DOCSLIB.ORG

The Amazing Tale of Gibson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Amazing Tale of Gibson presents The Amazing Tale of Gibson TSO Education Concert Featuring the story The Amazing Tale of Gibson written by Jennifer Compton©2015 Wednesday 19 October 2016 Federation Concert Hall, 11:30am Teacher Resource Booklet Prepared by Sharee Bahr, Carolyn Cross and Di O’Toole CONTENTS Page The Tasmanian Symphony Orchestra 2 The Amazing Tale of Gibson 8 Teaching Ideas A What’s an Orchestra 12 B Emotion in Music 14 C Texture in Music 20 D Patterns from the Program 34 E Cross-Curricular Possibilities 38 1 TASMANIAN SYMPHONY ORCHESTRA What is a Symphony Orchestra? An orchestra is a group of musicians that play together on various instruments. In a symphony orchestra the instruments are divided into families: woodwind, brass, percussion and string. The word ‘symphony’ comes from a Greek word meaning ‘sounding together’. The Tasmanian Symphony Orchestra Established in 1948 and declared a Tasmanian Icon in 1998, the TSO gives more than 70 concerts annually including seasons in Hobart and Launceston, and appearances in Tasmanian regional centres. In addition to its core activity of giving subscription concerts, the TSO endeavours to broaden its imprint by forging links with other arts organisations. Recent partnerships have included collaborations with the Museum of Old and New Art (MONA), the Australian Ballet, the Australian National Academy of Music, Terrapin Puppet Theatre, Festival of Voices and Kickstart Arts. Julia Lezhneva with the Tasmanian Symphony Orchestra, a collaboration with Hobart Baroque, was awarded Best Individual Classical Performance at the 2014 Helpmann Awards. Over the years, international touring has taken the orchestra to North and South America, Greece, Israel, South Korea, China, Indonesia and Japan. Resident in Hobart’s purpose-built Federation Concert Hall, the TSO has a full complement of 47 musicians. Marko Letonja is the orchestra’s Chief Conductor and Artistic Director. 2 FOR THIS PERFORMANCE THE INSTRUMENTATION OF THE TASMANIAN SYMPHONY ORCHESTRA WILL CONSIST OF: 2 Flutes 2 Oboes 2 Clarinets 2 Bassoons 4 French Horns 2 Trumpets 2 Trombones 1 Bass Trombone Timpani Percussion 8 - 1st Violins 6 - 2nd Violins 5 Violas 4 Cellos 3 Double Basses The musicians will be wearing coloured shirts to help students identify the four sections of the orchestra. Woodwind = dark blue Brass = green Percussion = light blue Strings = red 3 WOODWIND FAMILY CLARINET BASSOON FLUTE OBOE 4 BRASS FAMILY FRENCH HORN HORN TRUMPET TROMBONE TUBA PERCUSSION FAMILY BASS TROMBONE 5 PERCUSSION FAMILY CYMBALS CYMBALS SNARE DRUM TAMBOURINE TIMPANI 6 STRING FAMILY VIOLIN S VIOLA DOUBLE BASS CELLO 7 The Amazing Tale of Gibson Marc Taddei conductor Emma McGrath violin Allison Farrow presenter and narrator This concert traces the story of an amazing violin, one that survived theft and neglect before finding glory in the hands of one of the world’s most famous violinists. Marc Taddei Celebrated for his “magnificent contribution as Music Director” by The Press, and lauded as “a real interpreter of boldly romantic inclinations” by the Dominion Post, conductor Marc Taddei was appointed Music Director of Orchestra Wellington in 2007 and Music Director of the Vallejo Symphony Orchestra in 2016. Marc frequently conducts every professional orchestra in New Zealand, often working with the national ballet and opera companies and adding to his extensive discography. He is a regular guest conductor in Australia. Two years ago he made his mainland China debut, and last year he debuted with the Hong Kong Philharmonic. See www.marctaddei.com He now divides his time between Auckland, Wellington and San Francisco, when not on the road to other destinations in the US, Australia and Asia. Allison Farrow Allison has enjoyed a successful and varied career in the performing arts – as a singer, actress and more recently as a producer and director. She has worked in many fields including music theatre, opera, cabaret, drama, film and concert work and has made several recordings. She has performed throughout Australia, the United Kingdom, Europe and Asia and has been involved in festivals worldwide. In recent times Allison has been enjoying entertaining children and their families, providing the voice for ‘Betty Bug’ in Blue Rocket’s animated television series Buzz Bumble and narrating Roald Dahl and Paul Patterson’s quirky retelling of Little Red Riding Hood with the Tasmanian Symphony Orchestra. In 2015 she narrated Maximus Musicus Visits the Orchestra with the TSO for their Family Classics series. Allison performs regularly with her jazz quintet Allison Farrow & Friends. 8 Emma McGrath TSO Concertmaster Heralded as a “First-magnitude star in the making” by the Seattle Times, British violinist Emma McGrath made her London debut aged 10 in the Purcell Room and at 14 she performed Bruch’s Violin Concerto No. 1, in the Queen Elizabeth Hall with the London Philharmonic Orchestra conducted by Howard Shelley, broadcast live on Classic FM. She has since performed with numerous professional ensembles and orchestras, and has played in France, Belgium, the Czech Republic, Brunei, Malaysia, Hong Kong, Russia, Israel, the UK and the USA as a soloist. Emma graduated with a BMus (Hons) First Class from the Royal College of Music where she was a Foundation Scholar and Concertmaster of every ensemble and orchestra. She studied violin with Ani Schnarch and singing with Margaret Cable. Emma has also received awards from the Martin Musical Scholarship Fund, the Edmund Castle Trust, the Musicians Benevolent Fund, the Tillett Trust and the Countess of Munster Musical Trust. Emma completed her MMus and Artist Diploma in America at Carnegie Mellon University in Pittsburgh, studying with Andrés Cardenés. Emma comes to Tasmania from the Seattle Symphony Orchestra and Seattle Opera Orchestra where she was Associate Concertmaster from 2009. In her pre-Seattle career, Emma was Assistant Concertmaster of the Colorado Symphony Orchestra, and has also performed with the Pittsburgh and Chicago Symphony Orchestras, and toured Australia and Japan with the Australian Chamber Orchestra. Emma and family arrived in Tasmania in early March and she went straight into rehearsals for the first Hobart Master Series concert for the year, From Fair Verona with Love. 9 A LITTLE OF THE HISTORY BEHIND THE STORY OF “THE AMAZING TALE OF GIBSON” The narration that you will hear during the performance of The Amazing Tale of Gibson was written by Jenny Compton and is loosely based on the history of the Gibson ex-Huberman Stradivarius. The following links provide more information: Orchestra of Exiles http://www.imdb.com/title/tt1906443/ - This is a documentary about Huberman who owned the Gibson Stradivarius and Jenny makes reference to Huberman playing for Brahms when Huberman was a boy and also the famous night when the Gibson Stradivarius was stolen. The Gibson Stradivarius is now owned by Joshua Bell. https://en.wikipedia.org/wiki/Gibson_Stradivarius - a concise history of the Gibson ex-Huberman Stradivarius https://rhapsodyinwords.com/2015/08/24/the-astonishing-300-year-history-of-the-gibson-ex- huberman-stradivarius/ - this is an in-depth look at the 300 year history of the Gibson ex- Huberman Stradivarius https://www.youtube.com/watch?v=r5aLHuk0PUU Joshua Bell the renowned concert violinist has owned his pride and joy, a Stradivarius violin for over a decade, it is over 300 years old. The story of the theft, return, and subsequent acquisition by Bell is told in the 2013 documentary The Return of the Violin, directed by Haim Hecht. Bell's first recording made with the Gibson ex Huberman was Romance of the Violin (for Sony Classical Records) in 2003. A FURTHER LINK TO JOSHUA BELL AND HIS VIOLIN … SO WHAT’S GIBSON DOING NOW? In a 2007, violinist Joshua Bell went busking in an experiment to see if the public would recognise one of the finest talents in the classical world. It did not work out like that. http://www.classicfm.com/artists/joshua-bell/guides/busking-subway/#f3SIwmaVeQdq5xPV.97 In September, 2013 The Man With the Violin by Kathy Stinson illustrated by Dušan Petričić from Annick Press was published. It tells the story of the Washington Press’s experiment where they asked Joshua Bell to play in the subway incognito. This link provides https://vimeo.com/65555503 information about the book. CONCERT REPERTOIRE Please note: a) Most of these pieces are either extracts or abridged versions, omitting repeats, to keep the durations in the 2.00 – 3.00 minutes range. b) Most are readily available on YouTube and/or iTunes/Spotify. The YouTube clip links have been included in this resource booklet. 10 Composer/ Title Country Year Written Duration HUANG Saibei Dance from Saibei Suite No 2, Op 21 China 1975 4’00 TRAD ARR. SHAWCROSS Australia 2015 1’00 Ai Hai Yo CORELLI Concerto Grosso in G Minor, Op 6, No 8 Christmas Concerto Italy 1690 2'00 II Allegro; III Adagio VIVALDI Le quattro stagioni (The Four Seasons) Op 8 Italy 1723 3'00 No 2 in G Minor L’estate (Summer) III Presto BACH Concerto for Two Violins in D Minor, BWV 1043 Germany 1717 –1723 1'15 II Largo MOZART Serenade No 13 in G Major, KV 525 Eine Kleine Nachtmusik Austria 1787 3'00 IV Rondo BEETHOVEN Violin Concerto in D Major, Op 61 Germany 1806 3'00 I Allegro ma non troppo MENDELSSOHN Symphony No 4 in A Major, Op 90 Italian Germany 1833 2'30 I Allegro vivace SAINT- SAËNS Introduction and Rondo Capriccioso in A Minor, Op 28 France 1863 3'30 LALO Symphonie espagnole in D Minor, Op 21 France 1874 2'20 I Allegro non troppo TCHAIKOVSKY Violin Concerto in D Major, Op 35 Russia 1878 4'20 I Allegro moderato; III Finale: Allegro vivacissimo BRAHMS Violin Concerto in D Major, Op 27 Germany 1878 2'00 II Adagio BRUCH Violin Concerto No 1 in G Minor, Op 26 Germany 1866 0'30 I Vorspiel: Allegro moderato; II Adagio HOLST St.
Load more

Recommended publications
  • Nord Stage 2 EX English User Manual V2.X Edition B.Pdf
    User Manual Nord Stage 2 EX 88 Nord Stage 2 EX HP76 Nord Stage 2 EX Compact OS Version 2.x Part No. 50444 Copyright Clavia DMI AB Print Edition: B The lightning flash with the arrowhead symbol within CAUTION - ATTENTION an equilateral triangle is intended to alert the user to the RISK OF ELECTRIC SHOCK presence of uninsulated voltage within the products en- DO NOT OPEN closure that may be of sufficient magnitude to constitute RISQUE DE SHOCK ELECTRIQUE a risk of electric shock to persons. NE PAS OUVRIR Le symbole éclair avec le point de flèche à l´intérieur d´un triangle équilatéral est utilisé pour alerter l´utilisateur de la presence à l´intérieur du coffret de ”voltage dangereux” non isolé d´ampleur CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK suffisante pour constituer un risque d`éléctrocution. DO NOT REMOVE COVER (OR BACK). NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. The exclamation mark within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the ATTENTION:POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE literature accompanying the product. PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L´USAGER. Le point d´exclamation à l´intérieur d´un triangle équilatéral est CONFIER L´ENTRETIEN AU PERSONNEL QUALIFE. employé pour alerter l´utilisateur de la présence d´instructions AVIS: POUR EVITER LES RISQUES D´INCIDENTE OU D´ELECTROCUTION, importantes pour le fonctionnement et l´entretien (service) dans le N´EXPOSEZ PAS CET ARTICLE A LA PLUIE OU L´HUMIDITET.
    [Show full text]
  • Instruments Included in Sampletank 4
    Instruments included in SampleTank 4 6,000 instruments. Including: Over 100 GB of samples. 70 GB of all-new SampleTank 4 samples. SampleTank 33Instruments GB of legacy SampleTank 3 samples (the full SampleTank 3 legacy product). All versions of SampleTank 4 include the full SampleTank 4 engine ACOUSTIC PIANOS (123) ACOUSTICSampleTank PIANOS 4 New Instruments (20) 123 BASSBad Stories 224 BRASSC7 Grand Cinematic 1 247 CHROMATICC7 Grand Close Mic - Natural 92 ACOUSTICC7 Grand DRUMS Close Mic - Natural SE 303 ELECTRONICC7 Grand DRUMS Close Mic Sharp 282 C7 Grand Delicate ELECTRIC PIANOS 204 C7 Grand Digi Piano Shine ETHNIC 206 C7 Grand Digi Piano ACOUSTIC GUITARS 101 C7 Grand House Piano ELECTRIC GUITARS 331 C7 Grand Pop Piano 1 LOOPS 423 C7 Grand Pop Piano 2 ORGANSC7 Grand Rock Piano 233 PERCUSSIONC7 Grand Tremolo Piano 77 SOUNDDelay FX Grand Delicate 16 STRINGSLFO Piano 375 SYNTHLoft BASIC Piano 106 Modern Piano SYNTH BASIC VARIATIONS 246 Ode to Robert SYNTH ARPEGGIO 34 Radio Piano SYNTH BASS 482 Very Old Friend SYNTH FX 63 SampleTank 3 Instruments (65) SYNTH LEAD 385 Grand Piano 1 SYNTH PAD 420 Grand Piano 1 Classical SYNTH PLUCK 29 Grand Piano 1 Mono Pop SYNTH SWEEP 16 VOICES 240 WOODWINDS 1 189 1 Instruments included in SampleTank 4 SampleTank Instruments ACOUSTIC PIANOS (123) SampleTank 4 New Instruments (20) Bad Stories C7 Grand Cinematic 1 C7 Grand Close Mic - Natural C7 Grand Close Mic - Natural SE C7 Grand Close Mic Sharp C7 Grand Delicate C7 Grand Digi Piano Shine C7 Grand Digi Piano C7 Grand House Piano C7 Grand Pop Piano 1 C7
    [Show full text]
  • FM ~110Bpm Steely Dan
    FM ~110bpm Steely Dan Intro: |-----------------|------|-Bass-Lick-------|-Guitar Lick-------|-9-9-9---9-9-9-9-|--9-|-9----9----||-7/9--------------| |-2-3-2-3-2-3-2-3-|------|-----|-----------|-------------------|-8-8-8---8-8-8-8-|-10-|-8h10-8h10-||-----11----9-11p9-| |-2-4-2-4-2-4-2-4-|-%-x4-|-----|-----------|---------7-5-------|-9-9-9---9-9-9-9-|--9-|-9----9----||--------11--------| |-----------------|-%----|-----|-----------|-------7-------5-7-|-----------------|----|-----------||------------------| |-----------------|------|---0-|-2-2-----0-|---7h9-------------|-----------------|----|-----------||------------------| |-"A-D"-----------|------|-2---|-----2-0---|-------------------|-----------------|----|-"A7Lick"--||-dawn-------------| E5 F#5 G5 E5 A7Lick |---------||-----0-0-0-0-2-| Give us some funked up Muzak Cmaj7 Bm7 Am7 G F#7 B7 |---------||-0-3-----------| |---------||-Vocal Start---| she treats you The girls don't seem to care tonight |---------|| nice (A7Lick) Emaj13 G#7#5 C#m11 F#13 |-2--4/5--|| As long as the mood is right |-0--2/3--|| |-E---------------------| F#m7 A7 |-------3h5p3---3-3h5---| |---2/4-------4---------| No static at all (no static at all) E5 F#5 G5 E5 "A7Lick" |-----------------------| D/E C7 Worry the bot- tle mama it's grape-fruit |-----------------------| F M E5 F#5 G5 E5 "A7Lick" |-nice------------------| |---------------|---3--| Wine. |-1-------1-1---|---3--| E5 F#5 G5 E5 F#5 G5 |-----------------|----| |-3-------3-3---|---2--| |-2-------2-2---|---1--| Kick off your high heeled sneakers |-----3h5p3-------|----|
    [Show full text]
  • Flow Motion FM Synthesizer
    Flow Motion FM Synthesizer User Guide Contents Introduction ............................................................................................................................................... 3 Quick Start ................................................................................................................................................ 4 Interface .................................................................................................................................................... 9 Flow Screen ..................................................................................................................................................................... 9 Motion Screen ................................................................................................................................................................ 10 General Controls ............................................................................................................................................................ 11 Managing Presets ................................................................................................................................... 12 Controls .................................................................................................................................................. 13 Flow Screen ................................................................................................................................................................... 13 Oscillator
    [Show full text]
  • Steely Dan & the Doobie Brothers Announce Co
    STEELY DAN & THE DOOBIE BROTHERS ANNOUNCE CO-HEADLINE NORTH AMERICAN SUMMER TOUR Citi Presale Begins January 10; General On Sale Starts January 12 at LiveNation.com Los Angeles, CA (January 8, 2018) –Steely Dan and The Doobie Brothers announced today their co-headline North American 2018 summer tour kicking off May 10 in Charlotte, NC and wrapping July 14 in Bethel, NY. Promoted by Live Nation, the legendary bands will travel to 30+ cities across the U.S. and Canada including Los Angeles, Chicago, Houston, Nashville, and Toronto. Tickets for the tour go on sale to the general public beginning Friday, January 12 at 8am local time in most cities on Live Nation.com. Please see below for full tour itinerary and details. Citi® is the official presale credit card for the Steely Dan and The Doobie Brothers tour. As such, Citi® cardmembers will have access to purchase U.S. presale tickets beginning Wednesday, January 10 at 10am local time until Thursday, January 11 at 10pm local time through Citi’s Private Pass® program. For complete presale details visit www.citiprivatepass.com. Founded in 1972, Steely Dan has sold more than 40 million albums worldwide and helped define the soundtrack of the ‘70s with hits such as “Reelin’ in the Years,” “Rikki Don’t Lose That Number,” “F.M.,” “Peg,” “Hey Nineteen,” “Deacon Blues,” and “Babylon Sisters,” from their seven platinum albums issued between 1972 and 1980 – including 1977’s sold-out tours (that continue through today). In 2000 they released the multi-Grammy winning (including “Album of the Year”) Two Against Nature, and released the acclaimed follow- up Everything Must Go in 2003.
    [Show full text]
  • Vox Continental Voice Name List
    Voice Name List Table of Contents VARIATION. 2 ORGAN . 2 CX-3......................................................................................................................................................................2 VOX.......................................................................................................................................................................2 COMPACT...........................................................................................................................................................2 E.PIANO. 2 TINE ......................................................................................................................................................................2 REED.....................................................................................................................................................................2 FM .........................................................................................................................................................................2 PIANO . 2 GRAND ................................................................................................................................................................2 UPRIGHT .............................................................................................................................................................2 E. GRAND............................................................................................................................................................2
    [Show full text]
  • Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
    Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance.
    [Show full text]
  • I'm an English Teacher,A Singer-Songwriter, Freelance Journalist, Andmusician
    I'm an English teacher,a singer-songwriter, freelance journalist, andmusician. I worked in radio and community radio as a deejay in the 1970s and later, cable television - public access, and CNN, when it began. I've begun looking for a publishers and artists for my songs. I recently moved to nashville as a step in getting serious about it!I also co-founded a non-profit in Georgia, the Chattahoochee Folk Music Society and worked there to promote local musicians. There's a singer-songwriter show on the WLPN? the local PBS radio affliate, once a week, plus some syndicated shows there. I hear "Progressive rock" which includes some Americana, on Lightning 100 FM; LIghtning also broadcasts live music from clubs a couple of times a week. I hear live broadcasts of the Grand Old Opry which is national talent but many are "local" to where I libve, Nashville, on WSM AM. In the town I moved from, Columbus, Georgia, we had a choice of classic rock and roll, done-to-death, or pop or mainstream country. Totally Homogenized music. I rarely listened. I feel there's a lot of room for other styles of music over the air; I fear that stations are "paid to play" and no matter how good a song is, it won't receive airplay without major money pushes, even if it arrives at a station and deejays and community like it; I fear the monopolization of the airwaves. I think nashville is lucky to have the few offerings on the air of local music that it does have; but things could be even better.
    [Show full text]
  • Steely Dan and the Doobie Brothers
    FOR IMMEDIATE RELEASE Media Contact: Lauren Jahoda v.845.583.2193 Photos & Interviews may be available upon request [email protected] STEELY DAN & THE DOOBIE BROTHERS WILL CLOSE NORTH AMERICAN TOUR AT BETHEL WOODS ON JULY 14TH Tickets on sale Friday, January 12th at 10:00 AM Citi Presale Begins January 10; General On Sale Starts January 12 January 8, 2018 (Bethel, NY) – Steely Dan and The Doobie Brothers announced today their co-headline 30+ cities North American 2018 summer tour “The Summer of Living Dangerously,” promoted by Live Nation, will wrap up on Saturday, July 14 at Bethel Woods Center for the Arts. Tickets for the tour go on sale to the general public beginning Friday, January 12 at 10 a.m. at www.BethelWoodsCenter.org, The Bethel Woods Box Office, LiveNation.com, www.Ticketmaster.com, Ticketmaster outlets, or by phone at 1.800.745.3000. Citi® is the official presale credit card for the Steely Dan and The Doobie Brothers tour. As such, Citi® cardmembers will have access to purchase U.S. presale tickets beginning Wednesday, January 10 at 10am until Thursday, January 11 at 10pm through Citi’s Private Pass® program. For complete presale details visit www.citiprivatepass.com. Founded in 1972, Steely Dan has sold more than 40 million albums worldwide and helped define the soundtrack of the ‘70s with hits such as “Reelin’ in the Years,” “Rikki Don’t Lose That Number,” “F.M.,” “Peg,” “Hey Nineteen,” “Deacon Blues,” and “Babylon Sisters,” from their seven platinum albums issued between 1972 and 1980 – including 1977’s sold-out tours (that continue through today).
    [Show full text]
  • The Curious Light of Mister Moon
    The Curious Light of Mister Moon A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Composition Department of the College Conservatorium of Music by Dylan Sheridan B.A University of Tasmania May 2011 Committee Chair: J. Hoffman Abstract: An absurdist musical theater work for countertenor and percussion, based on the short stories of Japanese author Taruho Inagaki. Contents 1) Hello, Mister Moon – pg. 6 2) The Moon and a Cigarette – pg. 10 3) The Moon in his pocket – pg. 17 4) How I sobered up – pg. 24 5) On brawling with Mister Moon – pg. 30 6) Ton Koro Pii Pii – pg. 37 Percussion Instruments FM radio, FM transmitter, Vibraphone, G# Whirly, Low E Gong, a little brass bell, 3x Chinese Tom-Toms, Chinese “doing” cymbal, 5x temple blocks, xylophone, big cymbal, finger cymbals, little bell on a string, 5x Jars of Brandy, a few little rocks, flexitone, pitched wine glasses (A, A#, B), D# gong, hollow frog (or wood block), snare drum, several ceramic plates, hi-hat, chicken egg, low G# Gong i - FM radio, FM transmitter, Vibraphone, G# Whirly, low E Gong ii - Low E Gong, little bell, 3x Chinese Tom-Toms, Chinese “doing” cymbal, 5x temple blocks, xylophone, Vibraphone iii - xylophone, big cymbal, finger cymbals, Vibraphone iv - FM radio, FM transmitter, little bell on a string, 5x Jars of Brandy, a few little rocks, flexitone, pitched wine glasses (A, A#, B) v - Vibraphone, G# Whirly, pitched wine glasses (A, A#, B), D# gong, hollow frog (or wood block), ceramic plates, snare drum, hi-hat, chicken egg vi - FM radio, FM transmitter, Vibraphone, Low G# Gong Staging and Costume Performers may choose the extent to which they wish to include costume and staging in performance.
    [Show full text]
  • Get the Facts: Pandora Buys Fm Radio Station in A
    GET THE FACTS: PANDORA BUYS FM RADIO STATION IN A BID TO UNDERCUT SONGWRITERS Pandora recently purchased radio station KXMZ-FM in Rapid City, South Dakota, in a bid to lower the licensing fees it pays songwriters and composers for public performances of their work. Pandora says this will help music creators and listeners, but the facts tell a much different story. SONGWRITERS DRIVE HUGE REVENUES FOR PANDORA • Pandora, a Wall Street-traded company, reported revenues of more than $920 million in FY2014 alone.1 • In contrast, ASCAP is a membership organization that operates on a not-for-profit basis to collect and distribute royalties to the more than 525,000 independent songwriters, composers and music publishers it represents.2 • Every 1,000 plays of a song on Pandora is worth about 9 cents in performance rights for its songwriters, composers and publishers ($0.00009 per stream). 3 • To put that in context, Miranda Lambert’s hit song “The House that Built Me” was streamed on Pandora nearly 22 million times, earning its songwriters and publishers roughly $1,788.48. Co-writer Allen Shamblin received only $894.14. Lady Antebellum’s 2011 Grammy-winning Song of the Year “Need You Now” was streamed nearly 72 million times on Pandora, earning its four songwriters and publishers $5,918.28. Co-writer Josh Kear received only $1,479.57. 4 • In 2014, Pandora paid all songwriters only about $36 million in total royalties, representing a mere 4% of the company’s revenue.5 PANDORA USES MORE MUSIC THAN TRADITIONAL RADIO • Internet radio and traditional AM/FM radio use music and generate revenue in very different ways.
    [Show full text]
  • FM 6-0, Commander and Staff Organization and Operations, Provides Commanders and Their Staffs with Tactics and Procedures for Exercising Mission Command
    FM 6-0 COMMANDER AND STAFF ORGANIZATION AND OPERATIONS MAY 2014 DISTRIBUTION RESTRICTION: Approved for public release; distribution is unlimited. This publication supersedes ATTP 5-0.1, dated 14 September 2011 HEADQUARTERS, DEPARTMENT OF THE ARMY This publication is available at Army Knowledge Online (https://armypubs.us.army.mil/doctrine/index.html). To receive publishing updates, please subscribe at http://www.apd.army.mil/AdminPubs/new_subscribe.asp. FM 6-0, C1 Change No. 1 Headquarters Department of the Army Washington, DC, 11 May 2015 Commander and Staff Organization and Operations 1. Change 1 to FM 6-0, 5 March 2014, adds the supersession statement to the cover. 2. Modifies figure 7-2. 3. Modifies figure 9-5. 4. Adds joint command relationships to appendix B. 5. Modifies table B-2. 6. Modifies table B-3. 7. Adds definitions of close support, direct liaison authorized, direct support, and mutual support. 8. A number sign (+) marks new material. 9. FM 6-0, 5 May 2014, is changed as follows: Remove Old Pages Insert New Pages front cover front cover pages i through vi pages i through vi pages 7-1 through 7-2 pages 7-1 through 7-2 pages 9-23 through 9-45 pages 9-23 through 9-46 pages B-1 through B-7 pages B-1 through B-7 pages Glossary-1 through Glossary-9 pages Glossary-1 through Glossary-9 pages Index-1 through Index-9 pages Index-1 through Index-9 7. File this transmittal sheet in front of the publication for reference purposes. DISTRUBUTION RESTRICTION: Approved for public release; distribution is unlimited.
    [Show full text]