The Netanya Tigers (Hebrew: ????? ???????) is an Israeli baseball team from Netanya in the Israel Baseball League.
The Tigers finished the inaugrual 2007 season in fourth place, 19-21 (.475), and were defeated by the Bet Shemesh Blue Sox in the semifinals of the 2007 championship, 6-3.
Contents
1History
2Stadium
3Update
4Roster
5External links
6Footnotes
History
The team’s Manager is Israeli Ami Baran, who was originally from Chicago.
The first player selected by the Tigers in the inaugural 2007 draft was outfielder Dan Rootenberg. He is a former Midwood High School and Binghamton University left-handed hitting outfielder, who hit .407 for Binghamton during his senior year, garnering All-SUNYAC and All-State honors, played in the Frontier League, the Swiss professional league, and for the Pleasantville Red Sox, and in 2006 batted .351 in the Westchester Rockland Wood Bat League. The first pitcher drafted by the Tigers was right-handed 6′5″ pitcher Leon Feingold, who pitched for the State University of New York at Albany 1990-1994, the Cleveland Indians system from 1994-1995, the independent Atlantic League in 1999, and also played for the Pleasantville Red Sox. Both Rootenberg and Feingold were among the group of four players first signed by the League.
Stadium
Located at the Sportek Baseball Field in Tel Aviv, due to a lack of appropriate facilities in Netanya.
Update
For the first week of the season the Tigers did not have a home field, due to stadium construction delays in Tel Aviv. However, Sportek Stadium opened in mid-July 2007 at the intersection of Ibn Gvirol and Rokach Streets in Tel Aviv, and is home to both the Netanya Tigers and the Tel Aviv Lightning.
Roster
Netanya Tigers roster v•d•e
Active (25-man) roster
Coaches/Other
Starting rotation
1Ryoju Kihara
2Matt Comiter
4Fabian Armenta
12Julio Guerrero
17Justin Prinstein
19Mike Kerfeld
25Shlomo Lipetz
26Rafael Rojano
45Leon Feingold
Bullpen
Currently unknown
† 15-day disabled list Roster updated 08.03.2007 Transactions
Catchers
9Ophir Katz
15Michael Ibbotson
24Sam Faeder
Infielders
5Ryan Forsythe
8Hector De Los Santos
11Josh Eichenstein
14Ramon Rodriguez
16Ty Eriksen
22Amit Kurz
Outfielders
3Dan Rootenberg
7Josh Doane
10Ben Engelhart
21Bryan Pinchuk
Designated hitters
Currently unknown
Manager
23Ami Baran
Coaches
15Michael Ibbotsen
Suspended list
Currently vacant
External links
Official site of the Netanya Tigers
Netanya Press Link
Footnotes
^“First Player Draft in IBL History Yields Bumper Crop” (in English) (HTML). IsraelBaseballLeague.com. http://www.israelbaseballleague.com/news/pressreleases/index.html?article_id=24. Retrieved 2007-04-29.
Other countries · Atlas Politics portal view•talk•edit
The Cortes Generales (Spanish for General Courts or Cortes Españolas, Spanish Courts) is the legislature of Spain. It is a bicameral parliament, composed of the Congress of Deputies (the lower house) and the Senate (the upper house). The Cortes has power to enact any law and to amend the constitution. Moreover, the lower house has the power to confirm and dismiss the President of the Government, commonly known in English language publications as ‘prime minister’. However, because Spain is a European Union (EU) member state, it shares its authority with the council and parliament of the EU in certain legislative areas prescribed by treaties to which Spain is a party.
Contents
1History of the Cortes
1.1Origins: the Feudal Age (8th-12th centuries)
1.2The rise of the bourgeoisie (12th-15th centuries)
1.3The Catholic Monarchs (15th century)
1.4The Imperial Cortes (16th-17th centuries)
1.5Cortes in the Realms of Aragon and Navarre
1.6Cádiz Cortes (1808-14) and the Three Liberal Years (1820-23)
1.7The First Republic Parliament (1873–1874)
1.8The Restoration Cortes (1874–1930)
1.9The Second Republic Parliament (1931–1939)
1.10The Cortes Generales under the Franco regime (1939–1978)
1.11The Cortes today (1978 Constitution)
2See also
3References
4External links
History of the Cortes
Origins: the Feudal Age (8th-12th centuries)
The system of Cortes arose in the Middle Ages as part of feudalism. A Corte was an advisory council made up of the most powerful feudal lords closest to the king. The Cortes of the Kingdom of León date from 1188 AD, and formed part of the first Spanish government with some claim to being representative.The Cortes of León were the first parliamentary body in Western Europe (John Keane, “The life and death of Democracy”) From 1230, the Cortes of Leon and Castile were merged, though the Cortes’ power was decreasing. Prelates, nobles and commoners remained separated in the three estates within the Cortes. The king had the ability to call and dismiss the Cortes, but, as the lords of the Cortes headed the army and controlled the purse, the King usually signed treaties with them to pass bills for war at the cost of concessions to the lords and the Cortes.
The rise of the bourgeoisie (12th-15th centuries)
With the reappearance of the cities near the 12th century, a new social class started to grow: people living in the cities were neither vassals (servants of feudal lords) nor nobles themselves. Furthermore, the nobles were experiencing very hard economic times due to the Reconquista; so now the bourgeoisie (Spanish burguesía, from burgo, city) had the money and thus the power. So the King started admitting representatives from the cities to the Cortes in order to get more money for the Reconquista. The frequent payoffs were the Fueros, grants of autonomy to the cities and their inhabitants. At this time the Cortes already had the power to oppose the King’s decisions, thus effectively vetoing them. In addition, some representatives (elected from the Cortes members by itself) were permanent advisors to the King, even when the Cortes was not.
The Catholic Monarchs (15th century)
Isabella I of Castile and Ferdinand II of Aragon, the Catholic Monarchs, started a specific policy to diminish the power of the bourgeoisie and nobility. They greatly reduced the powers of the Cortes to the point where they simply rubberstamped the monarch’s acts, and brought the nobility to their side. One of the major points of friction between the Cortes and the monarchs was the power of raising and lowering taxes. It was the only matter that the Cortes had under some direct control; when Queen Isabella wanted to fund Christopher Columbus’s trip, she had a hard time battling with the bourgeoisie to get the Cortes’ approval.
The Imperial Cortes (16th-17th centuries)
The role of the Cortes during the Spanish Empire was mainly to rubberstamp the decisions of the ruling monarch. However, they had some power over economic and American affairs, especially taxes. The Siglo de oro, Spanish Golden Age of literacy, was a dark age in Spanish politics: Netherlands declared itself independent and started a war, while some of the last Habsburg monarchs did not rule the country, leaving this task in the hands of viceroys governing in their name, the most famous being the Count-Duke of Olivares, Philip IV’s viceroy. This allowed the Cortes to become more influential, even when they did not directly oppose the King’s decisions (or viceroys’ decisions in the name of the King).
Cortes in the Realms of Aragon and Navarre
A meeting of the Catalan Cortes in the 15th century. Spain was de facto’ unified when Charles I (V of the Holy Roman Empire) assumed the thrones of both Castile and Aragon in 1516; the different territories of the Spanish monarchy retained some limited autonomy and were not fully centralized until its first modern Constitution was passed in 1812
The states of the Crown of Aragon (Aragon, Catalonia and Valencia) and the Kingdom of Navarre were self-governing entities separate from Castile, until the Nueva Planta Decrees of 1707 abolished this autonomy and united Aragon with Castile in a centralised Spanish state. The abolition in the realms of Aragon was completed by 1716, whilst Navarre retained its autonomy until the 1833 territorial division of Spain. It is the only of the Spanish territories whose current status in the Spanish state is legally linked with the old Fueros: its Statute of Autonomy specifically cites them and recognizes their special status, while also recognizing the supremacy of the Spanish Constitution.
A Cortes (or Corts in Catalonia and Valencia) existed in each of Aragon, Catalonia, Valencia and Navarre. It is thought that these legislatures exercised more real power over local affairs than the Castilian Cortes did. Executive councils also existed in each of these realms, which were initially tasked with overseeing the implementation of decisions made by the Cortes. However, throughout the rule of theHabsburg and Bourbon dynasties the Crown pressed for more centralization, enforcing an unitary position in foreign affairs and empowering Councils outside the control of the Cortes of the several Kingdoms. Thus, the Cortes in Spain did not develop towards a parliamentary system as in the British case, but towards the mentioned rubberstamping of royal decrees. Nevertheless, from time to time the Cortes tried to assert their control over budgetary issues, with varying grades of success.
Cádiz Cortes (1808-14) and the Three Liberal Years (1820-23)
Cádiz Cortes operated as a government in exile. France under Napoleon had taken control of most of Spain during the Peninsular War after 1808. The Cortes found refuge in the fortified, coastal city of Cádiz. General Cortes were assembled in Cádiz, but since many provinces could not send representatives due to the French occupation, substitutes were chosen among the people of the city - thus the name Congress of Deputies. Liberal factions dominated the body and pushed through the Spanish Constitution of 1812. Ferdinand VII, however, tossed it aside upon his restoration in 1814 and pursued conservative policies, making the constitution an icon for liberal movements in Spain. Many military coups were attempted, and finally Col. Rafael del Riego’s one succeeded and forced the King to accept the liberal constitution, which resulted in the Three Liberal Years (Trienio Liberal). The monarch not only did everything he could to obstruct the Government (vetoing nearly every law, for instance), but also asked many powers, including the Holy Alliance, to invade his own country and restore his absolutist powers. He finally received a French army (The Hundred Thousand Sons of St. Louis) which only met resistance in the liberal cities, but easily crushed the National Militia and forced many liberals to exile to, ironically, France. In his second absolutist period up to his death in 1833, Ferdinand VII was more cautious and did not try a full restoration of the Ancien Regime.
The First Republic Parliament (1873–1874)
When the monarchy was overthrown in 1873, the King of Spain was forced into exile. The Senate was abolished because of its royally appointed nature. A republic was proclaimed and the Congress of Deputies members started writing a Constitution, supposedly that of a federal republic, with the power of Parliament being nearly supreme (see parliamentary supremacy, although Spain did not use the Westminster system). However, due to many problems (mainly illiteracy of the people) Spain was not ready to become a republic; after several crises the republic collapsed, and the monarchy was restored in 1874.
The Restoration Cortes (1874–1930)
The regime just after the First Republic is called the Restoration. It was formally a constitutional monarchy, with the monarch as a rubberstamp to the Cortes’ acts but with some reserve powers, such as appointing and dismissing the Prime Minister and appointing senators for the new Senate, remade as an elected House.
Soon after the Soviet revolution (1917), the Spanish political parties started polarizing, and the left-wing PCE and PSOE blamed the Government for supposed election fraud in small towns (caciquismo), which was incorrectly supposed to have been wiped out in the 1900s by the failed regenerationist movement. In the meantime, spiralling violence started with the murders of many leaders by both sides. Deprived of those leaders, the regime entered a general crisis, with extreme police measures which led to a dictatorship (1921–1930) during which the Senate was again abolished.
The Second Republic Parliament (1931–1939)
The dictatorship, now ruled by Admiral Aznar-Cabañas, called for local elections. The results were overwhelmingly favorable to the monarchist cause nationally, but most provincial capitals and other sizable cities sided heavily with the republicans. This was interpreted as a victory, as the rural results were under the always-present suspicion of caciquismo and other irregularities while the urban results were harder to influence. The King left Spain, and a Republic was declared on April 14, 1931. The Second Spanish Republic was established as a presidential republic, with an unicameral Parliament and a President of the Republic as the Head of State. Among his poweres were the appointment and dismissal of the Prime Minister, either on the advice of Parliament or just having consulted it before, and a limited power to dissolve the Parliament and call for new elections. The first term was the constituent term charged with creating the new Constitution, with the ex-monarchist leader Niceto Alcalá Zamora as President of the Republic and the Jacobin leader Manuel Azaña as Prime Minister. The election gave a majority in the Cortes and thus, the Government, to a coalition between Azaña’s party and the PSOE. A remarkable deed is universal suffrage, allowing women to vote, a provision highly criticized by socialist leader Indalecio Prieto, who said the Republic had been backstabbed. Also, for the second time in Spanish history, some regions were granted autonomous governments within the unitary state. Many on the extreme right rose up with General José Sanjurjo in 1932 against the Government’s social policies, but the coup was quickly defeated.
The elections for the second term were held in 1933 and won by the coalition between the Radical Party (center) and the CEDA (right). Initially, only the Radical Party entered the Government, with the parliamentary support of the CEDA. However, in the middle of the term, several corruption scandals (among them the Straperlo affair) sunk the Radical Party and the CEDA entered the Government in 1934. This led to uprisings by some leftist parties that were quickly suffocated. In one of them, the left wing government of Catalonia, which had been granted home rule, formally rebelled against the central government, denying its power. This provoked the dissolution of the Generalitat de Catalunya and the imprisonment of their leaders. The leftist minority in the Cortes then pressed Alcalá Zamora for a dissolution, arguing that the uprising were the consequence of social rejection of the right-wing government. The President, a former monarchist Minister wary of the authoritarism of the right, dissolved Parliament.
The next election was held in 1936. It was hotly contested, with all parties converging into three coalitions: the leftist Popular Front, the right-winged National Front and a Centre coalition. In the end, the Popular Front won with a small edge in votes over the runner-up National Front, but achieved a solid majority due to the new electoral system introduced by the CEDA government hoping that they would get the edge in votes. The new Parliament then dismissed Alcalá-Zamora and installed Manuel Azaña in his place. During the third term, the extreme polarisation of the Spanish society was more evident than ever in Parliament, with confrontation reaching the level of death threats. The already bad political and social climate created by the long term left-right confrontation worsened, and many right-wing rebellions were started. Then, in 1936, the Army’s failed coup degenerated into the Spanish Civil War, putting an end to the Second Republic.
The Cortes Generales under the Franco regime (1939–1978)
Attending to his words, Francisco Franco’s intention was to replace the unstable party system with an “organic democracy”, where the people could participate directly in the nation’s politics without any parties.
During the period 1939 to 1942, the legislature of Spain worked essentially without constitution, with the 100 member National Council of the Falange (similar to the politburo of the CPSU or the Grand Council of Fascism in Italy) replacing the General Assembly for a limited time. The Organic law of 1942 effectively formed a de facto dictatorship, establishing a unicameral legislature (the Congress of Deputies, or Legislative Assembly), made up of more than 400 “representatives” (Spanish: procuradores, singular procurador), with a majority to be appointed by the Falangist Party. There was little democracy during this period, but there was the possibility of referendums, where only the family heads (term that included, anyway, married women) allowed to vote.
The Cortes today (1978 Constitution)
The Cortes are a bicameral parliament composed of a lower house (Congreso de los Diputados, congress of deputies) and an upper house (Senado, senate). Although they share legislative power, the Congress holds the power to ultimately override any decision of the Senate by a sufficient majority (usually absolute majority or three fifths majority).
The Congress is composed of 350 deputies (although that figure may change in the future as the constitution establishes a maximum of 400 and a minimum of 300) directly elected by universal suffrage approximately every four years.
The Senate is partly directly elected (four senators per province as a general rule) and partly appointed (by the legislative assemblies of the autonomous communities, two for each community and another one for every million inhabitants in their territory). Although the Senate was conceived as a territorial upper house, it has been argued by nationalist parties and the Socialist Party that it doesn’t accomplish such a task. Proposals to reform the Senate have been discussed for at least ten years as of November 2007.
See also
List of Presidents of Cortes (Spain)
References
^ The President of the Government is constitutionally nominated by the king, then once this nomination is confirmed by the Cortes, the monarch officially appoints the President of the Government.
O’Callaghan, Joseph F. The Cortes of Castile-León, 1188-1350, 1989.
Constitución Española, Título III, De las Cortes Generales, 1978
PFC Neftchi
Rostelmash Rostov
PFC Neftchi
FK Shamkir
Machine Sazi Tabriz F.C.
FK Khazar Lenkoran
FK Olimpik Baku
FC Inter Baku
13 (2)
41 (8)
23 (13)
35 (22)
National team2
1997–2007
Azerbaijan
19 (1)
1 Senior club appearances and goals
counted for the domestic league only and
correct as of July 2009. 2 National team caps and goals correct
as of 23 March 2009.
* Appearances (Goals)
Khagani Nuraddin oglu Mammadov (born September 29 1976, Masis, Armenia) is an Azerbaijani footballer (striker) playing currently for FC Inter Baku. Mamdeov received 18 international caps for the Azerbaijan national football team, scoring one goal. He scored the most goals in Azerbaijani Premier League with FC Inter Baku in 2007/2008 season.
This biographical article relating to Azerbaijani football is a stub. You can help Wikipedia by expanding it. v•d•e
Retrieved from “http://en.wikipedia.org/wiki/Khagani_Mammadov”
Categories: 1976 births | Living people | Azerbaijani footballers | Azerbaijan international footballers | Association football forwards | PFC Neftchi players | Expatriate footballers in Iran | Machine Sazi Tabriz players | FC Rostov players | FC Inter Baku players | FK Khazar Lankaran players | Azerbaijani football biography stubs
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
Languages
Polski
???????
This page was last modified on 6 March 2010 at 04:51.
Roman W. Prezioso, Jr. is a West Virginia state senator representing the 13th senatorial district which comprises parts of Marion and Monongalia counties. He is a Democrat. As chairman of the Senate Health & Human Resources Committee, he is one of the most powerful figures in the West Virginia Legislature.
Contents
1Background
2Service
3Committee memberships
4See also
5External links
Background
Roman Prezioso was born on June 29, 1949. He had been an educator and administrator prior to his election to public office. He lives in Fairmont, West Virginia.
Service
Prior to his election to the West Virginia Senate, he was a delegate in the West Virginia House of Delegates from 1989 to 1996. He has served in the Senate since 1997.
Select Committee A - Flooding and Railroad Issues Chair
Joint Committee on Technology Chair
Finance Subcommittee A
Joint Commission on Economic Development
Select Committee C - Pharmaceutical Availability and Affordability
Joint Standing Committee on Finance
Legislative Rule-Making Review Committee
See also
List of members of the 79th West Virginia Senate
External links
West Virginia Legislature
This article about a West Virginia politician is a stub. You can help Wikipedia by expanding it. v•d•e
Retrieved from “http://en.wikipedia.org/wiki/Roman_W._Prezioso,_Jr.”
Categories: American Roman Catholic politicians | West Virginia State Senators | Living people | West Virginia Democrats | West Virginia politician stubs
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
This page was last modified on 15 February 2010 at 01:07.
Tamagushi(???, literally “jewel skewer”) is a form of Shinto offering made from a sakaki-tree branch decorated with shide strips of washi paper, silk, or cotton. At Japanese weddings, funerals, miyamairi and other ceremonies at Shinto shrines, tamagushi are ritually presented to the kami (spirits or gods) by parishioners or kannushi priests.
Contents
1Linguistic history
2Etymology
3The Ehime lawsuit
4References
5External links
Linguistic history
The Japanese word tamagushi is usually written with the kanjitama ? “jade; gem; jewel; precious; ball; bead” and kushi ? “string together; skewer; spit; stick”, or sometimes written ??? with hiragana since the official T?y? kanji do not include ?.
The earliest recorded transcription of tamagushi is ??, using kuji ? “bamboo slip; (divination) lot; written oracle; raffle; lottery” instead of kushi. The (ca. 720 CE) Nihon Shoki “Chronicles of Japan”, which repeatedly mentions a 500-branched masakaki ?? “true sakaki” tree (tr. Aston 1896:43, 47, 121), is the locus classicus for tamagushi ??.
A kannushi holding a tamagushi
This mytho-history records a legend that when the sun-goddess Amaterasu got angry with her brother Susano’o and closed the door on the “Rock-cave of Heaven”, the gods decorated a giant sakaki tree in order to lure the sun out of the darkness.
Then all the Gods were grieved at this, and forthwith caused Ama no nuka-do no Kami, the ancestor of the Be of mirror-makers, to make a mirror, Futo-dama, the ancestor of the Imibe , to make offerings, and Toyo-tama, the ancestor of the Be of jewel-makers, to make jewels. They also caused Yama-Tuschi to procure eighty precious combs of the five-hundred-branched true sakaki tree, and Nu-dzuchi to procure eighty precious combs of the five-hundred-branched Suzuki grass. (tr. Aston 1896:47)
This “precious combs” translation derives from tama ? (tr. “Toyo-tama” and “jewels”) andkushi ? “comb”, which is a Nihon Shoki graphic variant of kuji ? in the goddess named Tamakushi Hime ??? (tr. “jewel-comb” Aston 1896:62).
The (ca. 645-760 CE) Man’y?sh? “Myriad Leaves Collection” does not use the word tamagushi but one poem (tr. Pierson 1929-1938:199) describes making it with paper mulberry: “I tie pure white strands of mulberry to the branches of the sacred tree”.
Some common tamagushi collocations include:
tamagushi o sasageru ?????? “offer a tamagushi“
tamagushi h?n? ???? “dedicate/offer tamagushi “
tamagushi-ry? ??? ” offerings for tamagushi “?
Tamagushi has an uncommon secondary meaning of “name for the sakaki tree”. The (ca. 1439 CE) Shin Kokin Wakash? “New Collection of Ancient and Modern Poems” (tr. Carr 1995:8) contains the first occurrence, “Holding the ornamented tamagushi leaves”.
The sakaki (Cleyera japonica) is a flowering evergreen tree, which is considered sacred in Japanese mythology. In the present day, Shinto shrines often plant it as a sakaiki ?? “boundary tree” to demarcate sanctified space. Sakaki is written with the kanji ?, which graphically combinesboku or ki ? “tree; wood” and shin or kami ? “spirit; god”, compare shinboku ?? “sacred tree”. Carr (1995:11) characterizes ? as “a doubly exceptional logograph”; it is an ideograph “character representing an idea” (which is an infrequent type of logograph “character representing a word”, see Chinese character classification), and it is a kokuji ?? “national character; Japanese-made character” (rather than a typical kanji ?? “Chinese character” loanword).
Etymology
The etymology of tamagushi, like many Japanese words, is uncertain. Despite consensus that -gushi ? means “skewer; stick” (of sakaki), the original signification of tama- ? “jade; jewel; ball” remain obscure. The Kokugaku scholar Motoori Norinaga (1730-1801) suggested an etymon of tamukegushi ???? “hand-offered stick/skewer”. The Shinto theologian Hirata Atsutane (1776-1843) proposed “bejeweled stick/skewer”, with tama ? referring to decorative “jewels” (cf. tama ? “jewel; pearl; bead”). The famous ethnologist Kunio Yanagita (1875-1962) hypothesized “spiritual stick/skewer”, with tama ? meaning tama ? “spirit; soul” (believed to be shaped like a tama ? “ball; sphere; globe”).
The Ehime lawsuit
Tamagushi was central to the “Ehime-ken Yasukuni jinj? tamagushi sosh?” ??????????? “Ehime Prefecture’s Yasukuni Shrine tamagushi lawsuit” over the constitutional separation of state and religion (see Nelson 1999 or Morimura 2003 for details).
Although Article 20 of the Constitution of Japan prohibits the state establishment of religion and Article 89 forbids expenditure of public money “for the use, benefit, or maintenance of any religious institution”, the Ehime Governor officially paid for tamagushi-ry? ??? “tamagushi offerings” presented at several Shinto shrines. In 1982, a group of prefectural residents sued his office for having misappropriated ¥ 166,000 (approximately US $1900) in public funds. On March 17, 1989, the Matsuyama District Court ruled the tamagushi offerings were unconstitutional and ordered the defendants to repay the prefecture. On May 12, 1992, the Takamatsu High Court overturned the Matsuyama decision, reasoning that the Shinto offerings were constitutionally allowed within the realm of “social protocol”. On April 2, 1997, the Supreme Court of Japan overturned that decision and made a landmark ruling that tamagushi offerings were unconstitutional.
The question of what constitutes support of State Shinto remains controversial. For instance, the reformist politician Ichir? Ozawa disagrees with the court ruling.
There are some instances where the values specified in the constitution are not in accord with the Japanese traditional culture. The Shinto rite of worshipping one’s ancestors is very different from the idea of religion in the West. The ‘Tamagushir? Decision’ of the Supreme Court against Ehime Prefecture, which declared that making donations to purchase tamagushi was against the Constitution based on the religious freedom of Article 20, would not strike the Japanese (who believe in many gods) as anti-constitutional. Perhaps it would be better to impose restrictions on religious freedom only in order to suppress the development of state-sponsored religious fascism. (2001:169)
References
Aston, William George, tr. 1896. Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697. Kegan Paul. 1972 Tuttle reprint.
Carr, Michael. 1995. “Sacred Twig and Tree: Tamagushi and Sakaki in Japanese-English Dictionaries”, The Review of Liberal Arts ?????????? 89:1-36.
Morimura Susumu. 2003. “Freedom of Religion and the Separation of State and Religion: A Japanese Case Study”, Hitotsubashi Journal of Law and Politics, 31: 23-30.
Nelson, John. 1999. “Shifting Paradigms of Religion and the State: Implications of the 1997 Supreme Court Decision for Social, Religious and Political Change,” Modern Asian Studies 33:797-814
Ozawa Ichir?. 2001. “A Proposal for Reforming the Japanese Constitution (1999)”, in Japan’s Contested Constitution: Documents and Analysis, ed. by Glenn D. Hook and Gavan McCormack, 161-176, Routledge.
Pierson, Jan L., tr. 1929-1938. The Many?sh?. 5 vols. E.J. Brill.
External links
Tamagushi, Basic Terms of Shinto
(Japanese) ???????????????, How to offer tamagushi at a Shinto funeral
(Japanese) ???????, Shinto ceremonial implements and tamagushi
Retrieved from “http://en.wikipedia.org/wiki/Tamagushi”
Categories: Japanese religions terms | Shinto
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
Languages
???
This page was last modified on 11 February 2010 at 05:00.
* Senior club appearances and goals counted for the domestic league only and correct as of 02:33, 30 December 2009 (UTC).
† Appearances (Goals).
Daryl McMahon (born 10 October 1983 in Dublin) is an Irish footballer who joined Farnborough in August 2009, after being released by Cambridge United in July 2009.
Contents
1Playing career
2Honours
3References
4External links
Playing career
McMahon began his career as a trainee with West Ham United, turning professional in August 2002. In need of first team experience, he joined League Two Torquay United on loan in March 2004, making his debut as a late substitute for Martin Gritton in the 2-2 home draw with Yeovil Town on 3 April 2004. However, that was to be his only game for the Gulls as he returned to West Ham two weeks early, seemingly at his own request.
He was released by West Ham at the end of the 2003-04 season, joining Martin Foyle’s League One Port Vale in August 2004. He struggled to establish himself at Vale Park and dropped down a division to join Leyton Orient on a free transfer in November 2004, after rejecting a further short-term deal at Port Vale. Impressing on a non-contract basis he signed a six month deal with Orient in January 2005.
He played 33 games of the O’s promotion winning campaign of 2005–06 but fell out of favour the following season and joined Notts County, back in League Two, on loan in November 2006. After his loan spell finished the following January, McMahon joined Conference side Stevenage Borough. A fairly regular member of the first team at Broadhall Way, he was a sub in the FA Trophy final at Wembley. In May 2008 he signed a two year contract with the club.
On 26 November 2008, he was transfer listed by Borough, along with teammate John Martin, and in the 2009 January transfer window McMahon agreed to join fellow Conference side Cambridge United. He made his debut in a 4-1 win over Woking at the Abbey Stadium, but struggled to hold down a place in the side. He was an unused substitute in the 2009 Conference National play-off final, as he watched his United teammates lose their second play-off final in as many years. On 16 July 2009, caretaker Cambridge United manager, Paul Carden, announced that McMahon has left the club.
Honours
with Leyton Orient
Football League Two 3rd place promotion winner: 2005-06
with Stevenage Borough
FA Trophy winner: 2006-07
with Cambridge United
Conference National play-off finalist: 2009
References
^“Gulls snap up McMahon”. BBC Sport. 4 March, 2004. http://news.bbc.co.uk/sport1/hi/football/teams/t/torquay_united/3564619.stm. Retrieved 2009-06-15.
^“McMahon ready to prove worth”. BBC Sport. 25 March, 2004. http://news.bbc.co.uk/sport1/hi/football/teams/t/torquay_united/3569641.stm. Retrieved 2009-06-15.
^“McMahon returns to Hammers”. BBC Sport. 6 April, 2004. http://news.bbc.co.uk/sport1/hi/football/teams/w/west_ham_utd/3605563.stm. Retrieved 2009-06-15.
^“Vale hand chance to Magpie McClen”. BBC Sport. 25 November, 2004. http://news.bbc.co.uk/sport1/hi/football/eng_div_2/4043151.stm. Retrieved 2009-06-15.
^“McMahon signs new deal at Orient”. BBC Sport. 12 January, 2005. http://news.bbc.co.uk/sport1/hi/football/teams/l/leyton_orient/4168049.stm. Retrieved 2009-06-15.
^“County take McMahon on loan deal”. BBC Sport. 13 November 2006. http://news.bbc.co.uk/sport1/hi/football/teams/n/notts_county/6143796.stm. Retrieved 2009-06-15.
^“Notts agree duo’s loan extensions”. BBC Sport. 15 December 2006. http://news.bbc.co.uk/sport1/hi/football/teams/n/notts_county/6184409.stm. Retrieved 2009-06-15.
^“Stevenage snap up O’s midfielder”. BBC Sport. 31 January 2007. http://news.bbc.co.uk/sport1/hi/football/teams/s/stevenage/6318897.stm. Retrieved 2009-06-15.
^“Stevenage sign defender Anaclet”. BBC Sport. 13 May 2008. http://news.bbc.co.uk/sport1/hi/football/teams/s/stevenage/7398824.stm. Retrieved 2009-06-15.
^“Borough duo put on transfer list”. BBC Sport. 26 November 2008. http://news.bbc.co.uk/sport1/hi/football/teams/s/stevenage/7751030.stm. Retrieved 2009-06-15.
^“McMahon joins U’s for the season”. BBC Sport. 13 January 2009. http://news.bbc.co.uk/sport1/hi/football/teams/c/cambridge_utd/7826545.stm. Retrieved 2009-06-15.
^msvenables (12/01/2009). “MCMAHON MOVES TO CAMBRIDGE”. stevenageborofc.com. http://stevenageborofc.com/index_news_det.php?uk_newsPage=3&news_id=1070. Retrieved 2009-06-15.
^“Brabin praises Bolland response”. BBC Sport. 19 January 2009. http://news.bbc.co.uk/sport1/hi/football/teams/c/cambridge_utd/7837101.stm. Retrieved 2009-06-15.
^“U’s squad stunned by Brabin exit”. BBC Sport. 16 July 2009. http://news.bbc.co.uk/sport1/hi/football/teams/c/cambridge_utd/8154864.stm. Retrieved 2009-07-16.
External links
Daryl McMahon career stats at Soccerbase
Retrieved from “http://en.wikipedia.org/wiki/Daryl_McMahon”
Categories: 1983 births | Living people | People from Dublin (city) | Republic of Ireland association footballers | West Ham United F.C. players | Torquay United F.C. players | Port Vale F.C. players | Leyton Orient F.C. players | Notts County F.C. players | Stevenage Borough F.C. players | Cambridge United F.C. players | Farnborough Town F.C. players | Conference National players | The Football League players
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
This page was last modified on 15 February 2010 at 11:49.
Text is available under the Creative Commons Attribution-ShareAlike License;
additional terms may apply.
See Terms of Use for details.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Member of the Missouri Senate
from the 6th district
In office
2003-
Born
March 7, 1955 (1955-03-07)(age 54)
Jefferson City, Missouri
Political party
Republican
Spouse(s)
Kimberly
Religion
Roman Catholic
Carl M. Vogel is a Republican member of the Missouri Senate, representing the 6th District since 2003. Previously he was a member of the Missouri House of Representatives from 1991 through 2000.
He graduated from Helias High School and later from the University of Missouri with a B.A. degree. He and his wife Kimberly have two children, Jacob and Kristen.
He is currently the Manager of the Jefferson City Coca-Cola Bottling Company. He is a member of the St. Joseph Cathedral, the Lions Club, the Jaycees, the Knights of Columbus, and the Rotary Club.
He has previously served as the Jefferson City Housing Authority Commissioner. He is currently the chair of the Way and Means Committee, vice chair of the Small Business, Insurance and Industrial Relations Committee, and a member of the Economic Development, Tourism and Local Government Committee.
References
Official Manual, State of Missouri, 2005-2006. Jefferson City, MO:Secretary of State, 2005.
External links
Missouri Senate - Carl M. Vogel ‘official government website
1: Jim Lembke (R)
2: Scott Rupp (R)
3: Kevin Engler (R)
4: Vacant
5: Robin Wright-Jones (D)
6: Carl Vogel (R)
7: Jane Cunningham (R)
8: Matt Bartle (R)
9: Yvonne Wilson (D)
10: Jolie Justus (D)
11: Victor Callahan (D)
12: Brad Lager (R)
13: Timothy Green (D)
14: Rita Heard Days (D)
15: Eric Schmitt (R)
16: Frank Barnitz (D)
17: LuAnn Ridgeway (R)
solid #fdfdfd;padding:0px;;;;width:25%;;”>
18: Wes Shoemyer (D)
19: Kurt Schaefer (R)
20: Dan Clemens (R)
21: Bill Stouffer (R)
22: Ryan McKenna (D)
23: Tom Dempsey (R)
24: Joan Bray (D)
25: Robert Mayer (R)
26: John Griesheimer (R)
27: Jason Glennon Crowell (R)
28: Delbert Lee Scott (R)
29: Jack Goodman (R)
30: Norma Champion (R)
31: David Pearce (R)
32: Gary Nodler (R)
33: Chuck Purgason (R)
34: Charles W. Shields (R)
Republican (23) • Democratic (10) • Vacant (1)
This article about a Missouri politician is a stub. You can help Wikipedia by expanding it. v•d•e
Retrieved from “http://en.wikipedia.org/wiki/Carl_M._Vogel”
Categories: Missouri State Senators | Members of the Missouri House of Representatives | 1955 births | Living people | People from Jefferson City, Missouri | University of Missouri alumni | Missouri Republicans | Missouri politician stubs
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
This page was last modified on 2 December 2009 at 08:39.
This article has multiple issues. Please help improve the article or discuss these issues on the talk page.
It needs sources or references that appear in third-party publications. Tagged since May 2008.
It may contain original research or unverifiable claims. Tagged since May 2008.
An editor has expressed concern that it is unbalanced. Tagged since May 2008.
It mayhave been edited by a person who has a conflict of interest with the subject matter. Tagged since July 2008.
Sound design is the art and process of manipulating audio elements to achieve a desired effect. It is employed in a variety of disciplines including film, theatre, music recording, live music performance, and computer game software development. Sound design usually involves the manipulation of previously composed audio, and in some cases it may also involve the creative composition of new audio as well. A Sound Designer is one who practices the art of sound design.
Contents
1History
1.1Recorded sound
1.2Digital technology
2Film
3Theatre
3.1Technical vs. conceptual design
3.2Notable sound designers
3.3Professional organizations
4Music
5Awards
6See also
7External links
8References
History
Karel Dujardins, commedia dell’arte show, dated 1657
The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. At its earliest, it was used in religious practices for healing or just for fun. In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance.
Plays were performed in medieval times in a form of theatre called Commedia dell’arte, which used music and sound effects to enhance performances. The use of music and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off stage using devices such as bells, whistles, and horns. Cues would be written in the script for music and sound effects to be played at the appropriate time.
Italian Futurist composer Luigi Russolo built mechanical sound-making devices, called intonarumori, for Futurist theatrical and music performances starting around 1913. These devices were meant to simulate natural and manmade sounds, such as trains and bombs. Russolo’s treatise, The Art of Noises, is arguably the first written document on the use of abstract noise in the theatre; he might be called the grandfather of conceptual sound designers. After his death, his intonarumori were used in more conventional theatre performances to create realistic sound effects.
Recorded sound
Possibly the first use of recorded sound in the theatre was a phonograph playing a baby’s cry in a London theatre in 1890. Sixteen years later, Herbert Beerbohm Tree used recordings in his London production of Stephen Phillips’ tragedy NERO. The event is marked in the Theatre Magazine (1906) with two photographs; one showing a musician blowing a bugle into a large horn attached to a disc recorder, the other with an actor recording the agonizing shrieks and groans of the tortured martyrs. The article states: “these sounds are all realistically reproduced by the gramophone”. As cited by Bertolt Brecht, there was a play about Rasputin written in (1927) by Alexej Tolstoi and directed by Erwin Piscator that included a recording of Lenin’s voice. It would not be however until the 1950s, when Hollywood directors started directing Broadway productions, that sound design would start growing. Still, there was no sound designer in those plays; it was the stage manager’s duty to find the sound effects and an electrician played the recordings during performances. But even though the sound designer has basically assumed these roles, time and technology have not ruled out non-sound designers having a hand in sound production. For instance, since today’s audiences are savvier and can readily distinguish between live and recorded sounds, live backstage sound effects are still used (e.g. gun shots) by the stage manager (or assistant stage manager) for premium “aural illusion.”
Between 1980 and 1988, USITT’s first Sound Design Commissioner oversaw efforts of their Sound Design Commission to define the duties, responsibilities, standards and procedures which might normally be expected of a theatre sound designer in North America. This subject is still regularly discussed by that group, but during that time, substantial conclusions were drawn and he wrote a document which, although now somewhat dated, provides a succinct record of what was expected at that time. It was subsequently provided to both the ADC and David Goodman at the Florida USA local when they were both planning to represent sound designers in the 1990s.
Digital technology
MIDI and digital technology helped the field to evolve exponentially during the 1980s and 1990s. Features of computerized theatre sound design systems were recognized as being essential for live show control systems by Walt Disney World when they utilized systems of that type to control many facilities at their Disney-MGM Studios theme park, which opened in 1989. These features were incorporated into the MIDI Show Control (MSC) specification, ratified by the MIDI Manufacturers Association in 1991. The MIDI Show Control standard is an open, industry wide communications protocol through which all types of show devices may easily interact.
To create the MSC spec, Charlie Richmond headed the USITT MIDI Forum on their Callboard Network in 1990, which included developers and designers from the theatre sound and lighting industry from around the world. This Forum created the MIDI Show Control standard between January and September, 1990. This was ratified by the MIDI Manufacturers Association (MMA) in January 1991, and the Japan MIDI Standards Committee (JMSC) later that year, becoming a part of the standard MIDI specification in August, 1991. The first show to fully utilize the MSC specification was the Magic Kingdom Parade at Walt Disney World’s Magic Kingdom in September, 1991.
Also, the World Wide Web has greatly enhanced the ability of sound designers to acquire source material quickly, easily and cheaply. Nowadays, a designer can preview and download crisper, more “believable” sounds as opposed to toiling through time- and budget-draining “shot-in-the-dark” searches through record stores, libraries and “the grapevine” for (often) inferior recordings. In addition, software innovation has enabled sound designers to take more of a DIY (or “do-it-yourself”) approach. From the comfort of their home and at any hour, they can simply use a computer, speakers and headphones rather than renting (or buying) costly equipment or studio space and time for editing and mixing. This provides for faster creation and negotiation with the director.
Film
See also: Director of audiography, Sound effect, Sound editor, and Foley artist
In motion picture production, a Sound Designer is a member of a film crew responsible for some original aspect of the film’s audio track. In the American film industry, the title of Sound Designer is not controlled by any industry organization, unlike titles such Director or Screenwriter.
The terms sound design and Sound Designer were already in use in theatre and were introduced to the film world when Francis Ford Coppola directed Noel Coward’s Private Lives at the American Conservatory Theatre, where sound designer Charlie Richmond was resident, while the final cut of the The Godfather was being edited in 1972. In the original meaning of the title, as established in the 1970s by Coppola and Walter Murch, a sound designer is an individual ultimately responsible for all aspects of a film’s audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track. The title was first granted by Coppola to Murch for his work on the film Apocalypse Now, in recognition for his extraordinary contribution to that film. The position emerged in the same manner that Production Designer came in to being in the 1930s, when William Cameron Menzies made revolutionary contributions to the craft of art direction in the making of Gone with the Wind.
The person holding the position of sound designer is a principal member of the production staff, with creative authority equal to that of the film editor and director of photography. Several factors led to the promotion of sound design to this level:
Cinema sound systems became capable of high-fidelity reproduction, particularly after the adoption of Dolby Stereo. These systems were originally devised as gimmicks to increase theater attendance, but their widespread implementation created a content vacuum that had to be filled by competent professionals. Before stereo soundtracks, film sound was of such low fidelity that only the dialogue and occasional sound effects were practical. The greater dynamic range of the new systems, coupled with the ability to produce sounds at the sides or behind the audience, required more creativity.
Directors wanted to realize the new potentials of the medium. A new generation of filmmakers, the so-called “Easy Riders and Raging Bulls”—Martin Scorsese, Steven Spielberg, George Lucas, and others—were aware of the creative potential of sound and wanted to use it.
Filmmakers were inspired by the popular music of the era. Concept albums of groups such as Pink Floyd and The Beatles suggested new modes of storytelling and creative techniques that could be adapted to motion pictures.
New filmmakers made their early films outside the Hollywood establishment, away from the influence of film labor unions and the then rapidly-dissipating studio system.
As many new filmmakers worked in the San Francisco Bay Area, the strong meaning of film sound designer has become associated with films made there, and the production companies situated there, such as American Zoetrope, Lucasfilm Limited (and its subsidiary Skywalker Sound), and The Saul Zaentz Film Center.
The role of sound designer can be compared with the role of supervising sound editor; many sound designers use both titles interchangeably. The role of supervising sound editor, or sound supervisor, developed in parallel with the role of sound designer. The demand for more sophisticated soundtracks was felt both inside and outside Hollywood, and the supervising sound editor became the head of the large sound department, with a staff of dozens of sound editors, that was required to realize a complete sound job with a fast turnaround. It is far from universal, but the role of sound supervisor descends from the original role of the sound editor, that of a technician required to complete a film, but having little creative authority. Sound designers, on the other hand, are expected to be creative, and their role is a generalization of the other creative department heads.
Theatre
See also: Sound reinforcement system and Architectural acoustics
Sound design is one of the youngest fields in stagecraft, second only to the use of projection and other multimedia displays. The idea of sound design has been around since theatre started, although the first person to receive a credit as Sound Designer on the poster and in the programme alongside the lighting and scene designers was David Collison for the 59 Theatre Company Season at London’s Lyric Theatre, Hammersmith in 1959. The first person to be titled Sound Designer in Broadway theatre was Jack Mann for his work on Show Girl in 1963 , and for regional theatre to Dan Dugan at the American Conservatory Theatre (ACT), San Francisco in 1968. Since then the field has been growing rapidly. The term sound design was introduced in film when Francis Ford Coppola directed (and his father, Carmine Coppola, arranged the music for) a production of Private Lives at ACT, while the final cut of the film The Godfather was being edited in 1972.
Technical vs. conceptual design
There are two variants of theatrical sound design, technical and conceptual, which have overlapping functions. Often a single sound designer will perform both of these functions. Both variants were created during the 1960s. In practice, these terms are not used in job titles; most sound designers are titled Sound Designer regardless of the type of design practiced. Both the Technical Sound Designer and the Conceptual Sound Designer are tasked with ensuring that the sound and music are contributing constructively to the production and are in harmony with the work of the actors and other designers.
Technical sound design requires the sound designer to devise and implement a sound system that will fulfill the needs of the production. If a sound system is already installed in the performance venue, it is the sound designer’s job to tune the system for the best use for the given production using various methods including equalization, delay, volume, speaker and microphone placement, and this may include the addition of equipment not already provided. In conjunction with the director and musical director, if any, they also determine the use and placement of microphones for actors and musicians. A Technical Sound Designer ensures that the performance can be heard and understood by everyone in the audience, no matter how large the room, and that performers can hear everything they need to in order to do their job. Technical sound design is also called theatre sound system design by the United States Institute for Theatre Technology’s (USITT) Sound Design Commission.
Conceptual sound design is very different from technical sound design, but equally important. The designer must first read the play and talk to the production’s Director about what themes and messages they want to explore. It is here that, in conjunction with the director and possibly the composer, the designer decides what sounds he or she will use to create mood and setting of the play. He or she might also choose or compose specific music for the play, although the final choice typically lies with the director, who may want nothing but scene change music or, on the other extreme, will want ambient beds under every scene, such as Robert Woodruff of the American Repertory Theater or Bill Ball, Ellis Rabb and Jack O’Brien who were active at ACT and the Old Globe Theatre, San Diego, in the mid 1960s where Dan Dugan initially began his art. Many sound designers are accomplished composers, writing and producing music for productions as well as designing sound. Conceptual sound design is also called theatre sound score design by the USITT.
The development of audio technology, particularly over the last 20 years, has enabled Sound Designers to achieve more flexible, more complex, and less expensive designs that can be more easily integrated into the constantly changing nature of live performance. The influence of film and television on playwriting is seeing plays being written increasingly with shorter scenes in multiple locations, which is difficult to achieve using traditional scenic solutions but can be conveyed using sound. The development of film sound design is giving writers and directors a higher expectation and knowledge of sound design. Consequently Conceptual Sound Design is becoming the norm, and there are a number of prominent practitioners involved in long-term collaborations with directors, such as between Ann Bogart and Darron West in the Siti Company, where he is in rehearsal from the day one and sound is really another character of the play. On occasion, the director may be very hands-on and will tell the sound designer what sounds to use and where to play them. In such cases, the sound designer becomes little more than an audio editor, but this is increasingly rare. A Conceptual Sound Designer uses sound to enhance the audience’s experience by conveying specific emotion or information without using words.
Other audio positions in a production that may or may not be filled by the designer include that of the production engineer.
Notable sound designers
Some noted Sound Designers and/or Composers include Bobby Aitken, Paul Arditti, Mark Bennet, Jim Van Bergen, Michael Bodeen, John Bracewell, Andrew Bruce, Ross Brown, Steven Brown, David Budries, David Collison, Adam Cork, Jonathan Deans, Carolyn Downing, Obadiah Eaves, Bruce Ellman, Gregg Fisher, Gareth Fry, Jon Gottlieb, John Gromada, Paul Groothius, Peter Hylenski, Richard B. Ingraham, Abe Jacob (considered by many to be the father of modern Theatre Sound Design), Steve Canyon Kennedy, Norman Kern (known for five productions of The Woman in Black), Hans Peter Kuhn, John Leonard, Tom Mardikes, Tony Meola, Rob Milburn, Otts Munderloh, Joe Pino, Adrienne Quartly, Chris Shutt, Dan Moses Schreier, David Van Tieghem, Richard Thomas, Nancy Tobin, Darron West and Richard Woodbury.
Professional organizations
The union that represents theatrical non-Broadway sound designers in the United States is United Scenic Artists (USA) Local USA829 which is now integrated within IATSE. Theatrical Sound Designers in English Canada are represented by the Associated Designers of Canada (ADC) and in Québec by l’Association des professionnels des arts du Québec (APASQ). Sound Designers on Broadway working on productions falling under the League of American Theatre and Producers contracts (i.e. all Broadway theatrical productions) are represented by IATSE Local One, by virtue of Local One’s merger with IATSE Local 922, the former Theatrical Sound Designers local union. Local One maintains a binding contract with Broadway producers for work performed on Broadway shows.
Music
In contemporary music, especially rock music, ambient music, progressive rock, and similar genres, the record producer and recording engineer play important roles in the creation of the overall sound (or soundscape) of a recording, and less often, of a live performance. The record producer is chiefly responsible for extracting the best performance possible from the musicians and for making both musical and technical decisions about the instrumental timbres, arrangements, etc. On certain ambitious and complex recording projects, artists and producers have relied on sonic consultants, often credited as “sound designer”, to help them to create specific auditory effects, landscapes, or to ensure an overall consistency and quality of some of the (usually unconventional) sonic elements. In such arrangements, the producer may put almost all of his or her attention on managing the recording session and working closely with the musicians on their performances and interpretations of the material; the recording engineer may dedicate all of his or her time to capturing these performances on tape (or hard disk); the sound designer may then help to create the overall sound, the integration of recording technology with musical instrument technology, the presentation that is the phonographic equivalent of decisions in movie-making about what type of lens to use on the camera, whether or not to use soft focus, and what kind of lighting to use on a scene.
In applied research in electroacoustic and computer programming for contemporary music or electronic music, the Sound Designer is a specialist who is usually there to help the composer to do the electroacoustic portion of the composition. Often, the composer comes with an idea (concept + score) and the Sound Designer assists the composer with new technology and unique equipment. Examples include sound synthesis, interaction between acoustic instruments and computers, realization of a computer program in many different languages (often Max-MSP/Jitter), gesture capture with sensors or cameras, video treatment and interaction between video and sound. Historically, the Sound Designer was often called the “Musical Assistant”. Some of the many examples of research centers working with Sound Designers include Forum Neues Musiktheater of Stuttgart, IRCAM in Paris or synArt in Antibes.
Notable examples of sound design are the contributions of Michael Brook to the U2 album The Joshua Tree, George Massenburg to the Jennifer Warnes album Famous Blue Raincoat, Chris Thomas to the Pink Floyd album The Dark Side of the Moon, and Brian Eno to the Paul Simon album Surprise.
Awards
Sound designers have been recognized by awards organizations for some time, and new awards have emerged more recently in response to advances in sound design technology and quality. The Academy of Motion Picture Arts and Sciences recognizes the finest or most aesthetic sound design for a film with the Academy Award for Best Sound Editing. In 2007, the Tony Award for Best Sound Design was created to honor the best sound design in American theatre.
North American theatrical award organizations that recognize sound designers include these:
Dora Mavor Moore Awards
Drama Desk Awards
Helen Hayes Awards
Obie Awards
Tony Awards
Major British award organizations include the Olivier Awards.
See also
Director of audiography
Audio engineering
Musique concrète
External links
Articles, videos, how-to’s, and interviews about video game sound design
Learning Space dedicated to the Art of Sound Design
Kai’s Theater Sound Hand Book
Practical 10 Step Guide for young sound designers
References
^ Wiki link Prehistoric Music
^ Brazell, Karen (1999) Traditional Japanese Theater. Columbia University Press ISBN 0-231-10873-7
^ Kaye, Deena and Lebrecht, James (1992) Sound and Music For The Theatre. Back Stage Books, an imprint of Watson-Guptill Publications ISBN 0823076644
^ Booth, Michael R. (1991) Theatre In The Victorian. Cambridge University Press ISBN 0521348374
^ IBDB: The official source for Broadway Information
^ “Starting in 2007-08, Sound Designers Will Be Recognized by Tony Awards” http://www.playbill.com/news/article/108956.html
v•d•e
Stagecraft
Theatrical scenery
(Scene shop)
Fields
Set construction · Scenic painting · Scenic design · Technical direction
Film producer · Unit production manager · Production coordinator · Line producer · Film director · Assistant director · Casting director · Screenwriter · Production assistant · Script supervisor · Script coordinator · Location manager
Production
design
Production designer
Art
Art director · Scenic design · Illustrator
Sets
Set decorator
Hair and make-up
Make-up artist · Barber
Wardrobe
Costume designer
Props
Props master
Special effects
Special effects supervisor · Visual effects supervisor · Matte painter
Photography
Cinematographer/Director of photography
Camera
Camera operator · Focus puller · Clapper loader · Steadicam
Lighting
Gaffer · Best boy (electrical) · Lighting technician
Grip
Key grip · Best boy (grip) · Dolly grip · Grip
Sound
Director of audiography/Sound designer/Supervising Sound Editor
Production sound
Production sound mixer · Boom operator · Utility sound technician
Sound editing
Dialogue editor · Sound editor · Foley artist
Music
Sound editor · Re-recording mixer · Music supervisor · Composer
Post-production
Editorial
Film editor
Laboratory
Colorist
Visual effects
Visual effects editor · Compositor · Animator
Retrieved from “http://en.wikipedia.org/wiki/Sound_design”
Categories: Film crew | Film sound production | Stagecraft | Stage crew | Theatrical professions | Theatrical sound production | DesignHidden categories: Articles lacking reliable references from May 2008 | Articles that may contain original research from May 2008 | Wikipedia articles with possible conflicts of interest | Articles needing more viewpoints
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
Languages
Català
Deutsch
Español
Français
???
Português
Sámegiella
Sámegiella
This page was last modified on 23 February 2010 at 14:19.
Netanya
