Wanted: Singers & Bands
Chicago, IL
Are you so talented as a back-up singer, solo singer, or singer songwriter that you constantly discover your-self saying, "If I could just get an opportunity to show the music and record producer industry my stuff I know I could get a record deal?" While shopping in your local neighborhood shopping mall do you commonly look at today's top celebrity singers, who have music CD s and albums on music store shelves, and say, "I could sing that song or I could dance, perform, and sing much better?" Well, are you prepared to "seize the moment" and put your popular music singing skills and talent as a performer to the test?
4 signup & registration information. This is happening near Chicago so if you can't
pay your way to Chicago forget about it.
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Register Early 1st come 1st in Space is limited |
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| You
Get One Chance - Don't Blow it |
fastmoneyhappens.com |
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All Performances
Will Be Acappella Only. |
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signup fee = registration permission & clearance fee = $50(waived for limited time if you signup & register before 02/21/06)
note: replace at with @ before you email us
| If you are a performer who will be
performing in this Chicago Area Talent Show your information(name, home
city & state, music style, years as a performer) will go into one
of these spaces after you complete signup & registration. Note: We
do not take your money until we know that we have enough performers;
so, if you contact us for entry we will not request fee payment until
we have a certain number of entry requests like yours. |
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| In other words, we don't ask you to pay until we know
that the show has enough participants to be a go. Our intention
is to put on an excellent, well-implemented, high quality Talent Show.
If we don't get enough entry requests then the show will not happen and
we will never ask you to pay the entry fee. No we will not tell
you how many participants we need to make the show a go. Look at it
this way; though, if you email us requesting |
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| entry and, sometime later, we ask you to pay your signup & registration fee, then, you better come prepared to face some "tough competition" because that is definitely what you are going to find on your show day. We don't take your payment(s) until we have enough participants; so, payment will be requested from everyone at about the same time and there will be no refunds. If you see all the performers listed here after we | ||
| determine the show is a
go and take payment it is too late if you realize, then,
that you are not good enough.
The moral of the story is if
you think you are already too good to need to practice hard, then, you
better stay home because you
will probably lose to someone
who was'nt too big headed to practice. |
||
Buy now before the price goes up.
| Singer From Wikipedia, the free encyclopedia. In music a singer, or vocalist, is a type of musician who uses his or her voice as an instrument to make music. A lead singer is one who sings the primary vocals of a song as opposed to a backup singer who sings backup vocal(s) to a song, or harmonies to the lead singer. In classical music and opera voices are treated just like musical instruments. Composers write music for these instruments taking into account the skills and vocal properties of the singer(s). Singers build careers by specializing in certain types of music. To help both composers and singers voice classification systems evolved. There are many systems. Some consider how loud a singer can sing. Some consider how fast a singer can sing. Some include non-musical characteristics like what a singer looks like, how well a singer acts, or how funny a singer can be. In Germany opera houses use a complex sorting procedure, called the fach system, that considers all these elements. Classifying singers by range and gender is the most common method. But even using these guidelines there are still many, many categories. The six most common classifications are: * Female voices: o soprano, the highest female voice o mezzo-soprano, the middle female voice o contralto, the lowest female voice, called alto in chorus music * Male voices: o tenor, the highest male voice o baritone, the middle male voice o bass, the lowest male voice There are many other designations including heldentenor, bass-baritone, coloratura, and basso buffo. There are even categories for men capable of singing in the female range. This type of voice is rare, but still used in opera. In Baroque music many roles were written for castratos. Castratos are male singers who were castrated as boys to prevent their voices from changing. Today, with training, a man can still sing these roles. This singer is called a sopranist, countertenor, or male alto. Singer-Songwriter From Wikipedia, the free encyclopedia. The term singer-songwriter refers to performers who both write and sing their own material. This distinguishes them from artists who are only singers such as Elvis Presley, Dean Martin, Aretha Franklin, and Frank Sinatra who typically sing, or sang as the case may be, the material of professional songwriters and of artists who are primarily songwriters. Artists who are primarily songwriters do not usually perform their own work. Examples of such artists are Lorenz Hart, Richard Rodgers, Oscar Hammerstein II, Cole Porter, Irving Berlin, Jerry Leiber, and Mike Stoller. Even in many cases where the performer and writer are one and the same, but the roles of songwriter and singer are essentially discrete, such as a rock musician writing a ballad for his band to play, the results are not considered singer-songwriter material. This arrangement -- singer and songwriter as discrete artists -- was the standard in popular music until about the 1960s. Folk singer-songwriter Woody Guthrie did much of his work in the 1930s and most blues singers from the 1930s-1950s such as Robert Johnson, John Lee Hooker, and Muddy Waters performed their own work. Arguably these performers were not yet mainstream. Meanwhile, icons in the francophone world such as Georges Brassens, Léo Ferré, and Jacques Brel performed their own songs in the 1940s and 1950s. Brel's work, in particular, was widely translated into English. In the late 1960s, however, with the rise of new forms of folk music it became more common for artists to perform their own music and for that music to be highly intertwined with the personality and viewpoint of the artist. In many places around the world distinct styles evolved in which a single person became known as much for lyrical ability as musical skill. Very often these movements became part of a major roots revival and, sometimes, a political opposition. Typically a singer-songwriter will perform solo or with understated accompaniment, accompanying himself or herself on an instrument(often guitar or keyboards), and be equally well-known for the songs they write as for the way they are performed. Latin traditions Beginning in the 1960s many Latin countries developed singer-songwriter traditions that adopted elements from various popular styles. The first such tradition was the mid-60s invention of nueva canción, which took hold in Andean countries like Chile, Peru, Argentina, and Bolivia. At around the same time the Brazilian popular style bossa nova was evolving into a politically-charged singer-songwriter tradition called Tropicalismo. Two performers, Gilberto Gil and Caetano Veloso, became two of the most famous people in all of Brazil through their work in Tropicalismo. The European Hispanic countries of Spain and Portugal have also had singer-songwriter traditions which are sometimes said to have drawn on pan-Latin elements. Spain is known for the nova canço tradition; the Portuguese fado performer and songwriter José Afonso helped lead a revival of Portuguese folk culture, including a modernized form of fado called nova canção. Following the 1974 revolution nova canção became more politicized and was known as canto livre. In the latter part of the 1960s and into the 19-70s socially and politically aware singer-songwriters like Silvio Rodríguez and Pablo Milanés emerged in Cuba, birthing a genre known as nueva trova. In the mid-1970s a singer-songwriter tradition called canto popular emerged in Uruguay. United States The first recognition of the singer-songwriter as a musical genre in the United States occurred in the early 1970s when a series of folk and country-influenced musicians rose to prominence and popularity. These early singer-songwriters included Jackson Browne, Joni Mitchell, Carly Simon, and James Taylor. People who had been primarily songwriters, notably Carol King, also began working as performers. In contrast to the storytelling approach of most prior country and folk music these performers typically wrote songs from a highly personal, often first-person, introspective point of view. The adjectives "confessional" and "sensitive" were often used, sometimes derisively, to describe this early singer-songwriter style. By the late 1970s and early 1980s the original wave of singer-songwriters had largely been absorbed into a more general pop or soft rock format, but some new artists in the singer-songwriter tradition, notably Lucinda Williams, continued to emerge. In some cases rock and even punk rock artists such as Peter Case and Paul Westerberg transitioned to careers as solo singer-songwriters. In the late 1980s the term was re-applied to a group of female singers and songwriters beginning with Tracy Chapman, k.d. lang, and P.J. Harvey. By the mid-1990s the term was revived with the success of Alanis Morissette and her breakthrough album Jagged Little Pill. It had grown to encompass Sarah McLachlan, Sheryl Crow, Lisa Loeb, Joan Osborne, Tori Amos, and other performers associated with the Lilith Fair. In the 1990s artists such as Dave Matthews borrowed from the singer-songwriter tradition to create new acoustic-based rock styles. Singing From Wikipedia, the free encyclopedia. (Redirected from Sing) Singing is the act of producing musical sounds with the voice, often contrasted with speech. Air is expelled with the diaphragm, as with ordinary breathing, and the pitch is altered with the vocal cords. When the lips are closed this is called humming. A piece of music that is sung is called a song. Someone who sings is called a singer. Most singing involves shaping the voice to form words, but types of voice instrumental music which use open sounds or nonsense syllables("vocables") also exist like scat singing or yodeling. Solfege assigns certain syllables to notes in the scale. Nearly anyone who can speak can sing since in many respects singing is merely sustained speech. It can be informal and just for pleasure, for example in the shower, or very formal such as singing done professionally in a performance or in a recording studio. Singing is often done in a group, such as a choir, and may be accompanied by musical instruments, a full orchestra, or a band. Singing with no instrumental accompaniment is usually called acappella. Show choir is a combination of singing and dancing. Many schools and colleges offer show choir groups for students to participate in. Not only must participants be able to sing well and blend with a group, but they must be able to dance at the same time. This requires endurance, flexibility, and strong vocals, which can all be acquired through practice. In punk music hoarse shouting takes the place of singing while in emo some bands scream rather than sing. vibe.com is an important resource world wide on some of the most popular styles, or forms, of music in modern times. In heavy metal, particularly the sub-genres of death metal and black metal, inhumanly low growls are favored over standard singing. These styles of singing tend to make the lyrics unintelligible. In our enlightened times singing is considered by many to be a learned skill. In recent years many adults who were formerly said to be unable to sing have acquired the ability while attending courses such as Singing for the Tone Deaf, Can't Sing Choirs, and similar. Music From Wikipedia, the free encyclopedia. Music is an art, entertainment, or other human activity which involves organized and audible sound, though definitions may vary. What is music? Definitions of music Music is often defined by contrast with noise or speech. Some definitions of music place it explicitly within a cultural context by defining music as what people accept as musical. Broadly, here are some groups of definitions: * Those that define music as an external fact; for example "organized sound" or as a category of perception * Those that label it according to context as a social construction or subjective experience * Those that seek a platonic or quasi-platonic ideal of music which is not rooted in specifically physical or mental terms, but in a higher truth. The definition of music as sound with particular characteristics is taken as a given by psychoacoustics and is a common one in musicology and performance. In this view there are observable patterns to what is broadly labeled music and while understandable cultural variations exist the properties of music are the properties of sound as perceived and processed by people. Traditional philosophies define music as tones ordered horizontally(melodies) and vertically(harmonies). Music theory, within this realm, is studied with the presupposition that music is orderly and often pleasant to hear. John Cage is the most famous advocate of the idea that anything can be music saying, for example, "There is no noise, only sound" Some argue that this somewhat fascistically imposes the definition on everything. According to musicologist Jean-Jacques Nattiez(1990 p.47-8,55) "The border between music and noise is always culturally defined which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and inter-cultural universal concept defining what music might be." In support of the view that music is a label for a totality of different aspects which are culturally constructed often a definition of music lists the aspects or elements that make up music. Molino(1975: 43) argues that, in addition to a lack of consensus", any element belonging to the total musical fact can be isolated or taken as a strategic variable of musical production." Nattiez gives as examples Mauricio Kagel's Con Voce(with voice) where a masked trio silently mimes playing instruments. In this example sound, a common element, is excluded while gesture, a less common element, is given primacy. The platonic ideal of music is currently the least fashionable in the philosophy of criticism and music because it is crowded on the one hand by the physical view(what is the meta-substance of music made of if not sound?) and on the other hand by the constructed view of music(how can one tell the difference between any meta-narrative of music and one which is merely inter-subjective). However, finding unexpected mathematical relationships in music and finding analogies between music and physics, for example string theory, means that this view continues to find adherents, including such critics and performers as Charles Rosen and Edward Rothstein. Aspects of music The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color, and form. However, a more comprehensive list is given by stating the aspects of sound: pitch, timbre, intensity, and duration. These aspects combine to create secondary aspects including structure, texture, and style. Other commonly included aspects include the spatial location or the movement in space of sounds, gesture, and dance. Silence is also often considered an aspect of music if it is considered to exist. As mentioned above, not only do the aspects included as music vary their importance varies. For instance, melody and harmony are often considered to be given more importance in classical music at the expense of rhythm and timbre. John Cage considers duration(the temporal aspect of music) the primary aspect of music as it is the only aspect common to both "sound" and "silence". It is often debated whether there are aspects of music which are universal. The debate often hinges on definitions; for instance, the fairly common assertion that "tonality" is a universal of all music may necessarily require an expansive definition of tonality. A pulse is sometimes taken as a universal yet there exist solo vocal and instrumental genres with free and improvisational rhythms that lack regular pulse. One example is the alap section of a Hindustani music performance. According to Dane Harwood "We must ask whether a cross-cultural musical universal is to be found in the music itself, in either its structure or function, or the way in which music is made. By 'music-making' I intend not only actual performance but also how music is heard, understood, and even learned." Common terms used to discuss particular pieces include: note - an abstraction which refers to either a specific pitch and, or, rhythm or the written symbol melody - a succession of notes heard as some sort of unit chord - a simultaneity of notes heard as some sort of unit chord progression - a succession of chords (simultaneity succession) harmony - the relationship between two or more pitches counterpoint - the simultaneity and organization of different melodies rhythm - the organization of the durational aspects of music Production The music industry is that which creates, performs, and promotes music. A great deal of music is produced by amateurs. Performance Someone who performs, composes, or conducts music is a musician. Performance is a method for musicians to share music with others. Solo and ensemble Many cultures include strong traditions of solo or "soloistic" performance such as in Indian classical music. Other cultures, such as in Bali, include strong traditions of group performance. All cultures include a mixture of both and performance may range from improvised solo playing for one's enjoyment to highly planned and organized performance rituals such as the modern classical concert or religious processions. What is called chamber music is often seen as more intimate than symphonic works. A performer is called a musician. A group of performers is called a musical ensemble or orchestra. Oral tradition and notation Music is often preserved in memory and performance only, handed down orally, or aurally("by ear"). Such music, especially that which has no known individual composer, is often classified as "traditional". Different musical traditions have different attitudes towards how and where to make changes to the original source material; some are quite strict while others demand improvisation. If the music is written down it is generally in some manner which attempts to capture both what should be heard by listeners and what the musician should do to perform the music. This is referred to as musical notation and the study of how to read notation involves music theory. Written notation varies with style and period of music and includes scores, lead sheets, and guitar tablature among the more common notations. Generally music which is to be performed is produced as sheet music. To perform music from notation requires an understanding of both the musical style and the expected or acceptable performance practice. Improvisation, Interpretation, Composition Most cultures use at least part of the concept of preconceiving musical material, or composition, as held in western classical music. Many cultures also include the related concept of interpretation(performing material conceived by others) and the contrasting concept of improvisation(material which is spontaneously thought of while performed) not preconceived. However, many cultures and people do not have this distinction at all, but use a broader concept which incorporates both without discrimination. Improvised music virtually always follows some rules or conventions and even "fully composed" includes some freely chosen material. Composition does not always mean the use of notation or the known sole authorship of one individual. Music can also be determined by describing a "process" which may create musical sounds; examples of this range from wind chimes to computer programs which select sounds. Music which contains elements selected by chance is called Aleatoric music and is most famously associated with John Cage and Witold Lutoslawski. Compositions Musical composition is a term that describes the makeup of a piece of music. Methods of composition vary widely; however, in analyzing music, all forms(spontaneous, trained, or untrained) are built from elements comprising a musical piece. Music can be composed for repeated performance or it can be improvised(composed on the spot). The music can be performed entirely from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include spontaneously improvised works like those of free jazz performers and African drummers. What is important in understanding the composition of a piece is singling out its elements. An understanding of music's formal elements can be helpful in deciphering exactly how a piece is made. A universal element of music is time or more generally rhythm. When a piece appears to have no time it is considered rubato. The Italian term, meaning "free time," does not mean "without rhythm," but rather that the tempo or time of the piece changes dynamically. Even random placement of random sounds, often occurring in musical montage, occurs within some kind of time and thus employs time as a musical element. Any musical event comprised of elements can be considered a "composition." Reception and audition The field of music cognition involves the study of many aspects of music including how it is processed by listeners. Music is experienced by individuals in a huge variety of social settings ranging from being alone to attending a large concert. Concerts take many different forms and may include people dressing in formal wear and sitting quietly in the rows of auditoriums, drinking and dancing in a bar, or loudly cheering and booing in an auditorium. Deaf people can experience music by feeling the vibrations in their body. The most famous example of a deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. In more modern times Evelyn Glennie, who has been deaf since the age of twelve, is a highly acclaimed percussionist. Also, Chris Buck, a New Zealand violinist virtuoso, has recently lost his hearing. Media The music that composers make can be heard through several media. The most traditional way is to hear it live, in the presence of, or as one of, the musicians. Live music can also be broadcast over the radio or television. Some musical styles focus on producing a sound for a performance while others focus on producing a recording which mixes together sounds which were never played "live". Recording, even of styles which are essentially live, often uses the ability to edit and splice to produce recordings which are considered "better" than the actual performance. In many cultures there is less distinction between performing and listening to music as virtually everyone is involved in some sort of musical activity. In industrialized countries listening to music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance roughly in the middle of the 20th century. Sometimes live performances incorporate prerecorded sounds; for example, a DJ uses disc records for "scratching". Audiences can also become performers by using Karaoke, invented by the Japanese, which uses music video and tracks without voice so the performer can add his voice to the piece. Training Many people, including entire cultures, compose, perform, and improvise music with no training and feel no need for training. Other cultures have traditions of rigorous formal training that may take years and serious dedication. Sometimes this training takes the form of apprenticeship. For example, Indian training traditionally takes more years than a college education and involves spiritual discipline and reverence for one's guru or teacher. In Bali everyone learns and practices together. It is also common for people to take music lessons(short private study sessions with an individual teacher), usually for a fee, when they want to learn to play or compose music. A famous private composition teacher is Nadia Boulanger. Secondary education The incorporation of music performance and theory into a general liberal arts curriculum, from preschool to postsecondary education, is relatively common. Western style secondary schooling is increasingly common around the world, such as STSI in Bali. Meanwhile, western schools are increasingly including the study of the music of other cultures. Study Many people also study music in the field of musicology. The earliest definitions of musicology defined three sub-disciplines: systematic musicology, historical musicology, and comparative musicology. In contemporary scholarship one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of psychoacoustics. The study of music of non-western cultures, and the cultural study of music, is called ethnomusicology. In Medieval times the study of music was one of the Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium music, or more accurately harmonics, was the study of rational proportions. Zoomusicology is the study of the music of non-human animals or the musical aspects of sounds produced by them. As George Herzog(1941) asked, "do animals have music?" François-Bernard Mâche's Musique, mythe, nature, ou les Dauphins d'Arion (1983), a study of "ornitho-musicology" using a technique of Ruwet's Language, musique, poésie (1972) paradigmatic segmentation analysis, shows that bird songs are organized according to a repetition-transformation principle. In the opinion of Jean-Jacques Nattiez (1990), "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organized and conceptualized(that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human." Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly it refers to any study of music, usually related in some form with compositional concerns, and may include physics, mathematics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even that which studies music of the common practice period, may take many other forms. Musical set theory is the application of mathematical set theory to music, first applied to atonal music. Speculative music theory, contrasted with analytic music theory, is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation for composition. History The history of music in relation to human beings predates the written word and is tied to the development and unique expression of various human cultures. Popular styles of music varied widely from culture to culture and from period to period. Certain cultures emphasized different instruments or techniques. Music history itself is the distinct subfield of musicology and history, which studies the history of music theory. Genres As there are many definitions for music there are many divisions and groupings of music, many of which are caught up in the argument over the definition of music. Among the larger genres are classical music, popular music(commercial music-including rock and roll), country music, and folk music. There is often disagreement over what constitutes "real" music. Mozart, Stravinsky, serialism, Jazz, hip hop, punk rock, and electronica have all been considered non-music at various times and places. The term world music has been applied to a wide range of music made outside of Europe and European influence. Oddly enough its initial application, in the context of the World Music Program at Wesleyan University, was as a term including all possible music genres, including European traditions. In academic circles the original term for the study of world music, "comparative musicology", was replaced in the middle of the twentieth century by "ethnomusicology", which is still an unsatisfactory coinage. Genres of music are as often determined by tradition and presentation as by the actual music. While most classical music is acoustic and meant to be performed by individuals or groups many works described as "classical" include samples or tape or are mechanical. Some works, like Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music. As world cultures have been in greater contact their indigenous musical styles have often merged into new styles. For example, the U.S.-American bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German, and some African-American instrumental and vocal traditions, and could only have been a product of the 20th Century. Many current music festivals celebrate a particular musical genre. Online Music Store From Wikipedia, the free encyclopedia. An online music store is an Internet service that sells audio on a per-song and/or subscription basis. The market for these services grew widespread around the time of Napster, a music and file sharing service created by Shawn Fanning that made a major impact on the Internet scene during the year 2000. Some services have tethered downloads, meaning that playing songs requires an active membership. In 2000 Sony became the first company to make music from one of the major labels available for sale on the Net. The big record companies were apprehensive to license their catalogs to outside companies and refused the late 90's requests of MP3.com and Emusic(then called Goodnoise) to sell digital song downloads. They eventually decided to start their own services, which they could control directly. Sony's service turned out to be an ill-conceived affair. Not only was the service difficult for consumers to navigate and use, Sony's expensive pricing of US$3.50 per song track turned off many early adopters of the service. Furthermore, as MP3 Newswire pointed out in its review of the service, users were actually only renting the tracks for that $3.50. After a certain point the files expired and could not be played again without repurchase. The service quickly failed. Undaunted, the record industry tried again. Universal Music Group and Sony teamed up with a service called Duet, later renamed PressPlay. EMI, AOL/Time Warner, and BMG teamed up with MusicNet. Again, both services struggled, hampered by high prices and heavy limitations on how downloaded files could be used once paid for. In the end consumers chose instead to flock to the free file sharing programs, which were far more convenient to use and free to boot. Non-label services like Emusic and Listen.com(now Rhapsody.com) sold the music of independent artists to keep in the game, but it wasn't until Apple Computer introduced iTunes in 2003 that sales of digital downloads took off. Compared to file swapping Much controversy surrounds this issue, so many or perhaps all of these points are disputed. Advantages * More respectful to copyright law as interpreted by groups like the RIAA. o Decreases chances of legal disadvantages. o Avoids some social stigmas and moral regrets that some people have. o Arguably promotes creation of music. * More consistent and higher quality meta-data, because the entering of the meta-data is more centralized and done by groups with financial interests. * Companies sometimes feel more accountable. * Higher audio quality for similar reasons as meta-data. Disadvantages * Decreased selection, because of more attention paid to copyright concerns. * Increased price. o Some file swapping advocates claim that music stores charge an infinite number of times more because of division by zero complications. o Notably, Apple Computer CEO Steve Jobs claimed in his introduction of the iTunes Music Store that file swappers get paid less than minimum wage for the work required to download audio. * Digital Rights Management sometimes irritates consumers. The restrictions vary with the service sometimes within songs of a service. * Doesn't support record labels. Criticisms of record labels include overpricing, monopolies, and lack of support for artists. On line Music Stores are becoming wildly popular. |