Newly Cataloged Items in the Music Library August - December 2017
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An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Testimony of Jonathan Bender
Public Version Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Washington, D.C. In the Matter of: Determination of Royalty Rates and Terms Docket No. 16-CRB-0001 SR/PSSR for Transmission of Sound Recordings by (2018-2022) Satellite Radio and “Preexisting” Subscription Services (SDARS III) WRITTEN DIRECT TESTIMONY OF Jonathan Bender Chief Operating Officer SoundExchange, Inc. October, 2016 Public Version BACKGROUND AND QUALIFICATIONS I am the Chief Operating Officer of SoundExchange, Inc.("SoundExchange"), a position I have held since September 2011. In this role, I oversee the collection, processing and distribution of royalties for all types of seiwices eligible for statutory licensing, including the satellite digital audio radio services("SDARS") and preexisting subscription services ("PSS") at issue in this proceeding. The groups within SoundExchange that handle repertoire management, rights inanageinent, licensee management, data management, account services, and distribution services all report to me. Additionally, I oversee SoundExchange's technical involvement with licensees and assist with coordination of its systems requirements, development, testing and operations. In all, I have over 25 years of music industry business and management expertise, including senior operational roles at Concord Music Group, Universal Music Group, and EMI Music. I was senior vice president, operations, IT and digital development at Concord Music Group. Before joining Concord, I spent seven years with Universal Music Group, most recently as vice president, digital asset management and logistics. I also spent nine years with EMI Music, most recently as Director of New Technology. I hold a bachelor's degree from the University of North Carolina at Chapel Hill and an MBA from Harvard Business School. -
Nummer 2 - December 2008
Nummer 2 - December 2008 Ny ordning!s.7-15 Demo + krati!?s.17 Blåmes?s.18-19 Fackavgiftens.27 Skyddet CYs.28 Arbetsmiljöansvarig Lars Smith sidorna 30-32. Fackexpeditionsansvarig Kicki El Gomati Förhandlingsansvarig Gunnar Öhman sidan 28. Försäkring o pensionsansvarig Cyrus Pairawan sidorna 30-32. Hemsideansvarig informerar Mikael Lind sidan 3. Informationsansvarig informerar Mikael Lind sidorna 3, 17-19. Introduktionsansvarig Kicki El Gomati Jämstäldhetsansvarig Anette Bergström Kultur o fritidsansvarig Babak Sadeghi Mångfald o integrationsansvarig Anette Bergström Rehabiliteringsansvarig Serg Zadruzny sidorna 30-32. Rekryteringsansvarig Kicki El Gomati Studieansvarig informerar Mikael Lind Ungdomsansvarig Kim Ekström 2 Innehåll Redaktion De ansvarigas sidor 2 Ansvarig utgivare Klubb 120 Skribenter Kubbens öppettider 3 Cyrus Pairawan Cyrus Pairawan (CP) Kollektivavtalet på väg ut... 3 Mikael Lind (ML) Veolias löften inte värda nå’t! 3 Chefredaktör Jan Melakoski (JM) En uppmaning!! 3 Mikael Lind Mats Örnsved (MÖ) Ledaren 4-5 Lars Smith (LS) Antifackliga kontraktet 5 Serg Zadruzny (SZ) Klubbens nya valorning 7-15 Klubb 119 skribenter Gunnar Öhman (GÖ) Demo + krati 17 Blåmes 18-19 Kollektivavtalsförhandlingar 29 Arbetarrörelsens Tankesmedja 20-26 Inga höjda avgiftsklasser 2009 27 Skyddsombuden i CY 28 Bonusen på turistkorten 28 Veolias löften Lösningen på förra korsordet 28-29 Försäkringskassans nya regler 30-32 inte värda nå’t! Medlemsresa till Tallin 34 Mycket långt tid har Fast än frågan stötts Korsordstävlingen 35 nu passerat sedan och blötts och mycket Vivendi über alles 37-39 Veolia lovade att tid har gått åt till at ta Efterlysning av skribenter 40 beställa och sätta upp fram den grafik som Expeditionens anslagstavlor åt SEKO skulle tryckas på tav- i varje spärr. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
MPS Records 50 Years
MPS Records 50 Years Label: MPS Records (LC0979) Distribution: EDEL / Kontor New Media Release: 31 August 2018 UPC: 4029759135258 LC: LC 01666 Cat.No.: 0213525MS1 www.mps-music.com Info und press photos: http://www.herzogpromotion.com 50 YEARS OF JAZZ HISTORY – MPS CELEBRATES A HALF-CENTURY MILESTONE Diversity, courage and quality: those are the trademarks with which MPS – Musik Produktion Schwarzwald – and company founder Hans Georg Brunner-Schwer achieved world-wide renown as Germany’s first jazz label. 2018, MPS reaches a historic milestone: this hallmark of excellence in jazz recording celebrates its fiftieth year. MPS stood as a Mecca for Oscar Peterson, George Duke, the Singers Unlimited, and a host of talented young European discoveries. Situated in Villingen, in Germany’s Black Forest region, for some two decades the MPS studio wrote pioneering jazz history through its high- level recording technique and unmistakable aesthetic. Today, the “most perfect sound made in the Black Forest” continues to perk up the ears of analogue fans worldwide. Next, a historical sketch. The label’s actual birth was in 1968, but it had a colorful prelude that entails the famous initials HGBS. As co-owner of the electronics manufacturer SABA, industrialist Hans Georg Brunner-Schwer (HGBS) was not only an ardent audio engineer; he was also an amateur pianist who was crazy about music. In 1958 he built a recording studio above the living room in his villa. It contained the most sophisticated audio equipment available at that time. When Oscar Peterson came to Zurich to perform a concert in 1961, Brunner-Schwer lured Peterson to his villa to play the first house concert in the Black Forest. -
Muziek Voor Volwassenen / Johan Derksen Zaterdag 20 Oktober 2018
Muziek voor Volwassenen / Johan Derksen Zaterdag 20 oktober 2018 Album van de Week: "Life Will Humble You"- Malford Milligan & The Southern Aces TITEL ARTIEST COMPONIST TIJD PLATENLABEL LABELNO CD TITEL 09.00 - 10.00 uur 1 Insane asylum Long John Baldry Willie Dixon 5:24 Stoney Plain Records SPCD 1376 The best of Stoney Plain years 2 Walkin' with you baby Luther Guitar Junior Johnson Luther Johnson 4:17 Rounder Europe FAB14 50120 Slide guitar 3 Last train from poor valley Nothin' Fancy Mike Andes 4:59 Mountain Fever Records MFR151010 By any other name 4 One way ticket to Memphis Bobby King & Terry Evans Jorge Calderon 5:02 Rounder Europe FAB14 50120 Slide guitar 5 There's a chance Broken Sun D.G. van Schie, B.M.E. Dietvorst 3:30 Butler Records Promo On 6 Play on little girl Smokin' Joe Kubek Band Walker, Aaron 4:19 Rounder Europe FAB14 50120 Slide guitar 7 I'm glad to do it Malford Milligan & The Southern Aces Homer Banks, Johnny Keyes 4:47 Stagger Lee Records, Royal Family Records RFRCD-2903 Life will humble you 8 Son of the south Mohead John Mohead 4:24 Rogue Records CSCCD 1159 Son of the south 9 Baby please set a date George Thorogood Elmore James, 4:50 Rounder Europe FAB14 50120 Slide guitar 10 Making memories of us Rodney Crowell Rodney Crowell 4:12 RC1 Records 854083000478 Acoustic classics 11 Wild about you baby Mike Morgan and the Crawl Elmore James 4:29 Rounder Europe FAB14 50120 Slide guitar 12 Backstroke Ronnie Earl Albert Collins 3:47 Stoney Plain Records SPCD 1347 Spread the love 10.00 - 11.00 uur 1 Bring it on home to me Octopus F. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
Handel MUSIC for QUEEN CAROLINE George Frideric Handel (1685 - 1759)
Les Arts Florissants William Christie Handel MUSIC FOR QUEEN CAROLINE George Frideric Handel (1685 - 1759) MUSIC FOR QUEEN CAROLINE !e King shall rejoice - Coronation Anthem, HWV 260 (1727) Te Deum in D major,“Queen Caroline”, HWV 280 (1714) !e ways of Zion do mourn - Funeral Anthem for Queen Caroline, HWV 264 (1737) LES ARTS FLORISSANTS William Christie,direction Caroline of Ansbach !by Enoch Seeman, c. 1720" Soloists for the Te Deum | solistes du Te Deum: Tim Mead,countertenor | contre-ténor Sean Clayton,tenor | ténor Lisandro Abadie,bass-baritone | baryton-basse !e wife of George II of England, a woman of great beauty and a defender of both science and the arts, Caroline of Ansbach was also a patron and close friend of Handel. !is recording brings together three of the composer’s works written for the major royal ceremonies which marked the life of Caroline from her arrival in England to her funeral. Épouse du roi George II d’Angleterre,femme d’une grande beauté,défenseur des arts et des sciences, Caroline d’Ansbach fut aussi la protectrice et l’amie intime de Handel. Cet enregistrement réunit trois œuvres du compositeur destinées aux grandes cérémonies royales qui, de l’arrivée de Caroline en Angleterre jusqu’à ses funérailles,ponctuèrent son règne. 1 7 | Tracklist | Liste des plages 10 | #e performers | Les interprètes 12 | Fit for a Queen | Des joyaux dignes d’une reine JOHN H. ROBERTS 21 | Sung texts | Textes chantés 26 | Portfolio 32 | Biographies 46 | Discography, DVDs and scores | Discographie, DVD et partitions 3 GEORGE FRIDERIC -
Perceptions of Meaningfulness Among High School Instrumental
Perceptions of Meaningfulness Among High School Instrumental Musicians by Janet Cape A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved January 2012 by the Graduate Supervisory Committee: Sandra Stauffer, Chair Jeffrey Bush Margaret Schmidt Jill Sullivan Evan Tobias ARIZONA STATE UNIVERSITY May 2012 ABSTRACT The purpose of this multiple case study was to investigate what students in three high school music groups perceived as most meaningful about their participation. I also examined the role that context played in shaping students’ perceptions, and sought potential principles underlying meaning and value in instrumental ensembles. Over the course of six months I conducted a series of in-depth, semi- structured interviews with six student wind ensemble members, five student guitar class members, and six jazz band members at three high schools in Winnipeg, Canada. I interviewed the participants’ music teachers and school principals, observed rehearsals and performances, and spoke informally with parents and peers. Drawing upon praxial and place philosophies, I examined students’ experiences within the context of each music group, and looked for themes across the three groups. What students perceived to be meaningful about their participation was multifaceted and related to fundamental human concerns. Students valued opportunities to achieve, to form and strengthen relationships, to construct identities as individuals and group members, to express themselves and communicate with others, and to engage with and through music. Although these dimensions were common to students in all three groups, students experienced and made sense of them differently, and thus experienced meaningful participation in multiple, variegated ways.