The Journal of the Carousel Organ Association of America Carousel Organ, Issue No
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Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation
Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation David Montgomery Abstract: Alex Harvey and the Sensational Alex Harvey Band achieved only marginal popularity during Harvey’s lifetime. Yet an examination of Harvey’s “The Tomahawk Kid,” based on Robert Louis Stevenson’s Treasure Island, shows an idiosyncratic musical style that combines rock and Scottish Celtic influences, subtle textual interpretation, unique compositional choices, and modal tonalities. Introduction The academic study of popular music oscillates between two preoccupations. On one hand, the dogmas of sub-cultural theory still influence popular music discourse and general cultural theory to a great degree. On the other hand, this discourse cannot escape the parameters of its label— popular. In essence, the two poles may be staked as cultural theory versus popular appreciation; but in a way difficult to describe, the application of critical theory has begun to seem more like an attempt to avoid an aesthetic conundrum— a kind of elevation of the demotic artefact to a height it cannot bear. Ever resourceful, the practitioners of popular music studies have wriggled out of this quandary and into the at least temporarily secure embrace of post feminist studies, world pop, and the ethnography of locale; in other words, into areas where inquiry is either of self-evident importance, exotic, or comfortably esoteric. Even if the locale is no more exotic than Glasgow, Scotland or Montgomery, Alabama, or the object mundane, the conceit of the critical stance has proven sufficient. Things change, canons crumble, time has done its work. The difficult “aesthetics” of popular music studies, the indeterminate nature of its aims, is a nagging problem. -
The Witness Is a Monthly Publication of the First Church of Christ, Congregational, U.C.C
The First Church of Christ, Congregational Non-Profit Org. United Church of Christ U.S. POSTAGE 81 High St. PAID HE ITNESS Suffield, CT 06078 Permit No. 328 T W Over 300 years in the heart of the community Enfield, CT for the heart of the community. Address Correction Requested Worship at First Church All worship services are at 10:00 a.m. unless otherwise noted. In This Issue September/October 2014 Pastor’s Message pg. 2 (Please join us for Coffee Hour immediately Call to Special Congregational Vote pg. 3 following the morning service in the Associate Pastor Search Comm.Update pg. 4 Ebenezer Gay Room for Women’s Fellowship News pg. 5 fellowship and conversation.) Christmas in Suffield pg. 6 Wednesday Morning Bible Study pg. 7 Mark These Dates On Your Calendar!! Way of Life & Confirmation News pg. 8 2014 Graduates pg. 9 Sept. 7 - Recovenanting Sunday Painting the Stars pg. 11 (Don’t forget to bring your school Faith Development News pg. 12 & work backpacks to church.) UCC 2014 Annual Meeting pg. 14 Sept. 14 - Church School Begins Celebrating Rick Huleatt’s Ministry pg. 15 Our Fall Kick Off (Traveling Deacons’ Corner pg. 16 with God) will be held after Church School Times pg. 17 morning worship in Vision Statement: Teachers Needed pg. 18 Fellowship Hall With God’s guidance, challenged by the lessons of Jesus’ life, we strive to be a welcoming 2014 Family Kick-Off pg. 19 Sept. 21 - Dedication of the Parsonage faith community, seeking inspiration through the Word of God. From the Music Disk pg. -
EMI Case Study
AS media studies THE MUSIC INDUSTRY - Example Case Study EMI is a major British, independent, leading, global music company. It produces and distributes music throughout the world with artists such as Coldplay and The Verve on its books. It is considered one of the big four record companies. It employs around 5,500 people and operates in 50 countries. Financially it is a world player with revenue in 2007 of over £1,751 million and profits of over £62 million. The EMI group comprises over 100 recording labels. It is the second-largest global music publisher (i.e. music scores). There are two main sides to the music business recorded music and music publishing. The recorded music division signs bands, manages bands and makes records – CDs and downloads. The music publishing division (based in New York) collects royalties every time their songs are played on radio, television, video games, films, ring tones and advertisements. The royalties are small but they all mount up to be a profitable business. EMI has the rights to the published songs by Amy Whitehouse, Arctic Monkeys, Duffy, and Jay-Z as well as perennial favourites like Over the Rainbow. This arm of the business is so successful that it is said to be worth 80% of the value of the company. EMI publishing owns or manages 1.3 million copyrights. EMI is a vertically integrated company because it creates music to sell on CD and as downloads on the internet, and it publishes the songs, lyrics and music of many of its own artists and many more artists. -
Music Sampling and Copyright Law
CACPS UNDERGRADUATE THESIS #1, SPRING 1999 MUSIC SAMPLING AND COPYRIGHT LAW by John Lindenbaum April 8, 1999 A Senior Thesis presented to the Faculty of the Woodrow Wilson School of Public and International Affairs in partial fulfillment of the requirements for the degree of Bachelor of Arts. ACKNOWLEDGMENTS My parents and grandparents for their support. My advisor Stan Katz for all the help. My research team: Tyler Doggett, Andy Goldman, Tom Pilla, Arthur Purvis, Abe Crystal, Max Abrams, Saran Chari, Will Jeffrion, Mike Wendschuh, Will DeVries, Mike Akins, Carole Lee, Chuck Monroe, Tommy Carr. Clockwork Orange and my carrelmates for not missing me too much. Don Joyce and Bob Boster for their suggestions. The Woodrow Wilson School Undergraduate Office for everything. All the people I’ve made music with: Yamato Spear, Kesu, CNU, Scott, Russian Smack, Marcus, the Setbacks, Scavacados, Web, Duchamp’s Fountain, and of course, Muffcake. David Lefkowitz and Figurehead Management in San Francisco. Edmund White, Tom Keenan, Bill Little, and Glenn Gass for getting me started. My friends, for being my friends. TABLE OF CONTENTS Introduction.....................................................................................……………………...1 History of Musical Appropriation........................................................…………………6 History of Music Copyright in the United States..................................………………17 Case Studies....................................................................................……………………..32 New Media......................................................................................……………………..50 -
Blinking with Fists : Poems Pdf, Epub, Ebook
BLINKING WITH FISTS : POEMS PDF, EPUB, EBOOK Billy Corgan | 83 pages | 27 Nov 2009 | FABER & FABER | 9780571211708 | English | London, United Kingdom Blinking with Fists : Poems PDF Book About Billy Corgan. We always have mother for ordinary truth. A lonely singer, dead, comes back to beg me, swearing in my ears she's mine, rhymes set to music that make her lies seem true. She is in the trees up here, no one sees her. Want to Read saving…. I am as disappointed as everyone else. Popular musicians attempting to cross over into the realm of poetry isn't a new phenomenon. Visit poetry store. The Point. After a short time I read through his online journaling and recognized that same undeveloped voice I had rummaged through in his book. Wordview New Cloth. Another fight ended, sides squared off. Username or Email Address. He's a complete ass but the boy can write. Wordview The Coffin Club. Satisfaction is guaranteed with every order. More By and About This Author. On June 4, singer-songwriter Lucinda Williams will share the stage with her father, Miller, a renowned poet. He studies the poem envelope. This is a very strong first book. Dear Poet Project. All flesh. A great book that touches tons of feelings. Betrayed desires, a Billy Corgan is best known as the frontman of The Smashing Pumpkins , and we have all heard his poetry consciously or un. Rock 'n' roll needs them right where they are. Shiny as wax, the cracked veneer Scotch-taped and brittle. There are poems like 'Yachting? Oct 25, Steve Balfour rated it did not like it. -
Does NME Even Know What a Music Blog Is?
Does NME even know what a music blog is?: The Rhetoric and Social Meaning of MP3 Blogs by Larissa Wodtke A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in English - Rhetoric and Communication Design Waterloo, Ontario, Canada, 2008 © Larissa Wodtke 2008 Author‘s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract MP3 blogs and their aggregators, which have risen to prominence over the past four years, are presenting an alternative way of promoting and discovering new music. I will argue that MP3 files greatly affect MP3 blogs in terms of shaping them as: a genre separate from general weblogs and music blogs without MP3s, especially due to the impact of MP3 blog aggregators such as The Hype Machine and Elbows; a particular form of rhetoric illuminated by Kenneth Burke's dramatistic ratios of agency-purpose, purpose-act and scene-act; and as a potentially subversive subculture, which like other subcultures, exists in a symbiotic relationship with the traditional media it defines itself against. Using excerpts from multiple MP3 blogs and their forums, interviews with MP3 bloggers and Anthony Volodkin (creator of The Hype Machine), references to MP3 blogs in traditional press, and Burke's theory of dramatism and Hodge and Kress's theories of social semiotics, I will demonstrate that the MP3 file is not only changing the way music is consumed and circulated, but also the way music is promoted and discussed. -
The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music
The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music By Jayson Makoto Chun The year 2013 proved a record-setting year in Japanese popular music. The male idol group Arashi occupied the spot for the top-selling album for the fourth year in a row, matching the record set by female singer Utada Hikaru. Arashi, managed by Johnny & Associates, a talent management agency specializing in male idol groups, also occupied the top spot for artist total sales while seven of the top twenty-five singles (and twenty of the top fifty) that year also came from Johnny & Associates groups (Oricon 2013b).1 With Japan as the world’s second largest music market at US$3.01 billion in sales in 2013, trailing only the United States (RIAJ 2014), this talent management agency has been one of the most profitable in the world. Across several decades, Johnny Hiromu Kitagawa (born 1931), the brains behind this agency, produced more than 232 chart-topping singles from forty acts and 8,419 concerts (between 2010 and 2012), the most by any individual in history, according to Guinness World Records, which presented two awards to Kitagawa in 2010 (Schwartz 2013), and a third award for the most number-one acts (thirty-five) produced by an individual (Guinness World Record News 2012). Beginning with the debut album of his first group, Johnnys in 1964, Kitagawa has presided over a hit-making factory. One should also look at R&B (Rhythm and Blues) singer Utada Hikaru (born 1983), whose record of four number one albums of the year Arashi matched. -
WRESTLING with OR EMBRACING DIGITIZATION in the MUSIC INDUSTRY the Contrasting Business Strategies of J-Pop and K-Pop
Parc & Kawashima / Wrestling with or Embracing Digitization 23 WRESTLING WITH OR EMBRACING DIGITIZATION IN THE MUSIC INDUSTRY The Contrasting Business Strategies of J-pop and K-pop Jimmyn Parc Seoul National University and Sciences Po Paris [email protected] Nobuko Kawashima Doshisha University [email protected] Abstract Digitization has significantly changed the process for producing and consuming music: from analogue to digital, albums to songs, possess to access, audio to visual, and end products to promotional products. In this globalized digital era, actively embracing digitization would likely help enhance the competitiveness of the music industry. The rise of K-pop and the decline of J-pop clearly demonstrate the different results from whether to embrace or wrestle with digitization. The Korean music industry recognized changes brought on by digitization earlier and was more active in responding with effective strategies. By contrast, the Japanese music industry did not immediately respond to these changes but stuck to its rent-seeking behavior in order to take advantage of its larger market size and ‘sophisticated’ copyright regime. The implications from this paper is that business activities are the core element for creating and enhancing competitiveness of the music industries. Keywords J-pop, K-pop, Hallyu, music industry, digitization, cultural industry Kritika Kultura 30 (2018): 23–048 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Parc & Kawashima / Wrestling with or Embracing Digitization 24 About the Authors Jimmyn Parc is a visiting lecturer at Paris School of International Affairs (PSIA), Sciences Po Paris, France and a research associate at the EU Centre, Graduate School of International Studies (GSIS), Seoul National University. -
Digital Music Sampling and Copyright
DIGITAL MUSIC SAMPLING AND COPYRIGHT POLICY-A BITTERSWEET SYMPHONY?' ASSESSING THE CONTINUED LEGALITY OF MUSIC SAMPLING IN THE UNITED KINGDOM, THE NETHERLANDS, AND THE UNITED STATES Melissa Hahn* TABLE OF CONTENTS I. INTRODUCTION: ABORIGINAL VOICES AND THE 1996 OLYMPICS-ASSESSING THE GLOBAL SCOPE OF DIGITAL M USIC SAMPLING ....................................... 715 II. BACKGROUND: THE RISE OF DIGITAL MUSIC SAMPLING AND ITS LEGAL RAMIFICATIONS ................... 719 A. The Emergence of DigitalMusic Sampling in PopularMusic and in Copyright Litigation ................ 719 B. The Berne Convention and Moral Rights .................. 721 III. ANALYSIS: A GLOBAL CONSIDERATION OF THE CURRENT LEGALITY OF DIGITAL MUSIC SAMPLING ............ 723 A. The Legality of Sampling Under U.K. Law ................ 723 B. The Legality of Sampling Under Dutch Law ............... 726 C. The Legality of Sampling Under U.S. Law ................. 730 * J.D., University ofGeorgia School of Law, 2006; B.A., UniversityofSouthern California, 2001; MSc, London School of Economics, 2002. In the late 1990s, a British court ordered rock group the Verve to pay all of the royalties stemming from their 1997 hit "Bittersweet Symphony" to the owners of the Rolling Stones' song "The Last Time" for failing to clear the use of a Rolling Stones' sample in the song. See Ben Challis, The Song Remains the Same: Music Sampling in the DigitalAge, MONDAQ, Dec. 23, 2003, http://www.mondaq.com/article.asp?articleid=23823&latestnews.html. The Verve sampled a symphonic remake of the Stones' hit, which was released on the "Rolling Stones Songbook" album under the monniker, the Andrew Oldham Orchestra. Christopher O'Connor, The Verve SuedAgain over 'BitterSweet Symphony,'VH .coM, Jan. -
The Universal Music Group/Emi Merger and the Future of Online Music
S. HRG. 112–550 THE UNIVERSAL MUSIC GROUP/EMI MERGER AND THE FUTURE OF ONLINE MUSIC HEARING BEFORE THE SUBCOMMITTEE ON ANTITRUST, COMPETITION POLICY AND CONSUMER RIGHTS OF THE COMMITTEE ON THE JUDICIARY UNITED STATES SENATE ONE HUNDRED TWELFTH CONGRESS SECOND SESSION JUNE 21, 2012 Serial No. J–112–83 Printed for the use of the Committee on the Judiciary ( U.S. GOVERNMENT PRINTING OFFICE 76–045 WASHINGTON : 2012 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 COMMITTEE ON THE JUDICIARY PATRICK J. LEAHY, Vermont, Chairman HERB KOHL, Wisconsin CHUCK GRASSLEY, Iowa DIANNE FEINSTEIN, California ORRIN G. HATCH, Utah CHUCK SCHUMER, New York JON KYL, Arizona DICK DURBIN, Illinois JEFF SESSIONS, Alabama SHELDON WHITEHOUSE, Rhode Island LINDSEY GRAHAM, South Carolina AMY KLOBUCHAR, Minnesota JOHN CORNYN, Texas AL FRANKEN, Minnesota MICHAEL S. LEE, Utah CHRISTOPHER A. COONS, Delaware TOM COBURN, Oklahoma RICHARD BLUMENTHAL, Connecticut BRUCE A. COHEN, Chief Counsel and Staff Director KOLAN DAVIS, Republican Chief Counsel and Staff Director SUBCOMMITTEE ON ANTITRUST, COMPETITION POLICY AND CONSUMER RIGHTS HERB KOHL, Wisconsin, Chairman CHUCK SCHUMER, New York MICHAEL S. LEE, Utah AMY KLOBUCHAR, Minnesota CHUCK GRASSLEY, Iowa AL FRANKEN, Minnesota JOHN CORNYN, Texas RICHARD BLUMENTHAL, Connecticut CAROLINE HOLLAND, Democratic Chief Counsel/Staff Director DAVID BARLOW, Republican General Counsel (II) C O N T E N T S STATEMENTS OF COMMITTEE MEMBERS Page Kohl, Hon. Herb, a U.S. Senator from the State of Wisconsin ........................... -
The Rise of J-Pop in Asia and Its Impact
COVER STORY • 7 The Rise of J-Pop in Asia and Its Impact By Ng Wai-ming APANESE pop music is commonly music, but also their images. They are bases to make Asian editions of J-pop Jreferred to as “J-pop,” a term coined mostly handsome young boys and cute albums for the Asian market. by Komuro Tetsuya, the “father of J- and pretty young girls who know how to Compared to Japanese editions, Asian pop,” in the early 1990s. The meaning sing, dance, talk, act and dress. Many J- editions are more user-friendly and of J-pop has never been clear. It was pop fans in Asia enjoy music videos affordable. They usually come with the first limited to Euro-beat, the kind of (MVs) as much as CDs. Due to physical Chinese translation of the lyrics. These dance music that Komuro produced. and cultural proximities, Asian youths Asian editions are much cheaper (about However, it was later also applied to feel close to Japanese idols. Unlike 50% less) than the Japanese originals many other kinds of popular music in Western idols who are too out of this and are only permitted to circulate in the Japanese music chart, Oricon, world to Asians, J-pop idols adopt a Asia outside of Japan. They have a wide including idol-pop, rhythm and blues down-to-earth approach and present circulation in Asia. For example, in (R&B), folk, soft rock, easy listening and themselves like the people next door. 2000, the Asian edition of Kiroro’s sometimes even hip hop. -
How the Democratization of Music Changed the Industry
Salem State University Digital Commons at Salem State University Honors Theses Student Scholarship 2020-05-01 How the Democratization of Music Changed the Industry Ryan Feyre Follow this and additional works at: https://digitalcommons.salemstate.edu/honors_theses Part of the Communication Technology and New Media Commons Recommended Citation Feyre, Ryan, "How the Democratization of Music Changed the Industry" (2020). Honors Theses. 290. https://digitalcommons.salemstate.edu/honors_theses/290 This Thesis is brought to you for free and open access by the Student Scholarship at Digital Commons at Salem State University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons at Salem State University. HOW THE DEMOCRATIZATION OF MUSIC CHANGED THE INDUSTRY Honors Thesis In the Department of Media & Communications at Salem State University By Ryan Feyre Dr. Peter Kvetko Faculty Advisor Department of Music and Dance *** Commonwealth Honors Program Salem State University 2020 i Abstract The music industry has witnessed a rise in democracy in the 21st century, both in terms of how artists write and record their content, and how we as listeners consume it. The growing affordability of music technology over the past ten years has allowed artists to work in the confines of their own homes. Many musicians are now granted the opportunity to build their own fanbase without the help of a label, mainly through music chat channels. As a result, consumers acquire music from a variety of places (Limewire, Napster, and now, Spotify). Corporations have now seemingly convinced customers that Spotify is the best place for acquiring any music one could want.