MUSIC and MIGRATION M 10 Things You Need to Consider
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Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
Jay-Z: in Tha’ Mix
ASC 1138--JAY-Z: IN THA’ MIX JAY-Z: IN THA’ MIX CREDIT HOURS Leta Hendricks [email protected] Tel: 614-688-7478 Classroom – Room 150A Thompson Library Class Meeting – Fridays – 1:30 – 2:18 p.m. January 11 – April 19, 2013 Office Hours – Tuesday – 9:00 – 11:00 a.m. and by appointment WEB Site – Twitter – Second Life- Hip Hop Underground http://slurl.com/secondlife/Cybrary%20City%20II/77/198/8 SYLLABUS COURSE DESCRIPTION JAY-Z is an entrepreneurial phenomenon of the last the twenty years. This seminar examines JAY-Z from different perspectives as an artist and as a businessman. The seminar will discuss perspectives and beliefs about rap music and popular culture. JAY-Z is currently one of the most influential iconic figures of Global Pop Culture. His music embodies the quintessentially “African American” genre of music, we will study his musical roots, trace the development of his career and connect JAY-Z with his culture. An analysis of his business empire will include his drug-marked youth, musical achievements, and urban-informed business savvy. The Seminar will discuss his lyrics and their meanings which reveal JAY-Z’s art and life. JAY-Z heavily borrows from American musical and literary traditions through an examination of select recordings, autobiography, film, essays and criticism, this Seminar will provide students the opportunity to discover the significance of JAY-Z’s contributions to lyric writing, popular music, and beyond. The following resources will facilitate students learning development by using multiple content formats. DJ Hero will engage students through gameplay, simulating DJ turntablism (mixing styles and techniques) connecting gaming activities to assignments, discussions, and projects on JAY-Z and current Rap artists. -
Prezentacja Programu Powerpoint
SPONSORSHIP PROPOSAL Dhow Countries Music Academy is the only Our students become well educated music school in Zanzibar, located in Stone musicians, both practically and theoretically. Town. The Academy promotes and preserves We also serve as a sustainable training music heritage of the Dhow Region which center that train, and market professionals in include countries along the shores of the Africa. Indian Ocean and the Arab Gulf, like Kuwait Oman, Iran, U.A.E and Yemen. Particular We use music as a tool for social change and emphasis is being placed on teaching youth empowerment. DCMA is active in traditional music styles, such as taarab, creating job opportunities for its students. kidumbak or ngoma. The DCMA is proud to For many of them music became profession. be the guardians of a living cultural heritage Thanks to education they received at DCMA and proud to preserve and promote the many now enjoy local and international musical heritage of Zanzibar and the Dhow music careers. DCMA organizes around 170 Countries. In training the students it ensures paid concerts yearly and cooperates with the continuation, knowledge, and legacy of a hotels and restaurants. 2/3 of the teaching unique musical cultural heritage. staff are Academy’s graduates. DCMA students and graduates are regularly DCMA was established in 2002 and performing in Zanzibar, Tanzania, Africa and throughout the years had more than 1500 other continents. students. It has gained an ever increasing international reputation winning a number of As a non-governmental, non-profit regional and international awards for organization, DCMA is primarily supported preserving musical heritage. -
The AB MUSIC Working Group Report December 2015 - June 2016
The AB MUSIC Working Group Report December 2015 - June 2016 Creative The AB MUSIC Europe Working Group Report Table of content Foreword .............................................................................................................................................................................................................................................5 Music Working Group ...................................................................................................................................................................................................................7 Introduction ......................................................................................................................................................................................................................................8 Why should the European Union intervene to support the European music sector? ............................................................................8 What should and what can be done? .................................................................................................................................................................................8 What are the Commission’s plans for the short term?............................................................................................................................................8 A Successful brainstorming session ..................................................................................................................................................................................9 -
2021-2022 Student Handbook
2021-2022 STUDENT HANDBOOK 0 TABLE OF CONTENTS School Philosophy 4 Mission Statement 4 Belief Statements 4 Profiles of Graduates 4 Read This Book 5 Affirmative Action 5 Message from the SGA President 7 Board of Education & Administrators 8 Faculty & Staff 8-9 School Calendar 10 Marking Periods/Report Card Posting 11 EMPA Exam Schedule 12 Student Rights 13-16 Smoking & Vaping 17 Alcohol and Drugs 17 PBASD Policy 17-18 Medical Aspects 18 Attendance 19-24 Philosophy Absence Procedure Absence Excuses (Non-cumulative) Emancipated Students Daily Attendance Late to School Late to Class Loss of Credit due to Excessive Absence Parent Notification Exam Attendance Cutting Class College Visitation Impact of Attendance & Extra-Curricular Activities Truancy Early Dismissal Make-up Work Religious Holidays Discipline 24-59 Philosophy Expectations for Behavior Disciplinary Options Discipline Code Weapons After-School Detention and Rules Saturday Detention Suspension Alternative Program Suspension or Expulsion Guidelines for Participation in Graduation Ceremony Off Campus Drug/Alcohol Policy Anti-Substance Abuse Agreement Intervention and Referral Service Core Team Help Lines 1 Discipline Chart Academic Integrity Policy Student Acceptable Use Policy for Technology and Internet Safety Bring IT! General Guidelines 59-74 Announcements and Bulletins Automobiles and Parking Bus Regulations Bus Evacuation Cafeteria Regulations Cell Phone Usage Communicating with the Board of Education Dress and Grooming Field Trips Fire and Safety Drills Hall Passes Health Services -
Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive. -
Access the Best in Music. a Digital Version of Every Issue, Featuring: Cover Stories
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MARCH 23, 2020 Page 1 of 27 INSIDE Lil Uzi Vert’s ‘Eternal Atake’ Spends • Roddy Ricch’s Second Week at No. 1 on ‘The Box’ Leads Hot 100 for 11th Week, Billboard 200 Albums Chart Harry Styles’ ‘Adore You’ Hits Top 10 BY KEITH CAULFIELD • What More Can (Or Should) Congress Do Lil Uzi Vert’s Eternal Atake secures a second week No. 1 for its first two frames on the charts dated Dec. to Support the Music at No. 1 on the Billboard 200 albums chart, as the set 28, 2019 and Jan. 4, 2020. Community Amid earned 247,000 equivalent album units in the U.S. in Eternal Atake would have most likely held at No. Coronavirus? the week ending March 19, according to Nielsen Mu- 1 for a second week without the help of its deluxe • Paradigm sic/MRC Data. That’s down just 14% compared to its reissue. Even if the album had declined by 70% in its Implements debut atop the list a week ago with 288,000 units. second week, it still would have ranked ahead of the Layoffs, Paycuts The small second-week decline is owed to the chart’s No. 2 album, Lil Baby’s former No. 1 My Turn Amid Coronavirus album’s surprise reissue on March 13, when a new (77,000 units). The latter set climbs two rungs, despite Shutdown deluxe edition arrived with 14 additional songs, a 27% decline in units for the week.Bad Bunny’s • Cost of expanding upon the original 18-song set. -
Activity Report 2018
ACTIVITY REPORT 2018 LIVE DMA EUROPEAN NETWORK FOR LIVE MUSIC ASSOCIATIONS NETWORK’S LIFE MEMBERS • In 2018, Live DMA counted 18 members in 14 countries currently represen- ting over 3000 music venues, clubs and festivals. • Live Fin, organisation running the common interests of different live music event organisers in Finland including venues, festivals and concert produ- cers joined the network in 2018 • Live DMA met several music actors during the year to discuss local, regional and national cooperation among the music venues and clubs of their area: Lithuania, Vilnius, LOFTAS - Live DMA Associate Member | Latvia, Riga, Hanzas Perons - Application to become a Live DMA Associate Member | MIL, Portugal - music venues meeting | Hungary, Budapest - meeting with dif- ferent actors from the music and nightlife scene in Budapest NETWORK EVOLUTIONS STAFF MEETINGS • Creation of a glossary • 2 full time employees • 2 board meetings • 1 intern (5 months) • 1 Survey meeting • General Assembly • Open Club Day meeting LIVE STYLE EUROPE APPLICATION • Live Style Europe (LSE) project started on 1st June 2017 for a 4 years period. • Annual application (January) and reporting (July) pro- cedure • Application for LSE year 2 in January 2018: total grant of 152 000 € approved ACTIVITIES IN 2018 • LSE WORLD - The Survey • LSE CONNEXIONS - The Open Club Day • LSE FOR EVERYBODY - Working Groups • LSE BASICS - Resource Platform THE SURVEY SURVEY ACTIVITY IN 2018 • Publication of the report The Survey. Facts & Figures of Music Venues in Europe in Januray 2018 -
Danilo Perez, Artistic Director of Berklee's Global Jazz Institute Will Open the Event with a Keynote Speech
Pop & Jazz Platform Meeting Valencia 2015 13-14 February Pop/Jazz and ME Developing diversity and identities amongst artists and audiences POP AND JAZZ PLATFORM Valencia 2015 The AEC would like to express deep gratitude to the Berklee College of Music in Valencia for hosting and co-organizing the PJP Meeting 2015. The AEC team would also like to express special thanks to the members of the PJP preparatory working group for their tremendous support in organizing the platform programme. POP AND JAZZ PLATFORM Valencia 2015 Contents INTRODUCTION ....................................................................................................................................... 4 STATEMENT OF PURPOSE FOR THE PJP .................................................................................................. 5 PROGRAMME .......................................................................................................................................... 6 BIOGRAPHIES AND ABSTRACTS ............................................................................................................. 10 Session I - Keynote Speaker .............................................................................................................. 10 Session II – Panel Discussion ............................................................................................................. 12 FULL SCORE ........................................................................................................................................... 15 AEC’s ‘FULL -
Members, Activities, Policies and Finances About the AEC Annual Report 2015 Table of Contents
Annual report 2016 Members, activities, policies and finances About the AEC Annual Report 2015 Table of Contents Each year, the AEC publishes an Annual Report in accordance with proper 1. Message from the President 3 5.3 Improvement of the Association’s organisational infrastructure accounting practice but, more specifically, with its Statutes, whose Article 28 11.4 states that ‘The report will include a balance sheet and a profit-and- 2. Executive Summary 5 5.3.1 The AEC Office loss statement. It will also provide a detailed account of the administrative 28 tasks performed in the preceding financial year’. In addition to fulfilling 3. Membership 7 5.3.2 Communication strategy this statutory requirement, this report aims to outline the different areas of 28 AEC’s work in 2016, explaining the Association’s financial position as well 4. The council 10 6. Financial Report by the Secretary General and General Manager 31 as its activities, discussions, developments and events. CONTENT: Nerea López de Vicuña, former AEC Office Manager 5. AEC Policy Development 11 7. Balance Sheet and Profit-and-Loss Statement 34 Full information on the Financial Situation of the AEC can be found in the AEC 2016 Annual Accounts. In this Annual Report, only the key elements ADDITIONAL TEXT: 5.1 Meetings and platforms 8. Acknowledgements 39 of the Annual Accounts are included, but members wishing to receive the Ángela Domínguez, AEC Project/Communication Manager 12 entire AEC 2016 Annual Accounts can do so by contacting the AEC Office at Stefan Gies, AEC Chief Executive 5.1.2 Projects Annex 1 [email protected]. -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox