3850 Certificate in English – Sample paper – Set 4

Reading and Writing www.cityandguilds.com

Stage 3 Set 4
Version 1.0

The World of Music

 

 
 
 
Source documents

Do not write your answers in this booklet as this will not be

marked.
All answers should be written in the space provided on the
question paper.
 

 
 Document 1

Music
Home Artistes Production Management Q&A Contact us

Artiste Manager - What is it?

An artiste manager, also known as a `band manager' is in charge of the business side of being in a
band or being a performer. Often, band members/performers are great at the creative side of things,
but aren't so good at promoting themselves, booking their own gigs, or negotiating deals. In a very
general sense, the task of a manager is to take care of the day to day running of the artiste’s career,
so they can focus on the creative side of things.
 

What Jobs Should An Artiste Manager Do? Talent Agents

starnow.co.uk/Talent+Agent
Signed Artistes:
The jobs a manager does depends very much on the artiste Talent Agents seeking fresh faces
and where they are in their careers. Apply and audition today!
For signed artistes, managers should:
 negotiate financial deals with the record company for How's Your Singing Voice?
expenses like touring and recording
www.thesingingzone.com
 oversee other people working for the artiste, like
accountants, agents, and merchandisers. Watch This Amazing Video – See How
You Can Improve Dramatically!
Unsigned Artistes:
For an unsigned artiste, the manager should be their Do You Have a Hit Song?
mouthpiece and their greatest ally, making sure that everyone www.musicxray.com
else involved in the artiste’s career is doing their job and
working hard to promote the artiste’s success. For instance, License deals & label signings for
the manager should be on the phone with record companies, major artistes seeking their next hit.
asking about advertising campaigns and on the phone with
agents asking about upcoming show opportunities. Career Websites
For an unsigned artiste, a manager should:
 send out demos to labels, radio stations, local print Sci Careers
media, and online publications
 book gigs and invite labels and the media to the shows
New Careers
 network and talk to people about the artiste
 help book studio time and practice sessions
 explore funding opportunities.
Bun B Music

Read more Career Search  

     

     

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 Document 2
Jones and the Jamaican Sound Clash
This Saturday at Caribbean Village,
DJ Indiana Jones and his long time
musical collaborator DJ Danger will be
participating in the region’s first
Jamaican-style DJ sound clash. Jones,
aka Ron Miner, has been a major force in
the club scene for well over two decades.
In addition to spinning hip-hop and Top
40 beats, he's well known for his
connection with Jamaican music. Jones
filled me in on the event's significance as
well as his own personal history with
Jamaican sounds.
Can you explain what a sound clash is, for our
readers who aren't familiar with the term?
The simplest way to break it down is to say it's a
Jamaican DJ battle. In a sound clash, your sound
system competes against two or three other
different sound systems. You start off in the
initial round just playing a warm-up mix. Then,
you go into a round of counteraction between the
sound systems. For example, one sound system
plays a song, then lets the other sound system
respond with a song counteracting, then there's a
counteraction to that, and so on. You have to be
on your toes, and know what the Artiste is talking
about in each song so you know what to play
next in your response.
How is a sound clash scored?
It's scored by the judges and the host, but you
also have the crowd involved. They look at your
interaction with the crowd, the quality of your
selections and mixing. You have to interact with
the crowd and talk about the competition, or talk
to the crowd. Just get people excited.
A Cultural Manifesto is now available on WFI's HD2 radio. Tune in Wednesdays at 7 p.m.
and Saturdays at 3 p.m. as NUVO's Kyle Long explores the merging of a wide variety of
music from around the globe with American genres like hip-hop, jazz and soul.
What initially pulled you into working with Jamaican
music?
I had two different gravitational pulls. In the early '90s, I
met up with a bunch of kids who went to Pike High
School that were really into straight-ahead reggae like
Steel Pulse, Augustus Pablo, and The Wailing Souls. I
wasn't really keen on the dancehall sound at the time.
But then Super Cat and Shabba Ranks came with a
couple of hip-hop remixes and that got me interested.
When I moved to New York around '93 or '94, I went to
a Rock Lobster-type college bar in New Brunswick. The
DJ was playing standard Top 40 fare, but then he started
playing reggae. Not like any of the reggae I was familiar
with. He was playing Cutty Ranks, Beenie Man and
Bounty Killer.
In the late 90s, in New York I would DJ for Mark
Ronson's reggae sets. A hip-hop DJ would always bring
another DJ with him to do the reggae set, or a house set.
Really, you were there just to carry their records, but I
would get to do my little reggae set.
The Sunday night reggae party at the Casba has been
going for seventeen years. How has Jamaican music
in Indy grown since the Casba party started?
It's a totally different thing now. When I started you had
the West Indian Association that had some traditional
events going on, but they didn't do anything fun for
young people.
 
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Document 3

Home About us Blog Shop Photos

From the blog

Tessanne joins Bob Marley, Peter
Tosh, Jimmy Cliff — a role model
 
KINGSTON, Jamaica — The Jamaica
Reggae Industry Association (JaRIA)
congratulated Tessanne Chin on her
triumph in the US-based NBC talent
contest The Voice.
“Tessanne has joined a host of great
Jamaican Artistes, such as Bob Marley,
Peter Tosh, Jimmy Cliff and many
others, who have showcased to the
world the incredible talent nurtured and
developed by the Jamaican music
industry and our powerful reverberating
‘one drop’ Reggae rhythm,” JaRIA
chairman Michael ‘Ibo’ Cooper said in a
statement.
“Having followed her career from its inception, we had no doubt that she would have
distinguished herself in the competition. Jamaicans came to love Tessanne from the
release of her hit single ‘Hideaway’ where she displayed the vocal quality, range and
versatility which are the secrets of her success in The Voice,” said Cooper, a former
member of the internationally popular group Third World.
“We took particular note of the warmly received insertion of Reggae into some of
Tessanne’s performances, including the awesome rendition of the Beatles’ ‘Let It Be’,
which she and [coach] Adam Levine delivered in the crowning show,” Cooper said.
“Tessanne’s accomplishment will definitely assist in keeping Jamaica in the global
entertainment spotlight and hopefully pave the way for other local talent to be similarly
recognised on the international stage. It also confirms the critical importance of the
creative industries to building Brand Jamaica, and its vast potential for contributing to
our economic development.”
“We must also commend Tessanne on her exemplary conduct throughout the contest.
She confirmed that it is possible to succeed while adhering to time-honoured values
such as humility, courtesy, respect and decency. In this regard she has established
herself as a positive role model not only to young women in the industry, but to all
Jamaicans who are striving for success,” said Cooper.

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