ASCAP CEO Elizabeth Matthews said: “Today’s unanimous passage of the Music Modernization Act in the Senate represents a Herculean industry-wide effort to promote and celebrate songwriters and ensure their right to a sustainable livelihood. We applaud Senators Hatch, Alexander, Grassley, Feinstein, Whitehouse, Coons and the entire Senate for recognizing the value music has in both society and our hearts.”
Author Archives: ArtsJournal
Join us for a special tour of LiveNote® – the interactive performance guide for delivering commentary, translations, program notes, and images to audiences in real-time via mobile devices.
Earlier this year, The Philadelphia Orchestra and InstantEncore announced the release of LiveNote® – the interactive performance guide for delivering commentary, titles, translations, and images to audiences in real-time via mobile devices.
The Philadelphia Orchestra created LiveNote 1.0 in 2014. For the past four seasons, they have successfully used it to engage audiences. And now, LiveNote 2.0 is available to arts organizations around the world!
Join us for a special tour of LiveNote on Wednesday, September 25th at 2PM Eastern / 11AM Pacific.
During this 30-minute webinar:
- We’ll explore how delivering complementary content to audiences during a performance can enhance their experience.
- We’ll show you how easy it is to create real-time content.
- We’ll also give you a live demonstration of how it works.
- And of course, we’ll answer any questions you may have.
Register today at https://attendee.gotowebinar.
Space is limited.
A CBC News and Toronto Star investigation reveals how box-office behemoth Ticketmaster uses its own bag of tricks — which includes partnering with scalpers — to boost its profits at the expense of music fans. Data journalists monitored Ticketmaster’s website for seven months leading up to this weekend’s show at Scotiabank Arena, closely tracking seats and prices to find out exactly how the box-office system works.
Elliot Bostwick Davis has been chair of the department of Art of the Americas at the Museum of Fine Arts, Boston for the past 18 years. During her tenure there, she oversaw the 2010 opening of the museum’s widely acclaimed Art of the Americas wing, which brought forth expansive notions of connectivity by juxtaposing American colonial art, a strength of the museum, with art from throughout Latin America, indigenous art, and art from pre-Colombian civilizations.
Musical rethinks, such as the addition of a chamber music round and contemporary music among the programme requirements, helped ensure that a more rounded and versatile musician was on show; finalists’ communication skills were further tested with the submission of a short written piece about their choice of repertoire.
In all, 281 bronze leaves are in 15 locations around the city. They serve as headstones for those who all too often can’t afford them. The leaves are paid for by donations, engraved with names and dates, and usually placed on sidewalks near where their namesakes lived. The only requirement is that the remembered person was homeless in Seattle and also died in Seattle.
In some vague, indescribable way, we feel something when we see the first group of words that we may not with regards to the second. Is it just cultural, poetic, or linguistic prejudice that makes us like a some words, and not others? Or is there some other story behind why some words seem to alienate us?
Many foreign correspondents have reached for analogies to give readers a sense of the disaster, but it’s hard to convey the museum’s significance: in addition to containing one of the richest collections of natural-history artifacts in the world, it was one of Latin America’s leading centers for postgraduate studies. It’s as if, in New York, the American Museum of Natural History and the New School, or a part of the Columbia campus, had been built on the same spot, and then was reduced to ashes.