Popcorn Shed // Amcor Doubles the Shelf-Life Of

Total Page:16

File Type:pdf, Size:1020Kb

Popcorn Shed // Amcor Doubles the Shelf-Life Of // Amcor’s Case Study // Popcorn Shed POPCORN SHED // AMCOR DOUBLES THE SHELF-LIFE OF POPCORN SHED’S *58% Carbon Recyclable PREMIUM POPCORN footprint reduction WITH A RECYCLABLE SOLUTION Easy opening 2x longer shelf life CONSUMERS EXPECT CONVENIENCE Popcorn is far more susceptible to moisture and oxygen than most other snacking foods. In as little as a few hours after opening a pack there is a noticeable loss of freshness as the product loses its crunch and becomes soggy. This is why Popcorn Shed houses its popcorn within plastic pouches that sit inside ‘sheds’ of cardboard packaging. Popcorn Shed had previously been protecting its popcorn with a laminated barrier film. This PET AlOx / LDPE clear packaging is mainly used for Popcorn Shed founders Sam Feller and Laura Jackson ready meals and frozen food due to its reliable and strong barrier properties. However, the material THE POPCORN SHED GROWTH STORY wasn’t conducive to easy-opening, which resulted Popcorn Shed is an independent London-based in Popcorn Shed receiving several customer premium popcorn maker that prides itself on complaints. great tasting products, high-quality ingredients, beautiful packaging and excellent customer As Sam explains: “We were receiving lots of service. The company, which began with cousins complaints that customers couldn’t open the bags Sam Feller and Laura Jackson making popcorn without a pair of scissors, or it spilled on opening. in their garden shed, has enjoyed rapid growth So, while it provided a good barrier, it didn’t quite since launching in 2016. have the properties we needed to meet our customers’ expectations of a luxury brand.” The company was the first to put popcorn in an outer carton (using bag-in-box), which makes the Additionally, its previous PET structure meant product highly shareable and perfect for gifting that the liner bag was non-recyclable. While purposes. Its packaging and the high quality of PET bottles are recyclable, there is currently no ingredients used in its popcorn is instrumental in recycling stream for PET-based bags and pouches. setting the brand apart in a busy market. The new AmLite pouch is mono-OPP/PP which means that it fits recycling streams available in For more information: several European countries. With sustainability https://popcornshed.com/ becoming a growing issue for consumers this increased recyclability ultimately helps them too. Page 1 // www.amcor.com // Amcor’s Case Study // Popcorn Shed THE SUSTAINABLE SOLUTION ABOUT AMLITE STANDARD RECYCLABLE Popcorn Shed required a packaging material The AmLite Standard Recyclable line of high that would keep its premium popcorn fresh, barrier packaging is a unique line of metal-free was easy for consumers to open, and easy for packaging that is recyclable where these streams Amcor has a dedicatedAmcor sustainability has a dedicated team sustainability team them to recycle in someFor more European information,For please more countries. contactinformation, please contact [email protected]@Amcor.com exist. By utilizing Amcor’s significant experience Amcor’s AmLite Standard Recyclable packaging in barrier coating and conversion, AmLite ensures delivered on all three requirements. The a lightweight material that offers excellent Amcor has a dedicated sustainability team packaging can be recycled in front-of-store For more information, please contact product protection, that is easy to open, and can crisp packet recycling systems and is suitable [email protected] be customised with a highly visible design. for polypropylene recycling where the facilities exist (i.e. Germany). ABOUTAssessment POPCORNAssessment SHED Report Report(Fact sheet) (Fact sheet) PopcornEnvironmental Shed is Environmentalthe life cycleUK’s assessment first life premiumcycle of assessment packaging gourmet of packagingThe packaging offers the same high-barrier popcornPrepared brand, for: whilePrepared Popcorn competitors for: Popcorn apply spray- properties as conventional metallised orientated on and powder coatings in an industrial process,Assessment polypropylene Report (OPP). (Fact However, sheet) being metal- PopcornProposed Shed usesPackaging:Proposed an artisan Packaging:OPP30/pri/prt/adh/OPP cooking OPP30/pri/prt/adh/OPPprocessEnvironmental lifefree, AmLite cycle it has assessment the18 AmLite benefit of packaging 18of transparency, which with each production run. enables consumers to see the product inside Prepared for: Popcorn >> Overall comparison>> Overall of comparison product performance of product performancethe packaging, a requirement for Popcorn Shed. OperatingEvolution out of the of product Evolutiona garden of the shed product since 2016,Proposed Packaging: OPP30/pri/prt/adh/OPP AmLite 18 Popcornenvironmental Shed is indicators: aenvironmental home-grown, indicators: family-owned-17 % -17 %The-22 combination % -22 of %an OPP-28 structure % -28 and % business and a Made in Britain artisanal brand. AmLite’s metal-free barrier has an impact on >> Overall comparison of product performance They are also the first UK popcorn brand to be the recyclability of packaging. Metallisation Evolution of the product packaged in ‘shed’ cartons, each with its ownenvironmental indicators:can interfere with Infra-Red-17 % material detection-22 % -28 % personality andRelative theme. Relative systems at recycling sites, but AmLite Standard impact (%) impact (%) Recyclable can be easily detected and machine For more information: sorted for recycling. www.popcornshed.com Relative impactAdditionally, (%) the move to AmLite Standard Recyclable from the previous laminate has provided substantial reductions in carbon footprint, water consumption and non- renewable primary energy demand. The new packaging’s carbon footprint is 58%1 lower, meaning that this solution is much more Non-renewable primaryNon-renewable primaryCarbon footprint Carbon footprintWater consumptionWater consumption energy demand energy demandsustainable(fossil) than (fossil)the previous packaging. Non-renewable primary Carbon footprint Water consumption energy demand (fossil) Number of CFL lightNumber bulbs of CFLNumber light63 thebulbs of carsnumber Numberdriven of for of 1 cars drivenNumber for of1 10 minuteNumber7010 the of 10 number minute burning for 1 yearburning for 1 yearcars drivenyear for year showers of showers10 minute 1 year saved showers saved Savings (1M m²)Savings (1M m²)809 809 22 22 3450 3450 Note: Figures may be skewedNote: Figures as a consequence may be skewed of rounding. as a consequence Results are of given rounding. for 1 millionResults m²are. given for 1 million m². 2030Number the of numberCFL light bulbsof CFL Number of cars driven for 1 Number of 10 minute burning for 1 year year showers Baseline packaging Baseline12PETAlOx/Pri/prt/adh/PE40 packaging 12PETAlOx/Pri/prt/adh/PE40 light bulbs burning for 1 year saved Author AuthorRémy Teuscher Rémy Teuscher e-mail [email protected] (1M m²) [email protected] 22 3450 Accuracy AccuracyMeets standard requirementsMeets standard requirementsDate of approval Date13.09.2019 of approvalNote: Figures13.09.2019 may be skewed as a consequence of rounding. Results are given for 1 million m². Scope ScopeCradle-to-grave Cradle-to-grave Validity period Validity1 year period 1 year Baseline packaging 12PETAlOx/Pri/prt/adh/PE40 Author Rémy Teuscher e-mail [email protected] Accuracy Meets standard requirements Date of approval 13.09.2019 Page 2 // www.amcor.com << Analysis n°9949 >><< Analysis n°9949Confidential >> informationConfidential - Not for informationPublication - Not for Publication Page 1 Page 1 Scope Cradle-to-grave Validity period 1 year << Analysis n°9949 >> Confidential information - Not for Publication Page 1 // Amcor’s Case Study // Popcorn Shed FROM GARDEN SHED TO WORLDWIDE DISTRIBUTION, THANKS TO EXTENDED SHELF-LIFE Thanks to its high performing barrier, Amcor’s AmLite Standard Recyclable packaging has doubled the shelf-life of Popcorn Shed’s premium popcorn. This has had a significant impact on the brand’s export and ecommerce opportunities, with global export now accounting for 25% of the brand’s turnover. As Sam explains: “Since we implemented Amcor’s packaging our shelf-life into trade has gone from six months to 12 months, which is hugely important for the export market. When we’re sending products to Japan and Australia customers demand a 12-month minimum shelf-life as the products sit on a boat for three months before they reach the destination. “Other producers will gas flush the popcorn to keep food fresh for longer and achieve that shelf- life, but we don’t need to do that. Now, Amcor’s packaging ensures that popcorn that has been in the bag for 12 months is still as fresh as the day it was first made. We’re delighted with the results and will continue to use the bags moving forwards.” Popcorn Shed’s packs are now simple to open, guarantee a fresh taste, and consumers are able to see the product inside the pack. Amcor’s solution also enables Popcorn Shed to print its brand on the bag, which further improves the appeal of the packaging. As Sam adds: “Amcor’s AmLite Standard Recyclable* is a fantastic product for our application. It opens like a crisp packet, so it is very easy to use as a consumer, and its barrier properties are excellent.” These elements have helped Popcorn Shed position itself as a high-quality, premium gifting product to consumers all over the world. *This claim is a general guidance and does not mean the packaging can be recycled currently everywhere
Recommended publications
  • NCRC Award Brian Docs
    NCRC 2012 Radio Awards Application, Documentary Bio and Program Note Producer: Brian Meagher Bio: It all began when I was six years old and I heard `Popcorn` for the first time. I remember being at the A&W Drive-In, the waitresses arriving at our car on roller skates, and this incredible song providing the soundtrack. Electronic music has provided my soundtrack ever since. Program: Synthumentary (episodes 1-3) Description: Synthumentary is a five-part look at the evolution of the electronic instruments and their place in popular culture, from the earliest electromechanical musical devices to the Moog explosion of the late 60`s and early 70`s. Synthumentary presents a survey of the landmark inventors, instruments, artists and recordings of each era. In each episode, we look at a different scene, discuss the era`s principle actors and play some of their music to illustrate the style of music made at the time. The evolution of electronic music technology is explained to frame each episode. Our aim is to provide the casual listener of electronic music with an appreciation of its possibilities and the more knowledgeable fan with at least a few nuggets of novel information. Among the subjects covered are: The Telharmonium, Theremin, The ”Forbidden Planet” Soundtrack, Raymond Scott, The Ondioline, Jean-Jacques Perrey and Gershon Kingsley, Bob Moog and the Moog music phenomena, Silver Apples, and the Canadian scene: Hugh LeCaine to Bruce Haack to Jean Sauvageau. The intro and outro theme is an original composition written and performed by members of The Unireverse for Synthumentary. The audio submitted contains excerpts from all three episodes.
    [Show full text]
  • The Science Sound
    The Science of Sound Education Guide Introduction: Music is Science Education Guide Acknowledgements Written and developed by Kim Leavitt, Director of Education and Community Engagement, The Phoenix Symphony and Jordan Drum, Education Assistant, The Phoenix Symphony Based on The Science of Sound Classroom Concert created and developed by Mark Dix, Violist, The Phoenix Symphony Lesson Plans created by April Pettit, General Music/Band/Orchestra/Choir, Dunbar Elementary School Funding for The Science of Sound Education Guide was provided by the Craig & Barbara Barrett Foundation 12 LearningThe Science Objectives: of Sound: AcademicTable of Connections Contents Acknowledgements 2 Table of Contents 3 Introduction: Music is Science 4 Learning Objectives : Academic Connections 5 Arizona Academic Content Standards 5 The Science Behind Sound 6 Science of Sound Lesson Plans 9 Science Lesson: Exploring Vibration and Sound Grades: 2-8 10 Music and Technology: Comparing and Contrasting Music Instruments Grades: 3-8 11 Music Lesson: Engineering Musical Instruments Grades: 2-8 12 Music and Science: Experimenting with Sound Waves Grades: 5-12 13 Music, Math & Engineering Lesson: Creating Straw Panpipes Grades: 4-8 15 Assessment Tools 16 Longitudinal Waves in Music 17 Quiz: How is Sound Produced? 18 Science of Sound Writing Prompts 19 Interactive Quiz: Name That Instrument! 20 Interactive Game: Making Music with Science 21 Venn Diagram: Instrument Families 22 Instrument Family Word Search 23 music engineering science 31 3 Introduction: Music is Science Making music is a scientific process. Scientists and historians have tried to explain the complex phenomena of music for thousands of years. Many questions exist: How is sound produced? What causes music notes to be loud or soft? Why are some notes high and others low? What is the difference between “noise” and music? The science behind how a musical instrument functions is fascinating.
    [Show full text]
  • Notes for a Speech: Stories Matthew Greene Eastern Washington University
    Eastern Washington University EWU Digital Commons EWU Masters Thesis Collection Student Research and Creative Works Spring 2018 Notes for a speech: stories Matthew Greene Eastern Washington University Follow this and additional works at: http://dc.ewu.edu/theses Part of the Fiction Commons Recommended Citation Greene, Matthew, "Notes for a speech: stories" (2018). EWU Masters Thesis Collection. 502. http://dc.ewu.edu/theses/502 This Thesis is brought to you for free and open access by the Student Research and Creative Works at EWU Digital Commons. It has been accepted for inclusion in EWU Masters Thesis Collection by an authorized administrator of EWU Digital Commons. For more information, please contact [email protected]. NOTES FOR A SPEECH: STORIES A Thesis Presented To Eastern Washington University Cheney, Washington In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Creative Writing By Matthew Greene Spring 2018 ii THESIS OF MATTHEW GREENE APPROVED BY ____________________________________ ________________ DATE GREGORY SPATZ ____________________________________ ________________ DATE SAMUEL LIGON ____________________________________ ________________ DATE DR. KEVIN DECKER iii MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Eastern Washington University, I agree that the JFK Library shall make copies freely available for inspection. I further agree that copying of this project in whole or in part is allowable only for scholarly purposes. It is understood, however, that any copying or publication of this thesis for commercial purposes, or for financial gain, shall not be allowed without my written permission. Signature Date iv Table of Contents The Bachelor Party 1 Shazaam! 20 Something Must be Done! 32 Emil Cioran at the State Fair 47 Dodger Dogs 67 Notes for a Speech 80 The Bachelor Party Jim’s bachelor party was going great until he lost his leg.
    [Show full text]
  • PSR-E243/YPT-240 Owner's Manual
    DIGITAL KEYBOARD Owner’s Manual EN SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). Battery Notice: DO NOT connect this product to any power supply or adapter other This product MAY contain a small non-rechargeable battery which (if than one described in the manual, on the name plate, or specifically applicable) is soldered in place. The average life span of this type of bat- recommended by Yamaha. tery is approximately five years. When replacement becomes neces- WARNING: Do not place this product in a position where anyone could sary, contact a qualified service representative to perform the walk on, trip over, or roll anything over power or connecting cords of any replacement. kind. The use of an extension cord is not recommended! If you must use an This product may also use “household” type batteries. Some of these extension cord, the minimum wire size for a 25’ cord (or less ) is 18 AWG. may be rechargeable. Make sure that the battery being charged is a NOTE: The smaller the AWG number, the larger the current handling rechargeable type and that the charger is intended for the battery being capacity. For longer extension cords, consult a local electrician. charged. This product should be used only with the components supplied or; a When installing batteries, never mix old batteries with new ones, and cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is never mix different types of batteries. Batteries MUST be installed cor- used, please observe all safety markings and instructions that accom- rectly.
    [Show full text]
  • Electronics in Music Ebook, Epub
    ELECTRONICS IN MUSIC PDF, EPUB, EBOOK F C Judd | 198 pages | 01 Oct 2012 | Foruli Limited | 9781905792320 | English | London, United Kingdom Electronics In Music PDF Book Main article: MIDI. In the 90s many electronic acts applied rock sensibilities to their music in a genre which became known as big beat. After some hesitation, we agreed. Main article: Chiptune. Pietro Grossi was an Italian pioneer of computer composition and tape music, who first experimented with electronic techniques in the early sixties. Music produced solely from electronic generators was first produced in Germany in Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called MAX. August 18, Some electronic organs operate on the opposing principle of additive synthesis, whereby individually generated sine waves are added together in varying proportions to yield a complex waveform. Cage wrote of this collaboration: "In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. Other equipment was borrowed or purchased with personal funds. By the s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the s, in Egypt and France.
    [Show full text]
  • BORN, Western Music
    Western Music and Its Others Western Music and Its Others Difference, Representation, and Appropriation in Music EDITED BY Georgina Born and David Hesmondhalgh UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London All musical examples in this book are transcriptions by the authors of the individual chapters, unless otherwise stated in the chapters. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Western music and its others : difference, representation, and appropriation in music / edited by Georgina Born and David Hesmondhalgh. p. cm. Includes bibliographical references and index. isbn 0-520-22083-8 (cloth : alk. paper)—isbn 0-520--22084-6 (pbk. : alk. paper) 1. Music—20th century—Social aspects. I. Born, Georgina. II. Hesmondhalgh, David. ml3795.w45 2000 781.6—dc21 00-029871 Manufactured in the United States of America 09 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper). 8 For Clara and Theo (GB) and Rosa and Joe (DH) And in loving memory of George Mully (1925–1999) CONTENTS acknowledgments /ix Introduction: On Difference, Representation, and Appropriation in Music /1 I. Postcolonial Analysis and Music Studies David Hesmondhalgh and Georgina Born / 3 II. Musical Modernism, Postmodernism, and Others Georgina Born / 12 III. Othering, Hybridity, and Fusion in Transnational Popular Musics David Hesmondhalgh and Georgina Born / 21 IV. Music and the Representation/Articulation of Sociocultural Identities Georgina Born / 31 V.
    [Show full text]
  • Cash Box Page 4 Week of July 1, 1946 IS THIS INFLATION OR a NEW PRICE ERA ?
    eiL. Mu. , 1 .C52^ V > 7, Rto ‘ . 3 - ^lAy I . (^4fc So , THE CONFIDENTIAL WEEKLY OF THE COIN MACHINE INDUSTRY That’s Why Every Location Owner Will Want a WurllTzer • Every man, woman and child in America who reads, rides or walks is seeing Wurlitzer’s i national advertising on billboards coast to coast — in full color pages in the Saturday j Evening Post, Collier’s, Look and Liberty. All rare being told to look for Wurlitzer’s Sign of It’s the greatest business-booster ever offered the Musical Note to find places where they location owners. It’s a tremendously effect- can have fun enjoying Wurlitzer Music. ive location-getter, working day and night for Wurlitzer Factory- Approved Music Mer- chants. The Rudolph Wurlitzer* Company, North Tonawanda, New York. *The Name That Means Music To Millions WuruTzer Wurlitzer’s ^'Triple Action” Advertising Campaign will reach htrfh9jy,..ivtrfwhcrt EXTEND ITS 1 feffarBffra'rfi p=!»S=!i.j=:;;j!=:/iip=;i|-e3 wgj=:rrr&'nT3is It »eFtttt wAKtwe stt-ecTiows j •2-OftSPlAI Vol. 7, ISo. 41, Serial JSumber 249 Week of July 1, 1946 By Bill Gersh The problems which confront the industry today, and This, too, will prove itself true in merchandising of which seem so vast and so incurable, are but of picayune almost every type of salable product. There will be mer- stature. They will be solved rapidly and with dispatch chandise machines which will feature food, drinks, within a reasonably short period of time. necessities of all and every type. This is coming just as surely as men grow old and die.
    [Show full text]
  • Pipes Along the Rockies Newsletter of the Rocky Mountain Chapter American Theatre Organ Society, Inc
    Pipes along the Rockies Newsletter of the Rocky Mountain Chapter American Theatre Organ Society, Inc. March, 2018 Information Line: 303-466-3330 Are saxophones brass or woodwinds??? Sunday, March 11th 2 pm, Holiday Hills Ballroom They’re both! Invented by Adolphe Sax in 1840, sax- ophones produce their tone by using a single-reed mouthpiece, thereby maintaining membership in the wonderful woodwind family of instruments. Being constructed of brass makes them powerful and pretty! Saxophones are usually heard in concert and military bands, and make awesome jazz instruments! The Flatirons Saxophone Quartet will make their Sunday, April 15th 2 pm, Holiday Hills Ballroom first Holiday Hills appearance on March 11 with an It’s tax time and recently ordained Minister of Music opening set of their quartet arrangements, primarily Bob Flinn is back at the console of the digital theatre from the Ragtime and Jazz eras, followed by a fun organ to get our minds focused on the important jam session with theatre organ accompaniment after stuff… like great Gospel music and Old Standards! intermission. The quartet was established over 25 years ago and includes members Tim Hughes, Rex Vedder, Tom Henderson and Gary Hurst. Thank you club member Michael Bauer for this fun program idea! Bobba-dobba-bap-bap-bap... TEQUILA! Shhhh… Silents Please! Sunday, May 20th 2 pm, Holiday Hills Ballroom Grab some free popcorn, find a seat, sit back and get ready to enjoy a trip down memory lane as the Holi- day Hills Ballroom becomes a 1920’s movie palace! We’ll have silent movies and theatre organ music during the intermissions featuring club organists and guest organist Dave Weesner from Colorado Springs.
    [Show full text]
  • A Lecture Demonstration for Children a Thesis Submitted in Partial Fulfillment of the Requirements for the Degre
    DANCE IS ... ?: A LECTURE DEMONSTRATION FOR CHILDREN A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN'S UNIVERSITY COLLEGE OF HEALTH, PHYSICAL EDUCATION, AND RECREATION DEPARTMENT OF DANCE BY JULIE L. RAABE , B . A. DENTON , TEXAS AUGUST 1981 iEXAS WOMAN'S UNIVERSITY LIBRARY TABLE OF CONTENTS DEDICATION ... iii ACKNOWLEDGMENTS iv Chapter I. INTRODUCTION ..... 1 Purpose of the Study .. 3 Problem of the Study. 3 Definition of Terms . 4 Limitations ..... 7 Delimitations 8 II. RELATED LITERATURE. 10 Children's Dance. .. 10 Value of the Lecture Demonstration in Teaching Dance . 14 Lecture Demonstrations for Children . 16 Guidelines for Creating Lecture Demonstrations ...... 20 III. PROCEDURES. 23 Preliminary Procedures. 24 Development of the Choreographic Idea . 25 Selection of Dancers. 27 Choreographic Development of the Dance. 29 Selection of Accompaniment. 31 Costuming . 32 Production. 33 I V. DESCRIPTION OF THE WORK . 36 Choreographic Idea ..... 36 Script. 38 Description of Characters . 38 Accompaniment . 41 Props . 44 Choreographic Description . 44 vi Chapter Costume Description . 54 Production ..... 57 v. CRITICAL ANALYSIS AND EVALUATION. 58 VI. FINDINGS, CONCLUSIONS AND RECOMMENDATIONS 66 Findings. 66 Conclusions . 67 Recommendations for Further Study . 68 APPENDIX ... 69 BIBLIOGRAPHY. 98 vii DEDICATION This thesis is dedicated to the boys and girls who had the opportunity to view the lecture demonstration "Dance Is ... ?" in hopes that they too will find the freedom and love for movement that I have through dance. iii ACKNOWLEDGMENTS I would like to express my sincere appreciation to my thesis committee, Mrs. Gladys Keeton, Dr. Patricia Fagan-Payne and Mrs.
    [Show full text]
  • Stockhausen's Influence on Popular Music
    STOCKHAUSEN’S INFLUENCE ON POPULAR MUSIC: AN OVERVIEW AND A CASE STUDY ON BJÖRK’S MEDÚLLA by Claire Elizabeth Richardson, B.M. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a Major in Music May 2015 Committee Members: Kevin E. Mooney, Chair Ludim Pedroza Nico Schüler COPYRIGHT by Claire Elizabeth Richardson 2015 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Claire Elizabeth Richardson, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. ACKNOWLEDGEMENTS First, I thank the faculty of the School of Music and the Graduate College of Texas State University for providing me the resources and knowledge that have been indispensable for my research and writing. I owe much gratitude to my advisor, Dr. Kevin Mooney, for his exceptional guidance during my work on this thesis. His incisive feedback and endless support have driven me to continue to work diligently and think critically. The enthusiasm in his words “I like it!” continues to serve as one of my best motivators. I also want to thank Dr. Ludim Pedroza and Dr.
    [Show full text]
  • Stefan Firca Dissertation
    Circles and Circuses: Carnivalesque Tropes in the Late 1960s Musical and Cultural Imagination DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University by Stefan Firca , B.M., M.A. Graduate Program in Music The Ohio State University 2011 Dissertation Committee: Professor Arved Ashby, Advisor Professor Graeme Boone Professor Danielle Fosler-Lussier Copyright by Stefan Firca 2011 Abstract Circus, fairground, carousel, carnival imagery is everywhere during the late 1960s: in cover art, song lyrics, band names and song titles, music criticism, names of music venues, festivals, movies, literature. From circus tents to clowns, from jugglers to magicians, from carousels to parades, an entire carnivalesque lexis seems to be at play in what is generally termed “psychedelia.” The current study attempts to read and offer “thick description” (Geertz) of this vocabulary as part of a larger cultural and countercultural imagination, and integrate musical manifestations of the period (popular psychedelia and avant-garde / experimental music) in a semiotic network of metaphoric representation. If language is nothing more than a chain of metaphors (Lakoff), it is nevertheless true that we often take such metaphors as “rock ’n’ roll circus,” “song-carousel,” “riot of sound” for granted, since they are so widespread and culturally shared that an explanation of their meaning may appear pedantic. But what do these word-images actually mean? What is the range of their connotations? What is the relationship between them? Why are they so frequent in the late 1960s? And how are these tropes translated or suggested musically? One possible answer to the last question involves the broad concept of circularity , emblematic for the psychedelic era: a round melodic motive or harmonic progression, ii a cyclic phrase articulation, a motoric-recurrent riff, a spiraling or whirling waltz in triple time.
    [Show full text]
  • Section Cello
    n YOUR UNION STAFF LOCAL 802 OFFICERS ORGANIZER IN THE Adam Krauthamer, President Lily Paulina Karen Fisher, Financial Vice President AFTERNOON Andy Schwartz, Recording Vice President FIELD REPRESENTATIVES Theresa Couture JAZZ EXECUTIVE Board Marisa Friedman Janet Axelrod, Lynne Cohen, Tuesday, Feb. 27 @ Local 802 www.Local802afm.org Shane Gasteyer Monica Davis, Pete Donovan, Elise Frawley, Kyle Hoyt, Morris Bob Pawlo Kainuma, Caryl Paisner, Bobby Shankin Todd Weeks LOU CAPUTO & TRIAL Board LOCAL 802 MUSICIANS HEALTH FUND THE NOT SO BIG BAND Cenovia Cummins, Sylvia D’Avanzo, Administrator Come relax between gigs and enjoy live music at Local 802! The 12-piece Javier Gándara, Bill Hayes, Gloria McCormick “Not So Big Band” is the brainchild of talented multi-instrumentalist Joanna Maurer, Mary Ann McSweeney, Warren Odze, Louise Owen, Dan Peck Allegro Lou Caputo. This working band, which has been together for over 15 Mikael Elsila (Editor, Advertising years, combines the spontaneity of free-blown small-group jazz with Delegates to AFM Convention Manager and Graphic Designer) the power and gravity of a big band. Their varied musical library covers Adam Krauthamer, Pete Donovan, a wide range of styles that still falls into the category of modern jazz. Javier Gándara, Bill Hayes, Dean LeBlanc, HEADQUARTERS: 322 West 48th Street, Join us on Tuesday, Feb. 27 at 5 p.m. at Local 802. Your donations will Caryl Paisner New York, NY 10036 support the Local 802 Musicians’ Emergency Relief Fund, which helps Delegates to NEW york City Phone: (212) 245-4802 musicians in need. For more information, contact Bettina Covo at (212) CENTRAL LABOR CounCIL Web site: www.Local802afm.org 245-4802, ext.
    [Show full text]