In This World You Come And You Go Music Download [EXCLUSIVE]

The convergent communications technology has upset the apple cart and has made music production and distribution more democratic and participatory at the grass roots level. This has happened not just at the national level but transcended borders to become a global phenomenon. As the writer in Wired magazine notes:

The music industry structure had evolved over many decades and was relatively inefficient. It incorporated up to three levels of intermediaries between the artists and the customers. Each profit-making intermediary added a layer of cost leading to higher final cost to the customers. Some companies tried to reduce this cost by combining roles of multiple intermediaries. For example, BMG Music Club and Columbia House were selling CDs and audiocassettes directly to their club members at lower costs. The success of this concept showed a need to reduce the cost by increasing transactional efficiency. On the other hand, one could argue that these intermediaries had economies of scale and economies of scope to achieve lower costs (Parikh, 1999).

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In addition, to reduce the cost of promotion and distribution, music was sold as a collection in an album of many solo songs or instrumental pieces, forcing artists to develop several tracks to make their music commercially viable. This practice invariably led to inclusion of several "not-so-good" songs and/or instrumentals in an album. This also forced buyers to buy an album in order to get one or two songs or musical pieces of their choice. Under this structure, the most dominating force in the industry was the major music labels. Labels command tremendous power by controlling major marketing and distribution channels and by binding their artists to long-term contracts. Having very limited access to marketing and distribution channels, most emerging artists cannot compete on their own. They either end up joining a label or remain small in a niche market. This allowed music companies to walk away with the lion's share of profit. In general, labels collected about 85 to 90 percent of the profit from music sales (Parikh, 1999).

The merger of audio technologies with computing technologies converted music into an information product. Technological innovations changed how music and songs are bought and consumed today. They provided means to create music at very low cost (one can produce music at home), to dub and mix music, and increased the quality of sound by using digital noise filters and balancing that was non-existent a few years back. Digital technologies such as mp3 has become the standard for digital music format. Mp3 is the widely accepted format for music distribution over the Internet and being an open standard (not a patented property of a company), it is well received by many audio software developers. With such technology music files can be compressed to a size that is practical to transfer over the Internet. This ability to compress files has made mp3 very popular among music listeners and producers. Emergence of the mp3 format has led to innovations in portable audio devices that can download music from computer hard disks or directly from the Internet. However, mp3 does not have a provision for a digital signature to identify or stop illegal music download and distribution worldwide which has allowed music consumers to freely download and distribute both legal and pirated music over the Internet.

Some scholars have argued that the Internet offers individuals an opportunity to voice their inner thoughts and express their creative urges (Mitra & Watts, 2002). Internet indeed is a space where individuals are able to speak , voice or even sing with the hope that many people around the world will listen to them. Unlike other means of mass communication, speaking, singing or even playing music in virtual space is a less resource intensive venture and anyone with some computer access and rudimentary knowledge of using the Internet is able to voice themselves. This process has definitely had an empowering effect. It has opened up avenues and channels for individuals who might have been traditionally powerless and voiceless, to be able to gain a sense of power over the discourses and texts (including music) that they are able to produce, distribute and circulate on the net. As one CEO of a music website wrote:

During the seminar, participants receive instruction from members of the SLSQ as well as guest faculty, who this year includes Michael Kannen, Maria Lambros, Asbjrn Nrgaard, Frederik land, Paul Groves, Pedja Muzijevic, Stephen Prutsman and Alasdair Tait. Participants focus on one or two major works in chamber music literature while learning the delicate art of cooperation as part of an intimate group. Despite the packed schedule, participants can be found well into the night sight-reading chamber music with friends and coaches.

So far in 2023, 13 million people from 200-plus countries around the world have benefitted from the Hymnary website! Thank you to all who use Hymnary.org and all who support it with gifts of time, talent and treasure. If you feel moved to support our work today with a gift of any amount and a word of encouragement, we would be grateful. You can donate online at our secure giving site. Or, if you'd like to make a gift by check, please send it to: Hymnary.org, Calvin University, 3201 Burton Street SE, Grand Rapids, MI 49546. May the hope, love, joy and peace of Advent be yours this day and always.

--Psalter Hymnal Handbook

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Joy to the world, the Lord is come [nigh]. I. Watts. [Ps. xcviii.] First published in his Psalms of David, &c, 1719, in 4 stanzas of 4 lines, as the 2nd pt. of his version of Psalm 98. T. Cotterill gave, in the first edition of his Selection, 1810, a much altered version of text, which was repeated in the authorized edition of 1820 with the repetition of stanza i. as stanza v. This arrangement is known by st. ii., which reads, "Ye saints, rejoice, the Saviour reigns," &c. Bickersteth's arrangement in his Christian Psalmody, 1833, also in 5 stanzas; but the added stanza (iii.) is from Watts's version of the first part of the same Psalm. Both of these texts have been repeated in later collections. In addition there are also the following: (1) "The Lord is come; let heaven rejoice," in Hall's Mitre Hymn Book, 1836; and (2) "Joy to the world, the Lord is nigh," in the Irvingite Hymns for the Use of the Churches, 1864. In its various forms, but principally in the original, it is in use in most English-speaking countries. It has also been translated into several languages, including Latin, in E. Bingham's Hymnologia Christiana Latina, 1870, "Laetitia in mundo! Dominus nam venit Iesus!"

"Joy to the World" was written by English minister and hymnist Isaac Watts, based on a Christian interpretation of Psalm 98. The song was first published in 1719 in Watts' collection The Psalms of David: Imitated in the language of the New Testament, and applied to the Christian state and worship. The paraphrase is Watts' Christological interpretation. Consequently, he does not emphasize with equal weight the various themes of Psalm 98. In first and second stanzas, Watts writes of heaven and earth rejoicing at the coming of the King. Watts also didn't write this to originally be a Christmas carol, as the lyrics do not reflect the Virgin birth of Jesus, but rather Christ's Second Coming. Stanza three, an interlude that alludes to Genesis 3:17-19 rather than to the psalm text, speaks of Christ's blessings extending victoriously over the realm of sin. The cheerful repetition of the phrase "far as the curse is found" has caused this stanza to be omitted from some hymnals. But the line makes joyful sense when understood from the New Testament eyes through which Watts interprets the psalm. Stanza four celebrates Christ's rule over the nations."[2] The nations are called to celebrate because God's faithfulness to the house of Israel has brought salvation to the world.[3]

The song was released on March 7, 1985, as the first single from the album by Columbia Records. A worldwide commercial success, it topped music charts throughout the world and became the fastest-selling U.S. pop single in history. "We Are the World" received a Quadruple Platinum certification by the Recording Industry Association of America, becoming the first single to be certified multi-platinum.

The first night of recording, January 22, 1985, had tight security on hand, as Richie, Jackson, Wonder, and Jones started work on "We Are the World" at Kenny Rogers' Lion Share Recording Studio. The studio, on Beverly Boulevard in Los Angeles, was filled with session musicians, technicians, video crews, retinue, assistants, and organizers as the celebrity musicians entered. Jones hired session musicians to lay down the backing tracks: John "JR" Robinson on drums, Louis Johnson on bass, and pianist Greg Phillinganes. (These three first played together on "Don't Stop 'Til You Get Enough" produced by Jones for Jackson.) Richie sat down at the piano to teach everyone the song. When it was time to roll tape, Robinson cleared the room of non-musicians, and the backing tracks were recorded.[9] After this, a vocal guide of "We Are the World" was recorded by Richie and Jackson, mixed with the instrumental tracks, and duplicated on tape for each of the invited performers. The guide was recorded on the sixth take, as Jones felt that there was too much "thought" in the previous versions.[10]

Following their work on the vocal guide, Jackson and Jones began thinking of alternatives for the line "There's a chance we're taking, we're taking our own lives": the pair was concerned that the latter part of the line would be considered a reference to suicide. As the group listened to a playback of the chorus, Richie declared that the last part of the line should be changed to "We're 'saving' our own lives". Jones also suggested altering the former part of the line. "One thing we don't want to do, especially with this group, is look like we're patting ourselves on the back. So it's really: 'There's a choice we're making.'"[11] Around 1:30 am, the four musicians ended the night by finishing a chorus of melodic vocalizations, including the sound "sha-lum sha-lin-gay".[11] Jones told the group that they were not to add anything else to the tape. "If we get too good, someone's gonna start playing it on the radio", he announced.[11] 2351a5e196