Band Instrumentation Becoming a Better Musician
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Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives
MONEY FROM MUSIC: SURVEY EVIDENCE ON MUSICIANS’ REVENUE AND LESSONS ABOUT COPYRIGHT INCENTIVES Peter DiCola* According to the incentive theory of copyright, financial rewards are what the public trades for the production of creative works. To know whether this quid pro quo is working, one needs to know how much the creators are getting from the bargain. Based on an original, nationwide survey of more than 5,000 musicians, this Article addresses one of the key links in the incentive theory’s chain of logic. For most musicians, copyright does not provide much of a direct financial reward for what they are producing currently. The survey findings are instead consistent with a winner-take-all or superstar model in which copyright motivates musicians through the promise of large rewards in the future in the rare event of wide popularity. * Associate Professor, Northwestern University School of Law. A.B. 1998, Princeton University; J.D. 2005, Ph.D. (Economics) 2009, University of Michigan. I am grateful to my colleagues Jean Cook and Kristin Thomson of the Future of Music Coalition. We worked together to develop and analyze the Internet survey of musicians discussed in this Article, and I have benefited greatly from our discussions as a research team. The views expressed in this Article are my own, however, and not those of Jean, Kristin, or Future of Music Coalition. My thanks to Ken Ayotte, Scott Baker, Shari Diamond, Zev Eigen, Josh Fischman, Ezra Friedman, William Hubbard, Jessica Litman, Anup Malani, Mark McKenna, Tom Miles, Max Schanzenbach, and Avishalom Tor for helpful comments and advice. -
Kingsburg High School Band Handbook
Kingsburg High School Band Handbook The Kingsburg High School Band Program provides an opportunity for students to develop an appreciation for music and encourages the skills and discipline necessary for achieving musical success throughout a lifetime of experiences. Students learn the importance of a cooperative team effort while working with fellow members to accomplish the shared goals of the Marching Band, Color Guard, Symphonic Band, Wind Ensemble, and Jazz Band. Music students have fun meeting new friends and traveling to new and exciting places. In addition, the program challenges students in areas of personal growth and musicianship. The KHS Viking Marching Band consists of members of the Marching Band and Color Guard. All Kingsburg High School band students participate in Marching Band. Students in Wind Ensemble will perform in the competitive field show and parade bands. Students in Symphonic Band will perform in the parade band. During the fall season, the Marching Band performs at home football games, parades, and competitive events throughout California. Band members play in one of two concert ensembles during the year, the Symphonic Band or the Wind Ensemble, depending on their musical maturity. Members of these two groups will play a wide variety of concert literature selected with the purpose of emotionally connecting them to the music and broadening their musical horizons. Members of the groups have the opportunity to perform in solo and ensemble festivals in the area. The Jazz Band begins meeting the second week of school in the fall semester. Auditions are held during the third week of school as needed. This group meets during 0 period at 7:00a.m. -
High School Band, Choir & Orchestra Guidelines 2021
HIGH SCHOOL BAND, CHOIR & ORCHESTRA GUIDELINES 2021 - 2022 United Independent School District Fine Arts Department High School Band, Choir & Orchestra Guidelines 2021 - 2022 I. Enrollment/Participation………………………………….….5 II. Rehearsal/Performance Expectations………………………5-7 II. Grading/Assessment………………………………….………7 III. Eligibility……………………………………………………..8 V. Auditions, Chair & Group Placements…………….…….…...8 VI. Uniforms……………………………………………….……..8 VII. Awards………………………………………………….….....9 VIII. Officers/Drum Majors ………………………………….….. ..9 IX. Mariachi Guidelines ……………………………………….....9 X. District Owned Musical Instruments………….…………….10 XI. Allowable Fees ……………………………………………...10 XII. Student Extracurricular Insurance…………………………...11 XIII. UISD Drug Testing Policy……………………………….….11 XIV. High School Marching Bands ………………………............11 XV. Color Guard/Winter Guard Enrollment……………………..12 XVI. Extracurricular Trips…………………………………….…..12 2 XVII. Alternating Events for UISD High School Bands…….……..12 XVIII. Booster Club Guidelines……………………………....……..12 XIX. UIL Eligibility Calendars...................................…….…….…12 XX. Parent/Student Agreement…………………………….…..….13 3 PREFACE TO STUDENTS AND PARENTS The Fine Arts Department has prepared these guidelines for band, choir and orchestra students as well as parents in United I.S.D. It is United I.S.D.’s belief that participation in these organizations promote and develop a well- rounded student through emphasis of academic excellence while advocating student role models for their school. Our district also supports -
Concert Band Handbook
North Central Silver Knights Concert Band Handbook Jonas E. Nix, Director of Bands [NCHS] Isaac P. Pitts, Director of Bands [NCMS] [email protected] / [email protected] Statement of Purpose and Policy The purpose of this handbook is to provide valuable information to parents and students about the North Central Band Program. Members should familiarize themselves with this handbook and procedures. The intention of this handbook is to make certain that all members and parents of our band are well informed. This handbook will address questions and concerns in regards to the policies, procedures, calendars, etc. of our band. If a problem should arise, the director should be consulted for an explanation. All information in this handbook correlates with the North Central Middle and High School handbooks and Kershaw County School District Guidelines. Should there be a difference or conflict the District Handbook will be followed. In order to assist band members and parents in understanding areas of responsibility, a statement of band policy is set forth. Becoming familiar with this policy will enable each individual to make the most of the opportunity to be a member of the North Central Band Program, enhancing skills as a student musician. Members must develop a high sense of purpose toward the goals which they are willing to work. RESPONSIBILITY is the focus behind any level of achievement within this program. We intend to conduct ourselves in a manner that will facilitate all students in learning and bettering themselves. Objectives / Goals of the Band Program As the director of the North Central Band Program I have the following goals and expectations for those of you who choose to be members: 1. -
Scale Agreement Between
Scale Agreement between and October 1, 2015 to September 30, 2020 NFB – CFM SCALE AGREEMENT Page 1 TABLE OF CONTENTS TABLE OF CONTENTS .............................................................................................. 1 RECOGNITION ....................................................................................................... 4 1. SCOPE ........................................................................................................... 4 2. DEFINITIONS ................................................................................................. 4 3. APPLICABLE FEES....................................................................................... 5 4. PENSION FUND ............................................................................................. 5 5. MEMBERSHIP ............................................................................................... 5 6. TEMPORARY MEMBER PERMITS ............................................................... 6 7. TELEVISION CLIPS OR FILLERS ................................................................. 7 8. LICENCE FEES .............................................................................................. 7 9. SCORING IN CANADA .................................................................................. 7 10. CONDITIONS AND FEES .............................................................................. 7 11. WORK DUES DEDUCTIONS ......................................................................... 8 12. CONTRACTS ................................................................................................ -
10 Chapter 2
10 Chapter 2 Answer 2.3 The ER diagram is shown in Figure 2.1. Exercise 2.4 A company database needs to store information about employees (iden- tified by ssn,withsalary and phone as attributes), departments (identified by dno, with dname and budget as attributes), and children of employees (with name and age as attributes). Employees work in departments; each department is managed by an employee; a child must be identified uniquely by name when the parent (who is an employee; assume that only one parent works for the company) is known. We are not interested in information about a child once the parent leaves the company. Draw an ER diagram that captures this information. Answer 2.4 Answer omitted. Exercise 2.5 Notown Records has decided to store information about musicians who perform on its albums (as well as other company data) in a database. The company has wisely chosen to hire you as a database designer (at your usual consulting fee of $2500/day). Each musician that records at Notown has an SSN, a name, an address, and a phone number. Poorly paid musicians often share the same address, and no address has more than one phone. Each instrument used in songs recorded at Notown has a unique identification number, a name (e.g., guitar, synthesizer, flute) and a musical key (e.g., C, B-flat, E-flat). Each album recorded on the Notown label has a unique identification number, a title, a copyright date, a format (e.g., CD or MC), and an album identifier. Each song recorded at Notown has a title and an author. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Beethoven's Eroica Sketches: a Form-Functional Approach
Thomas W. Posen Dissertation Prospectus. Approved Winter 2020 McGill University Beethoven’s Eroica Sketches: A Form-Functional Approach Introduction, Methodology, and Contributions This dissertation introduces new insights into Beethoven’s compositional process to his third symphony. It accomplishes this aim by reconstructing the transcribed single-line sketches to the Eroica found in the Eroica Sketchbook (Beethoven, Lockwood, and Gosman 2013), and by analyzing the reconstructed sketches with form-functional theory (Caplin 1998; 2013). More broadly, this study reorients the analyst’s perspective by valorizing the sketches instead of critiquing them. Form-function theory provides an ideal framework for finding and understanding the strengths in the sketches for three primary reasons.1 First, it prioritizes the role of local harmonic progressions as a determinant of form. We can realize the harmonies that Beethoven implies in his single-line sketches with a high degree of objective accuracy. By contrast, other musical parameters such as texture, dynamics, or instrumentation, which are vital criteria for other well-defined sonata theories (e.g., Hepokoski and Darcy 2011), are very sparse in the sketches and therefore difficult to reconstruct without substantial subjective interpretations. Second, form-function theory minimizes motivic content as the basis of formal function. This feature is important for describing how Beethoven uses the same musical material for different formal functions in successive drafts, and conversely, how he preserves particular formal functions while changing their musical content. Third, the theory establishes well- defined formal categories that can be applied flexibly at all levels of analysis of the sketches (Caplin 1998, 4). These strictly defined categories enable an analyst to elucidate Beethoven’s formal and phrase- structural strategies in individual sketches and compare them across drafts with firm theoretical foundations in an aesthetically neutral environment. -
5Th Grade Instrument Selection – WMS Beginning Band 2013-2014 Parent Email: Phone #___
5th Grade Instrument Selection – WMS Beginning Band 2013-2014 Parent email: ____________________________Parent phone #______________School: Hardeman 1) Physical Characteristics: 2) Musical Characteristics: Lips (fullness, tear drop)________________ Rhythm __________Tonal___________ Teeth/Bite ___________________________ Prior piano training? ________________ Braces (now or anticipated)________________ 3) R__________________ M_________________ Preliminary Student Instrument Preferences: 1 ___________, 2 ___________, 3 ____________ Mouthpiece Sounds: (A score of four (4) or five (5) indicate a strong chance of success on that instrument; Percussion: A score of five (5) is required for percussion class. We will only take 7-9 in this class) COMMENTS Flute 1 2 3 4 5 __________________________ Oboe 1 2 3 4 5 __________________________ Bassoon 1 2 3 4 5 __________________________ Clarinet 1 2 3 4 5 __________________________ Saxophone 1 2 3 4 5 __________________________ Cornet (Trumpet) 1 2 3 4 5 __________________________ French Horn 1 2 3 4 5 __________________________ Trombone 1 2 3 4 5 __________________________ Euphonium 1 2 3 4 5 __________________________ Tuba 1 2 3 4 5 __________________________ Percussion _______ (physical and rhythmical coordination, piano background, high academic grades as well as class behavior are determining factors for this class. You must have a second instrument choice upon checkout. ********************************************************************************* Band Director Approved Final Selection: _______________________________________________ 5th Grade Recruiting Suggested Plan for Success In order to ensure successful recruiting of current 5th graders, the band staff should come to an agreement on a number of important topics. Consensus in these areas, through discussion and compromise, will ensure that all directors have a thorough understanding of the process and that a detailed plan of attack can be implemented. -
The-DIY-Musician's-Starter-Guide.Pdf
Table of Contents Introduction 1 - 2 Music Copyright Basics 3 Compositions vs. Sound Recordings 4 - 5 Being Your Own Record Label 6 Being Your Own Music Publisher 7 Wearing Multiple Hats: Being Four Income Participants 8 - 12 Asserting Your Rights and Collecting Your Royalties 13 - 18 Conclusion 19 Legal Notice: This guide is solely for general informational purposes and does not constitute legal or other professional advice. © 2017 TuneRegistry, LLC. All Rights Reserved. 0 Introduction A DIY musician is a musician who takes a “Do-It-Yourself” approach to building a music career. That is, a DIY musician must literally do everything themselves. A DIY musician might have a small network of friends, family, collaborators, and acquaintances that assists them with tasks from time to time. However, virtually all decisions, all failures, and all successes are a result of the DIY musician’s capabilities and efforts. Being a DIY musician can be overwhelming. A DIY musician has a lot on their plate including: writing, recording, promoting, releasing, and monetizing new music; planning, marketing, and producing tours; reaching, building, and engaging a fan base; managing social media; securing publicity; and so much more. A DIY musician may hire a manager and/or attorney to assist them with their career, but they are not signed to or backed by a record label or a music publishing company. Just three decades ago it was virtually impossible for the average DIY musician to get their music widely distributed without the help of a record company. While some DIY musicians were successful in releasing music locally and developing local fan bases, widespread distribution and reach was hard to achieve. -
The Journey from Instrumentalist to Musician
THE JOURNEY FROM INSTRUMENTALIST TO MUSICIAN: REFLECTIONS ON THE IMPLEMENTATION OF THE CONSERVATORY METHOD IN MUSICAL PERFORMANCE ©CYNTHIA MARIE MALITOWSW B.Mus., University of Lethbridge, 1995 A Thesis Submitted to the Faculty of Education of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree MASTER OF EDUCATION LETHBRIDGE, ALBERTA APRIL 2001 Dedication - To Stacey and Dyson, for constantly reminding me of the many joys of life. - To my mother, Nancy Fabro, for being my mentor and my best friend iii Abstract The Journey From Instrumentalist to Musician is a reflective study that addresses the effect of the Conservatory method in musical performance. The discussion begins with the author's early experiences as a young piano student who wanted to please her teacher and after many hours of practice soon became a performance specialist - a performance specialist who excelled as a pianist. The instrument that she studied, instead of the discipline of music itself, is what defined her as a pianist. Throughout her early music career, she learned that exact replication of the score was more important than the process of creativity and individuality. The Conservatory method often emphasizes the importance of teaching specific instrumental skills rather than simply teaching music. This prompted the author to explore philosophies of music educators who were not considered educators of the traditional conservatory method. After discussing the methodologies of Suzuki, Kodaly, Dalcroze, and Orff, the author then reflects on her own educational methodology. In evaluating the methodologies, the author identified four common themes for comparison: rhythm, pitch recognition, patterning of sounds, and literacy. -
Exploring the Topic
AT A GLANCE Exploring the Topic What do we know about music making? What do we want to find out? Vocabulary—English: instrument, instrumental, sound, accompaniment, homemade Spanish: instrumento, instrumental, sonido, acompañamiento, casero Day 1 Day 2 Day 3 Day 4 Day 5 Make Time for… Interest Areas Music and Movement: Music and Movement: Music and Movement: listening Music and Movement: collection of Library: pictures of instruments and Outdoor Experiences collection of homemade and collection of homemade and station with CDs representing a homemade and standard instruments people engaged in musical experiences standard instruments standard instruments; chart variety of musical styles • Invite children to walk around Music and Movement: collection of paper and markers the school or outdoor area and listen homemade and standard instruments for music. • Encourage children to think Question of the Day Do you like to sing? Did you hear music on your Can we make a sound with Which instrument would you like to Do you think you can use these to make of ways to make music with way to school today? these? (objects such as keys, play? (offer three choices) music? (a comb and two spoons) outdoor materials. spoons, etc.) Physical Fun Movement: Movement: Movement: Movement: Song: Large Group Bounce, Bounce, The Kids Go My Body Jumps Let’s All Follow “Old MacDonald” • Intentional Teaching Card P21, Bounce Marching In Discussion and Shared Writing: Discussion and Shared Writing: What Discussion and Shared Writing: What “Hopping” Discussion and Shared