Sfs Media Launches Digital Concert Series and Dynamic Season Playlist in Celebration of Michael Tilson Thomas' 25Th and Final
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Classical Music Consumption in Streaming Platforms, It Is Necessary to Present the Scenario and the Factors That Could Make This Study Relevant
Classical music and identity construction in the digital age A Consumer Culture Theory research Master Thesis by Mirabay Romero Martínez 121940 Management of Creative Business Processes Msc in Social Science Copenhagen Business School Date of submission, 14th May, 2020 Supervisor: Szilvia Gyimothy Mørup-Petersen Standard pages: 76, characters: 172.316 1 Acknowledgments I would like to thank the people that have somehow contributed to the development of this paper. First and foremost, I would like to thank my supervisor, Szilvia Gyimothy, for her guidance through each stage of the process. Her encouragement and interest on the topic have given me the necessary motivation to make this thesis process an engaging journey. I would like to thank also all the great interview participants, for their time, their valuable insights, and the interesting discussion about music. Last but not least, I would like to thank all my beloved ones, for moral support and patience during these months of work. Especially, I need to mention my great friend Silvia because this accomplishment would not have been possible without her, “compañera, we did it!”. 2 Abstract This research attempts to shed light on the consumption of classical music in the digital age. Several studies have shown concern about the limitations of algorithm-based streaming services regarding music niche genres compared with mainstream genres. The purpose of this study is to contribute to consumer culture research in the music industry and analyze the role of music streaming platforms as a marketplace resource for the construction of classical music enthusiasts’ identity. For that purpose, a qualitative research process has been carried out based on interviews with classical music enthusiasts as the primary data collection method. -
NYME 2017 Attendee List.Xlsx
NYME 2017 Attendee List First Name Last Name Job Title Company Tiombe "Tallie" Carter, Esq. CEO Tallie Carter Law Esq Wesley A'Harrah Head of Training & Development, Tools Reporting Music Ally Michael Abitbol SVP, Business & Legal Affairs, Digital Sony/ATV Music Publishing Dan Ackerman Section Editor CNET Andrea Adams Director of Sales FilmTrack Andrew Adler Director Citrin Cooperman Stella Ahn Turki Al Shabanah CEO Rotana TV Philip Alberstat Chief Operating Officer Contend Jake Alcorn MBA Student Columbia Business School Brianna Alexander Sarah Ali Operation and Support Streamlabs June Alian Publicity Director Skybound Entertainment Graham Allan EVP, Operations & Consulting KlarisIP Karen Allen President Karen Allen Consulting Susan Allen Attorney Advisor (Copyright) United States Patent and Trademark Office (USPTO) Michele Amar Director / CEO Bureau Export / France Rocks Danny Anders CEO & Founder ClearTracks Jeff Anderson Chief Strategy Officer and GM Bingo Bash - GSN Games Mark Anderson VP Global Sales LumaForge Stephen Anderson Business Development & Partnerships Octane AI Alec Andronikov CEO The Visory Manny Anekal Founder and CEO The Next Level and Versus Sports Debbie Anjos Marketing Manager Gerber Life Insurance Farooq Ankalagi Sr. Director Mindtree Lauren Apolito SVP Strategy & Business Development Rumblefish/HFA Phil Ardizzone Senior Director, Sales IAB Mario Armstrong Chief Content Officer The Never Settle Show Kwadjo Asare Consultant FIGHTER Kwasi Asare CEO Fighter Interactive Nuryani Asari Jem Aswad Senior Music Editor Variety -
Streaming Audio and Video
STREAMING AUDIO AND VIDEO Avpals AUDIO A REVOLUTION IN SOUND ■ How much does it cost ■ How much data does it use ■ Can I use it at two of my homes ■ Does it work in my vehicle ■ Can a friend use my account ■ What services are there available ■ Can I use it when overseas ■ What about all my CD’s (see notes handout) Spotify ■ The world’s number one streaming music service ■ 30 million tracks ■ Sort be artist, album, genre, podcasts and playlists ■ Save musically on your device – great for travelling ■ 20,000 new tracks added each day ■ Transportable across countries – same music everywhere ■ Costs ■ Visit Spotify.com Google Play Music ■ Made by the owners of youtube ■ More than 30,000,000 tracks – minus a few ■ Easy to access but no locally saved music ■ You need a google account ■ Upload your own music ■ Costs ■ Visit Google Play Music here Apple Music ■ Second service created after Spotify, launched in 2015 ■ Popular with Apple device owners ■ The usual 30,000,000 tracks ■ Soon to be linked with Apple streaming video ■ Can save all your music to iCloud if required ■ Free with some Optus internet bundles ■ Visit Apple music here Youtube Music ■ Music tracks and music videos ■ Offline Mixtape that automatically downloads a playlist of between 20 and 100 songs ■ Search finds tracks even if your spelling is awry ■ Downloadable music if no internet – good for gray nomads Other Services ■ Deezer – Ideal for those with children – Free with ads, six skips a month ■ Tidal – Highest fidelity, just as it comes off a CD – Expensive – Music videos x 130000 ■ Primephonic – Specially for classical music lovers INTERVAL VIDEO NETFLIX ■ Simple and easy to use. -
CHAN 9408 Cover.Qxd 26/3/08 11:34 Am Page 1
CHAN 9408 cover.qxd 26/3/08 11:34 am Page 1 Chan 9408 CHANDOS Stravinsky The Rite of Spring Requiem Canticles + Canticum Sacrum Orchestre de la Suisse Romande Neeme Järvi CHAN 9408 BOOK.qxd 26/3/08 11:37 am Page 2 Igor Stravinsky (1882–1971) The Rite of Spring 32:42 PART I – Adoration of the Earth 1 Introduction – 3:13 2 The Augurs of Spring – Dances of the Young Girls – 3:46 3 Ritual of Abduction – 1:20 4 Spring Rounds – 3:31 5 Ritual of the River Tribes – 1:51 6 Procession of the Sage – 0:43 7 The Sage – 0:23 8 Dance of the Earth 1:16 PART II – The Sacrifice 9 Introduction – 3:57 10 Mystic Circles of the Young Girls – 3:11 11 Igor Stravinsky Glorification of the Chosen One – 1:26 12 0:49 AKG London Evocation of the Ancestors – 13 Ritual Action of the Ancestors – 3:06 14 Sacrificial Dance (The Chosen One) 4:09 Raynal Malsam bassoon solo 3 CHAN 9408 BOOK.qxd 26/3/08 11:37 am Page 4 Canticum Sacrum 16:40 Chorale Variations 10:40 15 Dedicatio 0:40 on the Christmas Carol ‘Vom Himmel hoch, da komm’ ich 16 III Euntes in mundum 1:59 her’ (J. S. Bach) 17 III Surge, aquilo 2:25 32 Chorale 0:48 III Ad Tres Virtutes Hortationes 0:41 33 Variation I In canone all’Ottava 1:13 18 Caritas – 2:12 34 Variation II Alio modo in canone alla Quinta 1:14 19 Spes – 1:47 35 Variation III In canone alla Settima 1:51 20 Fides 2:46 36 Variation IV In canone all’Ottava per augmentationem 2:30 21 IV Brevis Motus Cantilenae 2:41 37 Variation V L’altra sorte del canone al rovescio 3:04 22 IV Illi autem profecti 1:58 TT 74:35 Requiem Canticles 14:01 Irène Friedli alto 23 Prelude 1:06 Frieder Lang tenor 24 Exaudi 1:34 Michel Brodard bass 25 Dies irae – 0:58 Chœur Pro Arte de Lausanne 26 Tuba mirum 1:07 Chœur de Chambre Romande 27 Interlude 2:31 André Charlet choir master 28 Rex tremendae 1:17 Orchestre de la Suisse Romande 29 Lacrimosa 1:55 Jean Piguet leader 30 Libera me 0:58 31 Postlude 2:18 Neeme Järvi 4 5 CHAN 9408 BOOK.qxd 26/3/08 11:37 am Page 6 process too. -
The Firebird
EDUCATION Education RESOURCE THE WITH PAQUITA SUPPORTED BY NATIONAL TOURING SUPPORTING EDUCATION CHOREOGRAPHER VAL CANIPAROLI PARTNER rnzb.org.nz facebook.com/nzballet CONTENTS Curriculum links 3 The Firebird 4 The characters 4 The story 5 The creatives 7 Q&A with Loughlan Prior 12 The history of The Firebird 14 Dance activities 16 Crafts and puzzles 18 What to do at a ballet 22 Ballet timeline 23 THE FIREBIRD 29 JULY – 2 SEPTEMBER 2021 2 CURRICULUM LINKS In this unit you and your students will: WORKSHOP LEARNING • Learn about the elements that come OBJECTIVES FOR together to create a theatrical ballet LEVELS 3 & 4 experience. Level 3 students will learn how to: • Identify the processes involved in Develop practical knowledge making a theatre production. • Use the dance elements to develop and share their personal movement vocabulary. CURRICULUM LINKS IN Develop ideas THIS UNIT • Select and combine dance elements in response to a variety of stimuli. Values Communicate and interpret Students will be encouraged to value: • Prepare and share dance movement • Innovation, inquiry and curiosity, individually and in pairs or groups. by thinking critically, creatively and • Use the elements of dance to describe dance reflectively. movements and respond to dances from a • Diversity, as found in our different cultures variety of cultures. and heritages. • Community and participation for the Level 4 students will learn how to: common good. Develop practical knowledge • Apply the dance elements to extend personal KEY COMPETENCIES movement skills and vocabularies and to explore the vocabularies of others. • Using language, symbols and text – Develop ideas Students will recognise how choices of • Combine and contrast the dance elements to language and symbols in live theatre affect express images, ideas, and feelings in dance, people’s understanding and the ways in using a variety of choreographic processes. -
Mengjiao Yan Phd Thesis.Pdf
The University of Sheffield Stravinsky’s piano works from three distinct periods: aspects of performance and latitude of interpretation Mengjiao Yan A thesis submitted for the degree of Doctor of Philosophy Department of Music The University of Sheffield Jessop Building, Sheffield, S3 7RD, UK September 2019 1 Abstract This research project focuses on the piano works of Igor Stravinsky. This performance- orientated approach and analysis aims to offer useful insights into how to interpret and make informed decisions regarding his piano music. The focus is on three piano works: Piano Sonata in F-Sharp Minor (1904), Serenade in A (1925), Movements for Piano and Orchestra (1958–59). It identifies the key factors which influenced his works and his compositional process. The aims are to provide an informed approach to his piano works, which are generally considered difficult and challenging pieces to perform convincingly. In this way, it is possible to offer insights which could help performers fully understand his works and apply this knowledge to performance. The study also explores aspects of latitude in interpreting his works and how to approach the notated scores. The methods used in the study include document analysis, analysis of music score, recording and interview data. The interview participants were carefully selected professional pianists who are considered experts in their field and, therefore, authorities on Stravinsky's piano works. The findings of the results reveal the complex and multi-faceted nature of Stravinsky’s piano music. The research highlights both the intrinsic differences in the stylistic features of the three pieces, as well as similarities and differences regarding Stravinsky’s compositional approach. -
2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-‐18, 2
2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES 7digital Amazon (cont’d) Paul Langworthy Rosie de la Mare CCO Sr. Content Program Mgr. James Priestley Dave Dederer VP, Business Development Head of Programming Jamie Ross Kristin Durie Head of Music Partnerships Sr. Label Relations Mgr. John Farrey All Media Supply AssoC. Label Relations Mgr. Robbie Defreitas Josh Fein VP Sr. Mgr., Marketing & ACquisition Todd Oenbrink Chris Graham Sales Dir. Sr. Artist Relations Mgr. Sean Hallarman Alliance Entertainment Music Editorial Mgr. MarC Bartlett Jessi Liang Sr. VP, Sales & Marketing Technical ACCount Mgr. Terri Borders Nicole Lund Talent Aquisition Sr. Label Relations Mgr. Jason Bright Dan Minamide VP, Walmart ACCount Exec. AssoC. Label Relations Mgr. Ken Glaser Lisa Nicholas-RitsCher VP, Sales Content Editor, Media & Movies Thuy Ngo Elizabeth O'Brien VP, Marketing DIRECT2U Publicist Bruce Ogilvie Beth O'Brien Chairman Public Relations Laura Provenzano Amy Penka Sr. VP, PurChasing & Marketing Ops. Mgr. Jeff Walker Aly Proctor CEO Music Vendor Mgr. Ryan Redington Amazon Dir., US Digital Music Natasha Bishop Jeff Reguilon Music Sales Mgr. Mgr., Content Programming Nathan BraCkett Elizabeth Reynolds Sr. Editorial Mgr. Brand Specialist, Music Jill Chapman Kelly Rich Digital Media Ops. Mgr. Sr. Label Relations Mgr. Cindy Charles Jack Rutledge Head of Business Development Sr. Mgr., Catalog & Selection Anthony Coorey Andrew Sexton Partner Marketing Mgr. Label Relations Mgr. *speaker 1 2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES Amazon (cont’d) Apple Music (cont’d) Adam Steiner Gregory Mead Sr. Content ProduCer ProduCt Marketing David Stuart Karen Park Joh AssoC. -
Federal Register/Vol. 84, No. 24/Tuesday, February 5, 2019/Proposed Rules
Federal Register / Vol. 84, No. 24 / Tuesday, February 5, 2019 / Proposed Rules 1661 Insurance Corporation Improvement Act Dated at Washington, DC, on December 18, statutory deadlines set forth in the of 1991, 12 U.S.C. 1828(o), prescribes 2018. Music Modernization Act, no further standards for real estate lending to be By order of the Board of Directors. extensions of time will be granted in used by FDIC-supervised institutions in Federal Deposit Insurance Corporation. this rulemaking. adopting internal real estate lending Valerie Best, ADDRESSES: For reasons of government policies. For purposes of this subpart, Assistant Executive Secretary. efficiency, the Copyright Office is using the term ‘‘FDIC-supervised institution’’ [FR Doc. 2018–28084 Filed 2–4–19; 8:45 am] the regulations.gov system for the means any insured depository BILLING CODE 6714–01–P submission and posting of public institution for which the Federal comments in this proceeding. All Deposit Insurance Corporation is the comments are therefore to be submitted appropriate Federal banking agency LIBRARY OF CONGRESS electronically through regulations.gov. pursuant to section 3(q) of the Federal Specific instructions for submitting Deposit Insurance Act, 12 U.S.C. Copyright Office comments are available on the 1813(q). Copyright Office’s website at https:// ■ 3. Amend § 365.2 by revising 37 CFR Part 201 www.copyright.gov/rulemaking/ paragraphs (a), (b)(1)(iii), (2)(iii) and pre1972-soundrecordings- (iv), and (c) to read as follows: [Docket No. 2018–8] noncommercial/. If electronic submission of comments is not feasible Noncommercial Use of Pre-1972 Sound § 365.2 Real estate lending standards. -
The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5. -
2017 Music Business Attendee List As of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017
2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES 7Digital Amazon (cont’d) James Priestley Dave Dederer VP, Business Development Head of Programming Jamie Ross Kristin Durie Head of Music Partnerships Sr. Label Relations Mgr. John Farrey All Media Supply Assoc. Label Relations Mgr. Robbie Defreitas Josh Fein VP Sr. Mgr. Marketing & Acquisition Todd Oenbrink Chris Graham Sales Dir. Sr. Artist Relations Mgr. Sean Hallarman Alliance Entertainment Music Editorial Mgr. Marc Bartlett Alex Luke Sr. VP, Sales & Marketing Dir., Global Content Programming Terri Borders Nicole Lund Talent Aquisition Sr. Label Relations Mgr. Jason Bright Dan Minamide VP, Walmart Account Exec. Assoc. Label Relations Mgr. Ken Glaser Rob Morse VP, Sales Operations Mgr. Thuy Ngo Lisa Nicholas-Ritscher VP, Marketing DIRECT2U Content Editor, Media & Movies Bruce Ogilvie Aly Proctor Chairman Music Vendor Mgr. Laura Provenzano Ryan Redington Sr. VP, Purchasing & Marketing Dir., US Digital Music Jeff Walker Jeff Reguilon CEO Mgr., Content Programming Elizabeth Reynolds Amazon Brand Specialist, Music Natasha Bishop Jack Rutledge Music Sales Mgr. Sr. Mgr., Catalog & Selection Nathan Brackett Andrew Sexton Sr. Editorial Mgr. Label Relations Mgr. Jill Chapman Adam Steiner Digital Media Operations Mgr. Sr. Content Producer Cindy Charles David Stuart Head of Business Development Assoc. Label Relations Mgr. Anthony Coorey Mary Tastet Partner Marketing Mgr. Sr. Content Program Mgr. Rosie de la Mare Laura Tulli Sr. Content Program Mgr. Music Marketing Mgr. 1 2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES Amazon (cont’d) Apple Music (cont’d) Elan Wang Brian Pesaturo Head of Music Vendor Management Label Relations Cody Wescott Matthew Plotnik Brand Specialist, Music Head, Music Marketing Brandon Reese AMPED Technical Product Mgr. -
Innovative Starts-Ups and the Change of Music Streaming
Innovative starts-ups and the change of music streaming A thesis exploring the way music is handled in the modern streaming industry. TIM-ERIC REICHERT SUPERVISOR Daniel Nordgård University of Agder, 2019 Faculty of Fine Arts Department of Popular Music Innovative starts-ups and the change of music streaming CONTENTS 1 INTRODUCTION ........................................................................................................ 5 1.1 METHODOLOGY, QUANTITATIVE AND QUALITATIVE RESEARCH ............................... 6 1.1.1 Citation and Reference Style: IEEE ................................................................. 7 2 STATE OF THE ART ................................................................................................. 9 2.1 STREAMING IS NOW THE SINGLE LARGEST SOURCE OF REVENUE .............................. 9 2.2 CLASSICAL MUSIC AND STREAMING ....................................................................... 10 2.2.1 Classical music users are demanding ............................................................ 12 2.3 ROYALTIES AND CLASSICAL STREAMING ............................................................... 14 2.3.1 Pro-rata issues ............................................................................................... 14 2.3.2 User centricity, song length and even more fairness ..................................... 17 2.4 CATALOGUE AND CURATION .................................................................................. 18 2.4.1 Playlists as a need ......................................................................................... -
An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky Robert Sivy [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Sivy, Robert, "An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/1025 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Robert Sivy entitled "An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. Brendan P. McConville, Major Professor We have read this thesis and recommend its acceptance: Barbara Murphy, Donald Pederson Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Robert Jacob Sivy August 2011 Copyright © 2011 by Robert Jacob Sivy All rights reserved.