By DAVID DUPONT BG Independent News Maria Schneider is an award-winning composer with Grammys in jazz, pop, and classical. She’s also a pioneer in crowdsourcing her music. And she’s a champion for artists’ rights, rebelling against the current music business model.

Explore releases from Maria Schneider Orchestra at Discogs. Shop for Vinyl, CDs and more from Maria Schneider Orchestra at the Discogs Marketplace. Explore releases from Maria Schneider Orchestra at Discogs. Shop for Vinyl, CDs and more from Maria Schneider Orchestra at the Discogs Marketplace.

Schneider has written about the issue, appeared on CNN, and testified before Congress. She helped launch musicanswers.org with other composers, performers, songwriters, and producers to advocate for their rights. “I’m really doing it for your future,” she told students at Bowling Green State University, Friday in a session of digital music rights. She’s established enough that she could sit back and live off what she’s already created. Her model, ArtistShare, works well for her.

Through the platform, fans help finance the $200,000 it takes to produce one of her recordings. She makes her living from her music, but she’s concerned the new generation of musicians may not have that opportunity.

“I’m really doing it for your future.” She apologized for presenting such a bleak “outlook.” The session came on the last day of her three-day residency at BGSU, which concluded with Schneider conducting Jazz Lab I in a concert of her music. (Click to read interview with Schneider.) Her outrage at the compensation started when she’d made her first recording, and found out just how little she would earn after the record company took its share. She contacted older musicians, such as Bob Brookmeyer, one of her mentors in composition, and guitarist Jim Hall. They basically shrugged in resignation. Looking back on it, those payments were generous compared to the pittance that musicians get through the streaming model.

Not surprising given Spotify was created by Daniel Ek who got his start in the illegal download business. When he launched Spotify he needed content so he went to the three major record labels, Sony, Universal, and Warner.

In exchange for 6 percent of equity in Spotify, which will go public next week, they gave Spotify the rights to their catalogs. Millions of hours of music, the work of composers and performers and producers, who would now earn almost nothing.

Certainly not enough to pay for their recording sessions, which record companies now expect artists to pay for unless they sign deals to share all revenue streams. This has been detrimental both to the download model, such as iTunes, which did provide decent income, and the sale of CDs.

Only vinyl LPs are seeing an increase in sales. But the cost of shipping vinyl is prohibitive for her. Schneider detailed her own battles to keep her music off YouTube and other free sites. Though YouTube makes it easy to download music without compensation to the creator, the process of getting that music removed, or keep it from being downloaded in the first place, is daunting, and even threatening. The burden of proof is on the copyright holder. YouTube, Spotify, and Google want as much content up as possible to drive traffic, and gather data on users. “Data is the new gold.”.

By DAVID DUPONT BG Independent News Maria Schneider has high standards for the members of the Maria Schneider Orchestra. They represent the best players on the New York jazz scene, and some of them have been with her since she launched the ensemble more than 25 years ago. When she visits colleges and universities, she expects top quality performances as well. “I never approach anything like this with anything but the highest expectations of what the music can convey,” the composer said in a recent telephone interview. Schneider, who has won Grammy Awards in jazz, classical for her collaboration with soprano Dawn Upshaw, and pop for her work with David Bowie, will visit Bowling Green State University for Jazz Week as the Hansen Musical Arts Series artist. Her three-day visit will culminate with a free concert Friday, March 30, at 8 p.m.

In Kobacker Hall when the Jazz Lab Band I, directed by David Bixler, will play of program of Schneider’s music. She will also present master classes, participate in a question-and-answer session, and discuss digital rights for music during her stay, which begins Wednesday, March 28. Click here for more details. She said she always coordinates with the college band’s director to get a sense of the ensemble’s strengths and weaknesses, and the soloists who will be featured.

Sometimes she’s working with a band at a liberal arts school where, unlike at BGSU, few of the band members are music majors. “You just work with what you have and the make the best of it. It’s really fun,” Schneider said.

“When I work with students, I push them the way I would push my group or a professional group,” Schneider said. “I push them to get the best possible result. The power of music doesn’t always depend on perfection. You want the intonation, and you want all those details. “I’ve had performances of my music with young groups where everybody had the right intent. They knew the sound they were going for. The emotion came through the music so it made the hair on my arms stand up,” she said.

“Music has this magic that comes through when the intent is there, when the right elements are there. That’s the mystery of it. I never approach anything like this with anything but the highest expectations of what the music can convey.” That music can speak volumes, even at its most delicate moments. While she employs the standard instrumentation of a jazz big band, she works to subvert those expectations. “That’s why I call my own group an ‘orchestra.’ I didn’t want people to have any preconceived ideas about the big band idiom.” The instrumentation still holds a world of possibilities for her.

“What I like about it is you have so many available instrumental colors. You have the possibility of full powerful ensembles or just a couple people. You can create these dramatic landscapes.” Playing with those musical colors has appealed to her since she was growing up. From BGSU OFFICE OF MARKETING & COMMUNICATIONS Composer and band leader Maria Schneider will conduct and teach at Bowling Green State University March 28-30 as the 2018 Hansen Musical Arts Series guest artist. Schneider’s music has been hailed by critics as “evocative, majestic, magical, heart-stoppingly gorgeous, and beyond categorization.” She and her orchestra became widely known starting in 1994 when they released their first recording, “Evanescence.” There, Schneider began to develop her personal way of writing for what would become her 18-member collective, made up of many of the finest musicians in jazz today, tailoring her compositions to distinctly highlight the uniquely creative voices of the group.

The Maria Schneider Orchestra has performed at festivals and concert halls worldwide. She has received numerous commissions and guest-conducting invitations, working with more than 85 groups from more than 30 countries. At BGSU, Schneider will conduct the Jazz Lab Band I as it performs her music at 8 p.m. March 30 in Kobacker Hall.

Her residency activities include a question-and-answer session at 3:45 p.m. and a composition master class at 5:15 p.m. March 29, and a digital rights/music business master class at 2:30 p.m. March 30. All events are in Kobacker Hall and are free and open to the public. Schneider’s music blurs the lines between genres, making her long list of commissioners quite varied, stretching from Jazz at Lincoln Center, to The Saint Paul Chamber Orchestra, to collaborations with the late David Bowie. She is among a small few to have received Grammys in multiple genres, including both the jazz and classical categories, as well as for her work with Bowie. Her recent collaboration with her orchestra and Bowie resulted in his single called “Sue (Or in a Season of Crime),” and brought her a 2016 Grammy (Best Arrangement, Instruments and Vocals). Schneider and her orchestra also received a 2016 Grammy for their latest work, “The Thompson Fields” (Best Large Jazz Ensemble Album). Her distinguished recording career with the orchestra has earned them 12 Grammy nominations and five Grammy awards. Unique funding of projects has become a hallmark for Schneider through the trend-setting company, ArtistShare.

Her 2004 album, “Concert in the Garden,” became historic as the first recording to win a Grammy with internet-only sales. Even more significantly, it blazed the “crowd-funding” trail as ArtistShare’s first release. She’s been awarded many honors by the Jazz Journalists Association and Downbeat and JazzTimes critics and readers polls. In 2012, her alma mater, the University of Minnesota, presented Schneider with an honorary doctorate, and in 2014, ASCAP awarded her its esteemed Concert Music Award. Schneider has become a strong voice for music advocacy and, in 2014, testified before the U.S.

Dale Earnhardt Jr Winners Circle NASCAR Men's Jacket Size XL Amp Energy Hood #88 $24.95 vintage Women's Dale Earnhardt Jr #8 Nascar Wilson Leather Jacket size M. Find Driving Jackets and get Free Shipping on Orders Over $99 at Summit Racing! Vehicle/Engine Search Vehicle/Engine Search Make/Model Search Make/Engine Search. Driver Jacket, 110 Series, Single-layer, Pyrovatex, Men's Large, Black, Black Stripe, Each. Drivers spend prolonged periods of time sat in the cockpit of their vehicle, so when it comes to picking the right attributes for the job, comfort always tops the list of priorities. These lightweight and practical jackets are perfect for those long haul deliveries and for those drivers who need an extra layer whilst ferrying parcels from the. Keyholder 3-slots, fold over top, Dark brown leather. Keyholder 3-slots, fold over top, Dark brown leather. Add to Wishlist. BR Totem Cap Badge. BR Totem Cap Badge. Add to Wishlist. It's generally cheaper than a tailored jacket because it has its roots in the working coats that used to be turned out for engine drivers, bus conductors, mechanics, road repair and factory workers. Workers needed to wear a garment that was cheap to produce and allowed freedom of movement while looking reasonably smart (this was a time when men.

Congressional Subcommittee on Intellectual Property about digital rights. She has also appeared in CNN, participated in roundtables for the United States Copyright Office, and has been quoted in numerous publications for her views on Spotify, Pandora, YouTube, Google, digital rights and music piracy. Most recently, she and concerned colleagues in New York launched a widespread campaign on behalf of music-makers, MusicAnswers.org. The Dorothy E. And DuWayne H. Hansen Musical Arts Series Fund was established. By DAVID DUPONT BG Independent News The Bowling Green State University College of Musical Arts has some special acts in the wings.

Lindsay Gross, the college’s manager of public-community relations, can’t help but show her own enthusiasm for what’s in store for the coming academic year – five internationally acclaimed artists who will share their gifts with the community. And all the events related to these residencies are open to public for free. Why wouldn’t Gross be excited? She’s a jazz bass trombonist, and the first guest in September is the American Brass Quintet, a pioneering ensemble that uses bass trombone, not tuba, as its lowest voice. And closing run of guest artists during Jazz Week in late March will be Maria Schneider, the most esteemed living composer for large jazz ensemble. Schneider has won Grammys not only for her jazz work but also for her arrangement on David Bowie’s song “Sue.” And for her collaboration with soprano Dawn Upshaw, who will visit BGSU a week before she arrives. Visits scheduled are: American Brass Quintet, residency Sept.20-22, with a concert Sept.

Jazz guitarist John Scofield, Sept. 30, a master class and concert at 8 p.m. As part of the two-day Orchard Guitar Festival that starts Sept.29. Opera composer Jake Heggie, keynote lecture at 8 p.m.

22 and residency Oct. 23-24, as part of the Edwin H.

Simmons Creative Mind Series. Vocal superstar Dawn Upshaw, recital March 18 at 8 p.m. And residency March 19-20, as the Helen McMaster Professorship in Vocal and Choral Arts. Maria Schneider, residency from March 28-30, with a concert March 30 of Schneider conducting the Jazz Lab I band performing her compositions.

(All concerts and lectures in Kobacker Hall. More details will be forthcoming on BG Independent News closer to each event.) All the artists will interact with BGSU students, and as much as possible with the community as well.

Gross said she is arranging a session with the American Brass to work with high school students on playing chamber music. The quintet members will also be working with university brass students. The quintet, which has been dedicated to performing new music since its founding on 1960, will also discuss its extensive commissioning of new works with student composers.

In addition to working with music students including vocalists performing his songs, Heggie will talk with students in English and Creative Writing about setting literary works to music. Heggie wrote an opera based on “Moby Dick,” and has set the poetry of Walt Whitman, to music. Gross said she feels that these artists have something to offer all students.

This constellation of musical stars came together through series that are already in place. The American Brass Quintet and Schneider’s visit is being funded by the Dorothy E. Base building paul carter pdf online. And DuWayne Hansen Musical Arts Series, which was established in 1996.

The Creative Minds Series was established in 2014 to “to elevate the importance of the arts in our everyday lives,” according to a.

Enjoy, Stream & Download soundbites from composer, arranger and bandleader Maria Schneider discussing her latest CD, with the big band - The Thompson Fields.'Beyond categorization..simply sublime ..You don't listen to CDs for the Maria Schneider Orchestra. You 'experience' them.' - AUDIOPHILE AUDITION -Jeff Krow'Maria Schneider is a national treasure.' - NPR'an extravagant show of her strengths: precise, expressive harmony; ribbons of diaphanous texture; a rhythmic momentum that doesn't feel propulsive so much as wind-borne.' - THE NEW YORK TIMES -Nate Chinen'one of the great jazz records period, not just one of the great recent jazz records.' THE BUFFALO NEWS -Jeff Simon'This marriage of sounds, words and images is ultimately breathtaking, a testament not simply to the hipness of jazz but to the uplifting and sustaining powers of art.' - OTTAWA CITIZEN-Peter Hum'Beyond the searching solos and high virtuosity both on and off the paper, it's the love poured into The Thompson Fields that flows back out of the speakers and makes it such an unusually moving work of art. It captures Schneider's artistic vision unlike anything else in her catalogue.' - THE NEW YORK CITY JAZZ RECORD -David R. AdlerCOMPOSER MARIA SCHNEIDER TO RELEASE FIRST RECORDINGWITH HER ACCLAIMED JAZZ ORCHESTRA IN EIGHT YEARSTHE THOMPSON FIELDS ­– AVAILABLE JUNE 2ndFAN-FUNDED THROUGH ARTISTSHAREWith The Thompson Fields, composer, arranger and bandleader Maria Schneider celebrates a long-awaited reunion with her vaunted jazz orchestra, a homecoming nearly a decade in the making. Featuring eight new original works by the leader, The Thompson Fields makes brilliant use of Schneider's 18-piece jazz orchestra, a long-standing ensemble that spotlights such first rank players as Donny McCaslin, Rich Perry, Frank Kimbrough and Lage Lund. The performances reveal an ever-deepening relationship between Schneider and her musicians, many of whom she has worked with over a quarter of a century. The album follows a momentous year that found Schneider's recent album Winter Morning Walks garnering three wins in the classical category of the 2014 GRAMMY Awards, making her one of the rare musicians to win GRAMMYs in both the jazz and classical categories. The CD is powered by ArtistShare andavailable exclusively at MariaSchneider.com.Schneider has long been known for her autobiographical music, and with The Thompson Fields, she goes further, sharing a deep relationship to southwest Minnesota, her childhood home. Although the music reflects her love of native landscape, birds, and prairie, Schneider delves not just into her own roots, but also into what 'home' means in broader terms.

Genre

Jazz