In the late 1990s, the MP3 became the de facto standard for digital audio files and the networked computer began to claim a significant place in the lives of more and more listeners. The dovetailing of these two circumstances is the basis of a new mode of musical production and distribution where new practices emerge. This book is not a definitive statement about what the new music industry is. Rather, it is devoted to what this new industry is becoming by examining these practices as experiments, dedicated to negotiating what is replacing an "object based" industry oriented around the production and exchange of physical recordings. In this new economy, constant attention is paid to the production and licensing of intellectual property and the rise of the "social musician" who has been encouraged to become more entrepreneurial. Finally, every element of the industry now must consider a new type of audience, the "end user", and their productive and distributive capacities around which services and musicians must orient their practices and investments.
Mervyn Cooke provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices.
Here is a poem collection for everybody to lie back comfortably in their couch holding a cup of cocoa and lose themselves into a world of thoughts. These thoughts seem to be so rhythmic that we call them 'Musical Thoughts'. The poems in this book mainly focus on nature, human behaviour and elements which influence mood of a person. The verses of this book may reflect one or other point of your life. Just reading them may make you think that the author lives in an imaginary world but a deeper look at the words will reveal you something very real, something to which you can relate yourself.
"I wouldn't trade my life for anyone else's. If I could choose not to have cancer, and continue my life as it was, I wouldn't do it." - Matt Gauger.You're twenty-two, in love, and just starting a career. The last thing you're worried about is the purpose of life (whatever that means) and when you're going to die. If you think about such things, you certainly don't talk about them. With his sociable personality and love of music and basketball, Matt had plenty of friends but didn't really stand out from the crowd. Then, a month before his wedding, he was diagnosed with cancer. Six months later he was dead. But Six Months to Live isn't really about dying. It's the story of how Matt and his family and friends struggled to accept his suffering, and how it changed each of them. It's about facing (rather than avoiding) life's most important questions, and - instead of going through the motions - living life to the full.
Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered.
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