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Step behind the scenes and follow the entire planning and execution of a major benefit concert. Every aspect is discussed in-depth, from working with major talent to developing promotional packages that sponsors will adore. This working manual is hands-on, using examples from real contracts, promotions, brochures, seating charts, and solicitation letters that you can quickly modify for your own event.
In the small hours of January 1st, a man begins to write, having watched Le Grand Concert de la Nuit, a film in which a former lover - Imogen - plays a major role. For the next year, he writes something every day. His journal is a ritual of commemoration and an investigation of the character of Imogen and her relationships - with himself; with her family and friends; with other lovers. Imogen is an elusive subject, and The Great Concert of the Night is an intricate text, mixing scenes from the writer's memory and the present day, and scenes from Imogen's films, with observations on a range of subjects, from the visions of female saints to the history of medicine and the festivals of ancient Rome. But one subject comes to occupy him above all: what happens when a person becomes a character on the page.
Between 1968 - 1980 Led Zeppelin performed over 500 concerts in every corner of the world, establishing themselves as the most popular live rock attraction of their era. This book explores in great detail the in-concert history of one of the most successful bands of all time.
The conventional way of understanding what musicians do as performers is to treat them as producers of sound; some even argue that it is unnecessary to see musicians in performance as long as one can hear them. But musical performance, counters Philip Auslander, is also a social interaction between musicians and their audiences, appealing as much to the eye as to the ear. In Concert: Performing Musical Persona he addresses not only the visual means by which musicians engage their audiences through costume and physical gesture, but also spectacular aspects of performance such as light shows. Although musicians do not usually enact fictional characters on stage, they nevertheless present themselves to audiences in ways specific to the performance situation. Auslander’s term to denote the musician’s presence before the audience is musical persona. While presence of a musical persona may be most obvious within rock and pop music, the book’s analysis extends to classical music, jazz, blues, country, electronic music, laptop performance, and music made with experimental digital interfaces. The eclectic group of performers discussed include the Beatles, Miles Davis, Keith Urban, Lady Gaga, Nicki Minaj, Frank Zappa, B. B. King, Jefferson Airplane, Virgil Fox, Keith Jarrett, Glenn Gould, and Laurie Anderson.
Bruce Springsteens music and performances have provided an emotional outlet for thousands of fans all over the world. Drawing from participant observation, the statements of Springsteen fans, and the life and music of Springsteen, Randalls ethnographic treatment documents the ways in which fans are inspired to create a global cultural community. This community functions as a social network, offering emotional support, spirituality, and the motivation for doing good works. Randall discovers that the sensitivities and values Springsteen instills in his fans are as alive and valid as those experienced by adherents of widely recognized spiritual traditions. Her in-depth examination of the thoughts and actions of these fans reveals that embracing nontraditional spiritual values can engender multifaceted feelings, including trust, hope, and respect for humankind. By acknowledging that a personal spiritual connection can develop outside a sectarian landscape, an appreciation of and tolerance for different belief systems can be cultivated and nourished.
Why is it that certain intervals, scales, and tones sound genuine, while others sound false? Is the modern person able to experience a qualitative difference in a tone's pitch? If so, what are the implications for modern concert pitch and how instruments of fixed tuning are tuned? Renold tackles these and many other questions and provides a wealth of scientific data. Her pioneering work is the result of a lifetime of research into the Classical Greek origin of Western music and the search for modern developments. She deepens our musical understanding by using Rudolf Steiner's spiritual science as a basis, and she elucidates many of his puzzling statements about music. The results of her work include the following discoveries: - The octave has two sizes (a 'genuine' sounding octave is bigger than the "perfect octave") - There are three sizes of "perfect fifths" - An underlying "form principle" for all scales can be found - Equal temperament is not the most satisfactory method of tuning a piano - She provides a basis for some of Steiner's statements, such as, "C is always prime" and "C = 128 Hz = Sun." Intervals, Scales, Tones is a valuable resource for those who wish to understand the deeper, spiritual aspects of music.
The mass is an extraordinary musical form. Whereas other Western art music genres from medieval times have fallen out of favour, the mass has not merely survived but flourished. A variety of historical forces within religious, secular, and musical arenas saw the mass expand well beyond its origins as a cycle of medieval chants, become concertised and ultimately bifurcate. Even as Western societies moved away from their Christian origins to become the religiously plural and politically secular societies of today, and the Church itself moved in favour of congregational singing, composers continued to compose masses. By the early twentieth century two forms of mass existed: the liturgical mass composed for church services, and the concert mass composed for secular venues. Spanning two millennia, The Origins and Ascendancy of the Concert Mass outlines the origins and meanings of the liturgical texts, defines the concert mass, explains how and why the split occurred, and provides examples that demonstrate composers’ gradual appropriation of the genre as a vehicle for personal expression on serious issues. By the end of the twentieth century the concert mass had become a repository for an eclectic range of theological and political ideas.
Since Ellie saved her home with her wonderful paintings, the zoo is back in business and the animals are more energetic than ever. All except for Lucy the giraffe, who hasn't been able to sleep with all the noise. Determined to help her friend, Ellie tries to tone down the ruckus and organizes the animals into an orchestra. But is it possible to conduct the cacophony of the zoo into beautiful music? Praise for Ellie "[Wu's] visual storytelling, rendered in sweet, throwback-style watercolors, shows creativity and poise. . . .
In Keith Jarrett's The Köln Concert, Peter Elsdon presents, for the first time, a detailed musical account of Keith Jarrett's best-selling The Köln Concert. It explores the way in which Jarrett developed the format of the solo improvised concert, and looks at the subsequent reception of the record.