Music and Belonging / Musique Et Appartenance
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2017 JUNO Award Nominees Updated: February 7, 2017
2017 JUNO Award Nominees Updated: February 7, 2017 JUNO FAN CHOICE (PRESENTED BY TD) Alessia Cara Def Jam*Universal Belly Roc Nation*Universal Drake Cash Money*Universal Hedley Universal Justin Bieber Def Jam*Universal Ruth B Columbia*Sony Shawn Mendes Island*Universal The Strumbellas Six Shooter*Universal The Weeknd The Weeknd XO*Universal Tory Lanez Interscope*Universal SINGLE OF THE YEAR Wild Things Alessia Cara Def Jam*Universal One Dance ft. Wizkid & Kyla Drake Cash Money*Universal Treat You Better Shawn Mendes Island*Universal Spirits The Strumbellas Six Shooter*Universal Starboy ft. Daft Punk The Weeknd The Weeknd XO*Universal INTERNATIONAL ALBUM OF THE YEAR (SPONSORED BY IDLA ASSOCIATED LABEL DISTRIBUTION) Dangerous Woman Ariana Grande Republic*Universal A Head Full of Dreams Coldplay Parlophone*Warner Made in the A.M. One Direction Sony ANTI Rihanna Westbury Road*Universal This is Acting Sia RCA*Sony ALBUM OF THE YEAR (SPONSORED BY MUSIC CANADA) Encore un Soir Céline Dion Sony Views Drake Cash Money*Universal You Want It Darker Leonard Cohen Sony Illuminate Shawn Mendes Island*Universal Starboy The Weeknd The Weeknd XO*Universal ARTIST OF THE YEAR Alessia Cara Def Jam*Universal Drake Cash Money*Universal Leonard Cohen Sony Shawn Mendes Island*Universal The Weeknd The Weeknd XO*Universal GROUP OF THE YEAR Arkells Arkells*Universal Billy Talent Warner Tegan and Sara Warner Bros. -
Bomb Scare Clears Kirkbride Therapy for Accident Victim "If It's on Camous and It's by KEN MAMMARELLA Threat Procedure of Leaving the Suspected Karen Seitz
Bulk Rate U.S. Postage PAID ff>ermit No.320 Newark, DE. Friday. April6. 1979 By DEBORAH PETIT MIDDLETOWN, Pa.,- With a potential core melt-down now greatly reduced, officials at the Three Mile Island Nuclear Reactor Site are turning their attention to the pro blems of cleaning up radioactive substances left by the re cent reactor accident. Upon analysis of the extent of damage incurred in the mishap and the level of radioactive contamination left in the reactor, experts will determine the fate of the Three Mile site. An evaluation of the costs involved will leave the officials with the options of either refurbishing or decommissioning the plant. Both of which would require large amounts of time and money. · The projected time for complete decontamination of the reactor now stands at least one to two years. Additional time beyond ~hat estimate would be required to bring the plant back to operational levels. Cost estimates for the refurbishment of the reactor can not be determined from present data. The costs and time involved in decommissioning the site, however, can be more accurately determined from previous studies done by the Nuclear Regulatory Commis sion (NRC). Most data points to a dismantling cost estimate of roughly Review photo by Andy Cline 5 percent to 10 percent of the original construction costs. "THEY'VE PUSHED THE PANIC BUTTON as HAROLD DENTON, Director of the NRC's of The NRC conducted a study of the Trojan reactor site in far as I'm concerned," Mitzi Krause said of fice of Nuclear Reactor Regulation, and Oregon and came up with a dismantling cost in 1978 of just the nuclear accident on near by Three Mile NRC spokesman Joseph Fouchard {left) aid- over $42 million to level the plant. -
William Bruneau and David Gordon Duke Jean Coulthard: a Life in Music
150 Historical Studies in Education / Revue d’histoire de l’éducation BOOK REVIEWS / COMPTES RENDUS William Bruneau and David Gordon Duke Jean Coulthard: A Life in Music. Vancouver: Ronsdale, 2005. 216 pp. William J. Egnatoff She “made sense of life by composing.” (p. 146) “My aim is simply to write music that is good . to minister to human welfare . [A] composer’s musical language should be instinctive, personal, and natural to him.” (p. 157) Bruneau and Duke’s illuminating guide to the life and music of Vancouver composer Jean Coulthard (“th” pronounced as in “Earth Music” (‘cello, 1986) or “Threnody” (various choral and instrumental, 1933, 1947, 1960, 1968, 1970, 1981, 1986) con- tributes substantially and distinctively in form and detail to the growing array of biographical material on internationally-known Canadian composers of the twen- tieth century. Coulthard (1908–2000) began writing music in childhood and con- tinued as long as she could. Composition dates in the 428-page catalogue of the Coulthard manuscripts which can be found at the Web page http://www.library. ubc.ca/archives/u_arch/2007.06.27.cat.pdf, and was prepared by the authors to accompany the posthumous third accession to the composer’s archives, range from 1917 to 1997. The catalogue is housed at the University of British Columbia at the Web site http://www.library.ubc.ca/archives/u_arch/coulth.html. Her works span all forms from delightful graded pieces for young piano students, through choral and chamber music, to opera and large orchestral scores. The book addresses students of Canadian classical music, women’s issues, and the performing arts. -
FEATURE | Pondering the Direction of Canadian Classical Music by Jennifer Liu on February 4, 2017
FEATURE | Pondering The Direction Of Canadian Classical Music By Jennifer Liu on February 4, 2017 150 Years of History, Another Good 150 of Innovation: A commemoration of classical music in Canada. [excerpt: see full article here: http://www.musicaltoronto.org/2017/02/04/feature-pondering-the-question- of-canadian-classical-music/] Step into the future, and we see pianist Darren Creech stepping on stage in tropical short shorts, glittery hair and a big grin on his face. But in fact, as his audiences from Montreal to Toronto have witnessed, Darren has already pulled off the dress code to rave reviews, including for his Master’s graduation recital (to which a jury panelist gushed “LOVE those legs!”) How does Darren project his many identities through music — from his Mennonite heritage, to identifying as queer, to experiences from his eclectic childhood on three continents? Darren was born in Ottawa before his family went on the move — first to Texas, then to France, then to Dakar, Senegal. There on the African continent, Darren sought out a local piano teacher who had studied with the venerable pedagogue Alfred Cortot. Thus Darren gained his entry into the authentic classical tradition: through his teachers in Dakar and eventually in Canada, he is the direct heir to the musical lineages of Chopin and Beethoven. But how does a disciple carry out their legacy for today’s audiences, whether in Africa or in North America? Here Darren counters with a question: “Why perpetuate classical music in the context of social disparity. What is its relevance?” That was the probing sentiment that instilled his spirit to search for answers — and self-made opportunities. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
High Concept Music for Low Concept Minds
High concept music for low concept minds Music | Bittles’ Magazine: The music column from the end of the world: August/September New albums reviewed Part 1 Music doesn’t challenge anymore! It doesn’t ask questions, or stimulate. Institutions like the X-Factor, Spotify, EDM and landfill pop chameleons are dominating an important area of culture by churning out identikit pop clones with nothing of substance to say. Opinion is not only frowned upon, it is taboo! By JOHN BITTLES This is why we need musicians like The Black Dog, people who make angry, bitter compositions, highlighting inequality and how fucked we really are. Their new album Neither/Neither is a sonically dense and thrilling listen, capturing the brutal erosion of individuality in an increasingly technological and state-controlled world. In doing so they have somehow created one of the most mesmerising and important albums of the year. Music isn’t just about challenging the system though. Great music comes in a wide variety of formats. Something proven all too well in the rest of the albums reviewed this month. For instance, we also have the experimental pop of Georgia, the hazy chill-out of Nils Frahm, the Vangelis-style urban futurism of Auscultation, the dense electronica of Mueller Roedelius, the deep house grooves of Seb Wildblood and lots, lots more. Somehow though, it seems only fitting to start with the chilling reflection on the modern day systems of state control that is the latest work by UK electronic veterans The Black Dog. Their new album has, seemingly, been created in an attempt to give the dispossessed and repressed the knowledge of who and what the enemy is so they may arm themselves and fight back. -
A Study of Microtones in Pop Music
University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion. -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
England Longplay TOP 100 2019 / 31 03.08.2019
03.08.2019 England Longplay TOP 100 2019 / 31 Pos Vorwochen Woc BP T i t e l 2019 / 31 - 1 1 1 --- 21 2 No. 6 Collaborations Project . Ed Sheeran 221101 6 Divinely Uninspired To A Hellish Extent . Lewis Capaldi 3 --- --- 1N3 Freya Ridings . Freya Ridings 434171 3 When We All Fall Asleep, Where Do We Go? . Billie Eilish 5 --- 135 35 Anima . Thom Yorke 666841 28 The Greatest Showman . Motion Picture Cast Recording 7810701 1 Staying At Tamara's . George Ezra 8791251 20 ÷ [Divide] . Ed Sheeran 9107403 Bohemian Rhapsody [Soundtrack] . Queen 10 5 25 421 2 A Star Is Born [Soundtrack] . Lady Gaga & Bradley Cooper . 11 --- --- 1N11 The Great War . Sabaton 12 4 2 41 1 Step Back In Time - The Definitive . Kylie Minogue 13 11 11 895 Diamonds . Elton John 14 --- --- 1N14 Singles Party (1988 - 2019) - The Complete Remestered Singles Collection . Shakespears 15 9 5 2305 Direct Hits 2003 - 2013 . Killers 16 --- --- 1N16 Apollo - Atmospheres & Soundtracks . Brian Eno with Daniel Lanois & Roger Eno 17 13 17 365 50 Years - Don't Stop . Fleetwood Mac 18 14 16 411 1 Always In Between . Jess Glynne 19 16 22 1123 Dua Lipa . Dua Lipa 20 21 52 3820 Snacks . Jax Jones . 21 15 19 211 1 What A Time To Be Alive . Tom Walker 22 20 20 6412 Don't Smile At Me . Billie Eilish 23 22 21 5571 9 1 . The Beatles 24 12 8 61 1 Western Stars . Bruce Springsteen 25 17 33 5417 Erratic Cinematic . Gerry Cinnamon 26 24 27 241 3 Thank U, Next . Ariana Grande 27 18 41 2661 13 X . -
Digital Entertainment Meets Social Media Paul Verna, Senior Analyst [email protected]
June 2009 Digital Entertainment Meets Social Media Paul Verna, Senior Analyst [email protected] Executive Summary: Three pillars of the entertainment industry—music, movies and video games—are facing disruptive changes that are prompting them to explore opportunities in digital distribution, digital marketing and social media. 103969 Key eMarketer Numbers — Digital Entertainment The recorded music industry is the most beleaguered of all. Knocked off balance by the emergence of the MP3 in the late $4.56 billion US digital music spending in 2013, up from $3.00 billion in 2009 1990s, it has not recovered since. CD sales are plummeting and 82.6% US digital music spending as a percent of total US digital revenues are not picking up the slack.The industry faces recorded music spending in 2013, up from 41.0% in 2009 an uncertain future as it grasps at alternative business models. $5.52 billion Total US recorded music spending in 2013, down from $7.31 billion in 2009 The film business is facing problems of its own, but it is $2.65 billion US online advertising spending by MPAA-member fundamentally healthier.A period of sustained growth in film studios and their subsidiaries in 2013, up Hollywood’ s two core businesses—box-office receipts and from $1.24 billion in 2009 DVD sales/rentals—has stopped and new physical and digital 14.2% Percent of film studio advertising budgets spent online in 2013, up from 7.7% in 2009 formats have not taken a solid place in the revenue mix. $681 million US in-game advertising spending in 2013, up from $443 million in 2009 The video game industry has escaped much of this trouble. -
Schweitzer, Jason
JASON SCHWEITZER SELECTED MIXER & ENGINEER CREDITS: Aer Aer (Self-Release) M Limp Bizkit Stampede of the Disco Elephants (Cash Money Records) E Aloe Blacc Selected tracks from Lift Your Spirit (Interscope) E M Ed VT Eric Zayne Neptune (What If Records) M Talib Kweli Prisoner of Conscious (Blacksmith Records) M Mayer Hawthorne How Do You Do (Universal Republic) M Macy Gray Covered (SLG) E John Legend Forthcoming Album (Sony) E Pussycat Dolls Don't Cha from PCD (Pussycat Dolls) E M The Kin Live At the Pussycat Club (Alethia) E M Hit Boy & Chase Chase mixtape E M Ashley Martinez Letting Go - Canadian Single (Create) M Dawn Richard Love Won't Lose - Single (Universal) E Idle Warship "Systematic", "Laser Beams" and "Are You In" M from Habits of the Heart (Blacksmith/Element 9) Game Drug Test ft. Dr. Dre & Snoop Dogg - Single (DGC/Interscope) M Sax Cori B. Do My Thang Single (Boss Lady) M Macy Gray Stand Up from For Colored Girls Soundtrack (Atlantic) E M The New Royales Forthcoming Album M Ashanti Get Lost Together - Single, Me and My Baby (Universal) E Chin Injeti Mask feat. Knaan - Remix M Eminem Won't Back Down Feat. Pink from Recovery (Aftermath) E Rich Boy Forthcoming Album (Interscope/Zone 4) E Strong Arm Steady Arms and Hammers (Blacksmith) M Asher Roth G.R.I.N.D. [Get Ready It's A New Day] - Single (Universal) E M The Red Jumpsuit Apparatus Choosing Sides (Universal) E Dr. Dre Forthcoming Album [Detox] (Aftermath) E Talib Kweli Sucker for Love feat. Jean Grae (Blacksmith) M New Boyz Tough Kids feat. -
Writing to Transgress: Sharing Stories, Claiming Space, and Finding Community
Writing to Transgress: Sharing Stories, Claiming Space, and Finding Community by Emily Pohl-Weary A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Leadership, Higher and Adult Education Ontario Institute for Studies in Education University of Toronto © Copyright by Emily Pohl-Weary 2018 ii Writing to Transgress: Sharing Stories, Claiming Space, and Finding Community Emily Pohl-Weary Doctor of Philosophy Leadership, Higher and Adult Education Ontario Institute for Studies in Education University of Toronto 2018 Abstract My research has shown that community-based creative writing groups can be safer spaces for people who are under-represented in the English literary canon to craft and share their stories, poems, and other genres of writing. They can also put the act of cultural production into the hands of participants, redefine the notion of great literature, and provide a counterpoint to institutional learning. These groups are potential spaces for learning how to relate to one another with respect while acknowledging our own privileges, which can ultimately transform hegemonic social relations that exclude and oppress rather than connect and build support. Using iii critical arts-based inquiry and program evaluation methods, I employ a reflexive technique to investigate the benefits of a single group for youth, Toronto Street Writers (TSW), which I facilitated for six years in the neighbourhood where I grew up. TSW is positioned within a range of literacy and community writing groups across North America, transgressive and anti- oppressive theories around creative writing pedagogy are summarized, and interviews with former participants and staff of TSW are analyzed for insights into how to facilitate sustainable community-based creative writing groups that genuinely benefit members.