Music by Michael Giacchino an Original Walt Disney Records Soundtrack

Total Page:16

File Type:pdf, Size:1020Kb

Music by Michael Giacchino an Original Walt Disney Records Soundtrack MUSIC BY MICHAEL GIACCHINO AN ORIGINAL WALT DISNEY RECORDS SOUNDTRACK C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar What can you say about Michael Giacchino that hasn’t been said before? Yes, Michael is “relaxed,” he’s a movie star, he’s a television celeb- rity, he’s a nightclub sensation, he’s a social issue and, of course, he’s one of the world’s most successful recording artists. All in all, he’s an entertainment phenomenon the likes of whom emerge only a half-dozen times or so in the course of a century. Oh wait -- that’s Dean Martin. Well, Michael Giacchino is relaxed, too. And he’s a darned good film music composer. In fact, you know what? I’d hire him to write film music over Dean Martin any day. One, because Dean Martin doesn’t write film music and two, because he’s dead. So Michael has it over Dean Martin 100%. Granted, there are other people who write film music that aren’t dead. So why was Michael Giacchino perfect for this job? Up is nothing if not eclectic. It demands a lot as it switches from a nostalgic memory, to a trio of goofball tagalongs, to an action adventure. As we listed the litany of skills we were looking for in a composer, a music agent told us, “Sounds like you need three composers!” Of course, we got Michael Giacchino, who single-handedly wrote everything we needed and tied it all together beautifully. His action music is exciting, his comedy funny without trying, and his nostalgia makes me cry every time. His approach is character based, and the music became as important as the characters themselves. It was as if he had somehow reached out into the sky and grabbed the soundtrack for our film, as if it has always existed out there, waiting for our movie to come along. Working with Michael was a real privilege and this soundtrack is Michael at his best. I know every director says that, but this time it’s true! Listen and see if you don’t agree with me. Pete Docter, April 2009 C Disney/Pixar C Disney/Pixar C Disney/Pixar C Disney/Pixar 1. UP WITH TITLES 2. We’re IN THE CLUB NOW 3. MARRIED LIFE 4. CARL GOES UP 5. 52 CHACHKI PICKUP 6. PARADISE FOUND 7. WALKIn’ tHE HOUSE 8. THREE DOG DASH 9. KEVIN BEAk’n 10. CANINE CONUNDRUM 11. THE NICKEL TOUR 12. THE EXPLORER MOTEL 13. ESCAPE FROM MUNTZ MOUNTAIN 14. GIVING MUNTZ THE BIRD 15. STUFF WE DID 16. MEMORIES CAN WEIGH YOU DOWN 17. THE SMALL MAILMAN RETURNS 18. He’S GOT THE BIRD 19. SEIZING THE SPIRIT OF ADVENTURE 20. It’S JUST A HOUSE 21. THE ELLIE BADGE 22. UP WITH END CREDITS 23. THE SPIRIT OF ADVENTURE 24. CARL’S MAIDEN VoyagE (SOUND EFFECTS) 25. MUntz’S DARK REVERIE (SOUND EFFECTS) 26. MEET KEVIN IN THE JUNGLE (SOUND EFFECTS) PLUS BONUS VIDEO - COMPOSING FOR CHARACTERS: MICHAEL GIACCHINO SCORES UP Music by Michael Giacchino Music Orchestrated and Conducted by Tim Simonec Music Recorded and Mixed by Dan Wallin Music Editor: Stephen M. Davis Music Contractor: Reggie Wilson Assistant Music Contractor: Connie Boylan Score Coordinator: Andrea Datzman Music Preparation: Booker White – Walt Disney Music Library Additional Conducting by Marshall Bowen Additional Orchestrations by Jack J. Hayes, Peter Boyer, Michael Giacchino, Jennifer Hammond, Larry Kenton, Cameron Patrick Assistant Music Editor: Alexandra Apostolakis Compositional Robotic Defensive Artist: Dave Craftsman Sound Effects Provided by Skywalker Sound Executive Music Producer: Chris Montan Music Supervisor: Tom MacDougall Music Production Director: Andrew Page Post Production Supervisor: Paul Cichocki Music Business Affairs: Donna Cole-Brulé Music Production Coordinator: Ashley Chafin Executive Music Assistant: Jill Heffley Music Production Assistant: Siobhan Sullivan Music Recorded and Mixed at Warner Bros. Eastwood Scoring Stage Recordists: Greg Dennen, Tom Hardisty Scoring Crew: Richard Wheeler, Jay Selvester, Ryan Robinson, Jamie Olvera “The Spirit Of Adventure” Vocals by Craig Copeland Album Mastered by Gavin Lurssen at Lurssen Mastering Music/Creative Marketing: Glen Lajeski Bonus Video Producer: Galyn Susman Bonus Video Directors: Tony Kaplan, Erica Milsom MICHAEL GIACCHINO WISHES TO THANK... The swellest, most gosh darn nifty orchestra a guy could ever hope for! The most Johnny-on-the-spot music support team a person could be associated with! Pete Docter and Jonas Rivera for one heck of a GREAT balloon ride! Tom and Jenni for letting me hunker down in their garage for way too long. And finally... thanks to the bestest family in the whole world. You guys truly deserve the Ellie Badge! In Memory of Larry Corbett All Score Published by © 2009 Walt Disney Music Company (ASCAP)/Pixar Talking Pictures (ASCAP) WALT DISNEY PICTURES Presents A PIXAR ANIMATION STUDIOS Film “UP” Music by MICHAEL GIACCHINO Story by PETE DOCTER BOB PETERSON and TOM MCCARTHY Screenplay by BOB PETERSON and PETE DOCTER Executive Producers JOHN LASSETER ANDREW STANTON Produced by JONAS RIVERA Co-Directed by BOB PETERSON Directed by PETE DOCTER disney.com/up ORIGINAL SOUNDTRACK AVAILABLE FROM Text UP to DISNEY (347639)* ©Disney/Pixar *STANDARD CARRIER FEES APPLY P 2009 Walt Disney Records/Pixar C 2009 Disney Enterprises, Inc/Pixar Burbank, CA 91521 D0004192F5 Unauthorized duplication and use prohibited..
Recommended publications
  • Complete Catalogue of the Musical Themes Of
    COMPLETE CATALOGUE OF THE MUSICAL THEMES OF CATALOGUE CONTENTS I. Leitmotifs (Distinctive recurring musical ideas prone to development, creating meaning, & absorbing symbolism) A. Original Trilogy A New Hope (1977) | The Empire Strikes Back (1980) | The Return of the Jedi (1983) B. Prequel Trilogy The Phantom Menace (1999) | Attack of the Clones (2002) | Revenge of the Sith (2005) C. Sequel Trilogy The Force Awakens (2015) | The Last Jedi (2017) | The Rise of Skywalker (2019) D. Anthology Films & Misc. Rogue One (2016) | Solo (2018) | Galaxy's Edge (2018) II. Non-Leitmotivic Themes A. Incidental Motifs (Musical ideas that occur in multiple cues but lack substantial development or symbolism) B. Set-Piece Themes (Distinctive musical ideas restricted to a single cue) III. Source Music (Music that is performed or heard from within the film world) IV. Thematic Relationships (Connections and similarities between separate themes and theme families) A. Associative Progressions B. Thematic Interconnections C. Thematic Transformations [ coming soon ] V. Concert Arrangements & Suites (Stand-alone pieces composed & arranged specifically by Williams for performance) A. Concert Arrangements B. End Credits VI. Appendix This catalogue is adapted from a more thorough and detailed investigation published in JOHN WILLIAMS: MUSIC FOR FILMS, TELEVISION, AND CONCERT STAGE (edited by Emilio Audissino, Brepols, 2018) Materials herein are based on research and transcriptions of the author, Frank Lehman ([email protected]) Associate Professor of Music, Tufts
    [Show full text]
  • Track 1 Juke Box Jury
    CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper
    [Show full text]
  • A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
    PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score.
    [Show full text]
  • Music by Alan Menken Lyrics by Lynn Ahrens Book by Mike Ockrent and Lynn Ahrens
    PIANO CONDUCTOR SCORE Music by Alan Menken Lyrics by Lynn Ahrens Book by Mike Ockrent and Lynn Ahrens Based on the story by Charles Dickens NOTICE: DO NOT DEFACE! • Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOT FOR SALE • This book is rented for the period specified in your contract. It remains the property of: MUSIC THEATRE INTERNATIONAL 421 West 54th Street New York NY 10019 MUSIC THEATRE INTERNATIONAL (212) 541-4684 www.MTIShows.com Copyright © 1994, 1995, 1996 Trunksong Music, Ltd, Menken Music and Madison Square Garden, L.P. MTI'S LATEST THEATRICAL RESOURCE IS A PLAY-ALONG PERFORMANCE SYSTEM THAT ALLOWS YOUR GROUP TO REALIZE THE FULL SOUND OF THE ORIGINAL ORCHESTRATION. rchEXTRA® is a user-friendly music enhancement system capable Oof augmenting student musicians and professionals alike. With OrchEXTRA® in the pit, actors on stage feel fully supported while the pit musicians experience the thrill of playing with a full orchestra. Many organizations interested in producing musicals don't have access to enough musicians to make up an orchestra. OrchEXTRA® was developed to assist these groups by providing the missing instruments needed to realize a full Broadway score, while at the same time encouraging all available musicians to participate. What sets OrchEXTRA® apart from any other music enhancement system is its extraordinary ability to follow a conductor's fluctuating tempo as well as its ability to handle subtle musical expression. WITH ORCHEXTRA® IN THE PIT, EVERY ORGANIZATION CAN HAVE A FULL ORCHESTRAL SOUND! Available Exclusively from In Conjunction with HOW IT WORKS: • For a given musical, each individual part of the orchestra is recorded and sculpted by a trained musician, then put together with the other parts to create a sequence.
    [Show full text]
  • Arkansas Symphony Presents Music of Star Wars with Costumes, Trivia, and Music Attendees Are Invited to Attend in Costume for a Chance to Win a Prize
    PRESS RELEASE: FOR IMMEDIATE RELEASE Press Contact: Brandon Dorris Office: (501)666-1761, ext. 118 Mobile: (501)650-2260 Fax: (501)666-3193 Email: [email protected] Arkansas Symphony Presents Music of Star Wars with Costumes, Trivia, and Music Attendees are invited to attend in costume for a chance to win a prize. Little Rock, ARK, September 27, 2018 - The Arkansas Symphony Orchestra, Philip Mann, Music Director and Conductor, announces a presentation of The Music of Star Wars, 7:30 p.m. Saturday, October 20th and 3:00 p.m. Sunday, October 21st at the Robinson Center. The concert will feature music selected from the entire series of 10 feature films, an animated film, three TV films, and six animated series spanning more than 40 years. The celebrated film composer John Williams (Star Wars, Jaws, Indiana Jones, Harry Potter), composed all music from the eight saga films (Williams is also slated to score the ninth and final film), with award-winners Michael Giacchino and John Powell composing the music for the spin-off films. The program will feature costumes, trivia, and decoration of the Robinson Center to create a multi- sensory experience. Audiences are invited attend this family-friendly event in costume as their favorite character. A random Star Wars-themed prize winner will be selected from costumed attendees at each performance. Tickets are on sale now and prices are $16, $36, $57, and $68 and can be purchased online at www.ArkansasSymphony.org/starwars; at the Robinson Center street-level box office beginning 90 minutes prior to a concert; or by phone at 501-666-1761, ext.
    [Show full text]
  • Halloween Concert
    Music Department Calendar of Events Central Washington University Department of Music presents: Halloween Concert Dr. Elioac Salokin, Director of Orchestra Dr. Raanediew Yrag, Director of Choir Asomrehalliv Nayr, Assistant Conductor Renierhcs Leinad, Assistant Conductor Jerilyn S. McIntyre Music BuildingDr. Wayne S. Hertz Concert Hall Wednesday, October 30th, 2019 7:00 PM Personnel Program FARMING FOR TREBLE CANDY HORNS SNOWWHITE AND THE March of the Goblins Adam Glaser Cow Doctor* SEVEN DWARVES SoBEEa Goodenbuzz+ Jeffrey Snow White* Chicken Leighton Dopey Jerry Snedeker Doc Lydia BoPeep Sleepy Batalip+ THE POWERPUFF GIRLS Sneezy Old McDonald / Spider Pig arr. Mike Scott Tom Blossom* Grumpy Scarecrow Buttercup^ Bashful ed. Daniel Schreiner Bubbles Happy INNER VOICES, TRULY HEROIC SCRUFFY LOOKING NERF CELLO THERE Disgruntled Food Employee HERDERS Rey*^ Choir - Ecce Vicit Leo (Double) Peter Phillips Jack and Jill Payton Luke Skywalker* Palermo Charlotte Web Leia Organa Lucy Zoboomafoo Sheev Palpatine* Ricky Spooky Stuckey+ Han Solo* Pizza Ash Ketchum Poor College Student Savurkey Gobbler+ HYDROFLASKS Lilith Star Wars - Main Title John Williams Black Hydroflask* Princess Leia FARMERS ONLY Grey Hydroflask Greg Universe Erik Green Hydroflask The Rock Kornel Blue Hydroflask Something Wicked “High Ground”+ Red Hydroflask Renaissance Lady Gus Rrr’Donnell Mystery Man Eight Laughing Voices Hyo-won Woo Earl BLACK AND WHITE ALL Musical Superhero Old McDonald OVER Carina Kanter Farmer Mike BoJack Horseman Chip ROCK BOTTOM VIOLENT Mary Poppins* THE FLOCK SHOULDER HARPS Professor Utonium The Typewriter Leroy Anderson David Baa-allard Mrs. Elizabeth Peacock*^ One Ring to Rule Them All Elambjah Bergevin Andrés de Fonollosa Medical Officer Phipps Luke Baa-cheverria Captain Long John Silver Science Officer Hoffman Tommy Marsheep Mognarktharol, the Djent Electric Blue #7 Tyler Mathewes Zombie Arwen.
    [Show full text]
  • Or Contact One of the ASBOF Advisory Panel Members
    THE AUSTRALIAN SCHOOL BAND & ORCHESTRA FESTIVAL MUSIC PREVIOUSLY PLAYED HELD ANNUALLY THROUGH JULY, AUGUST & SEPTEMBER A non-competitive, inspirational and educational event Primary School Concert and Big Bands WARNING: Music Directors are advised that this is a guide only. You should consult the Festival conditions of entry for more specific information as to the level of music required in each event. These information on these lists was entered by participating bands and may contain errors. Some of the music listed here may be regarded as too easy or too difficult for the section in which it is listed. Playing music which is not suitable for the section you have entered may result in you being awarded a lower rating or potentially ineligible for an award. For any further advice, please feel free to contact the General Manager of the Festival at [email protected], visit our website at www.asbof.org.au or contact one of the ASBOF Advisory Panel Members. www.asbof.org.au www.asbof.org.au I [email protected] I PO Box 833 Kensington 1465 I M 0417 664 472 Lithgow Music Previously Played Title Composer Arranger Aust A L'Eglise Gabriel Pierne Kenneth Henderson A Night On Bald Mountain Modest Moussorgsky John Higgins Above the World Rob GRICE Abracadabra Frank Tichelli Accolade William Himes William Himes Aerostar Eric Osterling Air for Band Frank Erickson Air for Band Frank Erickson Amazing Grace Trad L. Conley Ancient Dialogue Patrick J. Burns Ancient Voices Michael Sweeney Ancient Voices Aussie Hoedown Ralph Hultgren Baby Elephant Walk Henry Mancini Johnnie Vinson Best Foot Forward Ronald Hanmer Boogie Woogie Bugle Boy Michael Sweeney Born This Way Michael Brown Bryce Canyon Overture Jerry WILLIAMS Bugs (4 Movements) David Shaffer Calypso Time! Ed Wilson Celebration and Song Robert Sheldon Chase At Midnight Tim Fisher Children's March Percy Grainger Chronicles of Narnia Harry Gregson-Williams Michael Sweeney Clark County Celebration James Swearingen Colonial Song Percy Grainger Douglas E.
    [Show full text]
  • Cinderella a Million Words of Kindness Campaign
    FOR IMMEDIATE RELEASE IN CELEBRATION OF THE DIGITAL HD AND BLU-RAY™ RELEASE OF “CINDERELLA,” DISNEY LAUNCHES THE “A MILLION WORDS OF KINDNESS” CAMPAIGN BURBANK, CA, August 15, 2015 – In celebration of the Digital HD and Blu-ray™ release of Disney’s “Cinderella” on September 15, 2015, Walt Disney Studios is proud to announce the “A Million Words of Kindness” Campaign, launched on August 15, 2015. Inspired by the spirit of Cinderella, this online initiative invites fans everywhere to pledge their commitment to be courageous and kind in the hopes of achieving “A Million Words of Kindness” in time for World Kindness Day on November 13th, 2015. In the film “Cinderella,” Ella is told by her mother, “Where there is kindness, there is goodness; and where there is goodness, there is magic.” Now families everywhere can create this magic themselves by submitting words of courage and kindness at www.cinderellakindness.com, using the hashtags #Cinderella and #bekind or the handle @Cinderellamovie. These kind words and their entrant’s names will then appear on the site’s interactive “Kindness Wall.” To join the “A Million Words of Kindness” Campaign, visit www.cinderellakindness.com and use your words to help make the world a kinder, more magical place! About Disney’s “Cinderella”: Celebrate Disney’s “Cinderella,” a modern classic that shines with beauty, imagination…and magic! Despite being mistreated by her stepmother (Cate Blanchett) and stepsisters, a spirited Ella (Lily James) resolves to take charge of her fate. Add a royal ball, a Fairy Godmother
    [Show full text]
  • The Musical Contexts GCSE Music Study and Revision Guide For
    GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Musical Contexts GCSE Music Study and Revision Guide for Film Music Designed to support: Eduqas GCSE Music – Area of Study 3: Film Music OCR GCSE Music – Area of Study 4: Film Music Pearson Edexcel GCSE Music – Area of Study: Music for Stage and Screen P a g e 1 o f 32 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Purpose of Film Music Film Music is a type of DESCRIPTIVE MUSIC that represents a mood, story, scene or character through music; it is designed to support the action and emotions of the film on screen. Film music serves many different purposes including: 1. To create or enhance a mood 2. To function as a LEITMOTIF 3. To link one scene to another providing continuity 4. To emphasise a gesture (known as MICKEY-MOUSING) 5. To give added commercial impetus 6. To provide unexpected juxtaposition or to provide irony 7. To illustrate geographic location or historical period 8. To influence the pacing of a scene 1. To create or enhance a mood Music aids (and is sometimes essential to effect) the suspension of our disbelief: film attempts to convince us that what we are seeing is really happening and music can help break down any resistance we might have. It can also comment directly on the film, telling us how to respond to the action. Music can also enhance a dramatic effect: the appearance of a monster in a horror film, for example, rarely occurs without a thunderous chord! Sound effects (like explosions and gunfire) can be incorporated into the film soundtrack to create a feeling of action and emotion, particularly in war films.
    [Show full text]
  • The Film Music Label Partners with the Golden State Pops Orchestra for Another 'Music of the 'Star Wars' Universe' Concert
    7:20 PM PDT 6/19/2013 by Austin Siegemund-Broka The Golden State Pops Orchestra The film music label partners with the Golden State Pops Orchestra for another 'Music of the 'Star Wars' Universe' concert. Film music label Varèse Sarabande Records is celebrating its 35th anniversary at home and abroad. The Golden State Pops Orchestra’s June 15 concert Music of the 'Star Wars' Universe commemorated the milestone with a performance of Joel McNeely’s score, released on Varèse, for the 1996 multimedia project Star Wars: Shadows of the Empire, alongside pieces from John Williams’ iconic Star Wars film scores -- not released on Varèse, though the label has distributed other orchestras’ renditions of Williams’ Star Wars compositions. Hans Zimmer, Danny Elfman, Michael Giacchino, John Powell and other guest composers came out for the GSPO’s previous concert, a Varèse Sarabande 35th anniversary revue on May 11. Varèse executive producer Robert Townson, who hosted the revue, says he opted to work with the GSPO to bring Varèse’s anniversary festivities back to the label’s Los Angeles roots. “I sent an email to the conductor and said, ‘we’d like to do something locally. To be honest, your orchestra came to mind because of the attitude and the degree to which you’re making a point of celebrating the aspects of film music I really appreciate, the artistry,’” Townson says. Two more concerts will partner the GSPO with Varèse: the orchestra’s annual Halloween and winter holiday performances, held October 19 and December 21. Plans for a single revue concert grew into a yearlong Varèse celebration when GSPO conductor Steven Allen Fox realized how much Varèse-released music was already on the GSPO season’s programs.
    [Show full text]
  • The Walt Disney Company Uk & Ireland
    THE WALT DISNEY COMPANY UK & IRELAND Disney has operated in the UK and Ireland for more than 80 years There are nine Disney office locations across the UK and one in Ireland The UK has approximately 30m Disney fans (kids who really like one of our brands and teens/adults who report they strongly or very strongly relate to one of our brands - Disney, Marvel, Star Wars, Nat Geo or Pixar). Source: BES/Kids Tracker/CSR Across the five major European countries (UK, France, Germany, Italy, Spain), there are more than 180m Disney fans. Source: BES/Kids Tracker/CSR Studios In 2019, Disney’s UK box office (£473M, 35% Market Share) was the highest grossing year for a Motion Picture Association studio ever, exceeding 2018. Disney UK had seven of the top ten releases from the year: o #1 Avengers: Endgame (£88.7m) o #2 The Lion King (£76.0m) o #3 Toy Story 4 (£66.2m) o #5 Frozen 2 (£48.5m) o #6 Star Wars: The Rise of Skywalker (£46.9m) o #7 Captain Marvel (£39.5m) o #8 Aladdin (£37.2m) Seven of the top ten biggest films of all time at the UK box office are from Walt Disney Studios titles: o #1 Star Wars: The Force Awakens (£123.2m) o #4 Avatar (£94.0m) o #5 Avengers: Endgame (£88.7m) o #6 Star Wars: The Last Jedi (£82.6m) o #7 Titanic (£80.2m) o #8 The Lion King (£76.0m) o #9 Toy Story 3 (£74.0m) Disney+ Disney+ launched in the UK on March 24th, 2020, on the same day as Ireland, Germany, Spain, Italy, Austria and Switzerland.
    [Show full text]
  • Style Guide for Vocal Recital Programs
    1 Style Guide for Vocal Recital Programs This guide is intended as a resource to assist students, faculty, and BM Voice presenting the Senior Capstone, in the preparation and submission of appropriate information for recital programs. The following guidelines have been based, with some modifications to suit departmental needs, on the compilation of Holoman, D. Kern, Writing about Music: A Style Sheet. CA: University of California Press. 2008, and Turabian, Kate, A manual for writers of research papers, theses, and dissertations: Chicago style for students and researchers. Chicago: University of Chicago Press. 2008. IMPORTANT: Please submit your material using Times font, point size 12, and point 18 for the headers. 2 Style Guide for Vocal Recital Programs INDEX I. TITLE OF WORKS 1.1 SONGS - INDIVIDUAL 1.2 SONGS – TWO OR MORE, SAME COMPOSER 1.3 SONGS – TWO OR MORE, DIFFERENT COMPOSER 1.4 SONG CYCLE – ONE SONG EXTRACTED 1.5 SONG CYCLE – TWO OR MORE SONGS EXTRACTED 1.6 SONG CYCLE – ENTIRE CYCLE 1.7 OPERAS, ORATORIOS, CANTATAS, MUSICALS 1.8 MORE THAN ONE ARIA FROM LARGER WORK 1.9 ARIA WITH A RECITATIVE 1.10 CAPITALIZATION 1.11 FIRST PERFORMANCES II. COMPOSERS AND COMPOSER DATE(S) 2.1 COMPOSERS AND DATES 2.2 ADAPTATIONS AND TRANSCRIPTIONS III. PERFORMERS 3.1 PERFORMER’S NAME IN SOLO RECITAL 3.2 PERFORMER(S) NAME WITH GUEST ARTIST(S) 3.3 SHARED RECITAL 3 IV. PERFORMER(S) BIOGRAPHY 4.1 THE STUDENT PERFORMER’S BIO 4.2 FACULTY AND GUEST ARTIST BIO 4.3 ACCOMPANIST BIO V. ACKNOWLEDGEMENTS 5.1 ACKNOWLEDGEMENTS BY PERFORMER(S) VI.
    [Show full text]