Paul McCartney wins the Library of Congress Gershwin Prize for Popular Song
The White House is throwing another epic bash, this time honoring Paul McCartney, winner of this year’s Library of Congress Gershwin Prize for Popular Song.
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I have several old vinyl albums, the Library of Congress numbers on them – does this mean?
Image taken on 1940-01-01 00:00:00 by The Library of Congress.
I have many people contact me to obtain information on the copyright of their equipment. For non-dramatic works of literature, including fiction, documentaries, books, stories, poems, a collection of poems, essays, articles in magazines and / or computer programs.
Go to your local library and ask for the short form TX. You must answer all questions in all areas. You “should” send a copy of your material that you want protected by copyright, with processing fees and registration: Library of Congress Copyright Office 101 Independence Avenue SE, Washington, DC 20559-6000
* Note: the copyright may change at any time, please contact the Copyright Office for current rates. You can write to the address above or by calling (202) 707-3000. If you do not want to be identified as the author, you have the standard form TX
I call upon any employee or employees of the Library of Congress, if you have any questions, please the Library of Congress, given the number. I hope this information is useful to those who need help in their work are still protected by copyright. Good luck!
For simplified TX is available at: http://www. Copyright. gov / forms / formtxs. pdf
The first important set of rules was published 1841st The finding that over the previous form of cooperation and standardization of cataloging has promoted the establishment and was spread by the rules. Before that time, the cataloging activity on an individual basis. The libraries have their collections as a big enough would need a catalog, if resources were available to do so. It was expensive catalog on an individual basis, that its creation was almost never shared between libraries.
Sir Anthony Panizzi was appointed curator of prints in 1837 and helped organize the British Museum cataloging rules in 1839. It was published in 1841 and was responsible for the influence of the code format of the future. Panizzi wish was for everyone to be able to find anything in the library by using the catalog. This goal was in mind when he made the guidelines, which were Panizzi of the 91 requirements listed.
In the early 1900s it was almost impossible, a library, collection of all published materials that hold the early standards promoted interlibrary loan. The researchers, in particular, have shown a great need for access to books that were not present in the library nearby. In addition, a backup system of last resort with the help of national libraries, which was organized and conducted with the use of the National Union Catalogue installed. This catalog has been a success because it was made more than a hundred major libraries.
Herbert Putnam, Librarian of Congress 1899-1939, in other libraries are used in addition to his own opinion. While in the Library of Congress, he helped initiate the distribution and sale of catalog cards in 1901. Card catalogs printed improvement available in the library, because the catalog of flexibility. As soon as new maps were released, could catalog these new cards in an appropriate place to date in the drawers, the highest resolution of problems with the book catalog, it has not been updated. In addition, more than one person can use the card catalog at a time.
Before the establishment of the standard list of subject headings, catalogers made their own decisions about how to allot securities. The advantages of a list of this standard, following the increase in lending between libraries and the distribution of printed cards can be seen. In 1904, Charles A. Cutter published a comprehensive set of 369 rules for cataloging issues and keywords. Rules Cutter became the basis for the dictionary catalog, which had become the dominant form of catalogs of libraries in general in the United States. Quote Cutter few words disclose a statement relevant to the modern era of computer science. As it has developed one of the first mail order for a series of rules that editors can influence the future is the cataloging code.
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was created in response to the needs of large academic libraries in the early 1900s, the Anglo-American rules of 1908 (AA 1908). It was the first time that the libraries in the United States and Great Britain met to produce a common code of cataloging. However, it was finally published in an American version and a UK version, because the two countries could not reach a complete agreement on every detail. In the 1930s, a general desire for a strong central cataloging has been expressed. In 1941, the date of completion of the ALA catalog was. Catalog Code Revision Committee proposed that work on the details and be more specific in order to promote greater cooperation between libraries. Andrew D. Osborn has written an article criticizing the review of retail. He felt that the ALA-1941 was designed by a proliferation of rules that was unnecessary.
The Library of Congress in 1946 published studies of cataloging: A report of the Library of Congress by the Director of the Department for processing, which led to a simplification of cataloging rules. In addition, the LC system is not fully compatible with the rules of ALA-use rates, and because of LC cards were printed in the catalog, there was a need for the library to publish its own rules for cataloging. In 1949, a definitive edition of cataloging rules was published called LC descriptions. ALA also publishes a series of cataloging rules in 1949 called the ALA Cataloging Rules for authors and subjects. ALA 1949 and LC 1949, a standard length for almost 18 years out of the AACR in 1967.
The International Federation of Library Associations and Institutions (IFLA) held a meeting in 1961 of cataloging experts for greater cooperation between libraries in different countries and help the exchange of bibliographic information. The Paris Principles was the result of this meeting, and has built a base of almost any cataloging code in the world today.
Seymour Lubetzky, author of cataloging rules and principles, expressed many concerns regarding the publication of 1949. His complaints were that the rules were unnecessarily long and confusing, and overlapping rules that were available. He argued that there is a lack of organization and logic design rules. Lubetzky was given command of the creation of a new series of codes in 1956, control of C. Spalding Sumner in 1962, was adopted. The code name of Anglo-American Cataloguing Rules, was published in 1967, with a host of mixed feelings. A great improvement over the code of 1949 was the logical organization and the fact that there is more emphasis on the conditions of the author with the kind of work. However, it was supposed to be insufficient compared to how non-books have been processed.
In 1966, several American libraries have participated in a project for electronic versions of the catalog card production. The enormous burden of creating documents for the electronic catalog has been the fact that 16 libraries met at least share the work. Until 1968, about 50,000 documents created and sent to libraries participating as a pilot project. This was the first attempt, the automation of internal processes within the environment of the library, and libraries worldwide to 1972 began with the revised standard, MARC, Marc II as we know. Although Mark is not a cataloging code or system, it is a coding method, based on the outcome of cataloging. He played an important role in the cataloging of public and private institutions, and has been crucial to the success of international standardization. Marc is a worldwide success and is the basis for almost all automated bibliographic systems.
In the late 1960s, was another step towards a stronger international agreement ahead and was sponsored by the International Expert Meeting on Cataloguing. A new format for bibliographic description has been requested, and the working group was established with the objectives considers relevant to their interests. Between 1974 and 1977, three papers have been published that specifically addresses the concerns expressed at the meeting. The first publication was entitled ISBD (M), for the International Standard Bibliographic Description for monographs was. The second and third were both published in 1977, with the titles of ISBD (S), which was held for the series and the ISBD (G), which was for the general. This final version is installed, which provide the framework for all types of media, working as a global standard. Since all work has been published, others ISBD items such as cartographic materials have been developed and printed music. In 1974, 1975 and 1976, chapters 6, 12 and 14 of the AACR have been revised during the respective years. Together, this code is called AACR cataloging, Chapter 6, 12 and 14, revised.
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Introduction
The paper examines the contributions of both Asian American artists made, Francis Wong and Jon Jang. The latter is a modern pianist, while Wong is a saxophonist. There is no doubt that the American music draws its influences from different parts of the world. In this perspective, the Asian influence their mark in the current musical landscape did. In fact, there are many Asian immigrants, who entered their Chinese traditions with modern American culture. Examples include Jang Temple of the drum. ” (Jon Jang, 2002)
Jon Jang contribution to the practice of Asian American Arts
Before analyzing Jang opinion, it is necessary to understand its context, which facilitates an assessment of its influences. Jang began her musical career a year before turning twenty. At that time, he tried to learn the basic skills, piano. Shortly after, he joined a music school called Oberlin Conservatory, where he honed his skills and learned the piano to compose songs. This artist graduated after three years and earned a music degree. It is also worth mentioning that the artist was born in America, including Los Angeles and later in California, on. However, Jang always kept in touch with his Chinese roots. He draws from his experience as an immigrant Asian American, but also recognizes the problems in other forms of music such as social injustice to African American musical expression. Jon Jang (2002)
During his appearances in San Francisco, Jang highlights some of the hidden facts about China Town. This is mainly because the festival was held in tribute to the efforts of Alice Yu from China Town. Jang has an amazing way to show his appreciation and respect for historical periods, or who have forgotten those who have never been mentioned previously. Because he dug up some songs and now as the repairs Tiananmen jazz orchestra. Jon Jang (2002)
Despite intensive care, must understand that the situation Jang, was outside the confines of the classical music stage. He created his own style based on the inspiration of American jazz. It merged with folk songs of China and some political and social issues at the time. Some music lovers have called Jang “two flowers on a stick” because they believe he remained true to its traditions, has encouraged the same creativity through improvisation, his dual cultural identity. (Jon Jang, 2002)
Jang creativity was used by many organizations in the world of classical music. He did a great job for the Congress of the library, then he did some music for Chanticleer and Kronos Quartet. Some of his compositions have been presented in theaters, he wrote a composition for “The Woman Warrior.” Jang (Jon, 2002)
In an effort to complement its services to the Asian-American music scene, Jang has a price of his former Conservatory received. He also won a gold ring and has been named separately from Cal Arts. In addition, Jang by the Ford Foundation for the tremendous contribution he made to the view of American music.
We can not all events, Jang took part, was in his capacity as a pianist, Jang;
-Europe
Canada
South Africa
United States
One of the highlights of these visits was his appearance at the Festival of arts in South Africa. During the implementation Jang has worked with Max Roach. Jang also had the pleasure of playing at London’s Royal Festival. In addition, he has like Berlin, Zurich and Milan, in his capacity artists. Paul Robeson said Jang work and thus, the President of the Republic of China. There are also numerous collaborations of this versatile artist has done. The great artist, he worked with Max Roach. He also joined David Murray, James Newton and Maxine Hong. Jon Jang (2002)
Not only Jang some practical work done in music, he also served as an educator. He returned to his old conservatory, offers consulting services. The artist of young students from the University of California drove. He taught most of them on the contributions of Asian American artists.
There is no doubt that Jang is always at its roots, because in an area that is very close to urban life in China. In addition, he has his daughter to another school, the Chinese language immersion are possible. Jon Jang (2002)
Its diversity is also introduced in several other non-musical commitments expressed. For example, with the exception of work at the University of California, he is a man at Stanford University, where he spoke of the diversity of artistic practice. In addition, he also contributed as a college professor at Berkeley and Irvine, California. In fulfilling these tasks, he informed the public about the issues, Asian influences in music. Jon Jang (2002)
Source: Jon Jang (2002): To the Max; http://www. jonjang. com / 2n to open in June 2008
Source: Jon Jang Performances (2002): Jon Jang Biography Retrieved from http://www. jonjang. com on June 2, 2008 has reached
Posts by Francis Wong, Asian American Arts in practice
Francis Wong is one of contemporary artists contributed to the current music scene. Wong is a saxophonist and composer. He is the leader of his band. In addition, the artist has also engaged in non-musical roles in creating the Asian Improvarts. It has been very instrumental in the introduction of popular songs from Asia on the classical music scene. (Bay Area Network improvisers, 2007)
There are many contributions of Francis Hwang of Asian American artistic experience made in the last ten years. For example, it has collaborations with the ancient artists mentioned, Jon Jang. One of the songs he did with Jang was like “Are you Chinese.” In addition, Wong eighteen other pieces of music with some outstanding personalities such as Glenn Horiuchi, Fred Ho and the band recorded Wong, Great Wall. He also trained the workshop of a composer, composed of eight members. As if this were not enough, there is also another group called the light, it is composed of three members, Thanks to all efforts to Wong.
The most remarkable feature of the contributions to the practice Wong Asian American is the fact that jazz, it is mixed with traditional Chinese music often called Taiko, which essentially means Taiko drumming. Wong, also with a variety of traditional Chinese musical instruments. However, Wang and other American influences incorporated in his work. For example, it places high value on the saxophone, which is still largely an American characteristic. He has taken influences from American artists such as David Murray, Sonny Rollins and John Coltrane. All these artists are African American, and is a similarity he shares with his colleagues Jon Jang. Part of the reason his music could be considered contemporary style because he has acquired by Coltrane. However, there are several other American artists who have inspired Wong. These include Jim Pepper, playing the same instrument that Wong does not occur, but the U.S. Persian origin. other music lovers like Philip Elwood has shown great interest and respect for the work of Wong. The latter has even called on fans of Wong’s work in exceptional circumstances of his generation. (Bay Area Improvisers Network, 2007)
As mentioned previously, Wong has done a lot of work outside the music world, most Asian Americans, it is the art are in their context. For example, he called with an interpreter and poet Genny Lim worked. To add to the diversity in his work, Wong Sachiko Nakamura, who has worked specializes in choreography. In addition, some artists such as file World Valley and a mime troupe in San Francisco contributed to this artist performances and collaborations. Among the areas that these artists are made to belong;
Francis Wong is an example of how he has received awards from a residency program. It has also been recognized by the Rockefeller Foundation as a guide for the next generation. Besides, it also has a grant from the Asian Cultural Center in Oakland excellent. This distinction allows fans, some of the artists and composers in the modern Asian American music needs. (Bay Area Improvisers Network, 2007)
Jazz is one of the most visible American styles. He was born of African Americans back in the nineteenth century. However, if one examines the type fully realize that there are influences from other places like Africa and Europe. On top of this, have in the past two decades, the emergence of Asian American jazz influences seen in the music. The contributions of artists such as Francis Wong enriched by such Asian traditions and forms of expression. (Bay Area Network improvisers, 2007)
Wong was one of the artist has shown his diversity and unity by the nature of the instruments. He also sought the merger of these instruments with modern ideas. But the most important feature on the fact that Wong is trying to express his views current political, cultural and personal in style. The artist is proud of the fact that he has a mixed heritage and is therefore quite willing to show. But despite all these influences, we must not forget that most artists to express jazz or instrumental use of their personal ideologies. This question has been taken in a park of innovation as one of the most important platforms for the expression of Wong.
Source; Bay Area Improvisers Network (2007): Francis Wong, retrieved from http://www. bayimproviser. com / 2 June 2008 reached
Completion
We can not underestimate the influence of these two artists raised in the practice of Asian American arts. The first artist was discussed Jon Jang. This artist in the musical and not musical events that have shaped the musical life of Asian origin have attended. For example, he has forgotten the past of China emphasized the city. He also mixed a Chinese folk songs in his compositions. The pianist has also been responsible for teaching music students who aspire to a number of universities and colleges of the importance of Asian-American music.
Some of the awards he has received is a testament to the greatness of his work. Jang has also been honored by participation in a number of international events. He played for the Chinese president. Perhaps the best example of how Asian and American influences prevail in the life of this artist through his personal decisions. He lives near China Town, and even decided to take her child in a Chinese school.
Other artists in the test is discussed Francis Wong. He is a saxophonist, who also has a number of influences from jazz to Afro-American and other U.S. jaz. But he called his own style by introducing Taiko Drum Beats falsified. They are clearly Chinese. The kind of music instrument he uses shows that he has a mixed heritage, he mainly plays the saxophone, which is a typical American.
Wong musical performance presented further in Asian society, he founded the group and he has created. He was also a reward for the efforts he has received from the Asian American music made by the Rockefeller Foundation and other stations. The artist has tried to make his music, social perspectives and policies in his time.
These last two artists both have different ideologies and styles. However, there are two similarities between them. In particular, the two merging Asian and American influences in the process of innovation. Second, they play their music to bring their own ideologies and principles expressed.
Reference
Jon Jang (2002): To the Max; http://www. jonjang. com on June 2, 2008 has reached
Jon Jang Performances (2002): Jon Jang Biography Retrieved from http://www. jonjang. com on June 2, 2008 has reached
Bay Area Improvisers Network (2007): Francis Wong, retrieved from http://www. bayimproviser. com / 2 June 2008 reached
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