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Many other 4AD artists of the time, including His Name Is Alive's Warren Defever, complained of the US management while maintaining praise for Ivo. It has also been said that Kozelek offered to release the album as a solo effort if the label didn't think it was a "true Red House Painters" recording, but this offer was also rebuffed.
The two pieces of copy-protection software at issue in the 2005–2007 scandal were included on over 22 million CDs [7] marketed by Sony BMG, the record company formed by the 2004 merger of Sony and BMG's recorded music divisions.
ISO 15489 Information and documentation—Records management is an international standard for the management of business records, consisting of two (2) parts: Part 1: Concepts and principles and Part 2: Guidelines. [1]
Aural Fixations is the fifth album from Canadian singer and guitarist Kim Mitchell.The album was released in 1992 and is certified gold in Canada. This is the first Kim Mitchell album (including the five Max Webster studio albums) that does not include songs co-written with Pye Dubois.
The records continuum model. The records continuum model (RCM) is an abstract conceptual model that helps to understand and explore recordkeeping activities. It was created in the 1990s by Monash University academic Frank Upward with input from colleagues Sue McKemmish and Livia Iacovino as a response to evolving discussions about the challenges of managing digital records and archives in the ...
Records management taxonomy is the representation of data, upon which the classification of unstructured content is based, within an organization. It may manifest itself as metadata in structured database fields or in folder structures represented to end users from a user interface within a system.
In music, ear training is the study and practice in which musicians learn various aural skills to detect and identify pitches, intervals, melody, chords, rhythms, solfeges, and other basic elements of music, solely by hearing.
The book Perfecting Sound Forever: An Aural History of Recorded Music, by Greg Milner, presents the loudness war in radio and music production as a central theme. [13] The book Mastering Audio: The Art and the Science, by Bob Katz, includes chapters about the origins of the loudness war and another suggesting methods of combating the war.