Getting Your Songs on Spotify Playlists
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Swedish Interviewer (Name Unknown-Hereafter Listed As SI): I Sing
July 26, 1955 Mahalia Jackson interview Interviewed by unknown Swedish interviewer and recorded by William Russell at Mahalia Jackson's home in Chicago. * .' Swedish Interviewer (name unknown-hereafter listed as SI): I sing because I'm happy, is that right? MJ: Yes, that's right, and I am happy! SI: Well, I can see that when you are singing. MJ: Oh yes. SI: And one can hear it. Well, why are you so happy? MJ: Well, music makes the soul happy. And I think I sing all the time, and it keeps my spirit happy. SI: So you sing at home too? MJ: Oh yes! I sing when I'm cooking, when I'm working "round the house. Sing so much the neighbors sometimes come around and listen. So I just sing. It keeps me happy. It helps me to bear the burdens of the day. SI: What do you like to sing the best? MJ: I have a number of songs that I love to sing. Some songs for certain moods I'm in. Well I, I like to sing that particular song. If I'm in a sad mood, well I sing a song with a cry. And when I feel happy, jolly, well I sing a song with a lot of beat and a lot of rhythm to it, such as "When the Saints Go Marching In," "Keep Your Hands on the Plow," "Didn't It Rain," songs like that. They are jolly songs you know. And I just get around the house and sing 'em till I sing my blues away. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Cover Your (Data) Bases What Musicians Need to Know About Music Metadata to Get Paid for Their Music
Cover Your (Data) Bases What musicians need to know about music metadata to get paid for their music Digital download sales, royalties from streaming music services, revenue sharing from YouTube—in addition to physical retail and online retail sales of CDs—all hinge on coded information. It’s important that artists use every means available to establish their connec- tion to their recorded works, and to incorporate into their project all of the essential data tools for selling their recordings. We originally wrote about metadata in 2007; Mike Petillo has done a careful update of this important topic. June 2014 Airshow, Inc www.airshowmastering.com UPC, ISRC, CD Text and Online Music Along with the traditional tracking of physical sales from retail Databases outlets, UPCs are now used to compile sales data on digital down- A lot of the information on a music recording isn’t music. Digital loads; having a UPC assigned for a new release is now mandatory delivery and online sales can’t happen without some coded data, before selling your music online via stores like iTunes and Amazon commonly called “metadata,” which is the information about the MP3. music. The multitude of ways in which fans listen, often across Where does it come from? various devices at home, work, in their cars and on their phones, Allocation of UPCs is officially managed by GS1, a global, non-prof- allow artists new opportunities to share info about their music and it organization that governs manufacturing and supply chain draw listeners closer. standards. In order to receive their own special UPC prefix code, companies must become a member of the organization. -
General Music Responding Playlist Unit—Grade 8
Photo by Erin Zanders; used by permission of NC State University Department of Music. University Department of NC State Photo by Erin Zanders; used permission of General Music Creating through Responding Unit Playlist Project, Grade 8 A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT — WRITING RESPONDING UNITS 2019–2020 PROJECT DIRECTOR • Johanna J. Siebert GENERAL MUSIC WRITING TEAM • Wendy Barden, Minnetonka, MN, Team Chair • Steve Kennedy, New Orleans, LA • Richard Maxwell, Phoenix AZ • Susan Osborn, Bear, DE • David Potter, Lansing MI • Matt Warren, Webster, NY COMPOSITION AND THEORY • Carolyn Bennett, Stonington, CT, Teacher-in-Residence at the Library of Congress, Team Chair • Terry Bacon, North Chili, NY • Lisa Cookson, Wichita, KS STEERING COMMITTEE AND SITE COORDINATORS • Shawn Chastain, Wichita, KS • Thomas E. Dean, Newark, DE • Christine Fisher, Florence, SC • Brian Schneckenburger, Baltimore, MD Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. GENERAL MUSIC RESPONDING UNIT | GRADE 8 | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/Library of Congress Responding Units ........... 4 Playlist—Project Description ...................................... 5 Prerequisite Knowledge and Skills for this Unit ...................... 5 Instructional Goals ............................................ -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
An Advanced Songwriting System for Crafting Songs That People Want to Hear
How to Write Songs That Sell _________________________________________________________________________________________________________________________ An Advanced Songwriting System for Crafting Songs That People Want to Hear By Anthony Ceseri This is NOT a free e-book! You have been given one copy to keep on your computer. You may print out one copy only for your use. Printing out more than one copy, or distributing it electronically is prohibited by international and U.S.A. copyright laws and treaties, and would subject the purchaser to expensive penalties. It is illegal to copy, distribute, or create derivative works from this book in whole or in part, or to contribute to the copying, distribution, or creating of derivative works of this book. Furthermore, by reading this book you understand that the information contained within this book is a series of opinions and this book should be used for personal entertainment purposes only. None of what’s presented in this book is to be considered legal or personal advice. Published by: Success For Your Songs Visit us on the web at: http://www.SuccessForYourSongs.com Copyright © 2012 by Success For Your Songs All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. How to Write Songs That Sell 3 Table of Contents Introduction 6 The Methods 8 Special Report 9 Module 1: The Big -
How to Share Your Release with the World
MusicNSW’s Industry Essentials How to share your release with the world Prepared by GYROstream for MusicNSW Did you know more than 22,000 songs are uploaded to streaming services every day? Getting your music online can seem like a complicated task. It doesn’t have to be though. Below are some tips and tricks to help you navigate the best distribution path for you and your new tunes. What are digital music aggregators / distributors? Digital aggregators (also known as digital distributors) are companies that provide a means to distribute your music globally through digital music stores and streaming platforms. You can’t just upload a track directly to Spotify or Apple Music and have it streamed globally, you need to use a digital music aggregator. If you’re signed to a label, it’s more than likely they’ll distribute your music to Spotify, Apple, iTunes, YouTube Music and more for you, but if you’re independent, you can have exactly the same access to these platforms by using a digital aggregator. Aggregators make their money by charging upfront fees and/or charging a percentage of revenue earned from the streaming and download purchases of your music. In some cases, aggregators will also charge an ongoing annual fee to keep your content online. Who do they distribute to? Nearly all distributors will get your music to Apple, Spotify, Deezer, Youtube (ie. the major western platforms), which together cover a large portion of music listeners worldwide. Where things might differ is for the highly localised services that cater to their specific regions - eg. -
Petrella Pollefeyt
ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notesNO. 19 / 2014-2015 Petrella Pollefeyt: First Lady of Country Soul aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for In drafting this column for the first sang with the aesthetic beauty and the purpose of research and time as Director of the AAAMC, I feel spiritual grace fitting for such an iconic study of African American compelled to acknowledge the legacy figure. From Grammy-award winning music and culture. of Portia Maultsby, whose vision in Dr. Bobby Jones of Sunday morning www.indiana.edu/~aaamc 1991 led to its founding. Initially BET Gospel fame to GospoCentric supported by a Ford Foundation grant, founder, Vicki Mack Lataillade, the the Archives represented Dr. Maultsby’s tributes extolled Hobbs’ commanding desire to identify and gather the many leadership in the world of gospel music. Table of Contents print, audio and visual resources The public face of the Archives which document the richness of this year was most strongly evident From the Desk of the Director .....................2 African American music in shaping in our Themester event, Hot Buttered and defining the American musical Soul: The Role of Foodways and Music In the Vault: landscape. It is a history most worthy Making in Building and Sustaining Recent Donations .................3 of preservation, and following the African American Communities, which path forged by Dr. Maultsby is both an attracted an extremely responsive One on One: Interview honor and a challenge. We welcome her audience of almost 150 students, faculty, with Petrella Pollefeyt ...........4 continued involvement in identifying staff, and community members. -
Calendarofevents.Pdf
Dear Patrons of the Arts, Welcome to another great year of fine arts events at Berry College! The arts are essential for our flourishing as individuals and as communities. The events in this calendar are a great contribution of Berry College to northwest Georgia. Again this year our fine arts faculty have planned for the Berry community, and the larger community of Rome and Floyd County, a series of performances and events to edify, stimulate and delight us. Thank you for your interest and support of the arts. We look forward to seeing you at one of our concerts or shows and to partnering with you to encourage and enjoy the arts. Dr. Thomas D. Kennedy, Dean Evans School of Humanities, Arts and Social Sciences Dear Patrons, We are delighted to offer you a dynamic and robust season of events in 2018-2019. Our events capture a variety of artistic and cultural displays through our art, dance, music and theatre programs. Many of our offerings feature several nationally-recognized artists in a wide variety of genres and styles. There are also opportunities to see and hear our fantastic artist faculty. A number of events will feature talented Berry students who demonstrate a deep appreciation for the arts and a desire to learn more about them. All of the programs and performances are open to the public. It is our hope that you will take advantage of the many fine cultural offerings and engage, share and participate in the fine arts at Berry College! Thank you for your continued support, and we look forward to seeing you at our next event. -
Capturing That Solid-Gold Nugget
Chapter 1 Capturing That Solid-Gold Nugget In This Chapter ▶ Gathering song ideas from anywhere ▶ Organizing and tracking your thoughts and inspirations ▶ Documenting your ideas his book is for everyone who shares the dream of harnessing the song- Twriting power we all have within. You’ve come to the right place if your heart keeps telling you to write a song, but your mind is uncertain as to the process of the craft or what’s required to create a really good song. You bought the right book if you’re wondering how to collect and organize your ideas. You have found the right resource if you have pieces of songs lying in notebooks and on countless cassettes but can’t seem to put the pieces together. This book is for you if you have racks of finished song demos but don’t know what to do next to get them heard. When you know the elements that make up a great song and how the pros go about writing one, you can get on the right path to creating one of your own. Unless you’re lucky enough to have fully finished songs come to you in your deepest dreams, or to somehow take dictation from the ghosts of Tin Pan Alley (the publishing area located in New York City in the 1930s and 1940s), most of us need to summon the forces, sources, reasons, and seasons that give us the necessary motivation to draw a song from our heart of hearts. Given that initial spark, you then need the best means of gathering those ideas, organizing them, putting them into form, and documenting them as they roll COPYRIGHTEDin — before it’s too late and they MATERIAL roll right out again! Have you ever noticed how you can remember a powerful dream just after you’ve awakened only for it to vanish into thin air in the light of day? Song ideas can be just as illusive. -
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Building Awareness for New Music Through Radio Promotions
University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 5-2016 Jamalar Agency: Building Awareness for New Music through Radio Promotions LaWanda J. Smith University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation Smith, LaWanda J., "Jamalar Agency: Building Awareness for New Music through Radio Promotions" (2016). Arts Administration Master's Reports. 202. https://scholarworks.uno.edu/aa_rpts/202 This Master's Report is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Master's Report in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Jamalar Agency: Building Awareness for New Music through Radio Promotions An Internship Academic Report Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts In Arts Administration By LaWanda J. Smith BCJ Loyola University