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DVO ÁK, A.: Requiem 8.572874-75
www.naxos.com/catalogue/item.asp?item_code=8.572874-75
Requiem, Op. 89
CD 1: Part I
[1] Introitus: Requiem aeternam – Kyrie
Requiem aeternam dona eis Domine,
et lux perpetua luceat eis.
Te decet hymnus Deus in Sion,
et tibi reddetur votum in Jerusalem:
exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis Domine,
et lux perpetua luceat eis.
Kyrie eleison.
Christe eleison.
Kyrie eleison.
[2] Graduale
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
In memoria aeterna erit justus:
ab auditione mala non timebit.
Requiem aeternam dona eis, Domine.
Sequentia
[3] Dies irae
Dies irae, dies illa,
solvet saeclum in favilla,
teste David cum Sybilla.
Quantus tremor est futurus,
quando judex est venturus
cuncta stricte discussurus!
[4] Tuba mirum
Tuba mirum spargens sonum,
CD 1: Part I
[1] Introit: Requiem aeternam – Kyrie
Eternal rest grant to them, O Lord,
and let perpetual light shine upon them.
A hymn, O God, is fitting for you in Sion
and a vow shall be paid to you in Jerusalem:
hear my prayer,
to you all flesh shall come.
Eternal rest grant to them, O Lord,
and let perpetual light shine upon them.
Lord have mercy.
Christ have mercy.
Lord have mercy.
[2] Gradual
Eternal rest grant to them, O Lord,
and let perpetual light shine upon them.
The just will be remembered for ever:
he will not fear from evil report.
Eternal rest grant to them, O Lord.
Sequence
[3] Dies irae
Day of wrath, that dreadful day,
the world will melt in ashes
as David and the Sybil foretold.
What trembling there will be
when the judge shall come
dealing strictly with everything.
[4] Tuba mirum
The trumpet scattering wonderful sound
http://www.naxos.com](https://image.slidesharecdn.com/metadataformusiciansmondaypost-summit-141103170319-conversion-gate01/75/Metadata-for-Musicians-session-1-44-2048.jpg)
Metadata for Musicians: session 1
- 1. Metadata for musicians Monday:setting up a release Click here for Table of contents Presented at Future of Music Policy Summit October 27-28, 2014 | Washington, DC
- 2. In the studio Studioand recording session details Composer/songwriter details Recording artist details Session player details Song data tracking sheet Preparation for mastering What mastering engineer will need IRSC codes UPC barcodes Mastering dashboard US IRSC Agreements, licenses ISWC codes Prepare for release Bio/one sheet Submit works to PRO Type out lyrics Artwork and album credits SoundScan, Mediabase, BDS Gracenote instructions BMI dashboard SoundScan title reg Mediabase BDS SX dashboardSoundExchange GS1 CD Baby ISRC + barcodes ASCAP ACE SX data Submit bio/info to Rovi Rovi instructions Register your copyrights US Copyright Office Data, artwork, music to aggregator * Data aggregators need Music Biz Metadata Standards Guide Naxos release pages Data list CubeTriangle Schema Click on any title below to go to that slide
- 3. In the studio STUDIOAND RECORDING SESSION DETAILS Studio name(s) Date(s) of recording session Location (city, country) of recording studio(s) Personnel working on the session Executive producer Producer Engineer(s) Arranger Conductor Remixer Mixing Mastering Do any producers have deal points? Table of contents
- 4. In the studio COMPOSER/SONGWRITERDETAILS FOR EACH TRACK Names of songwriters/composers What they wrote (music, beats, lyrics) What % of credit they get for their contribution (aka splits) Name of each songwriter’s publishing company Which PRO they belong to (ASCAP, BMI, SESAC, other) Table of contents
- 5. In the studio RECORDINGARTIST DETAILS FOR EACH TRACK Names of featured artists/performers What they performed or instrument they played What % of credit they get for their contribution (aka splits) Table of contents
- 6. In the studio SESSIONPLAYER/FREELANCERS FOR EACH TRACK Names of any session players/session vocalists/freelancers What they performed or instrument they played Whether they belong to a union (AFM or SAG-AFTRA), and their membership # Whether this recording session is a union session Table of contents
- 7. In the studio LICENSES,PERMISSIONS and AGREEMENTS Did you record any covers? Did you use any samples? Various agreements • Intra-band agreement that spells out creator splits • Producer agreement • Side artists’ agreements Table of contents
- 8. Song data trackingworkbook from Music Business Toolbox This template and related pre-release checklists will be available in early 2015. Table of contents
- 9. Preparation for mastering ISRCcodes for each track UPC barcode for the assembled product Mastering engineer will need text-based data: Album title Song titles Performers Mastering engineer would also like to have: Table of contents
- 10. Sample mastering dashboardTable of contents
- 11. ISRC codes Set ofnumbers that identify a unique sound recording Become a registrant at US ISRC http://usisrc.org Get ISRCs assigned for free/nominal cost from your aggregator. US Z10 14 12345 Country Company prefix Year Unique digits or If you are on an indie label, your label will generate the ISRC codes using their prefix number. Table of contents
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- 13. How to getISRCs from CD Baby (video tutorial) Table of contents
- 14. UPC barcodes Set ofnumbers that identify a packaged collection of music 84501 97432 Become a registrant at GS1 http://www.gs1us.org/ Get UPC barcode assigned for free/nominal cost from your aggregator (CD Baby, TuneCore, Ditto, DistroKid, etc). or If you are on an indie label, your label will generate the barcode. Table of contents
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- 16. ISRC and UPC Masteringengineer can embed the ISRC on each track Add your tracks’ ISRCs to your song tracking workbook. You’ll need to enter them in other places Mastering engineer can also embed UPC barcode Both ISRC and UPC are now required for iTunes store, and many other digital platforms Add your project’s UPC barcode to your song tracking workbook. You’ll reference it again Table of contents
- 17. ISWC codes Set ofnumbers that identify a composition T-070.076.790-3 Assigned by your PRO (ASCAP, BMI or SESAC) when you upload your repertoire Keep track of your ISWCs with your other data “Hotel California” by Don Felder, Glenn Frey, Don Henley Table of contents
- 18. ASCAP ACE searchTable of contents
- 19. Prepare for release Ifapplicable, type out your lyrics • For artwork • For your website Album artwork • Album name • Song titles • Writer credits (including PRO and publisher) • Performer credits, including any session players or freelancers • Recording studio name, location, date, personnel P • For lyric videos • Can be submitted via your publisher to lyric sites • Record label (even if it’s yourself) • Copyright notice © and • UPC barcode image • Other credits: photographer, illustrator, etc. • If relevant, timed length of songs Table of contents
- 20. Prepare for release Writeyour bio/one sheet • Album name • Song titles • UPC barcode on one sheet Submit your song track data to Gracenote • Free to do • Submission process via iTunes software on your computer • Delivers album and track data to services Table of contents
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- 22. Prepare for release Submityour sound recording information to SoundExchange • Free to do • SoundExchange has an online interface and a repertoire template • Tracks digital performances on Sirius XM, Pandora, any webcast stations Composers/songwriters: submit your musical compositions to your PRO • Register your new titles with ASCAP, BMI or SESAC • Free to do if you are already a PRO writer/publisher member • Your PRO will automatically assign ISWC codes to your new titles Table of contents
- 23. BMI works registrationTable of contents
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- 25. Prepare for release WhatSoundExchange needs • Artist • Track title • Album title • Record label • % of the Featured Artist Performance Royalty that you claim (aka, your split) • Do you own the master sound recording of this track? Y/N Improve music identification by also including: • ISRC for each track • Album UPC • Release date • Recording location • Distributor (if different from label name) • Publisher Table of contents Alternate spellings? Different languages? Talk to SoundExchange
- 26. Prepare for release Submityour release information to Nielsen SoundScan • Free to do • Online form • SoundScan tracks retail sales, including downloads from iTunes, Amazon, CD Baby, Bandcamp, and streams Submit your release information to Mediabase (owned by Clear Channel) and Nielsen BDS • Free to do • Online forms available for both Mediabase and BDS • Both services track commercial radio airplay Table of contents
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- 29. Search for “NielsenBDS how to submit music” Table of contents
- 30. Prepare for release Submityour bio and data to Rovi for All Music Guide • Free to do • Need to mail a CD + bio • Powers the bios you see on iTunes, Pandora. AMG is very selective. Acceptance by Rovi/AMG is not guaranteed Register your works with the US Copyright Office • Under US law, copyright is automatically granted when you create the original work or “fix” it to a medium, like tape or hard drive • Use Form SR or Form PA to establish a public record of creation • Official registration provides creators with more legal protections in event of infringement Table of contents
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- 33. Prepare for release Data,artwork and music delivered to your aggregator • Give yourself enough time to do this right • Fill in as many descriptive fields as possible to increase searchability and proper attribution • Spellcheck everything! • Use consistent spelling, capitalizations (Music Biz has a cool guide) Your aggregator will deliver to dozens of digital retail stores, streaming services, and discovery platforms. Bandcamp + your own website + social media • Populate your other platforms with the same data, artwork and music Table of contents
- 34. Prepare for release Whatdata aggregators need • Artist name • Album title • Song titles • Are any of the songs covers? • Names of songwriters • Label name (even if it’s your name) • Catalog number (if applicable) • ISRC for each track, or have them assigned by aggregator • UPC barcode for album, or purchase one from aggregator • Release date • Genre, secondary genre • Artist location Table of contents
- 35. Metadata Level DataField Track Parental Advisory Track Composition Ownership Type Track Artist Name Track Songwriter Track Publisher Track ISRC Track Extended Tracks Track Album-Only Tracks Track Track Pricing N = 31 Album = 22 Track = 9 http://www.cdbaby.com Table of contents
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- 37. Consider a DataCube - 6 sides - 12 dimensions Genre Track Title Mood Publisher ISRC Songwriter Artist Sounds Like Sub-Genre Artist Location Release Date Label http://www.cdbaby.com Table of contents
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- 44. #FMC14 DVO ÁK, A.:Requiem 8.572874-75 www.naxos.com/catalogue/item.asp?item_code=8.572874-75 Requiem, Op. 89 CD 1: Part I [1] Introitus: Requiem aeternam – Kyrie Requiem aeternam dona eis Domine, et lux perpetua luceat eis. Te decet hymnus Deus in Sion, et tibi reddetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis Domine, et lux perpetua luceat eis. Kyrie eleison. Christe eleison. Kyrie eleison. [2] Graduale Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. In memoria aeterna erit justus: ab auditione mala non timebit. Requiem aeternam dona eis, Domine. Sequentia [3] Dies irae Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sybilla. Quantus tremor est futurus, quando judex est venturus cuncta stricte discussurus! [4] Tuba mirum Tuba mirum spargens sonum, CD 1: Part I [1] Introit: Requiem aeternam – Kyrie Eternal rest grant to them, O Lord, and let perpetual light shine upon them. A hymn, O God, is fitting for you in Sion and a vow shall be paid to you in Jerusalem: hear my prayer, to you all flesh shall come. Eternal rest grant to them, O Lord, and let perpetual light shine upon them. Lord have mercy. Christ have mercy. Lord have mercy. [2] Gradual Eternal rest grant to them, O Lord, and let perpetual light shine upon them. The just will be remembered for ever: he will not fear from evil report. Eternal rest grant to them, O Lord. Sequence [3] Dies irae Day of wrath, that dreadful day, the world will melt in ashes as David and the Sybil foretold. What trembling there will be when the judge shall come dealing strictly with everything. [4] Tuba mirum The trumpet scattering wonderful sound http://www.naxos.com
- 45. Takeaways from Monday Ultimately,it is the artists’ responsibility to document creators and contributions Be consistent with spelling, diligent with data entry Metadata is the text and numbers that uniquely describe and identify your music Presented at Future of Music Policy Summit October 27-28, 2014 | Washington, DC Table of contents Metadata is increasingly important. It underlies discoverability, proper attribution and payment across an increasing number of platforms