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The Muse's News |
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Issue 2.8 - November 1999 ISSN 1480-6975
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I n T h i s I s s u e :
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@-- Editor's Musings
@-- Q&A with Nancy A. Reece from Carpe Diem Copyright Management
@-- Music Reviews - by Ben Ohmart
@-- Featured Article - SIX EASY STEPS TO WRITING HIT LYRICS
- by Molly-Ann Leikin, Creativity Consultant
@-- Book Review - by Jodi Krangle
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - by Irene Jackson
@-- Column Profiles on The Muse's Muse - There are many great
columnist sections on The Muse's Muse that you might find
extremely useful. Here's an outline of what each one has to
offer. @-- On Site Featured Article - An article already online for your
viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
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ISSN 1480-6975. Copyright 1998 - Jodi Krangle. For more contact
information, see end of issue.
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Also sponsored by:
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WIN A THREE MONTH TRIAL MEMBERSHIP TO INDIEBIZ.COM
MusicDish in collaboration with Indie Music Forum '99 is
conducting an online survey on SDMI. The fifth in the MusicDish
Industry Survey Series is sponsored by INDIEBIZ.COM who is making
5 three month trials of their valuable interactive web-based
service aimed at musicians and other independent music business
people - valued at $79.95.
http://www.musicdish.com/survey/sdmi2/
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Please visit The Muse's News sponsors as they help to make this
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E d i t o r ' s M u s i n g s :
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This month, I thought I would try something a bit different.
While I'm still working on some fantastic "Songwriter In Profile"
interviews, none of them are quite ready to be posted anywhere
just yet. So, with an obvious gap in the newsletter, I thought
I'd try focussing on some of the great columnist sections that
are fleshing themselves out on The Muse's Muse. Where the
"Songwriter In Profile" can usually be found, I've instead opted
to include a short write-up on each column and the writer of that
column along with what can be read within their sections. I hope
you'll find this useful and I also hope that you'll take the time
to write to the various columnists in order to take advantage of
the huge store of knowledge they all have. Ask them questions!
(or in the case of the music reviews section, send Ben music!)
That's what they're here for. :) Your questions and the answers
to them will be posted - and that will most certainly help other
songwriters who might be in the same situation as you.
As always, there's lots going on around the web site and I invite
you to have a look at http://www.musesmuse.com/whatsnew.html for
details on that.
This month's winner of Jeri Goldstein's book, HOW TO BE YOUR OWN
BOOKING AGENT is Rene Zabel from Herndon, Va. Congratulations,
Rene! More info on next month's give-away is detailed below in
the book review section and a full review of Jeri's book can be
found there too.
And last but not least, if you like what you're reading, I invite
you to spread the word about this newsletter. Feel free to let
your friends read it. Hopefully, they'll find it useful. If
they like what they see, maybe they'll even subscribe. :)
Best of luck to everyone! Keep writing - and do tell me about
your successes. If you have suggestions for the newsletter or
web site, feel free to e-mail me (editor@musesmuse.com) and let
me know.
Take care!
--Jodi
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C o p y r i g h t & P u b l i s h i n g Q & A :
with Nancy A. Reece of Carpe Diem Copyright Management
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Hi, Nancy!
I recently collaborated on several tunes with a singer I work
with. On 2 of the songs, he wrote the lyrics and melody, and I
came up with the chord changes, feel, etc.- i.e., I did the
instrumental tracks.
We're discussing how to do the "split" for these songs. A
"well-informed source" said that my role on these tunes was not
as a co-composer, but only an arranger. I contended that the
chord changes to a song are part of the composition, and
suggested that perhaps I should get 1/3. The source said that
usually only the melody and lyrics are considered the
composition, and the chords are part of the arrangement, so I
should get an arranging fee and not be on the copyright for these
songs.
What do you think?
Thanks for your input.
--Dan
Good morning Daniel -
Yes - usually the composition is split melody/lyric. However, if
the person you collaborated with and you both agree that your
arrangements contribute to the melody and arrive at a mutually
agreed percentage split, then that is all that matters.
Remember, an "agreement" means that all parties agree.
You may not get a 50/50 split but a 10/90 sounds fair on the
compositions. Whoever paid for the sound recordings owns all
rights to the sound recordings, unless agreed otherwise in
writing.
Nancy
-----------------
This is probably your most often received question, so I
apologize ahead of time for the redundancy. I am very ignorant
about the world of copyrighting and am wondering if you can
direct me as to how to copyright my first song. I am wondering
things like where I can get the forms, if I need only to send a
tape or if I should include lyrics and so forth. Any help is
much appreciated. Sincerely,
--Brian H.
Check out this link:
http://lcweb.loc.gov/copyright/reg.html and select the Circular
50. This will tell you all you need to know about registration.
http://lcweb.loc.gov/copyright/circs/circ50.pdf
Let me know if you have further questions after looking at this.
Happy to help!
Nancy
*****
Carpe Diem's owner and president, Nancy A. Reece has been
involved in the music business since 1983. She was the president
of an independent advertising agency for eight years as well as a
successful personal artist manager for nine years. She
represented the careers of several recording artists and
songwriters including those with EMI, Zomba and Liberty Records
as well as Benson, Starsong, WoodBridge, Temple Hall and N'Soul
Records. She also represented, for a number of years, a Grammy
and Dove nominated record producer. Reece has won awards of
excellence in print magazine advertising and has been named as
one of 2,000 Notable American Women (1995) as well as being
listed in the International Who's Who of Professional and
Business Women (1993). She was also named Cashbox Magazine's
Promoter of the Year (1989).
**If you would like to ask Nancy a copyright or publishing
question for our continuing Q&A section, please send your e-mail
to nreece@musesmuse.com. She can't guarantee she'll get to all of
the questions, but she'll certainly try.**
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M u s i c R e v i e w s : by Ben Ohmart
----------------------------------------------------------------- DB - Smoothe
I have listened to this cd several times now. Not out of some
psychotic desire to really plunge the depths of detail to give
these guys an intense, intelligent review. But because I really
like listening to it. It's 68 minutes long, which means you get a
lot of instrumental for your buck. Guitar and keyboards. Each
with the strength of 10 men. Well, each with equal strength. It's
hard to pick your favorite performer here since they are both
giving their all, presenting original music in an interesting
way. David Dilorio takes care of the keys and all the programming
which keeps the beats coming and the bass lucid. Then there's
Brian Palmer's magic acoustic fingers that spice up your Latino
dishes and make your salad wild.
The second song 'Toucans' really shows what these two can do
together. But that's all I'm going to say. Because you need to
buy the album and hear for yourself. Like instrumentals? You'll
like these guys I'm sure. Don't waste your time reading all this
crap. These are words - they aren't alive! Check out the keys and
the guitar, then finish reading here if you must.
http://www.davidd.com/---------------
OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
Georgette Dashiell - http://www.musesmuse.com/mrev-dashiell.html
Chris Lonsberry - http://www.musesmuse.com/mrev-lonsberry.html
Moses Guest - http://www.musesmuse.com/mrev-moses.html
Genie Webster - http://www.musesmuse.com/mrev-webster.html
The Tonewelders - http://www.musesmuse.com/mrev-tonewelders.html
Weed Inc. - http://www.musesmuse.com/mrev-weed.html
---------------
******
Ben Ohmart has had 100s of stories and poems in zines and
journals, and had 4 plays produced last year. His lyrics will be
on 2 CDs this year, 1 a gothic album, the other a rock album.
He's currently writing films, with hopes of having one done in
Malaysia soon, and is also trying to break into the prison of
television. He's white, 26, single and loves British comedy. He
lives in Boalsburg, PA, and enjoys watching rabbits eat his
garbage. Contact him at: ohmart@musesmuse.com .
**Ben has kindly consented to do music reviews for this
publication and also for The Muse's Muse itself. If you have an
independently released CD or tape that you'd like to get
reviewed, send it off to: Ben Ohmart, P O Box 750, Boalsburg, PA
16827 or drop by his Music Reviews web section at
http://www.musesmuse.com/musicreviews.html for more details.**
Back to Menu =================================================================
F e a t u r e d A r t i c l e :
SIX EASY STEPS TO WRITING HIT LYRICS
- by Molly-Ann Leikin, Creativity Consultant
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Many of my clients find that melodies pour out of them like beer
from a tap - but they get stuck on lyrics. I've thought about
this for many years, and feel I finally understand why. I also
know how to fix it.
First, melodies are open to interpretation - so when you write
one, what you feel or intend is still safe in your heart - you do
not have to reveal yourself or stand completely naked in front of
the world. But once you put words to a tune, your feelings are
totally out in the open. Everyone knows what's in your heart.
Therefore, it's very inhibiting to write lyrics.
But here is a process I use with my clients to make lyric writing
simple for them. There are six steps. I suggest you use all of
them. Cutting corners is usually why a lyric doesn't work.
Let's assume, for this assignment only, that you have a melody
but no idea of what to say in the lyric. In a future column,
I'll gladly give you pointers on how to start a lyric if there
isn't any music in your head. But for now, you have a melody.
STEP l.
Play the melody you wrote, or choose one from the radio, writing
non-rhyming prose as it plays. Let your words be a
stream-of-conscious exercise to warm up your imagination. No
rhymes. No logic. No continuity. All whimsy. Completely
imaginative. Totally visual. Silly. Playful.
"A tooth farmer from Fluffy, South Apricot, dug through Exxon's
banana shoe section for kangaroo lingerie, after the De La
Hoya/Trinidad wrist watch from Western Tire Cough Drops slid
unnoticed into ..."
STEP 2.
Now we have you thinking and writing a little freer. Good.
Let's close in a smidge. For step two, please write a silly,
visual, non-rhyming lyric to the melody you've chosen. Fill it
with ridiculous pictures, as I did in Step one. Don't be
logical, don't make it make sense. Every line can be about
something different. In this draft, try to keep yourself totally
playful, and keep all the rhymes OUT. Here's an example, using
the chorus of "I Don't Want to Miss A Thing" -
A lizard in algebra
Pigs on the 405
Bake chihuahuas
Serving footballs to Lindsay D
STEP 3.
Write an uncensored list of silly, visual titles that fit with
the title line of your melody. Try to get twenty or thirty
outrageous possibilities on your list. Don't write anything
you've heard before, okay? Let 'em roll - don't say "Oh, that's
dumb". Come on. Let 'em roll. You might find one of your
ridiculous titles could actually be a real title. "I love you"
is fine. But Jewel's "Swallow the Moon" is sensational. A great
title will write the whole song for you. A mediocre one will
leave you stranded in line two.
STEP 4.
Based on the title you've chosen, write the STORY of your song,
in prose. Maybe writing it as a letter would be easier for you.
If any words come out rhyming, change them so they don't. That
way, you'll be able to express yourself with complete freedom -
no constraints for rhyme or meter.
When you finish this step, you'll know the beginning, the middle
and the end of your story before you begin the lyric. You'll
also be able to see if you have enough story to fill a whole
song, so you won't get stuck half-way through with nowhere to go.
In this step, you'll also be able to tell everything that
happened - without worrying that you don't have enough room or
time to include the whole saga. Tell the story - in as much
detail as you want. Chances are you've never had this much
freedom before as a story-teller in a song because lyrics are
very spare, every syllable is critical and the lyric has to bow
to the demands of the melody. So enjoy the freedom you have here
to tell all, without worrying about time rhyme or syllables.
STEP 5.
Using your story, write a non-rhyming lyric to the melody you've
chosen. Remember - no rhymes.
STEP 6.
Now write the final lyric, with the story and the rhymes.
I suggest you try these six steps. Not four. Not two. Six. My
clients who do all of them, get great results. The ones who
don't are still claiming they can't write lyrics.
Just remember - writing is a process. The inspiration draft is
just the first one - one of many - not the final product.
Have fun, good luck and let me know how you do, okay? I'm at
songmd@songmd.com
(C) 1999 Molly-Ann Leikin
******
Molly-Ann Leikin is a creativity consultant in Calfornia. She is
the author of "How To Write A Hit Song" and "How To Make A Good
Song A Hit Song". Molly wrote the national jingle for Ivy
Mackenzie's "International Solutions" 1999 campaign, has several
gold and platinum records, was a staffwriter for ten years, has
an Emmy nomination, wrote themes and songs for 34 t.v. shows and
movies, including "Eight is Enough" and "Violet", that won an
Oscar. You can find her at her website, Songwriting Consultants,
Ltd. http://www.songmd.com/ and by e mail songmd@songmd.com .
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B o o k R e v i e w : by Jodi Krangle
HOW TO BE YOUR OWN BOOKING AGENT by Jeri Goldstein
<< http://www.nmtinc.com/ >>
----------------------------------------------------------------- This is one *hefty* tome! With 24 chapters on everything from
The Art of Negotiation to U.S./Canada Crossing Borders to When to
Quit Your Day Job, there's a lot of information in here - and all
of it very readable. There's information on how to manage your
taxes, how to market yourself, how to find funding and a whole
host of other topics that will be useful to the musician that
hopes to "make it" in a business that's often none too kind.
There are even "Hot Tips" spread throughout the book - little
gold nuggets of information boxed and situated on the top corner
of a page. There are sample forms, a list of resources along
with contact information, even tips on how to find the right
travel agent. The book is an amazing font of information and
truly something any travelling musician should have.
Here's a direct quote from Jeri herself - and something we all
should take to heart:
"As a creative individual, you have the opportunity to bring that
light which sparks your art into your business and fashion the
career you have dreamed about. Every day you are rehearsing for
success. Just as you would rehearse a new song or a new dance
prior to performing it, each goal you set, each call you make,
each contract you issue prepares you for success. The more
creative you are with every aspect of your career, the more your
level of enthusiasm will grow. With a heightened enthusiasm,
your work has greater potential to make you successful."
HOW TO BE YOUR OWN BOOKING AGENT is one of those special books
that comes along only once in a very little while. It's the type
of book that *empowers* - that gives a musician the right tools
to do it for herself. That's not a chance to be missed. Take
that chance armed with this book and you have gone a long way
towards assuring your success.
******
Jeri Goldstein's book, HOW TO BE YOUR OWN BOOKING AGENT, was our
book review and give-away this month. Stay tuned for next
month's book review, MP3 AND THE DIGITAL MUSIC REVOLUTION!
Back to Menu
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M u s i c a l N o t e s : Songwriting Contests & Market Info.
In the interest of conserving space, I will only be including
changes to this listing in this newsletter. All other contests
and market information that have already been listed here, are
displayed at http://www.musesmuse.com/contests.html &
http://www.musesmuse.com/markets.html . Please check there
regularly for updates!
-----------------------------------------------------------------
JERI GOLSTEIN, AUTHOR OF "HOW TO BE YOUR OWN BOOKING AGENT",
gives regular Seminars. Here are a few that are upcoming:
November 5, 1999 - Virginia Commission for the Arts
Tour Directory Orientation and Workshop / 1:30pm-4:00pm
Art Museum of Western Virginia / 2nd Floor Lecture Hall
20 East Church Avenue Roanoke, VA 24011 540-342-5760
Workshop: The Art of Negotiation
November 10-14, 1999 / Ontario Contact, Ontario Arts Council
Wed. Nov. 10-Touring Like A Pro-Emerging Artists Workshop
Canadian Broadcasting Centre, Toronto, Ontario, Canada
9:00am-4:00pm, / Cost: $45 Canadian funds, Registration and full
payment by Nov. 1 /*Setting Goals *The Art of Negotiation
*Marketing Your Act-Creating Effective Press Kits *Targeting Your
Niche / Contact: Ontario Arts Council, 151- Bloor Street, 6th
Floor Toronto, Ontario M5S 1T6 416-961-1660 ext. 6222
Toll free in Ontario 800-387-0058, ext. 6222 Fax: 416-961-7796
For more information on how you could book her for a seminar in
your area, drop by her web site at http://www.nmtinc.com/ .
-----------------------------------------------------------------
ONLINEROCK IS A WEB-BASED COMMUNITY FOR MUSICIANS, MUSIC
PROFESSIONALS & DIE-HARD MUSIC FANS:
Visit OnlineRock and build your free Web site, post classifieds
on our musician's 'sounding board,' learn about the latest music
gear, recording technology and more. OnlineRock's mission is to
empower musicians so that they can promote, distribute (and soon
sell) their own music to fans anywhere in the world. Drop on by
http://www.onlinerock.com/ when you get a chance.
(You can sign up for a free web site with OnlineRock directly
through The Muse's Muse!
Have a look at http://www.musesmuse.com/onlinerock-form.html )
-----------------------------------------------------------------
OPEN WRITER'S NITE/CHART JAM
TUESDAY AT 7:00 Chart Writing Class
8:00 Writer's nite/Perform solo or use OUR CHART JAM BAND
Musician's Invited Bandleader Mike Dunbar will explain charts
Read this month's PERFORMER SE mag. p.3 about us.
Live demos cut once a month w/First Take Band $90.00
Contact: Terri Lynn at terrilynn@nashville.com
-----------------------------------------------------------------
Back to Menu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
M u s e ' s C l u e s : by Irene Jackson
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
In 1993 I attended Music West, a music industry conference that
took place in Vancouver, BC. It was the first time I was
literally surrounded by music industry people and it was
extremely overwhelming! For a songwriter who had often spent a
great deal of time holed up in my dark little room coming up with
creative ideas, the fact that there were people out there who
spoke the same "language" as me was very exciting.
One of those people was John Braheny, who, at the time, ran the
Los Angeles Songwriters Showcase. He was giving a songwriting
workshop as part of Music West, and I was in the back row
straining to soak every word in! It goes without saying that I
was very impressed, not only by his knowledge of songwriting, but
his ability to merge the creative aspect with the business end of
it. I didn't know at the time about his book "The Craft And
Business Of Songwriting", but today it is the only book I own on
the subject!!
There is an excellent internet site called "L'il Hanks Guide for
Songwriters" http://www.halsguide.com/. Hal has compiled a huge
list of open mics in the Los Angeles area, and this site also has
many other pages, including some publishers advice from publisher
Lynn Robin Green, a page called Inspiration Point, a message
board, and a links and resources page. But the page that caught
my eye was one that contains an article called "Getting Heard in
a 'No Unsolicited Material' World"
(http://www.halsguide.com/getheard.html) by John Braheny. The
article originally written in 1997, appearing in that years'
edition of Songwriters Market. For those of you who haven't
heard of Songwriters Market, it is truly the beginner
songwriters' bible for those who are considering the idea of
eventually pitching their songs to publishers, etc.
The most interesting aspect of this article is getting an insight
into the whole songwriting business from a publishers' point of
view! Why do some publishers refuse unsolicited material? What
are they looking for from a songwriter? How can you get a foot
in the door where others before you couldn't? Is it possible to
be one step ahead of the game in terms of knowing when to send
your material out and who to send it to? What are the tools
that can help you to be "in the know"? Here is a step-by-step
process that helps you to understand what exactly is going on
behind all of those apparently closed doors.
John's article gives some excellent advice to those of you who
are seriously pursuing a songwriting career...from finding out
who is looking for original song, right down to how to speak to
the receptionist at an A&R company! Be prepared to do some hard
work, but KNOW that the phrase "no unsolicited material" isn't
necessarily the end of the line!
(EDITOR'S NOTE: All the books mentioned in this article and many
more can be found at http://www.musesmuse.com/books.html . Drop
by and have a look!)
******
Irene Jackson is a performing songwriter from Victoria, BC in
Canada. Aside from writing, recording and performing, she also
maintains a website for songwriters that includes tips, articles
and more links of interest. Her latest CD "Motor Scooter" has
had attention everywhere from Japan to South America, and a new
release is due out sometime in 1999.
Songwriting Tips: http://www.irenejackson.com/tips.html
Homepage: http://www.irenejackson.com/
Songs on MP3:
http://www.mp3.com/artists/20/irene_jackson.html
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C o l u m n P r o f i l e s O n T h e M u s e ' s M u s e: -----------------------------------------------------------------
The columnists on The Muse's Muse really add a lot to the whole
and I wanted to take a few moments of your time to introduce each
of them to you, letting you know what each has to offer.
If you'd like to skip this whole commentary (which you are, of
course, entitled to do...) you can simply drop by
http://www.musesmuse.com/menu-columnists.html for a brief outline
and quick link to each one.
THE MUSE'S MUSE MUSIC REVIEWS:
Column by Ben Ohmart
Ben is a really fantastic reviewer as he has an uncanny ability
to get right to the meat of what makes a band or individual
musician *special*. He's been with The Muse's Muse for a while
now (you've probably noticed he also has a regular section here
in The Muse's News too) and continues to provide in-depth
commentary on the music that's passed on to him along with a few
Q&A's, interviews and book reviews. If you'd like to have him
review your music, he can be reached at ohmart@musesmuse.com or
by dropping by his section of The Muse's Muse at
http://www.musesmuse.com/musicreviews.html .
COPYRIGHT & PUBLISHING Q & A
Column by Nancy A. Reece of Carpe Diem Copyright Management
Nancy also has a regular Q&A here in The Muse's News and has been
answering copyright and publishing questions for interested folks
on The Muse's News for some time now. That means that there's
quite a store of answered questions on her section of The Muse's
Muse at http://www.musesmuse.com/pubq-a.html . - everything from
how to know a scam publisher to how to copyright your material to
the truth about "Poor Man's Copyright". She has also written
some articles that you'll find incredibly useful. If you have a
question for Nancy, you can write to her at nreece@musesmuse.com.
MARY'S MUSINGS: ADVICE FOR THE INDEPENDENT SONGWRITER
Column by Mary Dawson of "I Write The Songs" radio show
Mary has been providing an ongoing series of articles centering
around how to get radio play. Each one is not only full of
information to help you create songs that radio stations might be
willing to play, but also helps you to understand how a radio
station chooses the music it will rotate. It's not easy to get
"in" but with the tools Mary gives you, it's a lot more likely!
You can ask Mary questions by writing to mdawson@musesmuse.com or
drop by her section at http://www.musesmuse.com/marydawson.html
to read these articles.
MUSIC AND SONG WORKS
Column by Diane Sward Rapaport, author of HOW TO MAKE & SELL YOUR
OWN RECORDING
Diane is one of the newer columnists on The Muse's News and an
excellent addition! Not only is her book fantastic (you can read
that review in last month's edition of The Muse's News or drop by
http://www.musesmuse.com/books.html if you'd like to pick up a
copy) but her "Raps" are full of useful information for
songwriters that handle their own business. Her second "Rap" has
just been put online, in fact, and deals with "The Recording
Contract From Hell". Next month's Rap will be on "The Rules of
Negotiation". Diane also encourages questions and comments on
her raps. If you'd like to read her raps, you can do so by
dropping by http://www.musesmuse.com/songworks.html and if you'd
like to talk to her about them, you can write to her at
rapaport@musesmuse.com .
MIRKO'S MUSINGS: THE HISTORY OF SONGWRITING
Column by Mirko Ruckels, BMI Songwriter, Australia
Mirko is the newest columnist on The Muse's Muse, introduced only
a week or so ago. I was intrigued when Mirko first wrote to me
with his idea for a column. First of all, I really loved the
idea of a perspective that was outside of North America.
Secondly, the idea that we could be better at what we're doing
now by knowing more about the past, had a lot of merit. I hope
you'll drop by Mirko's section at
http://www.musesmuse.com/mirko.html to have a look. His first
article is online and he'll be happy to answer any questions you
might have if you write to him at mirko@musesmail.com .
******
Do you have an idea for a good columnists or a good topic for a
column? Let me know your thoughts by writing to me at
editor@musesmuse.com !
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===============================================================
" O N S I T E " F E A T U R E D A R T I C L E :
MIRKO'S MUSINGS: THE HISTORY OF SONGWRITING
"Morning, Noon & Night" by Mirko Ruckels
http://www.musesmuse.com/mirko-1.html
Mirko's first column for The Muse's Muse is a great one. If you
thought Bach, Mozart and Beethoven had no bearing on the music of
today, you're sadly mistaken! Read this article to hear why.
Back to Menu =================================================================
C l a s s i f i e d s & U s e f u l S e r v i c e s :
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Jodi Krangle editor@musesmuse.com..................... EDITOR
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