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Now there’s an easy way to learn how to record tracks on your home computer, create MIDI files, and master your own CDs. This book demystifies the recording process. It provides simple, easy-to-follow instructions on: choosing and setting up computer and
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Guitarists of all levels will find a wealth of practical music knowledge in this special book and CD package. Veteran guitarist and author Tom Kolb dispels the mysteries of music theory using plain and simple terms and diagrams. The accompanying CD provides 94 tracks of music examples, scales, modes, chords, ear training, and much more!… More >>
Music Theory for Guitarists: Everything You Ever Wanted to Know But Were Afraid to Ask
For those most passionate about their music, a job in music education is a natural fit. Far from being a case of “those who can’t do, teach”, those who take music education jobs are talented not only as artists but as teachers who want to pass their love of music on to another generation, to ensure that there is always music in the world.
Once upon a time, a degree in music education was seen as a ‘fallback option’- the job that would always be there if a performing or production career didn’t work out. That time is long gone now as states have cut funding for enrichment education across the country. While the job outlook for music teachers is still good, the Occupational Outlook Handbook says that jobs for musicians and teachers will grow at about average or a little faster than average rates through 2014 – school departments, private institutions and universities have the luxury of being able to be choosy about whom they hire to fill music education jobs.
One of the best ways to hear about music education jobs and openings is to establish a network of contact within the music education community. While basic networking is good, there are ways to network more effectively to concentrate your focus on finding and improving your chances of being hired for music education jobs.
Network locally.
Lucky you, you actually have three different sources of local networking that can help you narrow your job search focus. As an educator, get involved in local organizations for teachers and get your name out there. If you’ve made contacts while interning and practice-teaching, keep up with them, and ask their advice and guidance in your career path. By all means, let them and others know that you’re looking for a job in music education. Other teachers are often the first to know that one of their own is leaving.
School department contacts are invaluable.
In most cities, the school department must post vacancies internally before advertising them to the general public. Those vacancies are often posted on a bulletin board in each school within the district. Let teacher friends and contacts know that you’re looking and ask them to keep an eye out for you. Knowing that a vacancy is posted internally can give you a leg up on the competition and cue you to submit your resume and cover letter for music education jobs before they’re advertised.
Network online.
Join national and local music teachers associations online, particularly those that hold regular events, symposiums and have a discussion board. Many of them post job openings for members, and more than a few allow members to post job leads and requests for job leads on their boards. Some organizations that you might consider joining include:
Technology Institute for Music Educators (http://www.ti-me.org/)
Music Teachers National Association (http://www.mtna.org)
Teachers.net Chat boards (http://teachers.net/mentors/music/)
The National Association for Music Education (http://www.menc.org/)
Keep in mind that in networking, you get out what you put in. Don’t just join a group and start soliciting for music education jobs. Look for what you can offer – the more you become involved the more visible you’ll become and the more willing others will be to recommend jobs to you.
Rita Henry is a contributing editor for Jobs In Music, the leading job and resource site for the Music Industry. Interested in receiving only the hottest Music job listings weekly for free? To learn more visit Jobs In Music.
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This highly entertaining book is packed with insights from the most successful music producers and full of revealing anecdotes about the business and the stars. now in its third edition and used as a teaching tool in major colleges, it has become the definitive guide to the art – and the business – of music and record production…. More >>
Production music is a relatively new thing as far as music is concerned. With the advent of music being utilized in media industries, there has become a need to provide a way for producers to access music in a legal manner for their productions. Product music libraries provide royalty free music to producers and consumers who are looking to find music tracks in a legal manner to avoid any licensing headaches that can arise from utilizing pirated music.
Production music libraries first came about when producers were looking to make up scores to their movies or commercials, but has since evolved into being useful to an individual who is in need of royalty free music for school projects, such as a video yearbook, or a motivational looking to make their speech memorable through the use of emotional music.
Production music libraries range from libraries that have only a few hundred tracks to those that have thousands upon thousands of tracks available to producers and consumers looking for the right music for their purposes. By providing so many different music tracks in one place that is royalty free, producers and individuals can be assured that all of their music needs will be met in a single production music library.
By providing so many music tracks, producers and individuals have the option of purchasing only a handful of tracks, for a small project, or by purchasing several tracks for a larger production. By providing varying packages of music, producers and individuals can be assured that they will only be paying for the music that they need and will use, rather than being forced to buy a pre-made package of tracks in order to only use a couple of the tracks within the package.
Production music libraries have evolved with the need of producers and individuals needing royalty free music for their productions. Music can be utilized in a variety of ways and with the strict licensing laws around music these days; it is becoming harder for producers and individuals to find legal ways of obtaining music for their productions. This is where production music libraries come in, because they provide royalty free music to their consumers, providing an assurance that their consumers are purchasing legal music for their productions. With the popularity of production music libraries by both producers and individuals, they have realized that they can meet the needs of more consumers by providing packages that suit both large productions that need several music tracks as well as small packages that work well for individuals who only need a couple music tracks.
Zack Fair publishes articles for a Royalty Free Music provider UniqueTracks.com that offers royalty free classical music and background, and production music. Create presentations and use special effects from UniqueTracks. Get Royalty Free Music Downloads today.
Local scholarships more than $190,000
Local scholarships generate over $190,000 in funding to area students. School officials said that total doesn’t include individual scholarships achieved by the students in such areas as music, athletics and academics that likely would bring the total to over $350,000.
Read more on The Harlan Tribune
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Synthesizers are electronic instruments, which are capable of delivering a varied range of sounds. Synthesizers are of different types. Synthesizers have changed its look with time. Vintage synthesizers were far more different from the modern synthesizers. Synthesizers of old times were big and they did not offer so many facilities like today.
Elisa Gray invented the first synthesizer in 1876. It was called the musical telegraph at that time. The invention of this instrument happened accidentally. Elisa Grey was also the inventor of telephone. He used a telephone technology to invent this instrument.
Once he suddenly discovered that sound can be controlled from a self-vibrating electromagnetic circuit. And from this he invented a single note oscillator.
After this some other synthesizers were also invented. The vintage synthesizers derived their technology from the early musical instruments, analogue computer and some laboratory test instrument.
In 1937 Ivor Darreg created one microtonal electronic keyboard oboe. After this Evgeny Murzin created an ANS synthesizer. A big Mark 2 Music Synthesizer was invented in 1958. It was kept at the Columbia Princeton Electronic Music center located in New York. The paradox with this synthesizer was it could only be played after preparing the full programming of the machine. There was a vacuum tube system. It had to be manually used, while creating any kind of new sound.
In 1958 Daphne Oram too made a synthesizer. It was made at BBC radio phonic Workshop. She used a technique called Oramics technique to make this instrument. BBC used this synthesizer for several years.
In the late 1940s and early 50s different automated music controllers were invented. Raymond Scott, John Hanert, Hugh Le Caine and some others invented these kinds of controllers.
By 1960, modified synthesizers were invented. They could be played at real time. But they were so big that they had to be confined inside the sound studio. Vintage synthesizers were basically made of modular devices. They were not as much updated as the modern synthesizers. They did not have many features. They normally had the piano tone. Some other tones were also available, but there were not much of them.
Vintage synthesizers were very experimental. Actually they were devices, which were made specially. The mechanics were very much dependent on the concept of modularity. Robert Moog invented a synthesizer, which was a big hit at that time. This synthesizer was very much useful for the pop musicians. The best thing about this instrument was that it was smaller than the previous ones and it looked more like an instrument than a machine.
Micky Dolenz of the band The Monkees was the first one to buy this synthesizer. They used this instrument in their fourth album, which was called Pisces, Aquarius, Capricorn and Jones Ltd. This album was released in 1967. This was the first album that featured a synthesizer. The instrument became an instant hit after the release of this album.
As time moved on new experiment started taking place on synthesizers. And as a result, their new models were made. These modern ones are far more upgraded than the older ones. But we shall not forget that the vintage synthesizers were the first that paved the way to these new ones. And for that reason, we shall always remember them.
Victor Epand is an expert consultant for guitars, drums, and synthesizers. You can find the best marketplace for guitars, drums, and synthesizers at these 3 sites: guitars, drums, drum kits, and vintage synthesizers, electronic keyboards.
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