The document discusses the history and current state of music copyright in the Philippines. It outlines key developments like the 1886 Berne Convention, Philippines becoming a signatory in 1951, and the 1997 Intellectual Property Code. It describes economic and moral rights composers hold and the role of collective management organizations like Filscap in licensing works. Challenges include addressing digital piracy and licensing in the archipelago. Filscap aims to increase revenues and open new branches in the coming years.
The platform, which houses an extraordinary showcase of events covering ALL THAT MATTERS in music, entertainment, technology and media, produced by Branded Ltd (www.branded.asia).
Our flagship events include Digital and Music Matters, Gaming Matters, Music Matters Live, Nokia Music Connects and Social Media Matters (www.socialmatters.asia).
The document proposes a community-based TV production program in Indonesia that combines students and indie musicians. It will establish a Youth Academy and production network across the country. The program's vision is to expose Indonesian local wisdom through youth perspectives via screen projects. It will teach students and musicians screen skills and empower local talent and communities. Content will focus on culture, tourism, history and humanity to promote global citizenship and nation-building.
This document discusses royalties, licensing, and income streams in the music business. It defines the types of works that can be copyrighted and the organizations that collect fees for different uses of music, such as performance rights organizations. Royalties are fees paid for uses of copyrighted works, including mechanical royalties for cover songs and performance royalties for public performances. Licensing involves granting permission to use musical works for a fee. There are various types of licenses for different uses of music. Income can be generated from many music business activities that involve licensing copyrighted works.
This is my presentation delivered at V21, AIMIA Conference in April 2011.
If you are in interested in publishing your content globally - this presentation will help you understand the path to achieve such a goal.
My presentations are usually pretty light on detail in text form - prefer to engage with the audience in a conversation...so the preso on its own will provide you with hints - but if you would like more insight - happy to assist where I can.
Feel free to InMail me if you have any questions or would like to provide feedback.
The document provides a generic business model for Bollywood film production companies. It shows the process from investors funding pre-production activities like selecting directors, actors, and crew through production, post-production, and ultimately distribution and metrics like revenue, profits, and reviews. Key aspects of the business model include expenditures on production, advertising, and distribution rights versus earnings from opening day box office, overseas markets, DVD/CD sales, and awards/reviews which determine the film's success.
The document outlines the generic business model of Bollywood film production and distribution. It shows the process from investors funding production companies to pre-production like selecting directors, actors and crew, then production of music, shooting, and post-production editing. Films are then advertised and released to earn money from opening day rates, overseas earnings, DVD/CD sales, and other revenue streams. Key business metrics like these revenues are tracked against the costs of production, promotion, and distribution to determine the film's profitability.
Plein Soleil is a live concert/party series featuring DJ performances by Krikor and Chloé. They will perform their music live and then DJ to keep the party going. At least one artist will perform each month. The first event is scheduled for July 3-18 in Beijing, Shanghai, and Hong Kong. The project aims to promote the artists, their music, and build an online community through branded websites, social media, video streaming, and merchandise. Sponsorship packages are available to support the tour and help promote sponsors.
The platform, which houses an extraordinary showcase of events covering ALL THAT MATTERS in music, entertainment, technology and media, produced by Branded Ltd (www.branded.asia).
Our flagship events include Digital and Music Matters, Gaming Matters, Music Matters Live, Nokia Music Connects and Social Media Matters (www.socialmatters.asia).
The document proposes a community-based TV production program in Indonesia that combines students and indie musicians. It will establish a Youth Academy and production network across the country. The program's vision is to expose Indonesian local wisdom through youth perspectives via screen projects. It will teach students and musicians screen skills and empower local talent and communities. Content will focus on culture, tourism, history and humanity to promote global citizenship and nation-building.
This document discusses royalties, licensing, and income streams in the music business. It defines the types of works that can be copyrighted and the organizations that collect fees for different uses of music, such as performance rights organizations. Royalties are fees paid for uses of copyrighted works, including mechanical royalties for cover songs and performance royalties for public performances. Licensing involves granting permission to use musical works for a fee. There are various types of licenses for different uses of music. Income can be generated from many music business activities that involve licensing copyrighted works.
This is my presentation delivered at V21, AIMIA Conference in April 2011.
If you are in interested in publishing your content globally - this presentation will help you understand the path to achieve such a goal.
My presentations are usually pretty light on detail in text form - prefer to engage with the audience in a conversation...so the preso on its own will provide you with hints - but if you would like more insight - happy to assist where I can.
Feel free to InMail me if you have any questions or would like to provide feedback.
The document provides a generic business model for Bollywood film production companies. It shows the process from investors funding pre-production activities like selecting directors, actors, and crew through production, post-production, and ultimately distribution and metrics like revenue, profits, and reviews. Key aspects of the business model include expenditures on production, advertising, and distribution rights versus earnings from opening day box office, overseas markets, DVD/CD sales, and awards/reviews which determine the film's success.
The document outlines the generic business model of Bollywood film production and distribution. It shows the process from investors funding production companies to pre-production like selecting directors, actors and crew, then production of music, shooting, and post-production editing. Films are then advertised and released to earn money from opening day rates, overseas earnings, DVD/CD sales, and other revenue streams. Key business metrics like these revenues are tracked against the costs of production, promotion, and distribution to determine the film's profitability.
Plein Soleil is a live concert/party series featuring DJ performances by Krikor and Chloé. They will perform their music live and then DJ to keep the party going. At least one artist will perform each month. The first event is scheduled for July 3-18 in Beijing, Shanghai, and Hong Kong. The project aims to promote the artists, their music, and build an online community through branded websites, social media, video streaming, and merchandise. Sponsorship packages are available to support the tour and help promote sponsors.
Copyright protects original creative works and provides exclusive rights to the creator. The 1988 Copyright, Designs and Patents Act is the key legislation and grants copyright automatically to original literary, dramatic, musical or artistic works. Copyright covers the physical work as well as rights to copy, distribute, perform or adapt the work. These rights are typically held for 70 years after the creator's death. Exceptions allow limited use without permission for review, private study or incidental inclusion. Proper permissions and rights clearance is needed to legally use copyrighted material.
A presentation by Shiveta Sooknanan, Legal Officer II, Intellectual Property Office at MusicTT, IPO & WIPO's How to Make a Living from Music workshop.
OUTLINE:
Copyright and Neighbouring Rights
Exclusive rights of the copyright owner
Individual management of rights
Collective management
Models of collective management: Traditional CMO, One-stop-shop, Rights Clearance Centre
CMOs in the Caribbean
CMOs Legislation/Regulations
Licensing Formats/Royalties
Copyright infringement
Issues faced by the music industry in Trinidad and Tobago
Proposed Solutions
Presentation given by Andrew Reith, Business Events Manager at the Intellectual Property Office (IPO), at the CLIC staff development event 'An introduction to copyright', held at Cardiff Central Library on 14 March 2013.
Module 3 Content preparation and management for the radioSMKCreations
In Module 3, our objective is to empower individuals to become active creators of media and amplify their message. This Module aims to enhance communication skills and raise awareness of both personal and community experiences.
Intellectual property refers to creations of the mind such as inventions, artistic works, and symbols used in commerce, and can be protected by copyright, which grants creators exclusive rights over the reproduction and distribution of their original works; copyright applies to digital media like websites and online content as it does to physical works; penalties for copyright infringement range from fines to imprisonment depending on the scale of the offense.
Copyright protects original creative works and provides exclusive rights to the creator. It applies to literature, music, films, broadcasts and more. The main rights include copying, distributing, performing and adapting the work. Copyright subsists automatically on creation of the work when recorded. It lasts varying durations such as 70 years after the creator's death for most works. Exceptions allow some uses like private research or criticism. Media must clear rights to use copyrighted content or risk infringement.
This document discusses music licenses and copyright. It defines intellectual property and copyright, outlines the exclusive rights of copyright owners, exceptions to copyright, and the duration of copyright. It also addresses obtaining licenses for cover songs on YouTube, the YouTube copyright policy and process, and commonly used music licenses.
This document discusses music licenses and copyright. It defines intellectual property and copyright, outlines the exclusive rights of copyright owners, exceptions to copyright, and the duration of copyright. It also addresses obtaining licenses for cover songs on YouTube, the YouTube copyright policy and process, and commonly used music licenses.
The document discusses the 5 rights of copyright holders: reproduce, distribute, perform publicly, make derivatives, and display publicly. It also discusses compulsory licenses that require copyright holders to license their works, 5 types of compulsory licenses, mechanical sales/royalties for devices that reproduce sounds, the 1909 Copyright Act, statutory rates for digital downloads, Harry Fox agency for music licensing, RightsFlow as an alternative to Harry Fox, and Creative Commons licenses for making works more openly available while retaining copyright.
Cross-border Extended Collective Licensing: A Solution to Online Disseminatio...EUscreen
Presentation by Johan Axhamn about cross-border extended collective licensing as a possible solution to the online dissemination of Europe’s cultural heritage at the Second EUscreen International Conference on Use and Creativity, which took place at the National Library of Sweden, Stockholm, on September 15-16, 2011.
1) The document discusses how the rise of user-generated content and digital networks has distributed creative authorship powers widely, challenging traditional copyright industry business models.
2) It analyzes different approaches copyright law and online platforms have taken in response, such as expanding rights and enforcement, regulating technology, or contracting away user copyright interests.
3) The document argues that in a world of widespread distributed authorship, copyright law should focus on attribution, clear notice requirements, shorter terms, and funding creative works as a commons.
This document discusses open content in business and increasing visibility by sharing more openly. It was written on November 2, 2010 by Tarmo Toikkanen of Aalto University. The document contains images and text discussing openness, interest, utility, paid content, viral marketing, and attracting more eyeballs by sharing content.
The document discusses copyright and performance rights. It begins by outlining the bundle of rights granted to creators under US copyright law, including reproduction, distribution, public performance, derivatives, display, and digital audio transmission. It then focuses on the public performance right, explaining that it applies to compositions but not sound recordings. It describes what constitutes a public performance and discusses limitations on the right. The document also outlines the roles of Performing Rights Organizations (PROs) like ASCAP, BMI, and SESAC, which issue licenses and collect/distribute fees. It provides information on how PROs monitor performances to determine royalty payments. Finally, it discusses various pieces of legislation impacting copyright like the Songwriter's Equity Act and
Legal and ethical considerations for a print music product include copyright, slander/libel, royalties, violence, offensive content, and public interest. Regulatory bodies like BASCA, MPA, PRS, OFCOM, PPL, BPI, Songrite UK, and UK Music support songwriters and the music industry. They provide royalty collection, copyright registration, licensing, and advocacy. Following relevant laws and considering the guidance of these organizations will help ensure any print product is legally compliant and appropriately represents artists and their music.
This document discusses various aspects of the music business, including intellectual property rights, types of music businesses, and protecting musical works. It covers topics such as how music is marketed and sold, the roles of record labels, publishers, and performing rights organizations. Specific points covered include how songwriting copyright is divided between melody and lyrics, different types of royalties like mechanical and performance royalties, what sync licensing and sampling entail, and how to legally operate as a music label.
Copyright seeks to balance author and public interests by protecting the expression of ideas but not the underlying ideas themselves. Copyright protects works that are fixed in a tangible medium and provides authors with a bundle of exclusive rights including reproduction, distribution, public performance, creation of derivatives, and digital audio transmission. Copyright duration for individual works is the life of the author plus 70 years. Mechanical royalties from streaming services are typically a fraction of a penny per stream and must meet certain thresholds to earn substantial amounts. Fair use is an exception that allows limited unauthorized use of copyrighted works for purposes like education or commentary.
The document discusses copyright and the bundle of rights it provides authors/creators, including the rights of reproduction, distribution, public performance, derivatives, display, and digital audio transmission. It focuses on the public performance right, explaining that it applies to compositions but not sound recordings. The public performance right covers live, recorded, and transmitted performances. It also discusses what constitutes a "public" performance and the organizations that collect public performance royalties, including ASCAP, BMI, and SESAC. It notes some limitations on the public performance right, including exemptions for educational and nonprofit uses.
THE PIXEL LAB 2010: Gregor Pryor of Reed Smith - Digital Rights Issues for Cr...power to the pixel
This document discusses legal issues related to developing cross-media properties that are distributed digitally. It notes that digital distribution is important for the film industry. It recommends having clear distribution strategies and intellectual property frameworks when developing properties across multiple platforms. The document provides examples and discusses concepts like copyright, licensing models, and emerging technologies that could impact cross-media development.
Edtc 6340-66 copyright crash course alberto tudon 6th edalbertotudon
This training presentation covers copyright and permission issues related to using content from the web and other sources. It discusses the public domain, orphan works, fair use, available licenses like Creative Commons, the TEACH Act's impact on distance education, how to determine if permission is needed and sources to get permission. The presentation emphasizes getting permission or risking penalties for copyright infringement and encourages ensuring students complete work without legal issues.
This music teaching guide introduces students to instrumental music composed by Filipino composers through four representative compositions: Malikmata by Antonio Molina, Mindanao Sketches by Antonino Buenaventura, Dularawan by Lucresia Kasilag, and Udlot-Udlot by Jose Maceda. Students will analyze the musical elements of these compositions, correlate them to Philippine culture, and recognize the contributions of these composers. The module culminates in students composing and performing their own composition inspired by the four representative works.
Arnis, also known as Kali and Eskrima, is a Filipino martial art that uses weapons and focuses on training with them from the start. This builds manual dexterity and conditioned responses to attacks. While weapons-based, it also includes striking, wrestling, and grappling. Practicing Arnis provides many benefits like increased self-defense abilities, fitness, flexibility, and dexterity from training with weapons. It can be practiced by people of all ages and abilities. Basic Arnis skills include various stretches, stick exercises, stances, strikes, blocks, and cool down exercises.
Copyright protects original creative works and provides exclusive rights to the creator. The 1988 Copyright, Designs and Patents Act is the key legislation and grants copyright automatically to original literary, dramatic, musical or artistic works. Copyright covers the physical work as well as rights to copy, distribute, perform or adapt the work. These rights are typically held for 70 years after the creator's death. Exceptions allow limited use without permission for review, private study or incidental inclusion. Proper permissions and rights clearance is needed to legally use copyrighted material.
A presentation by Shiveta Sooknanan, Legal Officer II, Intellectual Property Office at MusicTT, IPO & WIPO's How to Make a Living from Music workshop.
OUTLINE:
Copyright and Neighbouring Rights
Exclusive rights of the copyright owner
Individual management of rights
Collective management
Models of collective management: Traditional CMO, One-stop-shop, Rights Clearance Centre
CMOs in the Caribbean
CMOs Legislation/Regulations
Licensing Formats/Royalties
Copyright infringement
Issues faced by the music industry in Trinidad and Tobago
Proposed Solutions
Presentation given by Andrew Reith, Business Events Manager at the Intellectual Property Office (IPO), at the CLIC staff development event 'An introduction to copyright', held at Cardiff Central Library on 14 March 2013.
Module 3 Content preparation and management for the radioSMKCreations
In Module 3, our objective is to empower individuals to become active creators of media and amplify their message. This Module aims to enhance communication skills and raise awareness of both personal and community experiences.
Intellectual property refers to creations of the mind such as inventions, artistic works, and symbols used in commerce, and can be protected by copyright, which grants creators exclusive rights over the reproduction and distribution of their original works; copyright applies to digital media like websites and online content as it does to physical works; penalties for copyright infringement range from fines to imprisonment depending on the scale of the offense.
Copyright protects original creative works and provides exclusive rights to the creator. It applies to literature, music, films, broadcasts and more. The main rights include copying, distributing, performing and adapting the work. Copyright subsists automatically on creation of the work when recorded. It lasts varying durations such as 70 years after the creator's death for most works. Exceptions allow some uses like private research or criticism. Media must clear rights to use copyrighted content or risk infringement.
This document discusses music licenses and copyright. It defines intellectual property and copyright, outlines the exclusive rights of copyright owners, exceptions to copyright, and the duration of copyright. It also addresses obtaining licenses for cover songs on YouTube, the YouTube copyright policy and process, and commonly used music licenses.
This document discusses music licenses and copyright. It defines intellectual property and copyright, outlines the exclusive rights of copyright owners, exceptions to copyright, and the duration of copyright. It also addresses obtaining licenses for cover songs on YouTube, the YouTube copyright policy and process, and commonly used music licenses.
The document discusses the 5 rights of copyright holders: reproduce, distribute, perform publicly, make derivatives, and display publicly. It also discusses compulsory licenses that require copyright holders to license their works, 5 types of compulsory licenses, mechanical sales/royalties for devices that reproduce sounds, the 1909 Copyright Act, statutory rates for digital downloads, Harry Fox agency for music licensing, RightsFlow as an alternative to Harry Fox, and Creative Commons licenses for making works more openly available while retaining copyright.
Cross-border Extended Collective Licensing: A Solution to Online Disseminatio...EUscreen
Presentation by Johan Axhamn about cross-border extended collective licensing as a possible solution to the online dissemination of Europe’s cultural heritage at the Second EUscreen International Conference on Use and Creativity, which took place at the National Library of Sweden, Stockholm, on September 15-16, 2011.
1) The document discusses how the rise of user-generated content and digital networks has distributed creative authorship powers widely, challenging traditional copyright industry business models.
2) It analyzes different approaches copyright law and online platforms have taken in response, such as expanding rights and enforcement, regulating technology, or contracting away user copyright interests.
3) The document argues that in a world of widespread distributed authorship, copyright law should focus on attribution, clear notice requirements, shorter terms, and funding creative works as a commons.
This document discusses open content in business and increasing visibility by sharing more openly. It was written on November 2, 2010 by Tarmo Toikkanen of Aalto University. The document contains images and text discussing openness, interest, utility, paid content, viral marketing, and attracting more eyeballs by sharing content.
The document discusses copyright and performance rights. It begins by outlining the bundle of rights granted to creators under US copyright law, including reproduction, distribution, public performance, derivatives, display, and digital audio transmission. It then focuses on the public performance right, explaining that it applies to compositions but not sound recordings. It describes what constitutes a public performance and discusses limitations on the right. The document also outlines the roles of Performing Rights Organizations (PROs) like ASCAP, BMI, and SESAC, which issue licenses and collect/distribute fees. It provides information on how PROs monitor performances to determine royalty payments. Finally, it discusses various pieces of legislation impacting copyright like the Songwriter's Equity Act and
Legal and ethical considerations for a print music product include copyright, slander/libel, royalties, violence, offensive content, and public interest. Regulatory bodies like BASCA, MPA, PRS, OFCOM, PPL, BPI, Songrite UK, and UK Music support songwriters and the music industry. They provide royalty collection, copyright registration, licensing, and advocacy. Following relevant laws and considering the guidance of these organizations will help ensure any print product is legally compliant and appropriately represents artists and their music.
This document discusses various aspects of the music business, including intellectual property rights, types of music businesses, and protecting musical works. It covers topics such as how music is marketed and sold, the roles of record labels, publishers, and performing rights organizations. Specific points covered include how songwriting copyright is divided between melody and lyrics, different types of royalties like mechanical and performance royalties, what sync licensing and sampling entail, and how to legally operate as a music label.
Copyright seeks to balance author and public interests by protecting the expression of ideas but not the underlying ideas themselves. Copyright protects works that are fixed in a tangible medium and provides authors with a bundle of exclusive rights including reproduction, distribution, public performance, creation of derivatives, and digital audio transmission. Copyright duration for individual works is the life of the author plus 70 years. Mechanical royalties from streaming services are typically a fraction of a penny per stream and must meet certain thresholds to earn substantial amounts. Fair use is an exception that allows limited unauthorized use of copyrighted works for purposes like education or commentary.
The document discusses copyright and the bundle of rights it provides authors/creators, including the rights of reproduction, distribution, public performance, derivatives, display, and digital audio transmission. It focuses on the public performance right, explaining that it applies to compositions but not sound recordings. The public performance right covers live, recorded, and transmitted performances. It also discusses what constitutes a "public" performance and the organizations that collect public performance royalties, including ASCAP, BMI, and SESAC. It notes some limitations on the public performance right, including exemptions for educational and nonprofit uses.
THE PIXEL LAB 2010: Gregor Pryor of Reed Smith - Digital Rights Issues for Cr...power to the pixel
This document discusses legal issues related to developing cross-media properties that are distributed digitally. It notes that digital distribution is important for the film industry. It recommends having clear distribution strategies and intellectual property frameworks when developing properties across multiple platforms. The document provides examples and discusses concepts like copyright, licensing models, and emerging technologies that could impact cross-media development.
Edtc 6340-66 copyright crash course alberto tudon 6th edalbertotudon
This training presentation covers copyright and permission issues related to using content from the web and other sources. It discusses the public domain, orphan works, fair use, available licenses like Creative Commons, the TEACH Act's impact on distance education, how to determine if permission is needed and sources to get permission. The presentation emphasizes getting permission or risking penalties for copyright infringement and encourages ensuring students complete work without legal issues.
This music teaching guide introduces students to instrumental music composed by Filipino composers through four representative compositions: Malikmata by Antonio Molina, Mindanao Sketches by Antonino Buenaventura, Dularawan by Lucresia Kasilag, and Udlot-Udlot by Jose Maceda. Students will analyze the musical elements of these compositions, correlate them to Philippine culture, and recognize the contributions of these composers. The module culminates in students composing and performing their own composition inspired by the four representative works.
Arnis, also known as Kali and Eskrima, is a Filipino martial art that uses weapons and focuses on training with them from the start. This builds manual dexterity and conditioned responses to attacks. While weapons-based, it also includes striking, wrestling, and grappling. Practicing Arnis provides many benefits like increased self-defense abilities, fitness, flexibility, and dexterity from training with weapons. It can be practiced by people of all ages and abilities. Basic Arnis skills include various stretches, stick exercises, stances, strikes, blocks, and cool down exercises.
This document provides a teaching guide for a health module on growing healthy for 7th grade students. The module has 4 lessons to be taught over 10 meetings of 60 minutes each. Lesson 1 discusses the concept of holistic health and its five dimensions. Lesson 2 covers the physical, mental, emotional, social, and moral changes that occur during puberty. Lesson 3 addresses some common health concerns during puberty like body odor and poor posture, and how to develop coping skills to manage them. Each lesson includes learning objectives, content, activities, and assignments to help students understand and achieve holistic health.
This document provides information on vocal and instrumental music from Africa and Latin America. It discusses the integral role of music in African culture, describing traditional styles like call-and-response and how instruments like drums, rattles, and xylophones are used. Griots are mentioned as skilled musicians who pass on history through oral traditions. The document also outlines several influential Latin American musical styles like salsa, rumba and merengue that blend African and European influences. Common percussion, string and wind instruments used in Latin America are described such as maracas, panpipes and various drums.
This document provides a teaching guide for a Grade 1 art lesson on sculpture using found natural objects. The lesson introduces sculpture and sculptors. Students will explore natural forms, define art vocabulary, and arrange natural objects like leaves, stones or cutouts into patterns to create sculptures. They will sketch plants from different angles and discuss how nature also creates sculptures that change over time. The lesson aims to help students appreciate art found in nature.
This document provides a teaching guide for a printmaking and mail art lesson for 1st grade students. The lesson involves students creating their own postcards by drawing a picture on one side and including an address, note, and stamp on the other. The objectives are for students to define art vocabulary, create a postcard, write a short note, connect art to social studies, and appreciate writing. Materials needed include paper, coloring supplies, and small paper squares to use as stamps. Students will choose who to send their postcards to, then mail them by dropping them in a mailbox. Finally, the class will discuss the postcards they received and point out elements in the mail art.
1. The document provides guidance for a lesson on object printing where students will create prints using natural objects like leaves, stones, and vegetables.
2. Students will discover that everyday objects have different shapes that can be used for printing and will learn techniques for stamping objects with dye to create repeated patterns and designs on paper.
3. The lesson teaches art vocabulary like printing and emphasizes exploring different textures through this printmaking process.
15 grade 7 art -tg qtr 4 - module 8, les 2 festivalsS Marley
This document provides information about Philippine festivals that are taught in the 7th grade art curriculum. It discusses several major festivals celebrated in different parts of the Philippines, including Ati-atihan, Pahiyas, Panagbenga, Sinulog, Dinagyang, Maskara, and Kadayawan. Students are tasked with researching festivals, creating masks and costumes representing one of the festivals, and reenacting a selected festival through decorating a classroom area and performing for other classes. The goal is for students to appreciate the cultural significance of festivals in strengthening community bonds and pride in local traditions.
This document provides a lesson plan on sculptures from the American period in the Philippines up to the present. It includes 4 sessions to teach students about prominent sculptors from each period and the styles and materials they used. Students will then work in groups to create sculptures out of found "junk" materials representing imaginary creatures or concepts. Their sculptures will be displayed in the school or neighborhood. Finally, students will assess their own and other groups' works based on criteria like originality and variety of materials used.
This document provides an overview of a K-12 art lesson for 7th grade students on sculpture during the Spanish colonial period in the Philippines. The lesson has the following key points:
- Sculpture during this period was largely religious in nature and served to help friars convert Filipinos to Christianity, featuring figures of Jesus, Mary and saints. However, Filipinos indigenized these religious figures and festivals.
- Students will create a historical and cultural matrix of sculptures and architecture from their local area during the Spanish period, including associated religious festivals and decorations. They will interview local artisans who continue Spanish-era crafts.
- The lesson compares Philippine sculptures from the Spanish period to similar
11 grade 7 art , tg -qtr 4 - module 7 sculpture, les 1S Marley
This lesson discusses early forms of sculpture in the Philippines, including pottery over 3,500 years old found in Palawan and carved wooden figures from the Cordilleras and Mindanao used for spiritual purposes. Students will learn about these traditions, create sculptures using materials like clay and fruits, and critique each other's works based on design, uniqueness, and use of materials. The objectives are for students to appreciate early Filipino sculpture, create and exhibit their own, compare regional variations, and provide constructive criticism.
Printmaking began in the Philippines in 1593 with the publication of the first book using wooden blocks. Over time, more books were printed using movable type and printers like Diego Talaghay and Tomas Pinpin. Now, there are many printmaking methods, both manual and digital. Students will study the history of printmaking in the Philippines by creating a poster or presentation using various printing techniques. They will learn about the early printers and how printmaking has evolved with new technologies. By critiquing each other's work, students will consider graphic design principles of balance, emphasis and contrast in layout and use of fonts, illustrations and colors.
This document contains a physical fitness quiz with 18 statements describing various fitness terms and concepts. The quiz taker must match each of 10 terms with the statement that best describes it, selecting from aerobic, muscular endurance, type, frequency, body composition, circuit training, flexibility, intensity, up the ladder, and down the ladder.
3 k to 12 cur for gr 7 art - table of contentsS Marley
The document outlines the curriculum for Grade 7 Art for the first and second quarters. The first quarter focuses on drawing and painting, with modules covering folk arts from different regions of Luzon and the Visayas, as well as Philippine paintings from different historical periods. The second quarter introduces printmaking, with lessons on its history in the Philippines and techniques.
2 quarter art for gr 7-printmaking 2nd qtr (6 plans)S Marley
This document provides guidance for a 7th grade art lesson on printmaking techniques in the Philippines. The lesson introduces students to the history of printmaking in the Philippines from pre-Hispanic times to the present. Students are divided into groups to research different periods and present their findings creatively. The lesson also demonstrates basic printmaking techniques like rubbings and leaf prints for students to try. The goal is for students to understand printmaking as an art form and appreciate the variety of textures, lines and designs used in Philippine prints.
The document provides details about a physical education lesson on baseball/softball for 8th grade students. It includes 5 activities to assess students' prior knowledge, teach basic skills and rules of baseball/softball, and develop proficiency in skills through drills. Students are expected to play an actual baseball/softball game at the end of all lessons.
This document outlines the DepEd Physical Fitness Test in the Philippines. It introduces the test and its goals, which are to determine fitness levels, identify strengths/weaknesses, and gather data. The test measures both health-related and skill-related fitness components. It consists of several stations that test items like body composition, flexibility, cardiovascular endurance, muscular strength, and more. Detailed protocols are provided for administering each component of the test.
The document is a daily lesson log template for teachers. It includes spaces for teachers to record the subject, date, lessons, references used, learning materials, remarks on student mastery levels and needs, and other activities for each day of the school week. There are also lines for the teacher's name and for a checker to provide remarks.
This table provides BMI guidelines for male and female adolescents aged 10-19. It lists the BMI ranges considered wasted, normal, or overweight at each age for boys and girls. BMI is calculated based on an individual's weight in kilograms divided by the square of their height in meters. The guidelines show that the normal and overweight BMI ranges generally increase with each advancing year of age for both sexes.
This document contains a physical fitness quiz with 18 statements describing various fitness terms and concepts. The quiz asks the respondent to match each of 10 terms with the statement number that best describes it. The terms include: aerobic, muscular endurance, type, frequency, body composition, circuit training, flexibility, intensity, up the ladder, and down the ladder.
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Modern Radio Frequency Access Control Systems: The Key to Efficiency and SafetyAITIX LLC
Today's fast-paced environment worries companies of all sizes about efficiency and security. Businesses are constantly looking for new and better solutions to solve their problems, whether it's data security or facility access. RFID for access control technologies have revolutionized this.
_7 OTT App Builders to Support the Development of Your Video Applications_.pdfMega P
Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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4.1 legal matters gaite
1. MUSIC COPYRIGHT
1st Elements National Songwriting Camp
7101 Music Nation
November 14 - 20, 2010
Dumaguete City
2. The Beginnings of Copyright
1600
1600
1800 – global
spread
1600
1890 – mass
production
1700
3. The Beginnings of Copyright
The BERNE Convention of 1886
Coverage : Literary, Scientific, and Artistic works
Signatories : 161 countries (as of 2006)
Administration : World Intellectual Property Office
National Treatment
Underlying Principles
Automatic Protection
Minimum Standards:
Levels of Rights Protection
Economic – Reproduction, Broadcast, Transmission, Communication to the
public, Translation, Adaptation, Audio-visual use.
Moral – to claim authorship, and to object to modification and derogatory
actions
Term of Protection – Life of author plus 50 years
Provisions for fair use
4. Copyright in the Philippine Setting
Signatory to the BERNE Convention in 1951
Several R.A.s and E.O.s subsequently but not conforming to
the prescriptions of the Berne Convention until 1997.
RA 8293 (Intellectual Property Code of the Philippines)
was passed in 1997, and enacted in January 1998
Comprehensive and specific laws governing patents,
trademarks and copyright enforced through the Intellectual
Property Office of the Philippines (IPO)
RA 8293 currently being reviewed for possible amendments
to address digital applications.
5. From the moment of creation,
A composer is entitled to a bundle of exclusive rights
Economic Rights
Reproduction Right
Communication to the Public Right
Publication Right
Adaptation Right
Making Available Right
Moral Rights
6. Economic Rights
Reproduction Rights
Mechanical Rights – the right to reproduce the work using a mechanical device
Synchronization Rights – the right to reproduce the work with visuals
Communication to the Public Rights
Broadcasting – the right to relay the work by wire or wireless means
Cable Transmission – the right to relay the work through cable networks
Making Available – the right to make the work accessible to the public at a
time and place that an individual chooses
Public Performance – the right to allow the work to be performed in public
(live or via mechanical means)
Legal Definition of “PUBLIC”
Publication Rights – the right to reproduce the work in print form
Adaptation Rights – the right to translate or revise the work
7. Moral Rights
The right to require that authorship, as far as practicable, be attributed
to him
The right to make alterations of his work or refuse any form of
publication
The right to object to alterations and distortions that may be
prejudicial to his honor and reputation
The right to prevent the use of his name with respect to any work that
is not his creation or to a distortion of his work.
Term of Protection
Author’s life plus 50 years
For joint authorship, last surviving author’s life plus 50 years
If creator is unknown, 50 years from publication/making
8. Limitations and the Concept of Fair Use
FAIR USE: For criticism, comment, teaching, news reporting, teaching,
scholarship, research and similar purposes
Public performance that is done in private and free of charge, or for
purely educational or religious purposes.
The reproduction and communication to the public of artistic works as
•
part of reports of current events by means of to the extent necessary for
the purpose
The making of ephemeral recordings by a broadcasting organization by
means of its own facilities and for use in its own broadcast
The use of a work under the direction and control of the Government,
the National Library, or for any judicial proceedings.
9. Whenever possible, the individual management of rights is preferred
Reproduction Right
Publication Right
Adaptation Right
Making Available Right
Communication to the Public Right
10. Communication to the Public Right
Too many music users
Foreign usage
Economies of Scale
Convenience for business owners
Collective Management Organizations (CMOs) were formed to
manage the rights that are difficult for creators to handle as
individuals.
Filscap is the only composers’ CMO in the Philippines
11. FILSCAP, INC
Established in 1965
Primary function is to collect public
performance royalties
Administers and manages
other economic rights
(mechanical reproduction and
adaptation rights) for a few
composers
12. WHAT WE DO
Assigns:
Public
Performance
Composers
Assigns:
Reproduction Rights Licenses
Publication Rights Public
Public Performance
Adaptation Rights Assigns:
Performance
Licenses
Reproduction Rights
Publication Rights
Adaptation Rights
Publisher End Users
13. WHAT WE DO
Composers
Distributes Public
Performance
Royalties
Distributes
Reproduction,
Pay License
Adaptation, and
Fees
Publication Royalties
Pay Reproduction,
Adaptation, and Publication
Royalties
Publisher End Users
14. Foreign Affiliates
Sister Societies
•
Independent Agencies
•
Denmark
Sweden
CANADA
Lithuania
SOCAN United Kingdom
Czechoslovakia
Hungary
SODRAC HollandGermany
Switzerland
Netherlands
Ireland Slovak Republic
USA ASCAP, Belgium
Austria
BMI SESAC, FranceItalyGeorgia
Spain KoreaJapan
HFA Greece
Macau
Taiwan
Cuba Hongkong
Thailand
Peru Malaysia
Singapore
Colombia
Indonesia
Brazil
South Africa Australia
Argentina
Currently being finalized – India, Mexico, and Brazil (Abramus)
15. MEMBERSHIP
Regular Members
Songwriters who have published, recorded, or publicly performed works
•
Music Publishers
•
Associates
Copyright Owners/Successors
•
Songwriters with unpublished or unrecorded works
•
Membership Growth
10
9
8
7
6
5
4
3
2
1
0
16. 2010 BOARD OF TRUSTEES
Standing L-R: Noel Cabangon, Snaffu Rigor, Kedy Sanchez (RGMA) Gary Granada, Nonoy Tan, Tito
Cayamanda, Mon Del Rosario, Pablo Vergara, Ceasar Apostol (Star Songs),
Seated L-R: Baby Gil, Doris Saturno, Rachel Dacillo (EMI), Trina Belamide, Ramon Chuaying
(Universal Records), Alvin de Vera (Alpha Records)
20. DISTRIBUTION
How We Distribute
Returns Data Upload to Processed by Distribution
Encoding MIS@Asia MIS@Asia Reports
Cue sheets
Foreign Remittance thru
Telegraphic Transfer Checked by
Tax deductions
(Accounting Dept) membership unit
Uploaded to ATM
payment system
(local recipients)
21. MILESTONES
1965 – ASCAP Assistance
1980s – CISAC Assistance
1994 – HRAP MOA
1996 – Signing of Memorandum of Agreement with the KBP
22. MILESTONES
1997 – Enactment of Republic Act 8293 (Intellectual Property Code of the Philippines)
2002 – Licensing Agreement signed with SM Prime Holdings
2004 – Signing of Licensing Agreement with GMA7 Network
23. MILESTONES
2004 – Signing of Licensing Agreement with ABS CBN
2005 – Memorandum of Agreement with The Bureau of Immigration & Deportation
24. MILESTONES
August 2006 – Filscap purchases its
own property
October 2007 – Filscap moves into
its own office
25. MILESTONES
March 2007 – FILSCAP is accepted as a regular member of
CISAC
2008 – FILSCAP opens its 1st
branch in Baguio City
26. MILESTONES
2008 – MOA signed with the Philippine Retailers Association (PRA)
2009 – Licensing agreement signed with the Robinsons’ retail stores
28. CHALLENGES AHEAD
LONG TERM:
Addressing digital usage and piracy
Cost efficient licensing in an archipelago
The slow wheels of justice
Guns and Goons
SHORT TERM TARGETS
P73.0M in revenues for 2010
P83.0M in revenues for 2011
Open Davao branch in 2011
Open Cebu branch in 2012
29. George Canseco
1973-1987 - Board of Director
1988-1997 – President
1998-2005 - Chairman
“Please continue with the fight to enforce our
rights as composers!”
“Always remember that we
composers never die…
we only decompose.”
Filipino Society of Composers, Authors
and Publishers, Inc.
Editor's Notes
At the moment the BOT is having a special board meeting, and I was just advised that Mr. Ceasar Apostol has been elected as the President of the Board.