French soloist Ophelie Gaillard’s was robbed of the 18th-century cello she plays at knifepoint outside her home in a Paris suburb. Shortly after, she appealed for help on Facebook, sharing pictures of the $1.6 million instrument on loan to her from CID bank. Two days later she received an anonymous call that the cello was inside a car in front of her house. When she went outside she discovered it in the backseat of a car with a broken out window.
Tag Archives: international musician
Led Zeppelin: Day by Day
Author and music journalist Marc Roberty chronicles and details Led Zeppelin’s career, meticulously covering all the band’s concerts. The book includes set lists and reviews, as well as a deep look at the music. He analyzes recording sessions and individual band member projects, studio locations, release dates, performance credits, plus stories from studio insiders. The book includes rare images, many from renowned photographer Carl Dunn.
Led Zeppelin: Day by Day, by Marc Roberty, Backbeat Books,
www.halleonard.com.
Compatible Duets for Winds Volume 2
Compatible Duets for Winds Volume 2 contains 29 level 2-3 duets in a variety of styles that can be played with any combination of two wind instruments. Your students develop chamber ensemble skills while playing with friends. A perfect accompaniment to classroom instruction, the series includes six books for various instruments. Other Carl Fischer Compatible Duet books cover music for strings, Christmas, church, and weddings.
Compatible Duets for Winds Volume 2: 29 Duets that Can Be Played by Any Combination of Wind Instruments, arranged or composed by Larry Clark, Carl Fischer, www.carlfischer.com.
Five Star Music Makeover: The Independent Artist’s Guide
Success in today’s music industry requires a lot of work and education. This book, written by five experts, was designed to help up and coming musicians meet the challenges of the industry. It covers five key areas: vocal technique; writing memorable and marketable songs; professional recording; publishing; and promotion.
Five Star Music Makeover: The Independent Artist’s Guide for Singers, Songwriters, Bands, Producers, and Self-Publishers, by Coreen Sheehan, Anika Paris, Eric Corne, Michael Eames; and Bobby Borg,
Hal Leonard Corporation, www.halleonardbooks.com.
Let Your Voice Be Heard: The Life and Times of Pete Seeger
Children’s book author Anita Silvey introduces middle-grade readers to folk musician and activist Pete Seeger, who devoted his life to furthering humanitarian causes. The book follows Seeger’s life, from a childhood spent traveling with his classical musician father to the growth of his conviction that freedom and justice must be defended and that the power of song can be used to fight back when these ideas are threatened.
Let Your Voice Be Heard: The Life and Times of Pete Seeger, by Anita Silvey, Houghton Mifflin Harcourt, www.hmhco.com.
The Music of Teaching: Learning to Trust Students’ Natural Development
“Twenty-four hour access to information allows children to learn more independently,” says author Barbara Kreader Skalinder. Using stories from her 46-year teaching career, plus research into education and psychology, she explores ways that teaching must evolve to collaborative methods better suited to students in today’s digital world.
The Music of Teaching: Learning to Trust Students’ Natural Development, by Barbara Kreader Skalinder, Hal Leonard Corporation,
www.halleonard.com.
The SphinxConnect Phenomenon: Leading with Intellect to Advance the Value of Inclusion
by Alfonso Pollard, AFM Legislative-Political Director and Diversity Director
For the past 20 years, the Sphinx Organization has played a quintessential role in moving the US, and in some instances the global cultural community, toward a more enlightened future that exudes cultural inclusion. The moral and philosophical underpinning of the artistic institution’s work proves that the payoff of inclusion far outweighs the “poison pill” of cultural exclusion. The achievements of this organization’s leadership, grounded in strong musical and philosophical reinforcement, prove to supporters and funders alike that diversity brightens the latent moral groundwork upon which classical performance can grow.
It’s clear the Sphinx Organization’s influence goes far beyond community values and the classical artist of color’s need for mere involvement. The SphinxConnect conference, held in Detroit, Michigan, in early February, brought together musicians, industry leaders, educators, funders, diversity advocates, and more.
In his opening remarks, Sphinx founder and director Aaron Dworkin took the more than 500 registered SphinxConnect participants through the matrix that formed the basis for his initial journey in founding the organization. Combining his philosophical framework with his multicultural background, he saw that his pathway to success, and the pathway for hundreds of other young minority artists, didn’t lay solely in the thirst for recognition of their abilities to perform successfully. He saw the need to shine a light into a dark tunnel fraught with twists and turns. In doing so, he knew there were likely obstructions, not yet evident, which he would confront in the unexplored passage into an uncertain future.
Recognized as an international speaker and social entrepreneur, Dworkin has now significantly, if not fully, executed his journey. He continues to rely on his faith that well-trained young artists, regardless of background, when given the right tools and motivation, can perpetually hold their own. By surrounding himself with strong, forceful advocates of his project and people trained to exact his high standards, Dworkin is able help committed young performers and institutions lift the talents and human spirit of young artists of all socio-economic backgrounds.
AFM representatives at the SphinxConnect conference included (L to R): AFM Legislative-Political and Diversity Director Alfonso Pollard, Diversity Committee Member and Local 5 (Detroit, MI) Secretary-Treasurer Susan Barna Ayoub, International Conference of Symphony and Opera Musicians (ICSOM) President Paul Austin, Symphonic Services Division Director Rochelle Skolnick, AFM IEB Member and Local 802 (New York City) President Tino Gagliardi, and ICSOM Chair Meredith Snow.
With this philosophical foundation driving Dworkin’s efforts, the 2018 annual SphinxConnect gathering was clearly designed to give participants a measure of confidence in their performing and networking ability, as well as to act as a forum to express their inner most concerns about successfully navigating the symphony world. Dworkin lays out a tangible philosophical and artistic path toward a life-changing journey.
I represented the AFM at SphinxConnect, along with Director of Symphonic Services Rochelle Skolnick, ICSOM Chair Meredith Snow, ICSOM President Paul Austin, AFM IEB Member and Local 802 (New York City) President Tino Gagliardi, and AFM Diversity Committee Member and Local 5 (Detroit, MI) Secretary-Treasurer Susan Barna Ayoub. Skolnick also served as a panelist. There were many AFM members in attendance. The workshops and panels set the stage for enhanced skill building in performance and teaching, developing a clear artistic vision, building careers around adventuresome instrumental platforms, defining a musician’s mission in the community, understanding politics and policy in the arts, and entrepreneurship. The presentations reflected how artists should hold themselves accountable in the dynamic and constantly changing music environment. Last, but not least, participants learned the value of networking, and when necessary, how to speak truth to power.
From the 2018 attendance record, it was obvious that the Sphinx “phenomenon” has a steadfast following. Its participants look forward to attending every year. The event makes a profound statement about inclusion and the need to move the ball forward on symphonic career opportunities. From the point of view of this director, AFM 2018 SphinxConnect participants and representatives, and members of the AFM Diversity Committee, our organization is set to bring vital resources and advice to help make a positive difference.
Modern Etudes for Solo Trumpet
This collection of inventive and challenging etudes for trumpet players combines a variety of stylistic elements from early jazz to newer harmonic and intervallic concepts. Written for both aspiring and accomplished trumpet players, the book includes new compositions and melodies over popular standards like “But Not for Me,” “All the Things You Are,” and “Honeysuckle Rose.” The accompanying CD features some of today’s greatest jazz trumpeters—Terell Stafford, Scott Wendholt, and Nick Marchione of Local 802 (New York City), plus Ingrid Jensen of Local 247 (Victoria, BC).
Modern Etudes for Solo Trumpet, by Cameron Pearce, Sher Music Co.,
www.shermusic.com.
Creative Chords: Keyboard Improvisation Method
In this two-book series, designed for pianists from beginners to pros, composer Bradley Sowash coaches them to play “off page” in new and exciting ways. He provides the tools to “do their own thing” by learning to read and play well-known melodies by ear, improvise embellishments and variations, add chords and “stock” accompaniment styles, and create their own full-sounding arrangements. An online Interactive Practice Studio provides backing tracks, additional information, and demonstration videos.
Creative Chords: Keyboard Improvisation Method, by Bradley Sowash,
Neil A. Kjos Music Company, www.kjos.com.
2018 Negotiations to Bring More Covered Work
by Alan Willaert, AFM Vice President from Canada
The Canadian Office has several negotiations occurring simultaneously. Some of these negotiations are ongoing and others are just beginning. We have been at the table with the jingle industry for more than a year. When bargaining a successor agreement began, there seemed to be a taste from the other side for more inclusive packaging, where several platforms could be purchased up front in one-year increments. That has now changed, and the emphasis is now dubbing different iterations for web use. What was once being referred to as “new media” is now simply “digital.”
When the current agreement was written, Internet advertising was in its infancy, and the revenue was small in comparison with television and radio. Now, of course, the Internet has become a mainstay and is treated as a third and equal platform.
These rather massive shifts in how advertising agencies spend their dollars have made it imperative that we completely revise the language and find ways to simplify pricing. While there are several obstacles to be overcome, there is light at the end of the tunnel and finalization of a new Commercial Announcements Agreement is imminent.
After many years, we have finally been successful in getting the Canadian Media Producers Association (CMPA) to agree to negotiate. This will be the first independent production agreement for use in Canada, an important step because our General Production Agreement (currently negotiated with the CBC) is not a particularly good fit for independents. Once in place, it will represent more covered work for our members, and we should be able to capture productions that are now either done dark or offshore.
The first meeting took place January 31. Representing the Federation were AFM President Ray Hair, Michael Murray of Local 149 (Toronto, ON), EMSD Supervisor Dan Calabrese, Executive Director Liana White, and myself. The next bargaining date will be March 12.
The same team will be in place for negotiations set to kick off March 13, as we begin bargaining with the remaining three terrestrial broadcasters: Corus Entertainment, Rogers Communications, and Bell Media. The hope is that the current General Production Agreement (GPA) can be used as a template. Right now, certain music programming is being done under a letter of adherence to the GPA, such as CTV’s The Launch (look for the CFM logo in the credits), the Junos, and other award shows. This will allow us to capture all productions with live musicians, as well as scoring.
With the assistance of Local 293 (Hamilton, ON) President Larry Feudo and Secretary-Treasurer Brent Malseed, we have entered into negotiations for a successor contract with the Canadian Country Music Association (CCMA), in anticipation of this year’s awards, hosted by the city of Hamilton. CCMA has agreed to a three-year deal to avoid repetitive bargaining.
The spring and summer will be extremely busy finalizing agreements, but the payoff will be more covered work for more members, which after all, is the point.