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Volume 12 - Issue 7 - April 2007

  • Text
  • Theatre
  • April
  • Toronto
  • Jazz
  • Arts
  • Musical
  • Yonge
  • Symphony
  • Choir
  • Orchestra

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64 WWW.THEWHOLENOTE.COMThe winning trumpet soloist Rob Weymouth (centre) is flanked byadjudicators James Gardiner (left) trumpeter in the TSO and CurtisMetcalf (right) the Hannaford Street Silver Band's Artistic Director.TMATORONTO MUSICIANS' ASSOCIATIONNEWS ROUNDUPby Brian Blain18 year-old trumpeter Rob Weymouthfrom Brampton, Ontario isthe winner of the HannafordYouth Band's 2007 Young ArtistSolo Competition for his performancein the technically demandingCarnival of Venice by Herbert LClarke. He performed with theHannaford Youth Band, conductedby Darryl Eaton, in the"Rising Stars" concert of theHannaford Street Silver Band'sannual Festival of Brass ( St.Lawrence Centre for the Arts,Saturday, March 3rd).Adjudicators Curtis Metcalf(HSSB's euphonium virtuoso andArtistic Director) and JamesGardiner (trumpeter in the TorontoSymphony Orchestra)judged Rob to be the most outstandingmusician of 14 participantsin the Solo Competition thisyear. Rob reprised his winningsolo with the HSSB, conducted byCurtis Metcalf, in the Festival'sclosing concert "Heavy Metal" onSunday afternoon, March 4.Said Rob: "I'm honoured by thisAward and the fabulous opportunityit gave me to play with theamazing Hannaford Street SilverBand."Rob has been studying trumpetfor five years, and joined theHannaford Youth Band in 2006.He is in first year at the Facultyof Music, U ofT, studying withBarton Woomert, and plays in theUniversity's Symphony Orchestraas well as the Toronto SymphonyYouth Orchestra.Rob comes from a musicalfamily, not surprisingly. Hismother sings in the Peel ChoralSociety, his sister in the choir ofMayfield Secondary School for theArts, and his father plays classicalguitar. Rob's family was presenton Sunday to hear Rob give hissolo performance and receive hisAward. Rob's name will be inscribedon a plaque on the EllisOstovich Trophy donated by theHannaford Youth Band's sponsorSt. John's Music. The trophywill be displayed prominently inSt. John's Music store in Toronto.The Hannaford Youth Programis operated under the auspicesof the Hannaford StreetSilver Band. For more informationabout its Youth Program,visit www.hssb.ca and follow thelinks to the Youth site.In the 21st Century - Musican's LifeWhether you are a classical or jazz artist, things are in a state ofrapid change. The whole "idol", "millionaire", "lottery" superculturehas changed people's perceptions of how people "succeed". Thishas a huge effect on the career musician.What we sell and the way we sell it are all affected by thechanging landscape of the music business. Our options seem endlessin the changing methods of self-promotion, of recording and sellingmusic, and the challenging business of getting gigs and airplay, butthings are changing so quickly.Holy smokes! We still need to find time to practise andcompose, and rehearse. We infuse meaning and hope into the cultureon an ongoing basis, and we work hard. But being a professionalindependent musician has to be a sustainable career. Since things arechanging, let's get at it.Every aspect of our business requires more and more D&M(Development and Maintenance) and less and less art. The to do listsjust keep getting longer. We need CDs, digital tracks, small files,large files, files for radio, for streaming, under 5 megs (formyspace), under 2 megs (for festival submissions), printed presskits,one-pagers, 3-pagers, a French presskit, a custom Euro-Englishpresskit, a print version, an email version, formatted emails, EPKs,a Sonicbids EPK (there's a topic of discussion).We need videos and YouTube presence. We need MySpacepages, Sonicbids pages and websites. This all assumes that you havethe software to achieve these tasks and know how to use it.You may be asking yourself: do I even need to manufactureCDs? Who should I use for digital distribution? Do I need digital radiodistribution? Am I getting paid for airplay? Do I need to register mytracks? What is DRM? These questions and many more are on theminds of independent musicians, regardless of genre.Selling on sites like iSound or MySpace definitely costsmoney. Registration and setup fees become another list of bills. Someonline stores have startup fees , some are pay as you go. It's good tocalculate how many CDs or tracks you have to sell just to pay for theservice.And if your CD or tracks contains cover songs or tunes, thenyou will also have licensing fees to pay.In some areas policies are changing almost daily while inother areas policy isn't changing at all. We should be thinking abouthow we would like the system to work, and letting our professional,licensing, publishing, or rights associations know our ideas.It is in our best interest to help to shape the future. We canencourage an improved, and more inclusive, licensing and trackingsystem, both for sales and radio. We can try to keep the money trailtransparent by asking questions. We can do small proactive thingslike putting pressure on Paypal to include Canadians in their micropaymentssystem.I would be interested in hearing about your recent experiences,good or bad, in the area of self promotion and selling.Please email me at: ourbiz@execulink.comMargaret Stowe, guitaristis now registering for itsSUMMER MUSIC THEATRE PROGRAMFOR TEENS+ (13-21) JULY 3-27, 2007classes in singing, acting, dancingThis year's production is SEUSSICAL.®by Lynn Ahrens and Stephen FlahertyJuly 25 & 26, 2007 *Al Green Theatre MilesNadaJCC( 416) 588-5845 www.nostringstheatre.comWorldSongs Vocal Camp for AdultsVillage music from around the worldFor people who love singing!!!!Featuring: Alan Gasser, Becca Whit/a, Val Mindel,Valerie Magnan and Suba Sankaran+ July 25-29 Summer Singing Retreat+ Sept 28-30on Lake SimcoeFall Weekend Workshopon Amherst Island (near Kingston)www .worldsongs.ca 416-588-9050, ex 2

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Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
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Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
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Volume 23 Issue 7 - April 2018
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Volume 23 Issue 4 - December 2017 / January 2018
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Volume 23 Issue 2 - October 2017
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Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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