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Nathan Mensah MAMT Thesis.Pdf
Preparing for the future: A description of client music preferences and musical preparedness of music therapists by Nathan A. Mensah, MT-BC A Thesis Submitted in Partial Fulfillment of the Requirement For the Master of Arts Degree Master of Arts in Music Therapy Program in the Departments of Graduate Studies and Music and Theatre Saint Mary-of-the-Woods College Saint Mary-of-the-Woods, Indiana May, 2019 Abstract Music therapists often use client-preferred music in order to build rapport with clients, decrease their anxiety, increase relaxation, and increase overall efficacy of music interventions. The American Music Therapy Association states music therapists are required to play a wide variety of genres for use in sessions. Client’s musical tastes have grown diverse due to music streaming, and some music therapists may not have the musical skills necessary to recreate these styles in sessions. Currently, there is no data to show which genres and music styles are most commonly requested by their clients, or data to show which genres music therapists feel musically prepared or unprepared to use in sessions. A survey was used to collect data from board-certified music therapists to ask about which genres their clients most commonly request, as well as which genres they feel musically prepared using in sessions. The survey’s findings were that client’s most frequently requested Children’s, Classic Country, Classic Rock, Gospel, Hymn, Oldies, and Pop Music. Respondents reported to feeling most musically prepared to use genres that were most frequently requested by their clients. Music therapists reported not feeling musically prepared to use genres associated with World Music cultures or genres requiring use of electronic or synth- based instruments such as Bachata, EDM, Funk, Heavy Metal, Hip Hop/Rap, J-Pop, K-Pop, Latin Hip Hop/Latin Rap, Latin Pop, Merengue, Punk, Reggaeton, Salsa, Ska, Trap, and Video Game Music. -
College Basketball Tips Off on XM Satellite Radio with the ACC, Big East, Big Ten, Big 12, Pac-10 and SEC
NEWS RELEASE College Basketball Tips Off on XM Satellite Radio with the ACC, Big East, Big Ten, Big 12, Pac-10 and SEC 11/5/2007 WASHINGTON, Nov. 5 /PRNewswire-FirstCall/ -- XM Satellite Radio will air more than 1,000 college basketball games from all six power conferences during the 2007-2008 season, starting November 6 when Kentucky hosts Central Arkansas at Rupp Arena in Lexington. The game will air nationwide on XM channel 199 at 7:00 pm ET/4:00 pm PT. (Logo: http://www.newscom.com/cgi-bin/prnh/20070313/XMLOGO ) As the official satellite radio network of the ACC, Big East, Big Ten, Big 12, Pac-10, and SEC, XM will air college basketball games on a suite of 17 sports play-by-play channels. A weekly schedule of college basketball games on XM is available online at http://www.xmradio.com/collegesports. XM is the satellite radio home for 16 of the top 25 teams in the pre-season ESPN/USA Today college basketball poll, including top-ranked North Carolina. In March, XM will be the exclusive satellite radio network for the conference basketball tournaments for each of the six power conferences. "You can hear college basketball games from all over the country on XM Radio," said Kevin Straley, XM senior vice president of news, talk, and sports programming. "Team radio announcers are heard nationwide on XM. You can follow your team wherever you are." As the nation's leading satellite radio company with more than 8.5 million subscribers, XM airs college basketball, football, and other sports from the six power conferences for listeners from coast to coast. -
À Montréal, Le 18 Avril 2019 Monsieur Claude Doucet Secrétaire Général
À Montréal, le 18 avril 2019 Monsieur Claude Doucet Secrétaire général CRTC Ottawa (Ontario) K1A 0N2 PAR LE FORMULAIRE DU CRTC PAR COURRIEL : [email protected] Objet : Demande de Sirius XM Canada Inc. en vue de renouveler la licence de radiodiffusion des entreprises nationales de radio par satellite par abonnement Sirius Canada et XM Canada qui expire le 31 août 2019 (Avis de consultation de radiodiffusion CRTC 2019-72) Monsieur le Secrétaire général, 1. L’ADISQ, dont les membres sont responsables de plus de 95 % de la production de disques, de spectacles et de vidéoclips d’artistes canadiens d’expression francophone, désire par la présente se prononcer sur la demande présentée par Sirius XM Canada Inc. (ci-après nommé Sirius XM) en vue de renouveler la licence de radiodiffusion des entreprises nationales de radio par satellite par abonnement Sirius Canada et XM Canada qui expire le 31 août 2019. 2. Les entreprises membres de l’ADISQ œuvrent dans tous les secteurs de la production de disques, de spectacles et de vidéos. On y retrouve des producteurs de disques, de spectacles et de vidéos, des maisons de disques, des gérants d’artistes, des distributeurs de disques, des maisons d’édition, des agences de spectacles, des salles et diffuseurs de spectacles, des agences de promotion et de relations de presse. 3. Sous réserve des modifications proposées dans le présent mémoire, l’ADISQ appuie ce renouvellement de licence. Toutefois, en raison de la situation de non-conformité observée par le Conseil au cours de la dernière période de licence nous estimons que ce renouvellement devrait être accordée pour une période écourtée de 5 ans. -
Policy Radio!
Policy Radio! By John Simson Music lovers who enjoy Pandora Internet radio may wonder why they can only skip six songs in an hour and then must wait to skip again. For that matter, why they can’t pick a specific song to hear—instead of creating a channel based upon that song? And why they can’t hear more than 4 songs by their favorite artist in a three-hour period? Congress created all of these limitations and restrictions when it passed legislation in 1995 and 1998 creating the first digital performance rights legislation in the United States. The legislation was a careful balancing act: Congress trying to balance the rights of creators: recording artists, record labels, songwriters and music publishers, along with a new category of content users “webcasters” and satellite radio services included then new services, like Pandora, that desired to stream music across cable wires, from satellites and over the Internet. Of course, for years broadcast radio has streamed music to the public from radio towers, and never had to pay recording artists or record labels for the right to play their music. But radio stations did have to pay songwriters and music publishers through ASCAP, BMI and SESAC (three organizations which represent those who own and compose music). After passage of this historic legislation, “new” services like Sirius and XM satellite radio (now merged as Sirius/XM), Yahoo and AOL Internet radio, and later Pandora and other Internet radio stations, had to pay a royalty to the recording artist as well as the songwriter. Background Music In the early 1990’s, recording artists and their record labels lobbied Congress to pass a comprehensive performance rights bill that included terrestrial radio. -
Ed Phelps Logs His 1,000 DTV Station Using Just Himself and His DTV Box. No Autologger Needed
The Magazine for TV and FM DXers October 2020 The Official Publication of the Worldwide TV-FM DX Association Being in the right place at just the right time… WKMJ RF 34 Ed Phelps logs his 1,000th DTV Station using just himself and his DTV Box. No autologger needed. THE VHF-UHF DIGEST The Worldwide TV-FM DX Association Serving the TV, FM, 30-50mhz Utility and Weather Radio DXer since 1968 THE VHF-UHF DIGEST IS THE OFFICIAL PUBLICATION OF THE WORLDWIDE TV-FM DX ASSOCIATION DEDICATED TO THE OBSERVATION AND STUDY OF THE PROPAGATION OF LONG DISTANCE TELEVISION AND FM BROADCASTING SIGNALS AT VHF AND UHF. WTFDA IS GOVERNED BY A BOARD OF DIRECTORS: DOUG SMITH, SAUL CHERNOS, KEITH MCGINNIS, JAMES THOMAS AND MIKE BUGAJ Treasurer: Keith McGinnis wtfda.org/info Webmaster: Tim McVey Forum Site Administrator: Chris Cervantez Creative Director: Saul Chernos Editorial Staff: Jeff Kruszka, Keith McGinnis, Fred Nordquist, Nick Langan, Doug Smith, John Zondlo and Mike Bugaj The WTFDA Board of Directors Doug Smith Saul Chernos James Thomas Keith McGinnis Mike Bugaj [email protected] [email protected] [email protected] [email protected] [email protected] Renewals by mail: Send to WTFDA, P.O. Box 501, Somersville, CT 06072. Check or MO for $10 payable to WTFDA. Renewals by Paypal: Send your dues ($10USD) from the Paypal website to [email protected] or go to https://www.paypal.me/WTFDA and type 10.00 or 20.00 for two years in the box. Our WTFDA.org website webmaster is Tim McVey, [email protected]. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
The Rise of Talk Radio and Its Impact on Politics and Public Policy
Mount Rushmore: The Rise of Talk Radio and Its Impact on Politics and Public Policy Brian Asher Rosenwald Wynnewood, PA Master of Arts, University of Virginia, 2009 Bachelor of Arts, University of Pennsylvania, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of History University of Virginia August, 2015 !1 © Copyright 2015 by Brian Asher Rosenwald All Rights Reserved August 2015 !2 Acknowledgements I am deeply indebted to the many people without whom this project would not have been possible. First, a huge thank you to the more than two hundred and twenty five people from the radio and political worlds who graciously took time from their busy schedules to answer my questions. Some of them put up with repeated follow ups and nagging emails as I tried to develop an understanding of the business and its political implications. They allowed me to keep most things on the record, and provided me with an understanding that simply would not have been possible without their participation. When I began this project, I never imagined that I would interview anywhere near this many people, but now, almost five years later, I cannot imagine the project without the information gleaned from these invaluable interviews. I have been fortunate enough to receive fellowships from the Fox Leadership Program at the University of Pennsylvania and the Corcoran Department of History at the University of Virginia, which made it far easier to complete this dissertation. I am grateful to be a part of the Fox family, both because of the great work that the program does, but also because of the terrific people who work at Fox. -
Language Contact and US-Latin Hip Hop on Youtube
City University of New York (CUNY) CUNY Academic Works Publications and Research York College 2019 Choutouts: Language Contact and US-Latin Hip Hop on YouTube Matt Garley CUNY York College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/yc_pubs/251 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Choutouts: Language contact and US-Latin hip hop on YouTube Matt Garley This paper presents a corpus-sociolinguistic analysis of lyrics and com- ments from videos for four US-Latinx hip hop songs on YouTube. A ‘post-varieties’ (Seargeant and Tagg 2011) analysis of the diversity and hybridity of linguistic production in the YouTube comments finds the notions of codemeshing and plurilingualism (Canagarajah 2009) useful in characterizing the language practices of the Chicanx community of the Southwestern US, while a focus on the linguistic practices of com- menters on Northeastern ‘core’ artists’ tracks validate the use of named language varieties in examining language attitudes and ideologies as they emerge in commenters’ discussions. Finally, this article advances the sociolinguistics of orthography (Sebba 2007) by examining the social meanings of a vast array of creative and novel orthographic forms, which often blur the supposed lines between language varieties. Keywords: Latinx, hip hop, orthography, codemeshing, language contact, language attitudes, language ideologies, computer-mediated discourse. Choutouts: contacto lingüístico y el hip hop latinx-estadounidense en YouTube. Este estudio presenta un análisis sociolingüístico de letras de canciones y comentarios de cuatro videos de hip hop latinx-esta- dounidenses en YouTube. -
Sirius Xm Radio Inc
SIRIUS XM RADIO INC. FORM 10-K (Annual Report) Filed 02/06/13 for the Period Ending 12/31/12 Address 1221 AVENUE OF THE AMERICAS 36TH FLOOR NEW YORK, NY 10020 Telephone 212-584-5100 CIK 0000908937 Symbol SIRI SIC Code 4832 - Radio Broadcasting Stations Industry Broadcasting & Cable TV Sector Services Fiscal Year 12/31 http://www.edgar-online.com © Copyright 2013, EDGAR Online, Inc. All Rights Reserved. Distribution and use of this document restricted under EDGAR Online, Inc. Terms of Use. UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 FORM 10-K ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE FISCAL YEAR ENDED DECEMBER 31, 2012 OR TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE TRANSITION PERIOD FROM __________ TO ________ COMMISSION FILE NUMBER 001-34295 SIRIUS XM RADIO INC. (Exact name of registrant as specified in its charter) Delaware 52-1700207 (State or other jurisdiction of (I.R.S. Employer Identification Number) incorporation or organization) 1221 Avenue of the Americas, 36th Floor New York, New York 10020 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: (212) 584-5100 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class: Name of Each Exchange on Which Registered: Common Stock, par value $0.001 per share The Nasdaq Global Select Market Securities registered pursuant to Section 12(g) of the Act: None (Title of class) Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. -
Xm and Air America Radio Announce Long Term Agreement; Xm to Be Official Satellite Radio Network of Air America
NEWS RELEASE XM AND AIR AMERICA RADIO ANNOUNCE LONG TERM AGREEMENT; XM TO BE OFFICIAL SATELLITE RADIO NETWORK OF AIR AMERICA 4/11/2005 Washington D.C., April 11, 2005 -- XM Satellite Radio (NASDAQ: XMSR), the nation's leading satellite radio provider with more than 3.77 million subscribers, has announced a new long-term agreement with Air America Radio, the national progressive entertainment talk radio network home to Al Franken, Randi Rhodes and Janeane Garofalo. As part of this agreement XM will be the official satellite radio network for Air America Radio. Beginning in May, XM's liberal talk channel, America Left (XM Channel 167) will be renamed Air America Radio. The channel will include an expanded line-up of Air America Radio programming, including the recently debuted "Springer on the Radio" hosted by Jerry Springer and upcoming "Rachel Maddow Show," among others. XM's Air America Radio channel also will feature popular shows currently carried on America Left, including "The Ed Shultz Show" and "The Alan Colmes Show." "XM was a natural fit to be the official satellite radio network of Air America Radio, given its large subscriber base, numerous distribution channels and demonstrated growth," said Danny Goldberg, CEO of Air America Radio. "The quality of XM's other partnerships, their Washington, D.C. location and proximity to the center of our nation's political workings, along with millions of subscribers, made our decision easy." XM's Washington, D.C. headquarters will offer dedicated studio space for special live broadcasts throughout the year for Air America Radio programs featuring Rachel Maddow, Marc Marron, Mark Riley, Al Franken, Katherine Lanpher, Jerry Springer, Randi Rhodes, Sam Seder, Janeane Garofalo, Chuck D, Mike Malloy, Laura Flanders, Steve Earle, Robert Kennedy Jr., Mike Papantonio, Kyle Jason, Marty Kaplan, and Betsy Rosenberg.