DOCSLIB.ORG

Crescent-Music-Services-Cd-Project

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Crescent-Music-Services-Cd-Project Introduction — 3 8 reasons why you need a CD — 4 table of contents Questions you will need to answer — 5 Project Checklist — 6 Scanning — 42 Pressing — 72 Schedule — 7 Resolution — 43 Duplication versus Replication — 73 Design process — 8 Proofs and proofing — 44 How CDs are Pressed — 76 Proofing tips and guidelines — 45 Concept — 10 Proofing checklist — 46 FAQs — 77 Design — 11 Proofs — 47 Shipping — 77 Cover Design — 12 Doing your own production files — 49 Pricing your CD — 77 Images — 13 Working with a designer — 52 Color — 15 about the author — 78 Design Process Walkthrough — 53 Paper — 19 the printing process — 54 Layout — 20 Printing Lingo — 57 Preparing your packaging — 21 Mastering — 58 Packaging Styles — 21 Master checklist — 59 Digipaks vs. Jewelcases — 24 This is an interactive PDF. Liner Notes Checklist — 25 Mastering FAQs — 60 Choosing a Mastering Engineer — 61 Insert/Booklet — 26 Watch for hyperlinks throughout that Folding Choices — 28 ISRC codes — 63 will take you to other places in this Traycard / Back cover — 29 other mastering options — 64 document and on the web. Barcode — 31 Legal and Business Stuff — 65 Disc Face — 32 IPR Forms — 66 other packaging options — 34 Mechanical Use this Table of Contents to jump Preparing Text & Images — 35 Licenses — 67 to different sections (or use your Preparing Your Text — 36 Public Domain — 68 Bookmarks panel in Acrobat Reader). Photography / Artwork — 37 BMI ASCAP — 69 Photography techniques & tips — 39 Sound Exchange — 69 To PRINT, select "Fit to paper" in the Hiring a photographer (or artist) — 40 Copyright — 70 Print dialog box. Image Copyrights — 41 Other Legal and Business Stuff — 71 CD Project Planner • Crescent Music Services • www.crescentmusic.com • 504-312-2354 Jump to: TOC • DESIGN • PACKAGING • MASTERING • LEGAL • PRESSING • FAQs • <<<<< • >>>>> Introduction This publication will take you through the steps and discuss However, you still must coordinate things, so you need to the different aspects of creating your CD from the point educate yourself. You should understand the process, even you are finished in the studio. It is full of answers if you are not actually doing the work. And you to things you need to know - and a lot of should know your limits and when to hire questions you need to ask yourself. someone. The next stages of your project - I wish I could assure you that your mastering, design and printing/ project will go perfectly, with no pressing - are all as important and glitches, delays, or problems. We technical as the recording. Don’t don’t live on that planet. Let’s cut corners or try to skip steps. be real here - stuff happens. Your project will suffer for it and Introduction The success of any project of you will end up spending more this complexity depends on money in the end. Think of your everything going smoothly. There CD as a tattoo - it will be with you are dozens of people and machines the rest of your life - you want to that will touch your project. There be proud of it and show it off. is always a possibility of one of these links in the chain failing (illness, You are entering a realm that was never machines breaking down, labor strikes, meant to be handled by one person, let alone human error), delaying your project. The the artist. Record companies used to take care of trick is to know what can happen, identify problems the technical stuff, leaving the artist to do what he/she before they happen, and find a solution if something does did best – create music. But today’s independent musician go wrong. must also be promoter, art director, photographer, designer, manager, producer, shipping clerk, finance committee, So, here we go. Please feel free to raise your hand and ask and sometimes even recording engineer. There is a reason a question at any time - or just email me: these positions have a separate titles: each has its own Diana Thornton - [email protected] set of skills, knowledge, and expertise. So don't feel bad if you are not a great songwriter, instrumentalist, engineer, And please visit my site: www.crescentmusic.com copywriter, photographer, AND graphic designer. CD Project Planner • Crescent Music Services • www.crescentmusic.com • 504-312-2354 3 Jump to: TOC • DESIGN • PACKAGING • MASTERING • LEGAL • PRESSING • FAQs • <<<<< • >>>>> 8 reasons why you need a CD If you're reading this, I probably don't need to convince you that you need or want your own CD. But here are some reasons beyond the emotional yearning to share your music with the world. 1. A CD says “Take me seriously. I believe in myself and that my music is good enough to sell. I am investing in my music. I’m here to stay.” 2. Many industry people won’t deal with you until you have a CD (product). They’re not being rude, it’s just that everything revolves around sales. If they feature you in their newspaper or television show but you don’t have a CD to sell, there’s no point. No matter how good you are, if you don’t have a CD to sell AFTER the review or show, you’ve wasted your time and theirs. 3. Radio. 4. You can sell them to make some money to support your music habit. 5. Producing your own CD teaches you the many facets of the music business that will prepare you to work with a record company if that's your goal. 6. You can share your music with other people without them coming to a gig. 7. You can get more gigs if you have a CD. 8. Even if you sell your music online as downloads, fans still want something for you to sign. CD Project Planner • Crescent Music Services • www.crescentmusic.com • 504-312-2354 4 Jump to: TOC • DESIGN • PACKAGING • MASTERING • LEGAL • PRESSING • FAQs • <<<<< • >>>>> Questions you will need to answer Quantity? Packaging Manufactured or Shortrun? • Packaging Choice: Where will you store the discs? Use - sell / promo • How many panels/pages? • Include lyrics? Budget: Where is the money coming from? • Full-color throughout or black and white inside? • Color of tray (clear, black, white)? Who is in charge of coordinating the production? • Who will do your graphics? Schedule: • Photographs / Artwork: Who will take or create your Start graphics: images? What media works best for your style? Finished in studio: Mastering Date: • Color preferences: CDs IN YOUR HANDS Date: • Paper type: CD Release Party Date: • Other CDs you would like to emulate (not copy). Who owns the copyrights of the original songs? • Genre: Who owns the arrangements? Are they copyrighted? Who will own the sound recording (the master)? • Mood/Theme: happy, sad, angry, futuristic, sexy, funky, Are you a member of BMI, ASCAP or SESAC? earthy, retro, nostalgic, romantic, christian, colorful, Have you registered with SoundExchange? clean, elegant, mellow, soft, bright, artsy, grunge, metallic, conservative, traditional.... CD Project Planner • Crescent Music Services • www.crescentmusic.com • 504-312-2354 5 Jump to: TOC • DESIGN • PACKAGING • MASTERING • LEGAL • PRESSING • FAQs • <<<<< • >>>>> Project Checklist • ORGANIZE YOURSELF • Verify reference copy of master. • Preliminary meeting/phone call to designer. • Review “final” proofs. Request additional • Gather, write and edit parts for packaging. changes OR APPROVE (additional charges will apply to any changes after this once you • Meet with designer. approve so review carefully) • Submit complete, proofed liner notes, • Submit master, IPR form, copies of licenses photos and design ideas to designer. Expect about a week to get first draft. and releases, and final graphic files to factory. • Review first draft and give changes/feedback • Review factory PDF proofs of artwork - to designer. Expect about 2-5 days to receive approve or request changes (additional second draft. charges will apply). • Review second draft • CDs are produced - usually 7-21 business days • Finish mixing and sequencing depending on packaging. • Research and obtain mechanical licenses for • Register songs with BMI or ASCAP covered songs if applicable, and SR licenses for samples and loops used. • Register with Sound Exchange • Obtain ISRC codes • CDs ship - Allow 2-5 business days • Mastering session • CDs arrive - check product! • Give final design changes and mastered song • Schedule and promote CD release party. times to designer to finish design files. Expect 1-4 days to receive final proof. • Copyright sound recording. CD Project Planner • Crescent Music Services • www.crescentmusic.com • 504-312-2354 6 Jump to: TOC • DESIGN • PACKAGING • MASTERING • LEGAL • PRESSING • FAQs • <<<<< • >>>>> Figure AT LEAST a month. Production time alone for a standard jewelcase is about 10 business days AFTER your graphics and master are done and you approve your proofs. Here is a typical time line. It will vary according to time of year, problems/delays, type of packaging, and how organized you are. Count backwards from the day you need them: Week 1 2 3 4 5 6 <<<< Recording / Mixing << Photography / Write Liner Notes Packaging Design Schedule 1-3+ wks depending on how together you are Mastering and review of master Printing / Pressing / Shipping 10-26 business days depending on packaging and how far to ship START EARLY!! Don’t wait until your music is done damaged in transit. Print materials in the studio to start working on the have to be redone due to missed track Don’t book your release printed material. Factor in as many name. Weather and natural disasters. party until you have your extra days as you can to allow for Specialized packaging that needs to be CDs in-hand and you’ve given unforeseen delays (they always seem hand packaged. Factory backed up due them your stamp of approval. RUSH to happen when you are in a rush). to Christmas rush.
Load more

Recommended publications
  • Practice of Ayurveda
    PRACTICE OF AYURVEDA SWAMI SIVANANDA Published by THE DIVINE LIFE SOCIETY P.O. SHIVANANDANAGAR— 249 192 Distt. Tehri-Garhwal, Uttaranchal, Himalayas, India 2006 First Edition: 1958 Second Edition: 2001 Third Edition: 2006 [ 2,000 Copies ] ©The Divine Life Trust Society ISBN-81-7052-159-9 ES 304 Published by Swami Vimalananda for The Divine Life Society, Shivanandanagar, and printed by him at the Yoga-Vedanta Forest Academy Press, P.O. Shivanandanagar, Distt. Tehri-Garhwal, Uttaranchal, Himalayas, India PUBLISHERS’ NOTE Sri Swami Sivanandaji. Maharaj was a healer of the body in his Purvashram (before he entered the Holy Order of Sannyasa). He was a born healer, with an extraordinary inborn love to serve humanity; that is why he chose the medical profession as a career. That is why he edited and published a health Journal “Ambrosia”. That is why he went over to Malaya to serve the poor in the plantations there. And, strangely enough, that is why, he renounced the world and embraced the Holy Order of Sannyasa. He was a healer of the body and the soul. This truth is reflected in the Ashram which he has established in Rishikesh. The huge hospital equipped with modern instruments was set up and the entire Ashram where all are welcome to get themselves healed of their heart’s sores and thoroughly refresh themselves in the divine atmosphere of the holy place. Sri Swamiji wanted that all systems of healing should flourish. He had equal love and admiration for all systems of healing. He wanted that the best of all the systems should be brought out and utilised in the service of Man.
    [Show full text]
  • Eduardo Arenas of Chicano Batman,Album O
    Is This Jazz? Newport Jazz Festival ’17 Cecile McLorin Salvant, credit: Norman Grant The jazz world descended upon Newport to see some of the music’s legends as well as many of its rising stars. As is always the case with such events, the hardest part of the weekend was catching a significant portion of each great set before running full speed to another stage to try and catch the next historic moment that could be unfolding. It was tough to get it all in, but here are some of the highlights. The festival kicked off Friday with a stellar set from the Jimmy Greene Quartet on the Fort stage. Greene — the saxophonist and band leader — took his quartet through a set of terrific originals, including the flowing groove of “Second Breakfast” off his latest release Flowers. Later on, Cecile McLorin Salvant and the Aaron Diehl Trio took the stage and shattered minds with their beautiful and complex arrangements, including her profound version of “Wives And Lovers.” Having a soft spot for the New Orleans clarinet style, Evan Christopher’s Clarinet Road & New Orleans Brass was a much- appreciated addition to the Quad stage with a killer band, locked-in swing and loose group improvisations. The day closed out with Joey DeFrancesco + The People, who were by far the funkiest, most swinging band of the day. DeFrancesco is a monster organ player who demonstrated why he has redefined how the instrument is approached. After leaving the Fort I headed over to watch Rhiannon Giddens and Trombone Shorty each play very different, but equally excellent sets at the Tennis Hall of Fame.
    [Show full text]
  • Focus Day 2011: Five Decades of New Music for Percussion: 1961
    Focus Day 2011 Five Decades of New Music for Percussion: 1961–2011 In celebration of the 50th Anniversary of the Percussive Arts Society, the New Music/Research Focus Day 2011 Committee is extremely excited to present Focus Day 2011: Five Decades of New Music for Percussion. Featuring masterworks of the last fifty years of our repertoire performed by some of the most significant artists of our generation, Focus Day 2011 marks a monumental achievement for the Percussive Arts Society and its membership. As the Percussive Arts Society as a whole cel- ebrates its 50th anniversary, it is fitting that the New Music Research Committee is celebrating the “Five Decades of New Music for th 25 Anniversary of Focus Day (formerly New Music/Research Day) at PASIC. Since its founding by Stuart Smith in 1986, the mission of the New Music/Research Committee has been to present creative, innovative, and imaginative programming that exposes new compositional trends while Percussion 1961–2011” maintaining connections to the historically significant composers and performers of our field who together shaped the contemporary art-form of new music for percussion. Certainly, Focus Day 2011 defines this mission in every way. Many of the major masterworks by the most important composers of our field from 1961–2011 will be presented throughout the day, including works from Mark Applebaum, Herbert Brün, Michael Colgrass, Christopher Deane, Morton Feldman, Brian Ferneyhough, Michael Gordon, David Lang, Steve Reich, Paul Smad- beck, Stuart Smith, Karlheinz Stockhausen, Gordon Stout, Michael Udow, Julia Wolfe, and Ian- nis Xenakis. The New Music Research Committee also encourages the presentation of new and previously unknown works at PASIC, and we are delighted that Focus Day 2011 will include two PASIC Premieres—a unique new composition by Judith Shatin, and a truly epic new percussion ensemble work by one of the leading composers of our time, James Wood.
    [Show full text]
  • Downbeat.Com December 2020 U.K. £6.99
    DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • 1 Saltlakeunderground
    SaltLakeUnderGround 1 2 SaltLakeUnderGround SaltLakeUnderGround 3 SaltLakeUnderGround • Vol. 22• Issue # 266 • February 2011 • slugmag.com Publisher: Eighteen Percent Gray Marketing Coordinator: Bethany Editor: Angela H. Brown Fischer Managing Editor: Marketing: Ischa Buchanan, Jea- Jeanette D. Moses nette D. Moses, Jessica Davis, Billy Editorial Assistant: Ricky Vigil Ditzig, Hailee Jacobson, Stephanie Action Sports Editor: Buschardt, Giselle Vickery, Veg Vol- Adam Dorobiala lum, Chrissy Hawkins, Emily Burkhart, Copy Editing Team: Jeanette D. Rachel Roller, Jeremy Riley. Moses, Rebecca Vernon, Ricky Vigil, Esther Meroño, Liz Phillips, Katie SLUG GAMES Coordinators: Mike Panzer, Rio Connelly, Joe Maddock, Brown, Jeanette D. Moses, Mike Reff, Alexander Ortega, Mary Enge, Kolbie Sean Zimmerman-Wall, Adam Doro- Stonehocker, Cody Kirkland, Hannah biala, Jeremy Riley, Katie Panzer, Jake Christian. Vivori, Chris Proctor, Dave Brewer, Billy Ditzig. Cover Artist: Lindsey Kuhn Issue Design: Joshua Joye Distribution Manager: Eric Granato Design Interns: Adam Dorobiala, Distro: Eric Granato, Tommy Dolph, Eric Sapp, Bob Plumb. Tony Bassett, Joe Jewkes, Jesse Ad Designers: Todd Powelson, Hawlish, Nancy Burkhart, Brad Barker, Kent Farrington, Sumerset Bivens, Adam Okeefe, Manuel Aguilar, Ryan Jaleh Afshar, Lionel WIlliams, Christian Worwood, David Frohlich. Broadbent, Kelli Tompkins, Maggie Office Interns: Jeremy Riley, Chris Poulton, Eric Sapp, Brad Barker, KJ, Proctor. Lindsey Morris, Paden Bischoff, Mag- gie Zukowski. Senior Staff Writers: Mike Brown,
    [Show full text]
  • Global Recorded Music Industry Revenues 2001-2020
    GLOBAL MUSIC REPORT 2021 IFPI GLOBAL MUSIC REPORT 2021 3 CONTENTS STATE OF THE INDUSTRY Global Music Market 2020 in Numbers 04 Introduction 05 Global Charts 06 Global Market Overview 2020 10 Our mission to put creators Our continuing commitment The universe of opportunities 2020 Figures by Format 12 first has been more important is to harness our collective for artists and labels is than ever in the past year. talents and resources to diverse, vast, and fast Hits can now come from shape culture through the expanding. There’s strong 2020 Figures by Region 14 anywhere and artists are power of music and the growth in both subscription empowered by future-focused artistry and creativity at its and ad-supported streaming, Record Companies, Driving Global Opportunities for Music 16 insights, tools and resources core. When, in collaboration with plenty of runway to reach global audiences. with our artists, we come around the globe. At the Breaking down barriers and together as a company and same time, the pandemic Partnering with Artists, Delivering for Fans 24 borders of language, culture as a community, what we can has accelerated consumer Case Study: Chen Li Nong 28 and genre around the world, achieve is truly remarkable. adoption in areas like gaming, Case Study: Travis Scott music has made an incredible That mission is especially live streaming, social media 30 impact over the last year, important now, as the world and in-home fitness. Music Case Study: Dua Lipa 32 bringing communities has never needed music more. is a fundamental driving SIR LUCIAN GRAINGE together to tackle the Chairman & Chief Executive force in the success of these Officer, Universal Music Group Beyond the Music 34 challenges facing all of us.
    [Show full text]
  • TECHNOLOGYFIELD TEST B Y E R I K Z O B L E R Sonic Studio Premaster CD Software Professional Prep and Finishing Tool for Replication
    FIELD TEST TECHNOLOGYFIELD TEST B Y E R I K Z O B LER Sonic Studio PreMaster CD Software Professional Prep and Finishing Tool for Replication onic Studio began as workstation make. You can easily make pioneer Sonic Solutions. Today, Sonic very long crossfades by SStudio makes hardware interfaces and holding the Option key Mac software for PCM and DSD production, and mousing up the center as well as integrated premastering for CD, of the crossfade: Crossfade SACD and rich-media distribution. PreMas- beginning and end regions ter CD (PMCD) is Sonic Studio’s premaster- both expand while keeping ing software, designed to trim and space the fade parameters that your tracks, make edits, add gain changes, you just created. A small create fades, input text and add PQ codes. “bead” lets you adjust the fade curves without having GETTING STARTED to access another window. Installation on my Mac G5 Quad running What PCMD won’t do? OS 10.4 (PMCD uses Core Audio) was It won’t record files. It can easy. Authorization is more involved due change polarity, reverse to challenge/response registration; this took audio, normalize and make about an hour, but the installation guide gain changes, but it doesn’t PMCD is used as the last step before sending your CD for replication. warns it can take up to three business days. support DSP processing. PMCD creates a CD in six steps. However, There’s no provision for scrubbing; only SURVEY SAYS if you want to do fine-tuning, then be half-speed playback is available.
    [Show full text]
  • FOOD Culture Outdoors
    Volume 6, Issue 3 // February 21 - March 13, 2019 YOUR LOCAL, NON-PROFIT, INDEPENDENT NEWSPAPER culture New Medford Theater! Page 18 FOOD Hawaiian Food for Wintertime Page 19 outdoors A Bigfoot Trap? Page 20 VOTING NOW OPEN! 2 / WWW.ROGUEVALLEYMESSENGER.COM FEBRUARY 21 - MARCH 13, 2019 / THE ROGUE VALLEY MESSENGER / 3 The Rogue Valley Messenger PO Box 8069 | Medford, OR 97501 CONTENTS 541-708-5688 roguevalleymessenger.com FEATURE page SCREEN page [email protected] Oregon Shakespeare The road has been long and travelled well (in a Porsche THE BUSINESS END OF THINGS Festival’s Director of Literary Development 7 911 and a ’66 Volkswagen 17 WEB MASTER Tammy Wilder and Dramaturgy Amrita Van) from New York to OUR FINANCIAL WIZARD Sara Louton, Ramanan talks about California to Vermont to Advanced Books the challenges and Wyoming to Canada to Taos DISTRIBUTION Coleman Antonucci opportunities for equity and most recently Ashland, ADVERTISING MANAGER Sasha Armstrong and inclusion on Oregon. And wherever OUR WORDSMITHS, ETC. the stage. Goldman goes, he can’t help himself from making films. PUBLISHER & EDITOR Phil Busse MANAGING EDITOR Sara Jane Wiltermood PRODUCTION MANAGER Donna Brosh CALENDAR EDITOR Jordan Marie McCaw CULTURE page SPORTS & page COLUMNISTS Rob Brezsny, Dan Smith There is a little bit of OUTDOORS: and Tanya Reasor betrayal. A little bit of GO HERE FREELANCERS Catherine Kelley, Nolan Kenmonth, loss. Some sex too. But, 18 20 Nick Blakeslee, Vanessa Newman and Josh Stirm Looking to capture a a whole lot of love. Bigfoot? Collings Mountain GET IN TOUCH Fragments is the first Trail in Applegate is set to production for the newly spring (pun intended).
    [Show full text]
  • CD Mastering
    AJD5059 great master_MGM Inside aug03 5/3/13 10:55 AM Page 2 AJD5059 great master_MGM Inside aug03 5/3/13 10:55 AM Page 3 Preface THE AUDIO RECORDING AND MANUFACTURING PROCESS The process of transforming your musical ideas into a finished product that you can share with others involves a series of steps leading from the original record- ing sessions through to the delivery of your packaged CDs, cassettes, or vinyl records. Because the choices you make at each step affect the quality of your final product, familiarizing yourself with this process will help ensure the best possi- ble results for your project. There are many possible variations, but in general the process runs as follows: • Recording involves capturing instrumental and vocal sounds (using micro- phones or direct inputs), and storing them either on digital or analog tape, or on a stand-alone or computer-based Digital Audio Workstation (DAW). Some recordings are made direct to stereo, but the vast majority are recorded “multi- track,” meaning that the sounds of the different instruments are recorded and stored individually. • Mixing is the art of blending individually recorded sounds through a console or on a DAW, controlling the level and pan (stereo speaker placement) of each sound to create a final “mix” of your musical selection (song). Mixes may either be recorded to tape or stored on the hard drive of a DAW. • Master assembly means editing a collection of individual song mixes into a complete “master” that flows from start to finish in the desired order and with the desired amount of space between selections.
    [Show full text]
  • Portraits of Laughter in “Kid”Ergarten Children
    Portraits of Laughter in “Kid”ergarten Children: The Giggles and Guffaws That Support Teaching, Learning, and Relationships by Sarah L. Smidl Dissertation submitted to the Faculty of Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Human Development Committee: Jim Garrison, Ph.D, Chair Katherine R. Allen, Ph.D. Mark J. Benson, Ph.D. Lynn T. Hill, Ph.D. Andrew J. Stremmel, Ph.D. April 18, 2006 Blacksburg, Virginia Copyright 2006, Sarah L. Smidl Keywords: laughter, humor, relationships, kindergarten, children ABSTRACT Portraits of Laughter in “Kid”ergarten Children: The Giggles and Guffaws That Support Teaching, Learning, and Relationships by Sarah L. Smidl The purpose of this qualitative study was to focus on the laughter-provoking events and situations that supported the teaching, learning, and relationships of 13 kindergarten children, one teacher, and one researcher in a public school classroom in Southwestern Virginia. This study drew on principles from portraiture, ethnography, and case studies, and primarily utilized observation, fieldnotes, informal interviews, and audiotape to document daily events and conversations. Discussion of the importance of laughter for these children, teacher, and researcher begins with three short case study portraits on different children, including how their varying personalities and interests prompted me to use laughter with them in varying ways. Next, the importance and meanings of laughter in the group is given focus, specifically the daily morning group where the entire class came together at once with the classroom teacher. Next, four themes that surfaced early in my research that were filled with laughter are portrayed, primarily how they demonstrated continuity throughout the semester.
    [Show full text]
  • Polygram 1983-1992
    AUSTRALIAN RECORD LABELS PolyGram 7”, 12” singles & LP’s 1983 to 1992 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, MAY 2019 POLYGRAM 7”, 12” SINGLES & LP’S, 1983–1992 POLYGRAM PRODUCT GUIDE –1 = 12” SINGLES, LP’S –2 = CD SINGLES, CD’S (NOT LISTED) –3 = VHS VIDEO (NOT LISTED) –4 = CASSETTE SINGLES, CASSETTES (NOT LISTED) –7 = 7” SINGLES 370, 377—WINDHAM HILL 370 111-1 TEARS OF JOY TUCK & PATTI 1.90 377 008-1 LOVE WARRIORS TUCK & PATTI 1.90 390–397—A & M 390 419-7 LOVE SCARED / LOVE SCARED PART II (LET’S TALK IT OVER) LANCE ELLINGTON 3.91 390 460-7 STONE COLD SOBER / THE RETURN OF MAGGIE BROWN DEL AMITRI 7.90 390 462-7 THE MESSAGE IS LOVE (2 VERSIONS) ARTHUR BAKER 3.90 390 462-1 THE MESSAGE IS LOVE (2 VERSIONS) / THE MESSAGE IS CLUB ARTHUR BAKER 3.90 390 466-7 DIAMOND IN THE DARK / LAST NIGHT CHRIS DE BURGH 6.90 390 471-7 LOVE TOGETHER (2 VERSIONS) L.A. MIX 7.90 390 471-1 LOVE TOGETHER (2 VERSIONS) L.A. MIX 7.90 390 472-7 PERFECT VIEW / WE NEVER MET THE GRACES 3.90 390 474-7 NOTHING EVER HAPPENS / NO HOLDING ON DEL AMITRI 4.90 390 474-1 NOTHING EVER HAPPENS / NO HOLDING ON / SLOWLY, IT’S COMING BACK DEL AMITRI 5.90 390 475-7 I’M A BELIEVER / NO WAY OUT GIANT 6.90 390 476-7 INSIDE OUT / BACK TO WHERE WE STARTED GUN 4.90 390 477-7 WITH A LITTLE LOVE / WINDOW PEOPLE SAM BROWN 4.90 390 477-1 WITH A LITTLE LOVE / WINDOW PEOPLE / DOLLY MIXTURE SAM BROWN 4.90 390 480-7 A CHANGE IS GONNA COME / MY BLOOD THE NEVILLE BROTHERS 3.90 390 484-1 SUPER LOVER (2 VERSIONS) / WHEN WILL I SEE YOU AGAIN BARRY WHITE 6.90 390 486-7 TWO TO MAKE IT RIGHT
    [Show full text]
  • Wendy Frank, Jay Barranger Honored at Snowsports Management Banquet Regions 3, 4 & 7 Election Issue AASI Pop-Up Powder Clini
    WINTER 2019 The Official Publication of the ProfessionalSnow Ski Instructors of America Eastern / Education Foundation Regions 3, 4 & 7 Election Issue Wendy Frank, Jay Barranger Honored at Snowsports Management Banquet AASI Pop-Up Powder Clinic Einar Aas Award for Excellence in at Jay Peak, VT Snowsports School Management 2018 Honoree – Wendy Frank, HoliMont, NY he Eastern Division be- gan awarding the Einar TAas Award for Excel- lence in Snowsports School Man- agement in 2009. The Einar Aas Award is presented to a snows- ports school director in the East- ern Division as a tribute to the late Einar Aas and to honor his memory. Einar was an outstand- ing snowsports school director; his dedication to his students, his school, this organization (both divisionally and nationally) and the snowsports industry is leg- Wendy Frank and Jay Barranger proudly endary. This award recognizes a display their “Einar” and “Ronnie” awards! snowsports school director for achieving and maintaining the highest standards in snowsports school man- agement as nominated and selected by his/her peers. Past honorees include: 2009 Frederica “Freddie” Anderson; Schenectady (NY) Ski School 2010 Dave Merriam; Stowe (VT) Snowsports School 2011 No award 2012 Roberta “Bertie” Holland; Pats Peak, NH 2013 Karen Dolan; Cranmore, NH 2014 Terry Barbour, Mad River Glen, VT Jay Peak hosted 10 members for the second annual “Pop Up 2015 Co-honorees Doug Kaufmann, Mount Snow, VT Powder Clinic” on January 23-24. Thanks to great conditions and never-ending snowfall at Jay, the event was scheduled, promoted and Gwen Allard, Double H Ranch, NY and conducted all within ONE week thanks to the efforts of Region 2016 Pete Weber, Waterville Valley, NH 2 Director and Jay Training Supervisor Ted Fleischer as well as Snowsports School Director Craig Cimmons and AASI ed staff 2017 Franz Krickl, Windham Mountain, NY member Joe Jones.
    [Show full text]