Music and Gaming's Next Levels
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The Recording Industry in Japan 2016 Contents
RIAJ YEARBOOK 2016 Statistics Trends The Recording Industry in Japan 2016 Contents Overview of Production of Recordings and Digital Music Sales in 2015 ........................... 1 Statistics by Format (Unit Basis — Value Basis) ........................................................................ 4 1. Total Recorded Music — Production on Unit Basis.................................................................... 4 2. Total Audio Recordings — Production on Unit Basis .................................................................. 4 3. Total CDs — Production on Unit Basis ...................................................................................... 4 4. Total Recorded Music — Production on Value Basis ................................................................. 5 5. Total Audio Recordings — Production on Value Basis ............................................................... 5 6. Total CDs — Production on Value Basis .................................................................................... 5 7. CD Singles — Production on Unit Basis .................................................................................... 6 8. 5" CD Albums — Production on Unit Basis ............................................................................... 6 9. Music Videos — Production on Unit Basis ................................................................................ 6 10. CD Singles — Production on Value Basis .................................................................................. 7 11. 5" CD -
Angel J. Storm, Ph.D
Part of the “Life After Narcissism” Series | Angel J. Storm, Ph.D. 1 – You are my purpose and my dream and I live to help you fulfill yours. 2 I was traveling recently and was sitting in an airport when a friend’s husband called and told me an idea he had. “Why don’t you create a workbook of some kind that takes women through the steps of healing after a relationship with narcissism and then do a one day conference on the topic. You can travel around with these workbooks doing one day impartation sessions.” knew this was the next step and I immediately began brainstorming the content. I knew I wanted it to be customizable for each person who bought it. The reason this is in a binder is so that you can do just that. If you need to write more, add pages. If you’re not ready to work on a section, skip it or remove it altogether. If you want to go through this book more than once, you can keep your old notes and add new pages and reflect on your growth. If there are sections you want to do with a friend or a family member, I encourage you to do that and there’s space in here for all your notes and memories. This book is deeply personal. It is the fruit of a struggle that I went through to produce it. It wasn’t easy and I didn’t like it. In fact I hated years of it but I’m finally able to look back and say “it was worth it.” It was so worth it. -
Iikbillboard
CANADA (Courtesy The Record) As of 6/13/85 AUSTRALIA (Courtesy Kent Music Report) As of 6/17/85 lir SINGLES 1 5 SINGLESUSSUDIO PHIL COLLINS ATLANTIC /WEA 1 1 WOULD I LIE TO YOU EURYTHMICS RCA 2 1 EVERYBODY WANTS TO RULE THE WORLD TEARS FOR FEARS 2 7 ANGEL MADONNA SIRE VERTIGO/POLYGRAM 3 3 WE ARE THE WORLD USA FOR AFRICA CBS 3 2 DON'T YOU (FORGET ABOUT ME) SIMPLE MINDS VIRGIN / POLYGRAM 4 9 50 YEARS UNCANNY X -MEN MUSHRO OM 4 3 NIGHT DEBARGE GORDY /QUALITY RHYTHM OF THE 5 17 LIVE IT UP MENTAL AS ANYTHING REGULAR 5 6 COLUMBIA /CBS EVERYTHING SHE WANTS WHAM! 6 5 RHYTHM OF THE NIGHT DEBARGE ORDr 6 11 WOULD I RCA - LIE TO YOU EURYTHMICS 7 6 DON'T YOU (FORGET ABOUT ME) SIMPLE MINDS VIRGIN NEW 7 NEVER SURRENDER COREY HART AQUARIUS /CAPITOL 8 4 EVERYBODY WANTS TO RULE THE WORLD TEARS FOR FEARS 8 17 BLACK CARS GINO VANNELLI POLYDOR/POLYGRAM MERCURY 9 12 A VIEW TO A KILL DURAN DURAN CAPITOL 9 8 WE CLOSE OUR EYES GO WEST CHRYSALIS 10 7 WALKING ON SUNSHINE KATRINA & THE WAVES ATTIC /A &M 10 10 19 PAUL HARDCASTLE CHRYSALIS 11 4 CRAZY FOR YOU MADONNA SIRE /WEA 11 2 CAN'T FIGHT THIS FEELING REO SPEEDWAGON EPIC 12 8 SMOOTH OPERATOR SADE PORTRAIT /CBS 12 NEW WALKING ON SUNSHINE KATRINA &WAVES CAPITOL 13 15 AXEL F HAROLD FALTERMEYER MCA 13 NEW A VIEW TO A KILL DURAN DURAN EMI 14 13 OBSESSION ANIMOTION MERCURY / POLYGRAM 14 18 WE WILL TOGETHER EUROGLIDERS CBS 15 NEW RASPBERRY BERET PRINCE & THE REVOLUTION PAISLEY PARK /WEA 15 14 WIDE BOY NIK KERSHAW MCA 16 16 HEAVEN BRYAN ADAMS A &M 16 12 NIGHTSHIFT COMMODORES MOTOWN 17 10 TEARS ARE NOT ENOUGH NORTHERN LIGHTS COLUMBIA /CBS 17 13 JUST A GIGOLO DAVID LEE ROTH WARNER 18 14 WE ARE THE WORLD USA FOR AFRICA COLUMBIA /CBS 18 11 THE HEAT IS ON GLENN FREY MCA 19 18 TOKYO ROSE IDLE EYES WEA 19 15 ONE MORE NIGHT PHIL COLLINS WEA Wi's: POWER STATION PARLOPHONE 20 20 THINGS CAN ONLY GET BETTER HOWARD JONES WEA 20 16 SOME LIKE IT HOT %..Copyright 1985, Billboard Publications, Inc. -
Yumi Matsutoya Train of Thought = コンパートメント Mp3, Flac, Wma
Yumi Matsutoya Train Of Thought = コンパートメント mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Stage & Screen Album: Train Of Thought = コンパートメント Country: Japan Released: 1985 MP3 version RAR size: 1778 mb FLAC version RAR size: 1712 mb WMA version RAR size: 1767 mb Rating: 4.9 Votes: 381 Other Formats: AAC ADX DXD MP4 MP3 TTA MP2 Tracklist 1 Prologue 2 Pessimist = 街角のペシミスト 3 Time Passing = 経る時 4 Heartbreak = ハートブレイク 5 Hotel Without Time = 時のないホテル 6 Dang Dang = DANG DANG 7 Like A Swallow = ツバメのように 8 Destiny = DESTINY 9 Mysterious Experience = 不思議な体験 Companies, etc. Published By – Kirara Music Publisher Copyright (c) – Toshiba EMI Designed At – Icon Designed At – Tact Credits Design, Artwork – Lee Baker Director Of Photography – Peter Christopherson Film Director, Design – Storm Thorgerson Lyrics By – Yumi Matsutoya Music By – Masataka Matsutoya Photography By [Cover] – Rupert Truman Producer – Aubrey Powell Notes 1st issue on DVD, comes in jewel case total duration 58 min. Barcode and Other Identifiers Barcode (Printed): 4 988006 942646 Barcode (Scanned): 4988006942646 Other (Price (With VAT)): ¥4,500 Other versions Category Artist Title (Format) Label Category Country Year Yumi Matsutoya = 松任谷由実* - Yumi Matsutoya TOEMI TT12-1070HI Train Of Thought = コンパートメ TT12-1070HI Japan 1984 = 松任谷由実* Video ント (VHS, NTSC, hi-) Yumi Matsutoya = 松任谷由実* - Yumi Matsutoya TOEMI VO98-1007 Train Of Thought = コンパートメ VO98-1007 Japan 1984 = 松任谷由実* Video ント (VHD, NTSC) Yumi Matsutoya = 松任谷由実* - Yumi Matsutoya TOEMI TT48-1240HI Train Of Thought = コンパートメ TT48-1240HI -
RIAJ Yearbook 2018 1 Overview of Production of Recordings and Digital Music Sales in 2017
Statistics RIAJ YEARBOOK Trends 2018 The Recording Industry in Japan 2018 Contents Overview of Production of Recordings and Digital Music Sales in 2017 .................. 1 Statistics by Format (Unit Basis — Value Basis) .............................................................. 4 1. Total Recorded Music — Production on Unit Basis ............................................... 4 2. Total Audio Recordings — Production on Unit Basis ............................................ 4 3. Total CDs — Production on Unit Basis .................................................................... 4 4. Total Recorded Music — Production on Value Basis ............................................. 5 5. Total Audio Recordings — Production on Value Basis .......................................... 5 6. Total CDs — Production on Value Basis ................................................................. 5 7. CD Singles — Production on Unit Basis .................................................................. 6 8. 5" CD Albums — Production on Unit Basis ............................................................ 6 9. Music Videos — Production on Unit Basis ............................................................. 6 10. CD Singles — Production on Value Basis................................................................ 7 11. 5" CD Albums — Production on Value Basis.......................................................... 7 12. Music Videos — Production on Value Basis ........................................................... 7 13. Digital -
Constitutional Reform in Japan
Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 2019 Constitutional Reform in Japan Nobuhisa Ishizuka Columbia Law School, [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Constitutional Law Commons, and the Law and Politics Commons Recommended Citation Nobuhisa Ishizuka, Constitutional Reform in Japan, 33 COLUM. J. ASIAN L. 5 (2019). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/2714 This Article is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. 2019] CONSTITUTIONAL REFORM IN JAPAN 5 CONSTITUTIONAL REFORM IN JAPAN Nobuhisa Ishizukm INTRODUCTION Over seventy years ago it would have seemed inconceivable in the aftermath of a calamitous war that a complete reorientation of Japan into a pacifist society, modeled on Western principles of individual rights and democracy, would succeed in upending a deeply entrenched political order with roots dating back centuries.2 The post-war Japanese constitution lies at the heart of this transformation. Drafted, negotiated and promulgated a mere fourteen months after Japan's formal surrender, 3 it has remained a model of stability amidst transformational changes in the domestic and international political landscape. 4 In the seventy-plus years since its adoption, it has not been amended once.s 1 Executive Director, Center for Japanese Legal Studies, and Lecturer in Law, Columbia Law School. The author would like to acknowledge the research assistance of Nicole Frey, Columbia Law School LL.M. -
The Recording Industry in Japan 2005
RIAJ Yearbook 2005 The Recording Industry in Japan English Edition 2005 Statistics Analysis Trends CONTENTS Overview of Production of Recordings in 2004 ..................................1 Production Statistics by Format (Unit Basis•Value Basis) ............2 1. Total Recorded Music — Unit Basis......................................................................2 2. Total Audio Recordings — Unit Basis ..................................................................2 3. Total CDs — Unit Basis ........................................................................................2 4. Total Recorded Music — Value Basis....................................................................3 5. Total Audio Recordings — Value Basis ................................................................3 6. Total CDs — Value Basis......................................................................................3 7. CD Singles — Unit Basis ......................................................................................4 8. 5" CD Albums — Unit Basis ................................................................................4 0. Reference 1. Video Recordings — Unit Basis ................................................................4 9. CD Singles — Value Basis....................................................................................5 10. 5" CD Albums — Value Basis ..............................................................................5 0. Reference 2. Video Recordings — Value Basis ..............................................................5 -
Recent Publications in Music 2009
Fontes Artis Musicae, Vol. 56/4 (2009) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2009 On behalf of the International Association of Music Libraries Archives and Documentation Centres / Pour le compte l'Association Internationale des Bibliothèques, Archives et Centres de Documentation Musicaux / Im Auftrag der Die Internationale Vereinigung der Musikbibliotheken, Musikarchive und Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2008. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in the IAML journal Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. Compiled and edited by Geraldine E. Ostrove Reporters: Austria: Thomas Leibnitz Canada: Marlene Wehrle China, Hong Kong, Taiwan: Katie Lai Croatia: Zdravko Blaţeković Czech Republic: Pavel Kordík Estonia: Katre Rissalu Finland: Ulla Ikaheimo, Tuomas Tyyri France: Cécile Reynaud Germany: Wolfgang Ritschel Ghana: Santie De Jongh Greece: Alexandros Charkiolakis Hungary: Szepesi Zsuzsanna Iceland: Bryndis Vilbergsdóttir Ireland: Roy Stanley Italy: Federica Biancheri Japan: Sekine Toshiko Namibia: Santie De Jongh The Netherlands: Joost van Gemert New Zealand: Marilyn Portman Russia: Lyudmila Dedyukina South Africa: Santie De Jongh Spain: José Ignacio Cano, Maria José González Ribot Sweden Turkey: Paul Alister Whitehead, Senem Acar United States: Karen Little, Liza Vick. With thanks for assistance with translations and transcriptions to Kersti Blumenthal, D. -
Songs by Artist
3 Jokers Karaoke Songs by Artist Japanese Karaoke Title Title Title Aki Yashiro Hiro Tsunoda Junko Mihara Inochibi (.Life's Fire) Shitsuren Resutoran (Heartbreak Sekushi- Naito (Sexy Night) Akiko Kobayashi Restaurant) Junko Yagami Koi Ni Ochite (Fall In Love) Hirofumi Bamba Pa-Puru Taun (Purple Town) Akiko Kosaka Sachiko Kaoru Mizuki Anata (You) Hiromi Go Kiyou Chikutou. (The District Party Akina Nakamori Aishuu No Kasaburanka (Casablanca) Journals) Sazan Uindo (Southern Wind) How Many Ii Kao (How Many Beautiful Keisuke Kuwata Shoujiyo A (Young Girl A) Faces) Bodei Supeshiyaru II (Body Special II) Akio Kayama Kanashimi No Kuroi Hitomi No Natari- Itoshi No Eri (Ellie My Love) (Nathalie) Hisame (Chilly, Chilly Rain) Ya Ya (Ano Jidai Wo Wasurenai)(I Can't O Yome Samba (My Wife's Samba) Akira Fuse Forget That Era) Yoroshiku Aishiyuu (Melancholy Regards) Mai Uei (My Way) Keisuke Kuwata And The Southern All Hiromi Iwasaki Stars Anzen Chitai Madonna Tachi No Rarabai (All Virgin's Chiyako No Kaigan Monogatari (The Wine Red No Kokoro (The Red Wine Lullaby) Legend Of Chiyako's Coast) Heart) Sumire Iro No Namida (Violet Tears) Kenji 'Julie' Sawada Asahi Kobayashi Hiroshi Goki And Nana Kinoko Omae Ni Chiekkuin (Check In To You) Mizu Tamari (Water Pool) Izakaya (The Liquor Store) Kenji Sawada Ashiya Gannosuke Hiroshi Itsuki Kasaburanka Dandei (Casablanca Musume Yo (My Daughter) Nagarakawa Enka (Nagara River Enka) Dandy) Beddo Ohan (Your Half) Kiyandei-Zu (Candies) De Tabako Wo Suwanaide (Don't Smoke Hohoemi Ga Eshi (The Smile Returns) In Bed) Sasame -
El Colegio De México EL MERCADO DE IDOL VARONES EN JAPÓN
El Colegio de México EL MERCADO DE IDOL VARONES EN JAPÓN (1999 – 2008): CARACTERIZACIÓN DE LA OFERTA A TRAVÉS DEL ESTUDIO DE UN CASO REPRESENTATIVO Tesis presentada por YUNUEN YSELA MANDUJANO SALAZAR en conformidad con los requisitos establecidos para recibir el grado de MAESTRÍA EN ESTUDIOS DE ASIA Y ÁFRICA ESPECIALIDAD JAPÓN Centro de Estudios de Asia y África 2009 ÍNDICE INTRODUCCIÓN……………………………………………………………………. 3 I. FENÓMENO IDOL EN JAPÓN Y OBJETO DE ESTUDIO………………... 14 1. Desarrollo general de la industria idol……………………………………. 14 2. Definición de idol………………………………………………………… 18 3. La compañía Johnny’s Jimusho………………………………………….. 22 4. Arashi…………………………………………………………………….. 31 II. ESTRATEGIAS DE DESARROLLO DEL MERCADO IDOL…………….. 36 1. Primera etapa: Base junior, reclutamiento y formación…………………. 37 2. Segunda etapa: Lanzamiento y consolidación de mercado………………. 46 3. Tercera etapa: Diversificación y expansión de mercado…………………. 58 III. SITUACIÓN ACTUAL DEL MERCADO DE IDOL VARONES………….. 68 1. El dominio idol dentro de la industria musical en Japón…………………. 69 2. Fin del monopolio y cambio de estrategias en el mercado de idol varones en Japón……………………………………………………………………… 75 CONCLUSIONES……………………………………………………………………. 84 REFERENCIAS………………………………………………………………………. 88 ANEXOS……………………………………………………………………………… 98 1 NOTA SOBRE EL SISTEMA DE ROMANIZACIÓN UTILIZADO En el presente estudio se utilizará, para los términos generales y los nombres de ciudades, el sistema de romanización usado en el Kenkyusha’s New Japanese – English Dictionary (3ra y ediciones posteriores). En el caso de nombres propios de origen japonés, se presentará primero el nombre y luego el apellido y se utilizará la romanización utilizada en las fuentes originales. Asimismo, es común que los autores no utilicen el macron (¯ ) cuando existe una vocal larga en este tipo de denominaciones. -
Report-On-Japan.Pdf
Contents 1. Executive Summary p. 4 2. An Introduction to the Music Market p. 6 3. The Entertainment Environment p. 7 (I)TV p. 8 (II) Radio p. 9 (III) Mobile p. 10 (IV) Online p. 12 (V) Print p. 13 (VI) Record Labels p. 14 (VII) Music Publishing p. 15 (VIII) Local Talent p. 16 (IX) Clubs and Dance p. 17 (X) Live Performance p. 18 4. The Digital Landscape p. 21 Mobile Music p. 22 Internet Music Downloads p. 24 Digital Music Services p. 26 5. Market Entry Recommendations p. 26 6. Appendices p. 28 Top 10 Selling Domestic Albums in 2011 p. 28 Top 10 Selling International Albums in 2011 p. 28 Market Statistics p. 28 Music-related Trade Bodies and Associations p. 29 2 CONFIDENTIALITY NOTICE & DISCLAIMER This document was prepared for internal use by Canadian Government and CAAMA members plus Canadian Music Week attendees only and is not for forwarding or distribution to any third party. It may not be posted on any website. All details referenced are the latest available to us at the time of writing, and all information utilized is believed to be accurate and reliable at the time of submission. However, Swat Enterprises Pte. Ltd. accepts no liability whatsoever for any loss or damage resulting from errors, inaccuracies or omissions 3 1. Executive Summary Japan, an archipelago of 6,852 islands with 47 prefectures, has the world’s tenth largest population with over 127 million people. Its area of 377,873 km2 is close to that of Germany and Switzerland. The greater Tokyo area is the largest metropolis in the world with a population of around 36 million, more than the entire population of Canada. -
Cole, Tom. 2021. ”Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience
Cole, Tom. 2021. ”Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/29689/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] “Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience Thomas Cole Department of Computing Goldsmiths, University of London April 2020 (corrections December 2020) Thesis submitted in requirements for the degree of Doctor of Philosophy Abstract This thesis investigates the mixed-affect emotional experience of playing videogames. Its contribution is by way of a set of grounded theories that help us understand the game players’ mixed-affect emotional experience, and that support ana- lysts and designers in seeking to broaden and deepen emotional engagement in videogames. This was the product of three studies: First — An analysis of magazine reviews for a selection of videogames sug- gested there were two kinds of challenge being presented. Functional challenge — the commonly accepted notion of challenge, where dexterity and skill with the controls or strategy is used to overcome challenges, and emotional chal- lenge — where resolution of tension within the narrative, emotional exploration of ambiguities within the diegesis, or identification with characters is overcome with cognitive and affective effort.