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Abby Young with the Nu Deco Ensemble

Photo credit: Alex Markow Photography

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Classical Music Live Streams To Ease Anxiety 6-classical-music-live-streaming-experiences-ease-quarantine-anxiety

6 Classical Music Live Streaming Experiences To Ease Quarantine Anxiety

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From Andrea Bocelli's "Music for Hope" to Yo Yo Ma's "Songs of Comfort," here are six anxiety-reducing classical-music experiences to help you through the ongoing quarantine
Crystal A. Frost
GRAMMYs
Apr 16, 2020 - 11:10 am

Classical music has been proven to ease anxiety. Several studies can attest to the genre's ability to lower blood pressure and stress, both of which are on the rise as society tries to adapt to the uncertainty and isolation brought on by the coronavirus pandemic. Thankfully, the classical community is hard at work trying to combat the negative effects of self-quarantine. Despite the hardships that musicians are facing during this time of social distancing, only seven percent of musicians are social distancing from their instruments as well, according to a poll conducted by violinist.com. Choral societies, opera companies and gig musicians alike are all making efforts to provide comfort to fans and listeners through live streams, podcasts, music lessons and more. Read on for six anxiety-melting classical music stories and experiences that you can immerse yourself in today.

1. Iconic opera singer Andrea Bocelli brings us "Music for Hope" from Milan

On Easter Sunday, renowned opera singer Andrea Bocelli gave a performance in the empty Milan Cathedral, Duomo di Milano. Bocelli's intent was to bring peace to those spending the holiday weekend alone and a sense of community to the world wherein 90 percent of people are engaged in social distancing—a third of which are under some level of government-enforced lockdown. The five-time GRAMMY-nominated vocalist called this 30-minute Concert "Music for Hope," as it included uplifting favorites like "Amazing Grace" and Bach's "Ave Maria." The performance, which received 17 million streams within the first four hours of being posted, can be watched in full on YouTube. 

2. Yo Yo Ma expresses gratitude to healthcare heroes with "Songs of Comfort" series

Last month, GRAMMY-winning cellist Yo Yo Ma performed the heartwarming Sarabande from Bach's Cello Suite No. 3, dedicating the concert to healthcare workers on the frontlines. "Your ability to balance human connection and scientific truth in service of us all gives me hope," he wrote in a tweet. The Paris-born virtuoso continues this series of online performances entitled "Songs of Comfort" in hopes of bringing peace to those crippled with anxiety during these hard times. To experience more, follow #songsofcomfort on Twitter and Facebook.

3. Nu Deco Ensemble continues to pay its musicians and lead educational programs

Miami’s eclectic and genre-bending Nu Deco Ensemble (NDE), which has collaborated with GRAMMY-winning artists like Macy Gray and Jacob Collier, maintains its grind during these challenging times. In fact, they seem to know a secret that no one else does when it comes to keeping audiences connected and putting musicians first. We reached out to NDE Personnel Manager and violinist Abby Young, who spoke with us about the efforts behind NDE's continued perseverance amidst the hardships they face. 

"When our performances were cancelled, our leadership asked patrons to donate the cost of their tickets instead of taking the refund, which we've turned around and used to pay our musicians," Young explains. The ensemble showed its gratitude by conducting live interviews over Instagram, giving their patrons an opportunity to interact with NDE conductor Jacomo Bairos and arranger Sam Hyken directly. "We wanted to give patrons an opportunity to learn more about them and their creative processes."

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Nu Deco's musicians also participate in an educational program entitled Nu Deco NXT, which is committed to teaching and coaching high school students from the community. The program’s week-long spring break intensive was cancelled, but according to Young, the NXT leadership team quickly regrouped and arranged an alternative for the students: Saturday morning guided meditations over Zoom, followed by a different music lesson each week. Individual music instruction also continues through Zoom private lessons. "I am so proud of the steps Nu Deco has taken to protect our musicians and strengthen our organization, all while keeping our patrong and students engaged through these trying times," Young shares.

NDE is holding virtual "watch parties" to premiere newly released videos of past performances as a fun way for audience members and new fans to engage in a shared experience. To join in the fun, visit their Facebook or Instagram.

4. Houston Chamber Choir brings a sense of community with their biweekly podcast

As is the case for ensembles all across the nation, the distinguished Houston Chamber Choir was forced to cancel all concerts for the remainder of the season. Despite this misfortune, they are one of several choirs still seeking to provide people with the comfort and sense of community that comes from listening to choir voices singing in unison. The ensemble, which earned the GRAMMY for Best Choral Performance this year, is offering a podcast every Monday and Friday at noon CT entitled "With One Accord." Hosted by their artistic director Robert Simpson, the biweekly podcast presents favorite moments from past performances that are, as described on the choir’s website, "selected especially to bridge the isolation we are all feeling and to offer a moment of peace and comfort during these anxious days."

Other choirs taking part in the widespread effort to bring choral music to the ears of the isolated include GRAMMY-nominated ensemble Conspirare in their "All of Us" Virtual Choir Project and Monteverdi’s Choir & Orchestra.

5. Tarisio auctions off rare Instruments to raise money for struggling musicians

Tarisio Fine Instruments & Bows has launched an initiative called GiveBack, which is a benefit auction wherein all commissions will be donated to musicians around the world who have been affected by COVID-19. The total commissions of approximately $100,000 will be divided and distributed in the form of grants at $600 each, and any musician is welcome to apply. "As we navigate these unprecedented times, supporting our communities is essential," Tarisio Auctions Founder Jason Price states on the organization’s website. "Orchestras have been furloughed, contracts have been canceled, freelancers are left without work. We will do what we can to help." The catalog for this special sale will be posted online on April 15 and the auction will end on May 1. If you wish to contribute or participate, you can contact Tarisio directly or visit their website’s GiveBack page.

6. Manchester Collective invites us to their intimate "Live From Isolation" series

The Manchester Collective is dedicated to immersing viewers in unique live listening experiences, and it is clear that nothing—not even a pandemic—is enough to stop them. "Whether on the road or under lockdown, Manchester Collective are staying firmly committed to our mission to create unforgettable musical experiences for audiences all over the world," their website states. The U.K.-based ensemble remains hard at work producing exciting and ever-changing live online events in a series called "Live From Isolation" in which the ensemble’s musicians are performing intimate solo concerts from their living rooms to yours. Light a candle, grab a blanket and enjoy the sonic escape.

For those longing for more classical music escapes, visit Classic FM, New York Classical Review, or Livingroom Live. If you are a full-time musician whose career has been placed on hold as a result of COVID-19, organizations like Equal Sound and MusiCares have Coronavirus relief funds that you can apply for today.

WATCH LIST: Livestreaming Concerts From BTS To SOFI TUKKER To Catch During Coronavirus Quarantine

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"Hamilton"-themed "I Voted" stickers

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Election 2020: The Issues Affecting Musicians election-2020-artists-speak-out-issues-impacting-musicians-voting-season

Election 2020: Artists Speak Out On The Importance Of Copyright, Musicians' Rights And Relief Efforts This Voting Season

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GRAMMY.com spoke to a number of artists and musicians about some of the most pressing issues impacting the music community this election cycle
Crystal A. Frost
GRAMMYs
Nov 2, 2020 - 9:53 pm

This week, Americans will decide on the next president of the United States, and musicians across the country are among the hundreds of millions of lives that will be impacted by the outcome. In a recent article, which cited industry executives on both sides of the aisle, Billboard broke down what's at stake for musicians in this upcoming election cycle, underscoring copyright as the most important policy issue in the music business right now. Since the copyright industries collectively contribute more than $1 trillion dollars annually to the Gross Domestic Product, many members of the music community might therefore assume this to be the big-ticket issue that could help them decide between candidates. Unfortunately, though, it's not that simple. 

"While there is no shortage of issues that differentiate Trump and Biden, music is generally not one of them," Daryl Friedman, the Recording Academy's Chief Advocacy Officer, told Billboard. The fact is, both Joe Biden and Donald Trump share very similar views on copyright and have pro-music policies on their records, making it very difficult for undecided voters in the music community to choose a candidate based on copyright policy alone. 

Ahead of the 2020 Election, GRAMMY.com spoke to a number of artists and musicians about some of the most pressing issues impacting the music community this voting season.

https://twitter.com/GRAMMYAdvocacy/status/1308478685503258624

🗓 Early voting?
📬 Mail-in ballots?
📍Polling locations?

📲 Register, get your ballot, and learn more about #MusicVotes: https://t.co/NyyQsII7qD #VoteReady pic.twitter.com/amp0dhxCD5

— GRAMMY Advocacy (@GRAMMYAdvocacy) September 22, 2020

Pandemic Music Rights

Many musicians and industry professionals show tremendous concern over the handling of the COVID-19 pandemic, which has directly impacted the music industry in drastic ways. In fact, when Vice Presidential candidate Kamala Harris took to Instagram Live with artists Miley Cyrus, Billie Eilish and Selena Gomez in October, the pandemic was central to their conversations. The inability to tour has proven particularly devastating for the careers of indie musicians, and the same goes for indie music venues, which are struggling to survive

Read: Sacred Spaces: Rufus Wainwright, YUNGBLUD, Keb' Mo' And Others Reflect On The Independent Venues And Clubs That Changed Their Lives

"The lack of a national strategy has not just meant live music venues across the country being shut down, but many having to shut their doors permanently," one Los Angeles music venue manager tells GRAMMY.com. "Many big venues will be fine, but what does that mean for small businesses?"

Tour Stop(ped): Honest Talk With Touring Artists

The Recording Academy has worked closely with lawmakers and policy makers, including in the Trump Administration, on relief efforts to support the music ecosystem, and it continues to advocate for a substantial relief package—inclusive of funding for musicians, venues, studios and other music small businesses affected by the pandemic.

According to Ruth Vitale, CEO of CreativeFuture, piracy has also worsened since the pandemic, as Americans find it increasingly more difficult to pay for streaming services. "In a time when few can work, piracy cuts into the already reduced legitimate revenue streams from our creations, exacerbating our economic challenges," she explains in a letter to Joe Biden last month.

Indie pop duo Flora Cash expresses similar concerns for the music industry amid the pandemic. "The music industry as a whole is in a really tough spot right now due to the situation around COVID-19, and some real help is going to be needed, especially for live music venues that have not been able to open for almost the entirety of 2020," they told GRAMMY.com in a joint statement. 

Music Rights

When asked what issues matter most to her this voting season, GRAMMY-nominated songwriter and R&B artist Victoria Monét addressed musicians' rights. "There are [policies in place] that don't reflect the way today's music is consumed or accurately accommodate creatives in general," she tells GRAMMY.com. "Among many other political issues, fair and equal pay for songwriters is very important to me." 

Monét's point is supported by many musicians who argue that the payout to artists, songwriters and producers from streaming services such as Spotify and Apple Music is too low, especially given the significant role the copyright industry plays in our economy. 

"The core copyright industries are an important economic driver for our country, employing 5.7 million Americans and contributing more than $1.3 trillion to the Gross Domestic Product," CreativeFuture's Vitale shares in her October letter to Biden. "[This is] more than aerospace, agriculture, or pharmaceuticals."

Read: How ONE Musicfest Is Engaging Voters In 2020: "The Underlying Message Is To Get Folks To The Polls"

Musicians' rights are a hallmark of the Recording Academy's advocacy efforts. Just recently, Academy Trustee Yolanda Adams testified in front of the U.S. Senate Judiciary Committee on the Digital Millennium Copyright Act, and earlier in 2020, the Academy's Chair and Interim President/CEO Harvey Mason jr. spoke to the same committee about the importance of establishing a terrestrial radio performance right for artists. The Academy will continue to advocate for fair pay for artists and creators in a more inclusive and modern copyright system.

Fortunately, both candidates have expressed similarly strong views on the issue of copyright. In 2018, President Trump signed into law the Music Modernization Act (MMA)—the most significant update to music licensing in a generation, with significant support from the Recording Academy and its members. President Trump also recently signed the USMCA, which included a number of substantial pro-copyright modifications.  

And as Billboard recently reported, Vice President Biden has a long and verifiable track record in supporting pro-copyright policies, citing his eight years as chairman of the Senate Judiciary Committee. "Look, piracy is outright theft," Biden said in 2011. "People are out there blatantly stealing from Americans - stealing their ideas and robbing us of America's creative energies. There's no reason why we should treat intellectual property any different than tangible property." (The Recording Academy honored Biden at the 2011 GRAMMYs on the Hill Awards in Washington, D.C.)

Delving further into the candidate's track records reveals that Joe Biden was behind the American Recovery and Reinvestment Act (ARRA) of 2009, which was responsible for millions of dollars going back into the pockets of musicians and arts organizations that were impacted by the economic crash of 2009. "ARRA supplemented my income so that I could continue Chorus America," GRAMMY-winning choral conductor Peter Rutenberg tells GRAMMY.com. 

Despite widespread criticism of the Trump Administration's handling of the pandemic, they haven't left musicians completely empty-handed either. At the urging of the Democrat-controlled House of Representatives, the Coronavirus Aid, Relief, and Economic Security (CARES) Act of 2020 , which was signed by President Trump, took steps to help musicians combat the economic challenges spurred by the pandemic by temporarily allowing gig workers to apply for unemployment assistance.

Funding The Arts

As for the classical community, one of the primary concerns for voters is the funding of the arts. "I am deeply concerned for the arts in America," Stephen Williamson, principal clarinetist for the Chicago Symphony Orchestra, tells GRAMMY.com. "We are usually the first genre to be cut from schools and/or underfunded by the government."  "I sincerely hope that our country sees the need for the arts in the enrichment of the human spirit ... something that all people are truly craving in light of this pandemic." 

The Recording Academy annually submits testimony to the House of Representatives and Senate in support of additional funding for the National Endowment for the Arts (NEA). As part of Congress' response to the COVID-19 pandemic, the Academy successfully advocated for the establishment of a $75 million supplemental fund for the NEA to help struggling creators as part of the CARES Act.

Your Voice Matters

From Black Lives Matter to the environment, the list of issues that matter to the music community is vast. Ultimately, Americans must decide for themselves what issues matter most and why. No matter who you support, musicians and music-lovers alike are encouraged to get to the polls on Election Day (Tuesday, Nov. 3) if you haven't yet cast your ballot via the #MusicVotes campaign. You can visit the Recording Academy's election page for voting resources and additional information to make your vote matter.

"It's important for everyone, not just musicians, to get out and vote," GRAMMY-nominated film composer Bruce Broughton tells GRAMMY.com. Broughton, who is known for such film scores as Tombstone, Young Sherlock Holmes and Moonwalker, believes there is more at stake in this election than ever before. "This year, the choice is big, and the repercussions of that choice will be bigger. I don't see anyone not being [affected] by whichever side wins this year."

Are You Ready To Vote? Design Your Voting Plan With #MusicVotes Campaign

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Chorus practices outdoors this year at Countryside High School in Pinellas County, Florida.
Photo courtesy of Christy King

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How COVID Changed The Look Of Music Education puppy-pads-and-slit-masks-how-covid-changed-look-music-education

Puppy Pads And Slit Masks: How COVID Changed The Look Of Music Education

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COVID-era problems put pressure on teachers to work creatively, while fearing for the future
Emilee Lindner
GRAMMYs
Sep 21, 2020 - 9:01 am

Those living in Kingsman, Arizona, shouldn’t be surprised if they hear 30 kids yelling simultaneously from Lee Williams High School. That’s just Shannon Bascombe’s marching band letting out their COVID-19 frustrations.

"The kids were like, ‘Hey, Ms. B, can we, like, scream into the void for 10 seconds at the beginning of practice?'" Bascombe recalled. "'Yeah, sure, I’ll give you guys 10 seconds to just yell it out.' … Then they’ll start learning drill."

The coronavirus pandemic has made returning to school this fall a touchy debate. With each district whipping up its own tentative plan, students are either attending school armed with masks, learning virtually from home or doing a half-and-half schedule. They’ve pushed start dates, altered schedules and introduced new technology. Several schools GRAMMY.com contacted for this story set a date in September or October to reassess and adjust, aiming for in-person instruction by 2021. Needless to say, a little scream therapy is warranted—not just for students, but for teachers, parents and administrators as well.

So how does music education fit into the new school plans? Unlike math or history, which can rely on individual study, collaborative ensembles like band, chorus and orchestra cannot. With social distancing measures in place, getting a band of 50 students placed six feet apart in one room is, well, impossible. Not to mention the whole aerosol concern with kids blowing on their horns. Online group rehearsal doesn’t work either, due to latency issues.

With those difficulties in mind, districts across the country have already cut arts programs. And those teachers who still have their jobs are feeling the pressure to keep them by proving their worth.

"[Parents are] OK with the core teachers being at home and being able to give assignments," says Jake Olimpi, marching band and orchestra director at Marple Newtown High School in Pennsylvania. "But what is the art teacher doing, what is the music teacher doing? They’re getting paid and where’s the result?"

That pressure, atop the duty to keep students safe, healthy and engaged has become the new challenge for teachers, who are also haunted by the pandemic’s long lasting effects on music education.

Masks On Instruments And Puppy Pads

The spread of aerosols, a.k.a. air and saliva, forced the Centers for Disease Control to recommend the six-feet social distancing rule months ago. But when it came to the performing arts, there was little scientific evidence on how singing and instrument playing contributed to aerosol spread. A study from the National Federation of State High School Associations (NFHS), published without peer review in July, gave music teachers some answers.

Conducted by the University of Colorado Boulder, the study found that instruments released fewer aerosols if they were masked at the bell. They found even fewer aerosols when the player wore a slitted mask. In order to return to in-person ensembles, authors of the study also suggested these points:

  • Musicians must stay six feet apart (nine feet for trombonists)
  • Bell covers should have a Minimum Efficiency Reporting Value (MERV) of 13 (although any covering is better than none)
  • Spit valves should empty into absorbent sheets like puppy pads
  • Rehearsal times should be limited to 30 minutes
  • Instructors should wait one HVAC air change between classes
  • HEPA filters should be in rehearsal spaces
  • Outdoor rehearsals are recommended over indoor ones

With the scientific guidance, teachers got to work crafting what fall 2020 would look like… and now that school’s back in session, music classes certainly don’t look like they did before. At Bascombe’s school in Arizona, they’re following the NFHS guidelines nearly to a T.

GRAMMYs

The students at Tarpon Springs Leadership Conservatory for the Arts stick to their cones and try out their new bell covers.
Credit: Anna Ottens

"When they come into the room, they have to wash their hands, drop their stuff off," Bascombe says. "We go through the symptom checker from the Mayo Clinic every day when they walk into the room… All of the doors are propped open so the kids have minimal touch. There's hand sanitizer everywhere. Mouthpiece cleaner everywhere."

Bascombe's woodwinds, brass, percussion and colorguard all get their own room. Every Friday, she spends an additional hour and a half disinfecting each room, including the bathroom her students use.

At the Southern Nevada Homeschool Performing Arts, program director Bonnie Buhler-Tanouye says brass players wear slitted masks, akin to "boys' underwear," and flute players wear shields. She says parents are willing to do even more in order to get their nearly shutdown Las Vegas music scene rolling again.

GRAMMYs

The students at Southern Nevada Homeschool Performing Arts wear face shields and slitted masks on the first day of band practice. 
Courtesy: Bonnie Buhler-Tanouye

"One of the parents I was talking to the other day, because I was reminding her of masks for her trumpet player, she said, ‘You know what, put me in a hazmat suit, if you have to. Whatever we have to do to get back to playing music together,'" Buhler-Tanouye recalled.

The NFHS study deemed outdoor rehearsal better for dispersing aerosols. Summer band camps served as positive test runs for the rest of the school year, with students respectively keeping their distance. Water and sunscreen breaks are frequent and essential. In Pinellas County Schools in Florida, humidity plagues practices, but kids are happy to endure sweating for a chance to play together, says Jeanne Reynolds, performing arts specialist for the district.

"If you teach in Florida and you're a band teacher, you become a meteorologist," Jeanne said. "'Cause it’s not just hurricanes; we’ve got pretty good thunderstorms, so you have to know when to get out of harm’s way. Which we all do."

What happens when the temperature drops? When playing outside is no longer an option, bands will be forced to limit the size of their ensembles, based on dimensions of their rooms and state guidelines. Some schools have already taken band class off the schedule completely, exchanging it for smaller groups, broken up alphabetically or by instrument.

Smaller ensembles introduce two problems, though. First, smaller groups equate to more classes, meaning teachers' course loads have increased. Music programs like the one at Bergenfield High School in New Jersey rely on a large staff, which allows them to assign one teacher each to virtual and in-person classes for all of their ensembles. Bergenfield’s band director, Brian Timmons, considers his program lucky; not all schools have the resources.

Second, teachers must find music for a ragtag chamber ensemble. For example, if groups were split numerically by students' names, a director might end up with a flute, three trombones, five bass clarinets and a french horn in a class, and music for a combo like that is rare. Thankfully, publishers like Alfred, Hal Leonard and RWS Music Company have flexible arrangements that can be split into a few basic parts, and have become more available during COVID.

GRAMMYs

The supply of cleaning materials Shannon Bascombe uses to disinfect the band rooms at Lee Williams High School. 
Courtesy: Shannon Bascombe

But will the music ever get performed? State guidelines vary, but indoor maximum capacity has been limited to as few as 25 people per room. Gathering an audience would be infeasible.

Perhaps concerts aren’t even necessary. According to Timmons, it’s time to shake up the dusty format anyway.

"Music education has been so performance-driven all the time," Timmons says. "And we never take time to explore the other things like the chamber playing or the composition or just ear training in and of itself or theory."

Students taking virtual band obviously don’t have to deal with these new precautions and guidelines, but they also don’t get to play together. As Timmons says, they’re working on individual assignments, like learning music production, which allows them to sew together an ensemble, piece by piece. Timmons' students will work on a shared online workspace to record music. It gives students the power to collaborate remotely, he says.

"They can listen to each other’s part and say, ‘OK, our articulation is not punching there. We’re going to have to rerecord this section,'" Timmons says. "I have three teenagers of my own. I watch them killing it on TikTok. If you can do that, there’s no reason why I can’t teach you how to do this."

And then there’s the fact that some schools are taking little to no precaution. Music teacher Nathan Smith says he was fired from Oakdale Academy in Michigan after expressing his concern over the safety of students and staff. The private Christian high school is not requiring masks this fall, per a letter sent home to parents.

"I had so many plans for this school year," Smith said. "I certainly wasn't ready to leave without seeing any of my kids again."

The Lost Generation And Long-Term Effects

It’s a struggle to keep current music students engaged, but it’s a completely new challenge to get more kids involved. Recruitment requires getting instruments into the hands of fourth graders and presenting the allure of a polished, performing ensemble—hurdles made higher by COVID.

Lackluster recruitment will have damaging effects on the future of music education, says Robert W. Smith, a composer, arranger and professor at Troy University, who has written hundreds of works for high school-level ensembles.

"We cannot have a lost generation of musicians, and we’re about to have it," Smith says.

If too few young musicians join band, orchestra and choir programs, the ensembles will see dwindling numbers in each subsequent year, all the way up to college groups.

"This is like aftershocks of an earthquake or second and third waves of a tsunami," Smith says.

Current music students also face the loss of competition and adjudication—third-party feedback that lends itself toward improvement. Many in-person music competitions have been canceled for the fall. On the upside, some organizations have offered virtual adjudication, where students and ensembles can send in their performances for assessment.

But the long-term effects aren’t all bad. Timmons insists that it’s only shifting focus for COVID-era students to prepare for a more viable music career—one that isn’t totally based on performance (though still valuable), but digital skills.

"If you’re going to be successful in music, you have to have a basic understanding of how digital audio works, even if you’re a classical-style player," Timmons says. "You gotta have an understanding. If we can teach them how to use a digital audio workstation, even if it’s some kind of cloud-based thing, recording themselves and then as a chamber ensemble recording their own product, we’re kind of unlocking skills."

All of this means that music educators are getting even more creative than before, out of necessity.

"Music teachers by nature are problems solvers. It’s what we do," Timmons says. "Listen, troubleshoot, feedback, adjustment, listen, troubleshoot, does that sound good? This is just another problem to solve. It’s just a little more problematic than fixing the intonation of a chord."

Marching Six Feet Apart: How High School Marching Bands Are Coping With The Pandemic

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Nick Demangone of Exeter Township sanitizes his hands before browsing records for sale at Vertigo Music in West Reading

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RIAA 2020 Mid-Year Report Shows Growth In The U.S. riaa-2020-mid-year-report-recorded-music-revenues-us-grew-more-5-percent-during-first

RIAA 2020 Mid-Year Report: Recorded-Music Revenues In The U.S. Grew More Than 5 Percent During The First Half Of 2020 Amid Coronavirus Pandemic

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A new study from the RIAA shows that revenues from recorded music in the U.S. grew to $5.7 billion in the first half of the year, a boost largely driven by strong streaming numbers.
John Ochoa
GRAMMYs
Sep 10, 2020 - 11:55 am

A new mid-year report from The Recording Industry Association of America (RIAA) shows that revenues from recorded music in the U.S. grew to $5.7 billion, up from $5.4 billion as Billboard reports, in the first half of 2020; the change marks an increase of 5.6 percent.

Paid streaming subscriptions, which increased by 24 percent to more than 72 million on average, a growth of 14 percent in the first half of 2020 when compared to the first half of 2019, largely drove the aforementioned revenue growth.

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Streaming music revenues—returns from subscription services like paid versions of Spotify, Apple Music, Amazon and others; digital and customized radio services, including revenues distributed by SoundExchange like Pandora, SiriusXM and other internet radio; and ad-supported on-demand streaming services like YouTube, Vevo, and ad-supported Spotify—grew 12 percent to $4.8 billion in the first half of 2020. 

Paid subscription revenues grew 14 percent to $3.8 billion, and further increased their share as the largest contributor, accounting for 67 percent of total revenues in the first half of 2020, according to the RIAA report. 

Digital downloads, a market that continues to shrink in the streaming age, fell from 8 percent to 6 percent for the category's share of total revenues in the first half of 2020. 

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As the COVID-19 pandemic continued to wreak havoc on the U.S. and international music business as well as the global advertising markets, "growth in ad-supported streaming revenues slowed dramatically," the RIAA writes.

As well, revenues from physical products decreased by 23 percent year-over-year to $376 million in the first half 2020, Variety reports. The RIAA report indicates a "significant impact from music retail and venue shutdown measures around COVID-19, as Q1 2020 declines were significantly less than Q2 compared with their respective periods the year prior." 

Revenues from vinyl albums increased in this year's first quarter, but later decreased in the second quarter, resulting in a net overall increase of 4 percent for the first half of 2020, the report reports. Vinyl album revenues, which reached $232 million, accounted for 62 percent of total physical revenues, marking the first time vinyl exceeded physical CDs for such a period since the '80s, as well as 4 percent of total recorded-music revenues.

Read the RIAA's 2020 mid-year report in full.

RIAA Report: Latin Music Is Growing Faster Than The Overall U.S. Music Market

GRAMMYs

District Advocate Day 2020

 

Courtesy Photo: GRAMMY Advocacy

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District Advocate Day Unites Creators & Lawmakers district-advocate-day-unites-music-makers-lawmakers-toward-pandemic-relief

District Advocate Day Unites Music Makers & Lawmakers Toward Pandemic Relief

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Nearly 2,000 Recording Academy members – including GRAMMY winners and nominees – took part in over 250 meetings today in the year's largest grassroots music advocacy movement
Advocacy
Aug 12, 2020 - 9:39 am

Worlds collided today, as across the country the Recording Academy's seventh annual District Advocate day brought together the professionals who make the music we love and the members of Congress who make the laws affecting their livelihoods. Academy members engaged in a series of virtual meetings with their elected officials to discuss pressing issues impacting the music community, such as providing pandemic-related relief and assistance to the creative community, pushing for equitable treatment and social justice reforms, and ensuring that the rights of all creators are always protected.

https://twitter.com/GRAMMYAdvocacy/status/1293522630847483906

Today is #DistrictAdvocate day––the nation's largest grassroots music advocacy movement! 🎵

Join @RecordingAcad members and take action: https://t.co/F1gq8QYEDq pic.twitter.com/RQnWMlgxkh

— GRAMMY Advocacy (@GRAMMYAdvocacy) August 12, 2020

District Advocate Day participants included GRAMMY winners Yolanda Adams, Brandy Clark, José Feliciano, John Legend and Ziggy Marley and GRAMMY nominees Victoria Monét and Offset, plus nearly 2,000 other music professionals.

The event marked the crescendo of the Academy's "Summer of Advocacy," an ongoing effort to help provide pandemic relief for music creators, to support survival of music businesses and to promote positive social change through legislation.

And it’s working. Earlier this year, Academy members helped secure important provisions in the CARES Act that provided critical support for the music community dealing with the COVID-19 pandemic. Today's conversations between Academy members and their Senators and Congressional Representatives took the next big step to ensure the music community is heard at a critical time for legislative support.

https://twitter.com/GRAMMYAdvocacy/status/1293580095542575104

Thank you to Senator @gillibrandny's staffers––Caitlin Rooney (Director of Economic Development) and Gil Ruiz (Legislative Assistant)––for meeting with us today to talk about important legislation that is vital for our music community. #DistrictAdvocate pic.twitter.com/hA260UKM4C

— GRAMMY Advocacy (@GRAMMYAdvocacy) August 12, 2020

"District Advocate Day has always been an important initiative for music advocacy and it's especially true now," said Harvey Mason jr., Chair and Interim President/CEO of the Recording Academy. "Creators are among the hardest hit and first out of work, yet music is what brings the world together in hard times — and for many, it brings hope. Today, we raise our voices to remind legislators of the vital role music plays during this pandemic and, equally as imperative, the creators behind it who are struggling and desperately needing a helping hand from this country's leaders."

With District Advocate day, the Academy continues to amplify the voices of creators and small businesses, while also endorsing and developing additional legislation to deliver aid to creators. For instance, developed and endorsed by the Recording Academy alongside Rep. Linda T. Sánchez (D-Calif.) and Rep. Ron Estes (R-Kansas), the Help Independent Tracks Succeed (HITS) Act would allow individuals to fully expense the cost of new studio recordings on their taxes, up to $150,000, within the same year of production. Academy members encouraged their representatives to co-sponsor the HITS Act during today's meetings.

Members also advocated for passage of the Reviving the Economy Sustainably Towards a Recovery in Twenty-twenty (RESTART) Act, a loan program that would provide funding to cover six months of payroll, benefits, and fixed operating expenses for businesses that have taken a substantial revenue hit during the COVID-19 pandemic. For independent workers with mixed-income types, a category which includes many music creators across the country, the Mixed Earner Pandemic Unemployment Assistance Act proposed a solution to ensure unemployment relief and assist freelance workers unable to receive just unemployment aid. 

Members discussed these key issues and more today in year's largest grassroots music advocacy movement. District Advocate, along with the Recording Academy's annual GRAMMYs on the Hill in April, which is on hiatus this year due to COVID-19, are the Recording Academy's premiere advocacy events, and are credited by bipartisan legislators with helping to pass the Music Modernization Act into law — the largest update to music legislation in the past 40 years. 

For more information about District Advocate Day and Recording Academy advocacy initiatives, visit www.grammy.com/districtadvocate.

Take Action Today: Learn About The Key Issues Facing Creators And How You Can Help

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