UA37/44 Tidbits of Kentucky Folklore
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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. -
Curing Narratives: a Contemporary Poetics of Agency
CURING NARRATIVES: A CONTEMPORARY POETICS OF AGENCY By MELANIE ALMEDER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1999 Copyright 1999 by Melanie Almeder ACKNOWLEDGMENTS I am greatly indebted to the support of my family and the inspiration of their many ongoing successes: Robert, the brilliant philosopher: Virginia, the brilliant teacher and rescuer of animals: Lisa, the wonderful healer and activist: Chris, the insightful brother and the guardian of environmental good health. I have had the good fortune to work with inspiring teachers and guides at the University of Florida. I only hope Elizabeth Langland knows her importance to her students: she is a model toward which we aspire: a brilliant scholar, an insightful, original, and lucid writer, and a gracious, generous human being. I thank her for all of her time and care. Phil Wegner. Malini Schueller. John Cech. and Sue Rosser have all been generous with their time and comments and have pushed this project toward more complexity and invention. I am grateful to them. I am indebted, as well, to dear friends who have made this project possible with their support, conversation, and affirmation. I am indebted to Lori Amy. bravest of brave, who carefully read chapters, offered rigorous critique, and is a model of fresh, meaningful living and writing methods. Angela Bascik. lucid theorist among us. storyteller, truth teller, discussed this business of "agency" until the ultimate agent himself. Alexander, arrived. Monica Beth Fowler, queen of cameos, patron saint of strays, has reminded me of the myriad day-to-day humor and generosity that heals. -
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. -
Contemporary Christian Music & The
PLAYING THE MARKET: CONTEMPORARY CHRISTIAN MUSIC & THE THEORY OF RELIGIOUS ECONOMY by Jamie Carrick B.A., The University of Calgary, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Religious Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2012 © Jamie Carrick, 2012 Abstract Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy. ii Table of Contents Abstract . ii Table of Contents . iii List of Figures . iv Acknowledgements . v 1 Introduction . 1 1.1 Introduction . 1 1.2 Religion & Popular Culture . -
The Importance of Music in Different Religions
The Importance of Music in Different Religions By Ruth Parrott July 2009 Silverdale Community Primary School, Newcastle-under-Lyme. Key Words Spirituality Greetings Calls to Worship Blessings Dance in Hindu Worship Celebrations 2 Contents Introduction p4 The Teaching of RE in Staffordshire Primary Schools p6 Music and Spirituality p7 Assembly – ‘Coping with Fear’ p11 Suggestions for Listening and Response p14 Responses to Music and Spirituality p16 Worksheet – ‘Listening to Music’ KS2 p18 Worksheet – ‘Listening to Music’ KS1 p19 Judaism p20 Christianity p24 Islam p26 Sikhism p30 Hinduism p34 Welcomes, Greetings and Calls to Prayer/Worship p36 Lesson Plan – ‘Bell Ringing’ p38 Judaism – ‘The Shofar p42 Islam – ‘The Adhan’ p44 Lesson Plan – ‘The Islamic Call to Prayer’ p45 Celebrations p47 Lesson Plan – Hindu Dance ‘Prahlad and the Demon’ p50 Lesson Plan – Hindu Dance ‘Rama and Sita’ (Diwali) p53 Song: ‘At Harvest Time’ p55 Song: ‘Lights of Christmas’ p57 Blessings p61 Blessings from different religions p65 Lesson Plan – ‘Blessings’ p71 Conclusion p74 Song: ‘The Silverdale Miners’ p75 Song: ‘The Window Song’ p78 Acknowledgements, Bibliography p80 Websites p81 3 Introduction I teach a Y3 class at Silverdale Community Primary School, and am also the RE, Music and Art Co-ordinator. The school is situated in the ex- mining village of Silverdale in the borough of Newcastle- under-Lyme on the outskirts of Stoke-on-Trent and is recognised as a deprived area. The school is a one class entry school with a Nursery, wrap-around care and a breakfast and after school club. There are approximately 200 children in the school: 95% of pupils are white and 5% are a variety of mixed ethnic minorities. -
A Historical and Phonetic Study of Negro Dialect. T
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1937 A Historical and Phonetic Study of Negro Dialect. T. Earl Pardoe Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Speech and Rhetorical Studies Commons Recommended Citation Pardoe, T. Earl, "A Historical and Phonetic Study of Negro Dialect." (1937). LSU Historical Dissertations and Theses. 7790. https://digitalcommons.lsu.edu/gradschool_disstheses/7790 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. A Historioal and phonetic Study of Negro Dialect* A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Dootor of Philosophy in Louisiana State University* By T. Earl pardoe 1937 UMI Number: DP69168 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69168 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProOuest ProQuest LLC. 789 East Eisenhower Parkway P.O. -
Gospel with a Groove
Southeastern University FireScholars Selected Honors Theses Spring 4-28-2017 Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach Autumn E. Gillen Southeastern University - Lakeland Follow this and additional works at: http://firescholars.seu.edu/honors Part of the Christianity Commons, Liturgy and Worship Commons, Marketing Commons, Music Commons, and the Practical Theology Commons Recommended Citation Gillen, Autumn E., "Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach" (2017). Selected Honors Theses. 76. http://firescholars.seu.edu/honors/76 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. GOSPEL WITH A GROOVE: A HISTORICAL PERSPECTIVE ON THE MARKETING STRATEGIES OF CONTEMPORARY CHRISTIAN MUSIC IN RELATION TO ITS EVANGELISTIC PURPOSE WITH RECOMMENDATIONS FOR FUTURE OUTREACH by Autumn Elizabeth Gillen Submitted to the Honors Program Committee in partial fulfillment of the requirements for University Honors Scholars Southeastern University 2017 GOSPEL WITH A GROOVE 2 Copyright by Autumn Elizabeth Gillen 2017 GOSPEL WITH A GROOVE 3 Abstract Contemporary Christian Music (CCM) is an effective tool for the evangelism of Christianity. With its origins dating back to the late 1960s, CCM resembles musical styles of popular-secular culture while retaining fundamental Christian values in lyrical content. This historical perspective of CCM marketing strategies, CCM music television, CCM and secular music, arts worlds within CCM, and the science of storytelling in CCM aims to provide readers with the context and understanding of the significant role that CCM plays in modern-day evangelism. -
Italian Forces in Ethiopia Surrender; 120 Amerieans On
T *d,gmop ---------- ---- -■ .... .... Italian Forces in Ethiopia Surrender; 120 Amerieans on '_______________ _________ ;------- C Chosen to Wear Crown of Croatia cean’s Broad Reach Fascist Forces Up to British Today Uoaks Liner’s Fate; Duke of Aosta List of Passengers Surrender Necessary Re- i Capitulation of Last Ma« 24 Ambulance Drivers Japs Believe Urges. Goods cause Italians Rail Out jor - Stronghold hi Included Among Those O f Food, and Water; Northeast Ethiopia ] «.299-T oh EgypUan America Will About Egyptian Steam* Be Delivered Amba Alaji Defenders Conies After Italian^: er 2amzam Several m > TgT • : Liner Reported Sunk Reduced to Material Go into War Allowed One Day ^ Groups of Missionar* 1 0 J M a Z l f o e s On voyage from New Impossibility of Tak Collect the Woundedjl ics Also Aboard Ves - - - - - - I York to Alexandria No ing Care of Wounded Own Position Is One of Duke and General .t|$ Nelson Rockefeller Says' Definite Word as to sel Reported Sunk in And Cease Fighting. Waiting for Roosevelt Surrender Tomontraf* South Atlantic Ocean, Trade in HUler-Domi- What Occurred to Ship To Move Must Abide noted W orld Would Rome, M ay 19.— (A>)— The Cairo, Egypt, May 19. , New York, May 19.— (/P)— New York, May 19.— (A*)— Duke of Aosta, viceroy of By AxU Pact Terms. — About 7,000 Italian aoldiem Be Impossible Task. The broad expanse of the Philip Faversham, 33-year- Ethiopia, has surrendered are surrendering in E ^ o ” " old son of the late William V ■ South Atlantic— or possibly Tokyo, May 19.—(JP)—The Japa today and their commai New York, May 19.-r(P)—Nel limself and his troops to the Faversham, actor, was among {he Indian ocean— cloaked the nese press declared today that at Alma Alaji, the Duke son A. -
Five by Five Karaoke As of 113017
Five By Five Karaoke As of 113017 Come See Me 112 SC8357 Cupid 112 SC3015 It's Over Now 112 SC3238 Only You 112 SC8295 Peaches & Cream 112 SGB65 Right Here For You 112 PHU0403 U Already Know 112 PHM0505 Amber 311 THR0206 Beyond The Gray Sky 311 THR0402 Creatures (For A While) 311 THR0311 Don't Tread On Me 311 SD4512 I'll Be Here Awhile 311 THR0201 You Wouldn't Believe 311 THR0110 Dumb 411 SF221 On My Knees 411 SF219 Get It Together 702 SC8357 Steelo 702 SC8325 All I Want Is You 911 SF121 How Do You Want Me To Love You 911 SF123 More Than A Woman 911 SF127 Party People (Friday Night) 911 SF118 Heaven Hop (Broadway) SC2233 Hello Dolly (Broadway) DK905 Hooray For Hollywood (Broadway) MM6100A I Am The Very Model Of A Modern Major General (Broadway) SC2233 Impossible Dream, The (Broadway) DK079 It Might As Well Be Spring (Broadway) DK065 What Kind of Fool Am I (Broadway) DK086 Chewing Gum (Broadway) Annie SF222 Tomorrow (Broadway) Annie MXUPH2 Tomorrow (Broadway) Annie DK905 Tomorrow (Broadway) Annie PI032 Almost Like Being In Love (Broadway) Brigadoon DK905 Kids (Broadway) Bye Birdie DK905 Lot of Livin' To Do, A (Broadway) Bye Birdie MM6100A You Gotta Be Sincere (Broadway) Bye Birdie MM6219 If I Loved You (Broadway) Carousel SF008 All I Care About (Broadway) Chicago SFG048 Cell Block Tango (Broadway) Chicago PS1526 Class (Broadway) Chicago SFG048 Funny Honey (Broadway) Chicago SFG048 Little Bit of Good, A (Broadway) Chicago PS1526 Me & My Baby (Broadway) Chicago SFG048 Mister Cellophane (Broadway) Chicago PS1526 Mr Cellophane (Broadway) Chicago -
A WORD-LIST from SOUTH CAROLINA University of South Carolina Dialect Is Generally Understood to Be at Variance with Standard
A WORD-LIST FROM SOUTH CAROLINA F. W. BRADLEY University of South Carolina A. THE NEWSPAPER AS A MEDIUM FOR DIALECT COLLECTING IN SOUTH CAROLINA Dialect is generally understood to be at variance with standard English, and therefore to be avoided. This natural attitude on the part of the public needs to be tempered with some understand ing of the fact that standard usage today is not what it was fifty years ago, nor what it will be fifty years hence, and that what was and what will be íb represented in large part by dialect. Public interest can therefore be evoked by an explanation of some of the changes that language has undergone. The excellent article of Professor George P. Wilson, “The Value of Dialect,” PADS, No. 11, pp. 38-59, carries the message which should be made known as widely as possible to the public. There is our raison d’étre, the justification of our labors, well suited to overcome any prejudice against dialect on the part of the public. However, as we cannot assume that the general public is familiar with this article, we must in a newspaper campaign bring that message and disarm a very real prejudice against words and ex pressions that are not standard. Shakespeare is a name to conjure with in this connection. Many South Carolinians pronounce the word character with the accent on the second syllable. Learned people smile at that. But the smile is at least more tolerant and less scornful when one remembers that the Bard of Avon did so too.