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Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
RIAA'') Is Pleased to Provide
Before the UNITED STATES COPYRIGHT OFFICE Washington, D.C. In the Matter of: Docket No. 2014-03 Music Licensing Study: Notice and Request for Public Comment COMMENTS OF THE RECORDING INDUSTRY ASSOCIATION OF AMERICA, INC. The Recording Industry Association of America, Inc. ("RIAA'') is pleased to provide these Comments in response to the Copyright Office's Notice oflnquiry ("NOI") in the above- captioned proceeding. See Music Licensing Study: Notice and Request for Public Comment, 79 Fed. Reg. 14,739 (Mar. 17, 2014). RIAA is the trade association that represents the music companies that create, manufacture and/or distribute approximately 85% of all legitimate recorded music produced and sold in the United States. The issues raised in the NOi are critically important to RIAA's members. The musical works they license to include in their releases are an essential part of those releases, and they are major licensees of musical works. They are also copyright owners or distributors of audio-only and audiovisual sound recording releases accounting for the vast majority of music usage. Sound recordings and the musical works incorporated therein are subject to disparate licensing systems, including three completely separate systems just for musical works (i.e., for mechanical, performance and synchronization rights). Unfortunately, while the systems for sound recordings are working reasonably well in many respects, there is an emerging consensus that the systems for licensing musical works are not. Accordingly, the question is not whether change would be desirable, but whether it will be possible to achieve consensus concerning what changes should be made to improve musical work licensing. -
Kd Lagu Judul Lagu Penyanyi Mark
By Titles # Harga @lagu hanya Rp.1000,- # Minimal 100 lagu, 500 lagu bonus SOFTWARE YEN-KARAOKE # Format file DAT/MPEG # Paket : DVD # Pembayaran Via Transfer Bank Mandiri No.Rek. 156-00-0223716-4 A/n Yendry # Pengiriman Via jasa JNE # Contact : Yendry 0812 50000 150 Beri tanda 1 pada kolom Mark untuk lagu pilihan Kirim xls ini kembali ke [email protected] bila anda memesan lagu2 karaoke berikut ini Kd_Lagu Judul_Lagu Penyanyi Mark E-0001 1 2 3 4 PLAIN WHITE TS Total lagu yg dip E-0002 1+1=CINTA BROERY PESOLIMA E-0003 100% PURE LOVE CRYSTAL WATER E-0004 1000 STARS NATALIE BASSINGTHWAIGTHE Harga E-0005 12 STEP CLARA FEAT MISSY ELLIOT E-0006 123 WHITNEY HOUSTON E-0007 18 TILL I DIE NN BARAT E-0008 1973 JAMES BLUNT E-0009 1999 PRINCE E-0010 21 GUNS GREEN DAY E-0011 21ST CENTURY BREAKDOWN GREEN DAY E-0012 25 MINUTES MLTR E-0013 25 OR 6 TO 4 NN BARAT E-0014 3 WORDS CHERYL COLE AND WILL I AM E-0015 3 BRITNEY SPEARS E-0016 30 SECONDS TO MARS A BEAUTIFUL LIE E-0017 4 EVER THE VERONICAS E-0018 4 MINUTES MADONNA FEAT JUSTIN E-0019 500 MILES AWAY FROM HOME PETER PAUL AND MARY E-0020 500 MILES PETER PAUL AND MARY E-0021 7 DAYS CRAIG DAVIDS E-0022 7 SECONDS YOUSSON NDOUR E-0023 7 THINGS MILEY CYRUS E-0024 7 YEARS AND 50 DAYS GROOVE COVERAGE E-0025 7 PRINCE E-0026 9 TO 5 DOLLY PARTON E-0027 A BETTER LOVE NEXT TIME JOHNNY CHRISTOPHER E-0028 A BETTER MAN NN BARAT E-0029 A BLOSSOM FELL NAT KING COLE E-0030 A CERTAIN KIND NN BARAT E-0031 A CERTAIN SMILE NN BARAT E-0032 A DEAR JOHN LETTER SKEETER DAVIDS E-0033 A DIFFERENT BEAT BOYZONE E-0034 A DIFFERENT -
2020'S BEST MUSIC MARKETING CAMPAIGNS
BROUGHT TO YOU COURTESY OF ™ AMP IN ASSOCIATION WITH sandbox DECEMBER 09 2020 | Music marketing for the digital era ISSUE 266 2020’s BEST MUSIC MARKETING CAMPAIGNS Songtrust has the world's largest and most accessible network of direct global publishing relationships. Our easy to use platform enables you, and our 300,000+ clients, to register and collect performance and mechanical royalties directly around the world, without giving up any rights or any other revenues. ACCESS WHAT YOU'RE DUE SPONSOR PAGE PANDORA STORIES With Pandora Stories, artists and creators can add their voices to playlists and mixtapes. It’s the newest addition to AMP, Pandora’s suite of free and powerful tools for creators. The ability to combine music and storytelling allows artists to give their music more context while forging an even deeper connection with their fans, new and old. Artists can: • Share the stories behind the making of their music – influences, recording process, etc. • Supplement a podcast with a companion playlist using their own voice tracks. • Create a virtual setlist, complete with between song banter. • Program and promote career retrospectives, or deep dives into single albums. • Share their current favorite music with their fans. • Offer custom exclusive Stories as a premium or special offering for supporters on crowdfunding platforms. SANDBOX CAMPAIGNS OF THE YEAR 2020 2020’s BEST MUSIC MARKETING CAMPAIGNS elcome to Sandbox’s shortlist we had a record number of entries, from labels of the best, most original, and of all sizes from around the world. W most impactful music marketing campaigns of 2020. It’s a celebration of We’re very grateful for everyone who submitted remarkably innovative and creative work across campaigns for consideration – and we hope that a vast array of genres, with many notable in these campaigns you find a wealth of brilliant achievements notched up along the way. -
There's No Shortcut to Longevity: a Study of the Different Levels of Hip
Running head: There’s No Shortcut to Longevity 1 This thesis has been approved by The Honors Tutorial College and the College of Business at Ohio University __________________________ Dr. Akil Houston Associate Professor, African American Studies Thesis Adviser ___________________________ Dr. Raymond Frost Director of Studies, Business Administration ___________________________ Cary Roberts Frith Interim Dean, Honors Tutorial College There’s No Shortcut to Longevity 2 THERE’S NO SHORTCUT TO LONGEVITY: A STUDY OF THE DIFFERENT LEVELS OF HIP-HOP SUCCESS AND THE MARKETING DECISIONS BEHIND THEM ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Business Administration ______________________________________ by Jacob Wernick April 2019 There’s No Shortcut to Longevity 3 Table of Contents List of Tables and Figures……………………………………………………………………….4 Abstract…………………………………………………………………………………………...5 Introduction…………………………………………………………………………………..6-11 Parameters of Study……………………………………………………………..6 Limitations of Study…………………………………………………………...6-7 Preface…………………………………………………………………………7-11 Literary Review……………………………………………………………………………..12-32 Methodology………………………………………………………………………………....33-55 Jay-Z Case Study……………………………………………………………..34-41 Kendrick Lamar Case Study………………………………………………...41-44 Soulja Boy Case Study………………………………………………………..45-47 Rapsody Case Study………………………………………………………….47-48 -
Research Center New and Unprocessed Archival Accessions
NEW AND UNPROCESSED ARCHIVAL ACCESSIONS List Published: April 2020 Benson Ford Research Center The Henry Ford 20900 Oakwood Boulevard ∙ Dearborn, MI 48124-5029 USA [email protected] ∙ www.thehenryford.org New and Unprocessed Archival Accessions April 2020 OVERVIEW The Benson Ford Research Center, home to the Archives of The Henry Ford, holds more than 3000 individual collections, or accessions. Many of these accessions remain partially or completely unprocessed and do not have detailed finding aids. In order to provide a measure of insight into these materials, the Archives has assembled this listing of new and unprocessed accessions. Accessions are listed alphabetically by title in two groups: New Accessions contains materials acquired 2018-2020, and Accessions 1929-2017 contains materials acquired since the opening of The Henry Ford in 1929 through 2017. The list will be updated periodically to include new acquisitions and remove those that have been more fully described. Researchers interested in access to any of the collections listed here should contact Benson Ford Research Center staff (email: [email protected]) to discuss collection availability. ACCESSION NUMBERS Each accession is assigned a unique identification number, or accession number. These are generally multi-part codes, with the left-most digits indicating the year in which the accession was acquired by the Archives. There, are however, some exceptions. Numbering practices covering the majority of accessions are outlined below. - Acquisitions made during or after the year 2000 have 4-digit year values, such as 2020, 2019, etc. - Acquisitions made prior to the year 2000 have 2-digit year values, such as 99 for 1999, 57 for 1957, and so forth. -