor publicity' Whenever Wherever (Epic) by Emmanuel Legrand With a 23.7% album chart share, allegations European Top 100 Albums EMI is ahead of Sony Music which, CELINE DION LONDON - In a first quarter of 2002after a poor performance in 2001, has by Kai R. Lofthus A New Day Has Come that saw few new made an impressive recovery,thanksto OSLO - NRJ Norway is being accused of (Columbia) releases,EMIRe- cordedMusichas chart -topping releases adjusting its playlist to schedule songs European Radio Top 50 moved ahead of Uni- from Shakiraand they were initially reluctant to play, on KYLIE MINOGUE versal Music in Euro- Anastacia and contri- the basis that its logo will be featured in In Your Eyes peanalbumchart butionsfromSarah record company TV ad cam (Parlophone) share. Connor, Creed, Jean - paigns for the tracks concerned. According tosta- Jacques Goldman and While managing directors of European Dance Traxx tisticscompiled by Jennifer Lopez. With the majors in Norway could not DB BOULEVARD M&M based onour its 20,7% share, Sony be reached for comment, inde- Point Of View exclusive Eurochart Hot 100 Singlesmoves up from third to second posi- pendent labels which cannot (Airplane) and European Top 100 Albumstion in the crucial albums ranking, afford much TV advertising have told chartsduring thefirstquarter,compared to the same period of 2001.
    [Show full text]
  • Corinne Gooden Songlist
    #41 - Dave Matthews Band 1, 2, 3, 4 - Plain White Ts 1000 Years - Christina Perri 1234 - Feist 17th Street - Corinne Gooden 867-5309 - Tommy Tutone 99 Red Balloons - Nena ABC - Jackson 5 Add It Up - Violent Femmes Rolling In The Deep - Adele Adventure of A Lifetime - Coldplay Ain't No Mountain High Enough - Marvin Gaye Ain't No Rest For The Wicked - Cage The Elephant Ain't No Sunshine - Bill Withers Ain't Too Proud To Beg - Temptations Ain’t It Fun - Paramore Airplane - Indigo Girls Airplanes - BOB/Paramore Alive - Pearl Jam All About That Bass - Meghan Trainor All For You - Sister Hazel All I Want - Joni Mitchell All I Want - Toad The Wet Sprocket All I Want For Christmas - Mariah Carey All I Want To Do - Sugarland All My Days - Corinne Gooden All My Loving - The Beatles All Of Me - John Legend All The Roots Grow Deeper - David Wilcox All The Small Things - Blink 182 All These Things I've Done - Killers All We Ever Do Is Say Goodbye - John Mayer All You Wanted - Michele Branch Almost Is Never Enough - Ariana Grande Almost Lover - Fine Frenzy Alone - Heart Always Be Your Man - Farewell Milwaukee Amazed - Heartland Amazing Grace - Standard American Girl - Tom Petty American Pie - Don McLean Amie - Pure Prairie League Angel - Sarah McLachlan Angel From Montgomery - Bonnie Raitt Animal - Neon Trees Animals - Maroon 5 Anything At All - Corinne Gooden Anything But Down - Sheryl Crow Are You Gonna Be My Girl - Jet At Last - Etta James Auld Lang Syne - Christmas Autumn Leaves - Standard Avalanche Baby Can I Hold You - Tracy Chapman Baby Girl
    [Show full text]
  • Monday, January 18, 2016 • Doors Open at 7:30 PM • Begins at 8:00 PM World Food Program
    INSIDE ISSUE MONDAY | JANUARY 18 THE OFFICIAL NEWSPAPER OF THE NAVC2 CONFERENCE 2016 REACHING ACROSS THE PROFESSION TO ADVANCE ANIMAL CARE The NAVC has launched the collaborative, industry-wide Veterinary Innovation Council to lead global animal health initiatives Existing veterinary trade organizations perform vital roles in “protecting and advancing the interests of their members. But we saw an unmet need for a veterinary organization that works industry-wide to focus on positive change and push the envelope for innovative solutions across professional boundaries. —Thomas M. Bohn, MBA, CAE, NAVC CEO During Saturday’s Conference Opening Ceremony, the NAVC announced that it has established the Veterinary Innovation Council (VIC), a non-profit 501(c)(6) association with the mission of convening” the brightest minds in the profession and industry to tackle innovation opportunities that lift up all animal healthcare segments, including caregivers, academia, suppliers and consumers. The VIC, as an exciting, new, project-driven, collaborative industry body, is aimed at three primary goals: 1. Convening talent from across the profession to tackle global challenges facing the animal health industry—challenges that require collaboration and innovation 2. Developing realistic, innovative solutions capable of transforming areas of critical value to the veterinary profession and animal health industry 3. Collaborating with professional organizations, companies and nonprofits to implement the innovations and reforms NAVC President Christine Navarre, DVM, MS, DACVIM (LAIM), added, “We’re proud to initiate this exciting development for our profession. The VIC will carefully leverage the breadth and depth of the NAVC and its relationships within the profession to build the foundation for a long-term engine that drives innovation and reform.” PAGE 2 IN THIS ISSUE Meet Adrian PAGE 3 PAGE 5 PAGE 22 PRIZES Hochstadt ........................p.
    [Show full text]