José Luis de los Santos Marte
(Santo Domingo, 6 de junio de 1954), más conocido como Jochy Santos, es un locutor, presentador y cómico dominicano. Santos es
CONSIDERADO PIONERO
1.PROGRAMAS RADIALES DOMINICANOS
considerado como el pionero en programas
1.1. RADIALES INTERACTIVOS.
radiales interactivos
1.2.MEZCLADOS CON HUMOR.
mezclados con humor en la República Dominicana.1
Santos saltó a la fama de su país como copresentador de un programa nocturno llamado "El Show de la Noche" junto al también presentador J. Eduardo Martínez a finales de los años 1980.
---------
EN EL ANO 2025, EL PROFESOR:
JOCHY SANTOS MARTE, cumplira;
50 anos DE EXPERIENCIA,
SUS BODAS DE ORO, CON:
1. LOS MICROFONOS DOMINICANOS,
2. CON EL HUMOR DOMINICANO,
3. CON LA PROFESION DE:
ACTOR & LOCUTOR PROFESIONAL
DOMINICANO,
como:
1. PRODUCTOR ECONOMICAMENTE
EXITOSO, en la INDUSTRIA :
TELECOMUNICACIONAL,
1. EN LA INDUSTRIA RADIOFONICA:
DOMINICANA.
2. EN LA INDUSTRIA PUBLICITARIA
DOMINICANA...
3. LA ACTUACION & EN LA IMPROVISACION
HUMORISTICA RADIOFONICA DOMINICANA...
(1975-2025)
--------
QUIENES SON LOS LIDERES, LOS ICONOS,
LOS PARADIGMAS JOVENES DE LA ECONOMIA
NARANJA, DE LA ECONOMIA CREATIVA,
DEL E-BUSINESS QUE NOS ESTAN QUEDANDO
VIVOS EN LA NACION & EN LA REPUBLICA
DOMINICANA, PARA INSPIRAR A NUESTROS
NINOS & JOVENES A GANARSE LA VIDA CON:
1 UN MICROFONO EN UNA CABINA DE RADIO
O DE TELEVISION, COMO:
LOCUTORES, LOCUTORAS,
MAESTROS, MAESTRAS DE CEREMONIAS...
2. COMO ACTORES & ACTRICES DE DIGITAL
MEDIAS O DE LA WEB 2.0 O SOCIAL MEDIAS,
DOMINICANOS, EN EL SHOW BUSINESS, desde
sus carreras:
1. COMO MICRO-EMPRESARIOS, COMO
MICRO-EMPRESARIAS, en una labor dura
DE CONSTRUIRSE A SI MISMOS...
2. DE INVENTARSE A SI MISMOS, A SI
MISMAS COMO RADIO PERSONALITIES,
ahora que no estan en el star system dominicano:
TEO VERAS LOPEZ (1950-2018),
NI ANTHONY RIOS (1950-2019)
NI FREDDY BERAS GOICO
(EL SEIBO, 1940-2010)
NI RAFAEL CORPORAN DE LOS SANTOS
(LA MATA, COTUI, 1937-2012)?
NOS QUEDAN JOVENES PROMESAS...
JOVENES TRABAJADORES DEL HUMOR...
JOVENES LOCUTORES, LLENOS DE VIDA
Y DE SALUD...
JOVENES ACTORES & ACTRICES :
DE LA INDUSTRIA RADIOFONICA DOMINICANA...
COMO EL PROFESOR :
JOCHY SANTOS MARTE.
Nacido CAPITALENO, en 1954...
Y QUIEN SE LANZO A TRIUNFAR EN LA :
ECONOMIA NARANJA, EN LA ECONOMIA
CREATIVA DOMINICANA, en una cabina o
estudio de radio o de television...
COSECHANDO EXITOS SIN PARAR...
1975,
1985,
1995,
2005,
2015,
2020...
Yoe F. Santos/CCIAV.
Talents, Criticism, Friendship!
Salut, Polis, Ecumene!
(1959-2019)
-------
TODO esta CONECTADO.
Reverendo Martin Luther King, Jr.
---------
RAFAEL DE LOS SANTOS, STREET.
NEW YORK, NEW YORK.
--------
EN HONOR A LA TRAYECTORIA:
1. RADICAL.
2. TELEVISIVA.
3. COMUNITARIA DE ESTE:
GRAN DOMINICANO.
LUNES 18 DE FEBRERO.
12.00 M.
176 STREET & BROADWAY, NEW YORK.
(Detras del UNITED PALACE)
----------
HARNESSING THE POTENTIAL OF ICT
OF PRACTICE OF BROADCAST...
-------------
Harnessing the Potential of ICT
on Practice of Broadcast ...
https://www.academia.edu › ...
SOURCE:
INTERNATIONAL JOURNAL OF
RESEARCH IN SOCIAL SCIENCES
International Journal of Research in Social Sciences Vol. ...
ITS ACCEPTANCE BY PROFESSIONAL
JOURNALIST
Its acceptance by professional
journalist
1.WILL REDUCE OR ELIMINATE : THE GAP
will reduce or eliminate the gap ...
2.NEWS CANNOT ONLY BE BROADCAST
IN
2.1.REGULAR TV...
News cannot only be broadcast in a regular T.V.
2.2.AND RADO TRANSMISSION WAVES
and radio transmission waves
3.BUT ALSO THROUGH THE INTERNET...
but also through the internet. ...
3.1.BY MOBILE PHONE OPERATOR
by a mobile phone operator
3.2.ALLOWING ACCESS
3.3.TO THE PUBLIC TELEPHONE NETWORK
allowing access to the public telephone network.
-------------
People also ask
1.What are the TYPES of broadcasting?
2.What is a broadcast STATION?
3.What is THE PURPOSE of broadcasting?
4.How are radio programs and television
PROGRAMS DIFFERENT?
----
BROADCASTING.
---------
Broadcasting - New World Encyclopedia
https://www.newworldencyclopedia.org › entry › broadcasting.
Jun 25, 2016 -
1 Introduction to broadcasting;
2 History of broadcasting ...
Television and radio programs
ARE DISTRIBUTED
are distributed through radio ...
NBC became the dominant radio network,
splitting into Red and ...
HE PROMOTED THE PHILOSOPHY
he promoted the philosophy
OF PUBLIC SERVICE
of "public service broadcasting,"
FIRMLY
POLITICS & SOCIAL SCIENCES
COMMUNICATION
firmly ..... Politics and social sciences · Communication.
----------
BROADCASTING:
1. RADIO.
2. TELEVISION.
3.FILM.
4. DIGITAL MEDIAS.
Broadcasting - Radio, Television, Film & Digital Media
https://www.centennialcollege.ca › programs-courses › full-time › radio-tel...
In the Broadcasting - Radio, Television, Film & Digital Media program,
YOU'LL BE TRAINED...
you'll be trained in ... television and radio
1. INDUSTRIES.
2. AS MULTIPLATFORM
DIGITAL PRODUCTION
industries as well as multiplatform digital production.
3.FOR PROFESSIONAL PORTFOLIO
... for a professional portfolio;;
4.SPEND 14 WEEKS
Spend 14 weeks
5. IN A FULL - TIME
5.1. INDUSTRY FIELD PLACEMENT
in a full-time industry field placement. ....
5.2. BROADCASTER IN:
5.2.1. RADIO.
5.2.2. TELEVISION
Broadcasters in radio and television;
1. PRODUCTION.
2. POST-PRODUCTION
Production and post-production ...
--------------
WORLD
COMMUNICATION & INFORMATION
REPORT (1999)
BY UNESCO (1999-2000)
World communication and information report, 1999-2000 ...
https://unesdoc.unesco.org › Notice
1.IN THE BROADCASTING SECTOR
In the broadcasting sector,
2. LEGISLATION TENDS TO BE:
INADEQUATE & THE GAP
legislation tends to be inadequate and the gap
1. TELEPHONE.
2. RADIO.
3. TELEVISION PENETRATION
... Telephone, radio and television penetration
RATIOS ARE OFTEN FAVOURABLE
ratios are often favourable, and the ....
Information and communication technologies
and social pro c e s s e s24 The ...... In fact,
THE POLITICS OF WORLD COMUNNICATION
the politics of world communication
REPRESENT A HISTORICAL SHIFT
FROM A PUBLIC...
represent a historical shift from a public ...
-----------
PUBLIC SERVICE BROADCASTING.
-----------
UNESCO.
--------
Public Service Broadcasting |
United Nations Educational ...
www.unesco.org › communication-and-information › media-development
UNESCO - Cover of publication
PUBLIC SERVICE BROADCASTING
A BEST...
"Public service broadcasting: a best ...
1. SUSTAINING .
2. EDITORIALLY INDEPENDENT
3. BROADCASTERS
sustaining editorially independent broadcasters
4. IN THE SUBSTANTIAL FULLFILLMENT
5. OF THEIR CULTURAL...
in the substantial fulfillment of their cultural ...
6. TRAINING IN MODERN BROADCASTING
training in modern broadcasting,
7. PARTICULARLY IN ISSUES RELATED
TO ICTs
particularly in issues related to ICTs.
8. ENCOURAGING MEDIA PROFESSIONALS
Encouraging media professionals
8.1. TO REDUCE DISPLAY
8.2 OF VIOLENCE IN TELEVISION
to reduce unnecessary display of violence
in television ...
-----------
RADIO & DEVELOPMENT IN AFRICA:
A CONCEPT...
---------
Radio and Development in Africa - A Concept ...
DR. MARY MYERS.
- Dr Mary Myers
www.marysophiamyers.org › pdfs of my publications › 5 Radio and Devel...
by M Myers - 2008
Radio's historical development
OVER THE LAST 20 YEARS...
over the last 20 years .....................
WORLD ASSOCIATION OF COMMUNITY
RADIO BROADCASTERS
................ .... World Association
of Community Radio Broadcasters.
AMDI ... on radio, TV to some extent,
AND TO GROWING EXTENDENT
ON MOBILE PHONES
and to a growing extent on mobile phones.
RADIOS...
1.RESEARCH ON THE IMPACT
1.1.OF THE NEW ICTs...
Radio as a ... Research on the impact
of new ICTs
1.2.AND TECHNOLOGY CONVERGENCE
and technology convergence
1.3.ON THE RADIO SECTOR
on the radio sector. - Evidence ...
------------
THE ROLE OF ICTs.
----
The Role Of Information And Communication Technology ICT) In
https://siteresources.worldbank.org › Resources › Role_ICT_paper
Information and Communication Technology (ICT)
1. INDUSTRY.
2. INVESTMENTS.
3. APPROPRIATE NETWORKS
industry and the ... investments,
appropriate networks (partnerships)
3.1. AND ENABLING: ENVIRONMENT.
and enabling environment. ...
3.2.TO ENSURE THAT ALL OF THE:
WORLD'S POPULATIONS
To ensure that all of the world's populations
3.3.HACE ACCESS TO:
3.3.1 TO TELEVISION.
3.3.2. RADIO.
SERVICES...
have access to television and radio services;. 9. ...
4. REQUIRES A : BUSINESS ENVIRONMENT
requires a business environment
4.1. ENCOURAGING OPEN COMPETITION
encouraging open competition,
4.2. OPEN TRUST...
trust and.
----
READER'S GUIDE:
1. TO PERIODICAL LITERATURE.
2. AND THE BULLETING OF THE:
PUBLIC BROADCASTING...
Readers' Guide to Periodical Literature
and in the Bulletin of the Public ...
------------
BROADCASTING.
--------
Broadcasting - Wikipedia
https://en.wikipedia.org › wiki › Broadcasting.
Broadcasting
IS THE DISTRIBUTION
is the distribution of audio or video
CONTENT
content to a dispersed audience
VIA ANY...
via any ...
Over the air broadcasting
IS ASSOCIATED
1. RADIO.
2. TELEVISION
is usually associated with radio and television,
1.BROADCASTING WAS INITIATED IN THE:
... broadcasting was initiated in the 1960s
2. AND MOVED INTO GENERAL INDUSTRY
USAGE...
and moved into general industry usage ...
3. PUBLIC BROADCASTING:
3.1. USUALLY NON-PROFIT
Public broadcasting: usually non-profit,
3.2. PUBLICLY OWNED STATIONS
OR NETWORKS...
publicly owned stations or networks ...
-----------
DIALOGUE & PUBLIC SPACE:
AN EXPLORATION OF RADIO
----------
Dialogue and Public Space:
An Exploration of Radio ... - Jstor
https://www.jstor.org › stable
by A Dale - 2005 -
WE EXAMINE TWO MEDIA:
1. RADIO.
2. ICTs.
We examine two media, radio and ICTs,
ONE HISTORICAL AND THE OTHER:
NASCENT
one historical and the other nascent .....
Due in part to the character of
1.WARTIME BROADCASTING
2.AND PROGRAMMING
wartime broadcasting and pro gramming, which ...
-------------------
Searches related to :
1.Radio & Television Professional,
2. ICTs Sciences,
2.1.Open Networks,
2.2.Broadcasting Industry,
3.World History.
---
1.Broadcasting school toronto
2.Features of public service broadcasting
3.Television and film BUSINESS CENTENNIAL
business centennial
4.Radio and television programs
5.Principles of PUBLIC SERVICE:
BROADCASTING...
public service broadcasting
6.WHAT IS PUBLIC SERVICE BROADCASTING?
What is public service broadcasting
7.Radio broadcasting programs
7.1. EXAMPLES OF PUBLIC SERVICES:
BROADCASTING.
Examples of public service broadcasting
------------
IMAGINATIVA TV (2019) DEDICA PROGRAMA
ESPECIAL AL INDUSTRIAL DOMINICANO DE LA
ECONOMIA NARANJA, DE LA ECONOMIA
CREATIVA :
RAFAEL CORPORAN DE LOS SANTOS
(LA MATA, COTUI, 1937-SANTO DOMINGO,
2012)
Yoe F. Santos/CCIAV
CCIAV, CC4AVE.
Talents, Criticism, Friendship!
Salut, Polis, Ecumene!
(1959-2019).
-----------
EL DIA 22 DE JULIO... 1937.
-EN LA COMUNIDAD RURAL-
LA MATA, DE COTUI...
-EN UNA FAMILIA HETEROSEXUAL DOMINICANA-
NACE:
UN NINO ANONIMO, DOMINICANO...
RAFAEL CORPORAN DE LOS SANTOS.
FALLECE: INFARTO, 2012.
----------
Rafael Corporán de los Santos.
------------
From Wikipedia, the free encyclopedia
.
Rafael Corporán de los Santos
Born July 22, 1937
La Mata, Cotuí, Dominican Republic
Died March 5, 2012 (aged 74)
Santo Domingo, Distrito Nacional, Dominican Republic
Cause of death Heart attack
OCUPATION:
Occupation
1.TV producer,
2.TV host,
3. Entrepreneur,
4. Political figure,
5. FILANTROPO
Philanthropist
INICIA SU VIDA PROFESIONAL,
-COMO ARTISTA DEL MICROFONO-
EN:
1963.
Years active 1963-2012
Rafael Corporán de los Santos (July 22, 1937 – March 5, 2012), better known as Corporán, was a TV producer, TV host, entrepreneur, political figure, and philanthropist from the Dominican Republic.[1]
He died of a heart attack on 5 March 2012.[2]
References
1. "ICON TV PRODUCER
Icon TV producer Rafael Corporán passes away". DominicanToday.com. 2012-02-03. Retrieved 2012-03-06.
2. "Mourning in Dom Rep for Death of
FORMER MAYOR
Former Mayor and Communicator". Prensa Latina. 2012-03-06. Retrieved 2012-03-08.
Government offices
Preceded by
Fello Suberví Mayor of Santo Domingo, Distrito Nacional
1990–1994 Succeeded by
Fello Suberví
Stub icon This biographical article
ABOUT A PHILANTHROPIST
about a philanthropist is a stub. You can help Wikipedia by expanding it.
Categories: 1937 births2012 deathsMayors of places in the Dominican RepublicDominican Republic philanthropists
PEOPLE FROM COTUI
People from Cotuí
Social Christian Reformist Party politiciansPhilanthropist stubs
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---------
UN DIA COMO HOY FALLECE :
JUAN JOSE DUARTE, PADRE DE:
JUAN PABLO DUARTE & DIEZ...
---
HOY ES DIA MUNDIAL DE :
SANTA CATALINA,
1.Patrona de las MUJERES & NINAS,
SOLTERAS...
2. PATRONA DE LOS : MECANICOS.
3. PATRONA DE LOS : FILOSOFOS.
----
UN DIA COMO HOY, EL PODER EJECUTIVO
DE LA NACION & DE LA REPUBLICA DOMINICANA
LA ORGANIZACION DE LA SOCIEDAD CIVIL
DOMINICANA:
ASOCIACION DOMINICANA DE RADIODIFUSORES
(ADORA)
--------
Un dia como hoy.... hace mucho tiempo...
NACIO EL DRAMATURGO espanol,
LOPE DE VEGA...
-------
UN DIA COMO HOY, NACE EN MOCA,
Dona CATANA PEREZ NUNEZ,
-PIANISTA, pedagoga MUSICAL-
DOMINICANA...
__
UN DIA COMO HOY NACE EL CANTANTE
POPULAR DOMINICANO, NINI CAFARO...
ERASMO CAFARO...
CUMPLE: 80 ANOS DE EDAD...
-------
En el SANTIAGO DE LOS CABALLEROS,
DE MI INFANCIA(1962-1980), tuve el
honor de conocer a una:
PATRIOTA & NACIONALISTA DOMINICANA,
DONA YOLANDA BADIA MONTES DE OCA....
ERA ACTRIZ...
Era actriz de TEATRO...
Pero ejercia su carrera BI-PERSONAL junto
a su esposo...
ERA :
ESPOSA,
ARTISTA DE LOS ESCENARIOS,
en el TEATRO...
PERO SE DIO CUENTA A TIEMPO, de que:
LA ELECTRICIDAD, cambiaria para siempre
las ARTES ESCENICAS, de Santiago de los
Caballeros & del mundo...
ASI QUE HIZO UN ESFUERZO, PERSONAL,
MICRO-ECONOMICO, FAMILIAR, junto a su
esposo, quien tambien era ARTISTA DE LOS
ESCENARIOS...
1. BUSCARON EL DINERO...
2. SE MONTARON UNA : MYPIME...
UNA ESCUELA DE LOCUCION...
Gracias a esta pareja de esposos dominicanos,
SE EDUCO: EN CIENCIAS TICs, una
NUEVA GENERACION DE ARTISTAS
DOMINICANOS...
1. DE LA VOZ HUMANA...
2. DE LOS MICROFONOS...
3. DE LA INDUSTRIA PUBLICITARIA.
4. DEL OFICIO DE DJ o locutor MUSICAL...
5. DEL OFICIO PROFESIONAL DE LA:
MAESTRIA DE CEREMONIAS...
6. DEL OFICIO PROFESIONAL DE LAS:
GRABACIONES DE JINGLES PARA LA
INDUSTRIA PUBLICITARIA DOMINICANA:
NACIENTE EN SANTIAGO...
7. Cuando llego la TELEVISION A LA CIUDAD
DE SANTIAGO DE LOS CABALLEROS, esa
MUJER & SU ESPOSO, habian logrado
desarrollar, con sus PROPIAS IDEAS,
con su originalidad,
con SU INNOVACION...
UNA CLASE LOCUTORIL DE SANTIAGO
DE LOS CABALLEROS...
ESPECIALISTAS EN EL USO: COMERCIAL
DE LA VOZ HUMANA, en:
1. ESTACIONES DE RADIO.
2. EN CANALES DE TELEVISION.
3. EN EL CINE.
4. EN LA INTERNET...
SOLO USANDO COMO CAPITAL INICIAL:
LA VOZ HUMANA...
Yolanda Badia Montes de Oca, es una
CONSTRUCTORA, DESARROLLADORA
DEL TALENTO DOMINICANO,
DE LAS INDUSTRIAS CULTURALES DOMINICANAS,
DE LAS INDUSTRIAS CREATIVAS DOMINICANAS,
DEL SHOW BUSINESS DOMINICANO,
DE LA FARANDULA DOMINICANA,
DE LA ECONOMIA NARANJA DOMINICANA,
DE LA ECONOMIA CREATIVA DOMINICANA...
DE LA NUEVA ECONOMIA DOMINICANA...
Pero lo hizo, CUANDO NADIE CREIA EN EL
FUTURO EXPORTADOR DOMINICANO...
1. DE LA VOZ HUMANA, EDUCADA...
2. DEL CUERPO HUMANO, CON LA:
RESPIRACION DIAFRAGMATICA...
3. DE LA ECONOMIA DE RECURSOS
VOCALES...
EN EL MERCADO DE TRABAJO DOMINICANO
PRODUCTIVO,
GENERADOR DE EMPLEOS GENERADORES
DE: RIQUEZA DOMINICANA, DESDE EL TALENTO
HUMANO,
DESDE EL CAPITAL SIMBOLICO,
DESDE EL CAPITAL RELACIONAL,
DESDE EL CAPITAL COMUNICACIONAL,
DESDE EL CAPITAL HUMANO...
Para personas POBRES, que no TIENEN:
DINERO...
1. SOLO SUS CUERPOS.
2. SOLO SUS VOCES.
3. SOLO SUS : CEREBROS:DOMINICANOS.
--------
LA OTRA PERSONALIDAD, DE LA VOZ
EDUCADA DOMINICANA, que pude conocer
en mi infancia DOMINICANA
(1962-1980) : ERA CANTANTE, MAESTRO
-DE CANTO, MAESTRO DEL CANTO: CORAL...-
MAESTRO JOSE DEL MONTE...
llego en su biografia a ser :
DIRECTOR DEL CORO NACIONAL, de la
REPUBLICA DOMINICANA...
----------
EN LA HISTORIA NACIONAL DE LA:
REPUBLICA DOMINICANA, existio
una VOZ, de la industria RADIOFONICA
DOMINICANA, llamada:
PEDRO PEREZ VARGAS...
EN UN MUNDO DE IDEAS QUE SE CRUZAN
& A VECES ORGANIZAN...
CAMBIAR EL ERROR,POR LA VERDAD,
SURGE:
NOTICIARIO POPULAR...
Quien era el dueno de esa RADIOESTACION
NOTICIOSA DOMINICANA?
RAFAEL CORPORAN DE LOS SANTOS...
UN CIUDADANO DOMINICANO, quien comenzo
su carrera y su BIOGRAFIA DE ABAJO,sin contar
con padrinos,
con un apellido rimbombante,
ni con una FAMILIA NOTORIA, TRADICIONAL,
tuvo que CONSTRUIR SU FORTUNA, desde
un emprendimiento de presupuesto:
1.BASE-CERO...
2.DESDE UNA MYPIME...
SU OPORTUNIDAD, FUE LA EXISTENCIA
DE LAS INDUSTRIAS CULTURALES :
1.ELECTRONICAS.
2. DOMINICANAS.
Paso en su biografia POR:
1. LA RADIO DOMINICANA.
2. POR LA TELEVISION DOMINICANA.
3. POR LA ALCALDIA DE LA CIUDAD DE:
SANTO DOMINGO DE GUZMAN...
4. NO ERA EXCESIVAMENTE: CULTO,
mas bien nos daban risa, sus metidas de
pata, en el aire, en el comercial de SPRITE...
PERO:
PEGADO A UN MICROFONO DOMINICANO,
SE CONVIRTIO A SI MISMO EN UNA:
RADIO PERSONALITY DOMINICANA.
1. NO LOGRO evolucionar como EXPORTADOR
DE CONTENIDOS..
COMO LO HICIERON:
MAESTRO TEO VERAS LOPEZ (1950-2018),
NI MAESTRO ANTHONY RIOS (1950-2019),
NI MAESTRO FREDDY BERAS GOICO
(EL SEIBO, 1940-2010)...
PERO AL MENOS, tuvo los medios ECONOMICOS,
para :
1. PROCREAR.
2. CRIAR.
3. EDUCAR
A SUS NINOS & NINAS, DOMINICANOS...
EN UNA FAMILIA TIPICA: HETEROSEXUAL
DOMINICANA...
TRABAJANDO, CON EL SUDOR DE SU :
FRENTE COMO DUENO DE UNA MYPIME,
DOMINICANA...
COMENZANDO DESDE ABAJO EN LAS:
CIENCIAS TICs DE LA NACION & DE LA
REPUBLICA DOMINICANA...
1.EN LA ECONOMIA NARANJA DOMINICANA.
2.EN LA ECONOMIA CREATIVA DOMINICANA.
Yoe F. Santos/CCIAV
CCIAV, CC4AVE.
Talents,Criticism, Friendship!
Salut, Polis, Ecumene!
(1959-2019)
--------
SOURCE:
ACENTO.
Calidad para Exportar a Europa.
---------
Tu sabes, por que, el HEADQUARTER,
las oficinas centrales a nivel mundial de
ISO estan en SUIZA?
TU SABES LO QUE SIGNIFICA ISO?
HOY TE CONTAREMOS DE LA VOZ MAS
AUTORIZADA DEL MUNDO, PARA:
HABLAR DEL TEMA...
1. Los duenos de ISO.
2.LOs disenadores & disenadoras de este
CONJUNTO DE ESTADARES DE:
ACEPTACION MUNDIAL, o al menos...
1. Por toda persona que aspira a:
la PERFECCION...
2. Por toda persona que detesta:
la chapuza...
3. Por tada persona que detesta:
LA MEDIOCRIDAD y a sus autores
o abanderados:
los mediocres y las mediocres....
Yoe Santos/CCIAV
CCIAV, CC4AVE.
Talents,Critcism, Friendship!
Salut, Polis, Ecumene!
(1959-2019)
CUAELES SON LOS BENEFICIOS:
1. CONCRETOS.
2. MEDIBLES.
3OBSERVABLES
EN LOS ENTORNOS DE TRABAJO
QUE ADOPTAN NORMAS:ISO?
...EN DINERO
--------------
CUALES SON LOS BENEFICIOS DE LAS NORMAS
ISO,
1.PARA EMPLEADORES
2.Y PARA SU EQUIPO DE:
COLBARADORES,
-EN EL DESARROLLO DEL TALENTO HUMANO-
en la vida cotidiana, en sus respectivas
ECONOMIAS?
----
1.Que es la norma ISO 9001?
2.Como se aplica a las Ciencias Secretariales?
3.Como se aplica a la Gestion de Oficinas?
4.Como se aplica a la cadena de valor en la
INDUSTRIA O EMPRESA QUE APRENDE
O LEARNING BUSINESS?
5. Y que diablos tiene que ver ISO 9001 con :
5.1. La NUEVA ECONOMIA?
5.2.Con la Sociedad del Conocimiento y de la
Informacion(SCI)?
5.3.Con la Economia Naranja?
5.4.Con el factor humano o el capital humano,
dentro de todas areas o centros de labor
o trabajo productor de riqueza, en el mundo
acual o posterior al ano: 1990?
---------------
PRIMERO QUE NADA :
QUE SIGNIFICA:
ISO?
SOCIEDAD INTERNACIONAL PARA:
LA ESTANDAIZACION...
1. Y por que tratar de ESTANDARIZARLO TODO?
2.PARA PODER INDUSTRIALIZARLO TODO...
-----
International Organization
for Standardization.
----
DIRECCION FISICA EN GINEBRA,
SUIZA.
-----
ISO Central Secretariat
1, chemin de la Voie-Creuse
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Switzerland
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All rights reserved
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Many organizations from the private and public
1.SECTOR USE STANDARDS
sector use standards
2. AND PARTICIPATE:
3. IN STANDARDS DEVELOPMENT.
and participate in standards development.
A few of them see standardization
1.AS DIRECTLY LINKED
as directly linked
2. TO THEIR CORE STRATEGY
to their core business strategy.
Some
approach standardization in a
highly organized way and have a clear
PERCEPTION:
1. OF THE IMPACT OF STANDARDS
2. ON THEIR ACTIVITIES.
3. AND PERFORMANCE.
perception of the impact of standards on their activities and performance.
Others may use standards from
1. A NARROWER PERSPETIVE
a narrower perspective,
1.1. FOR SPECIFIC PROCESSES
1.2. FOR SPECIFIC ACTIVITIES.
for
specific processes or activities.
Most of them realize that standards
THE STANDARDS
1.bring benefits to their organization,
2.although the level of awareness
and the perception of such benefits vary considerably.
But there are other organizations that make only marginal use of standards or that do not use them at all. Companies that consider standards
a burden – something that cannot be avoided at times, but that is
IS PERCEIVED AS....
1. ADDITIONAL COST.
2.AN ADITTIONAL OBLIGATION
3. WITH A N E G A T I VE IMPACT...
perceived as an additional cost or obligation with a negative impact
on the company. Organizations that don’t even consider participating in standards development, or that are not aware of the potential
contribution that standards can bring to their activities.
One of the key aspects of the mission of national standards bodies is to
liaise with organizations from all stakeholder groups to engage them in
standardization and to help them get the most from standards.
BEING ABLE TO DEMOSTRATE...
Being able
to demonstrate
THE TANGIBLE BENEFITS
the tangible benefits that standards bring to organizations
– and, more generally, to citizens and society – is therefore essential.
DEMOSTRATING & COMMUNICATING:
THE VALUE OF STANDARDS...
https://www.iso.org/files/live/sites/isoorg/files/archive/pdf/en/ebs_case_studies_factsheets.pdf
People involved in standardization are convinced that their work generates considerable benefits for organizations, markets and society.
Yet substantiating and quantifying the real world value of voluntary
standards is not an easy task.
THIS WHY ISO DEVELOPEP
THE ISO METHODOLOGY...
This is why ISO has developed the “ISO Methodology”, a consistent
approach to measuring this value, which has been tested in around
30 company case studies in over 20 countries across the globe. The
results speak for themselves: standards do create value for the organizations that use them and it is possible to quantify it.
The following summary describes, in a nutshell, how we quantify the
economic value of applying standards.
Objectives of the ISO Methodology
The ISO Methodology aims to identify and quantify the microeconomic benefits of standards, i.e. the economic contribution the use
of standards makes to company profits or the costs/revenues of an
organization. All the standards assessed in this approach – whether
they are international, regional or national standards, published by
standards development organizations, industry groups or other consortia – are the result of an open, consensus-based process and are
Methodology summary
Quantifying
the economic benefits
of standards
4
--------
NADIE PUEDE SUSTITUIR o llenar el vacio
de Don Teo, en la 91...
PERO LA VIDA SIGUE, desde 1985, LA 91
HA ESTADO CORONANDO su existencia de
reconocimientos Y PREMIOS A LA EXCELENCIA
LA 91 FM
ELIGIO & CONTRATO...
1.Una mujer: DIRECTORA.
2. Pero no por mujer...
CARLOTTI PERALTA, tiene 31 anos
seduciendonos, encantandonos con su voz,
con su inteligencia, con su papacidad de :
improvisar...
de hacernos reir,
de hacernos fllosofar en torno a las canciones...
PERALTA, llego al fin de la ADOLESCENCIA
a la 91...
hizo buenas migas, con Don Teo, que todo lo
del talento de excelencia, le encantaba y le
abria las puertas...
Y AHI ESTA con una nueva responsabilidad
historica:
IMPONER su propio estilo,
crear un nuevo estilo PERSONAl al tiempo de
llenar el vacio insalvable de Don Teo...
Yoe F. Santos/CCIAV.
CCIAV, CC4AVE
Talents, Criticism, Friendship!
Salut, Polis, Ecumene!
(1959-2019)
-----------
BBC Radiophonic Workshop.
From Wikipedia, the free encyclopedia
The BBC Radiophonic Workshop
WAS ONE OF THE SOUND EFFECTS
was one of the sound effects units of the BBC,
CREATED IN
created in 1958
TO PRODUCE INCIDENTAL SOUNDS
to produce incidental sounds
AND NEW MUSIC
1. FOR RADIO.
2. AND LATER, TELEVISIOIN
and new music for radio and, later, television.
The unit is known for its
1. EXPERIMENTAL.
2. PIONEERING
experimental and pioneering
3. WORK IN ELECTRONIC MUSIC
work in electronic music and
4. AND MUSIC TECHNOLOGY
music technology, as well as its popular
scores for programs such as
DOCTOR WHO
Doctor Who
and Quatermass and the Pit
during the 1950s and 1960s.[1]
The original Radiophonic Workshop was based in the BBC's Maida Vale Studios in Delaware Road, Maida Vale, London.[2] .
THE WORKSHOP WAS CLOSED IN
MARCH 1998
The Workshop was closed in March 1998,[3]
although much of its traditional work had
ALREDEADY BEEN OUTSOURCED
already been outsourced by 1995.[2] Its
members have included :
Daphne Oram,
Delia Derbyshire,
David Cain,
John Baker,
Paddy Kingsland,
Glynis Jones and Richard Yeoman-Clark.
Contents
1 History
2 Techniques
3 Influence on popular music
4 Members of the Radiophonic Workshop
5 Discography
6 Selected other works
7 Works about Radiophonic Workshop
8 See also
9 References
10 Further reading
11 External links
History.
The Workshop was set up to
SATISFY GROWING DEMAND
satisfy the growing demand in the late 1950s
for "radiophonic" sounds from
A GROUP OF :
1. PRODUCERS.
2. AND STUDIO MANAGERS
a group of producers and studio managers
at the BBC, including Desmond Briscoe,
Daphne Oram,
Donald McWhinnie,
and Frederick Bradnum.[4][5][6]
For some time there had been
1. MUCH INTEREST.
2. INPRODUCING
2.1 INOVATIVE MUSIC.
2.2. AND SOUNDS TO GO WITH
2.3. PIONEERING PROGRAMMING
2.3.1. OF THE ERA.
much interest in producing innovative music and sounds to go with the pioneering programming of the era, in particular the dramatic output of the BBC Third Programme.
1. OFTEN THE SOUNDS REQUIRED
2. FOR THE ATMOSPHERE
Often the sounds required for the atmosphere that programme makers wished to create
3. WERE UNAVAILABLE
were unavailable or non-existent
through traditional sources and so some,
such as the musically trained Oram,
would look to new techniques to produce
effects and music for their pieces.
Much of this interest drew them to
1. MUSIQUE CONCRETE
2. TAPE MANIPULATION TECHNIQUES
musique concrète and tape manipulation techniques, since using these methods could allow them to create soundscapes suitable for the growing range of unconventional programming.
When the BBC
1. NOTICED.
2. THE RISING POPULARITY
noticed the rising popularity of this method
3. THEY ESTABLISHED
4. A RADIOPHONIC EFFECTS
they established a Radiophonic Effects
5. COMMITEE
Committee,
setting up the Workshop in
rooms 13 & 14 of the BBC's Maida Vale studios
6. WITH A BUDGET
7. DOS MIL LIBRAS ESTERLINAS...
with a budget of £2,000.
The Workshop contributed
1. ARTICLES. articles[7] to magazines
2. OR THEIR FINDINGS
of their findings, leading to some of their techniques being borrowed by sixties producers and engineers such as Eddie Kramer.[8]
Early days
Maida Vale Studios.
In 1957, Daphne Oram set up[9] the Radiophonic Workshop with Desmond Briscoe, who was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant.
Much of The Radiophonic Workshop's early work was in effects for radio,
1. PARTICULAR EXPERIMENTAL DRAMA
2. AND RADIOPHONIC POEMS
in particular experimental drama and "radiophonic poems".[10]
Their significant early output included
1. CREATING EFFECTS
creating effects
2. FOR THE POPULAR SCIENCE FICTION SERIAL
for the popular science-fiction serial Quatermass and the Pit and memorable comedy sounds for The Goon Show. In 1959,
DAPHNE ORAM LEFT THE WORKSHOP
Daphne Oram left the workshop to set up her own studio, the Oramics Studios for Electronic Composition, where she eventually developed her "Oramics" technique of electronic sound creation.
THAT YEAR MADGALENA
FAGANDINI
That year Maddalena Fagandini
JOINED THE WORSHOP
joined the workshop from the BBC's
Italian Service.
From the early sixties the Workshop began
1. CREATING TELEVISION THEME TUNES
2. JINGLES
creating television theme tunes and jingles,
3. PARTICULARLY FOR LOW BUDGET SCHOOLS
3. PROGRAMMES
particularly for low budget schools programmes.
The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music.
In fact, in 1962 one of Fagandini's interval
signals "Time Beat" was reworked with
assistance from George Martin
(in his pre-Beatles days) and commercially
released as a single using the pseudonym
Ray Cathode.
DURING THIS EARLY PERIOD
1. INNOVATIVE ELECTRONIC
During this early period the innovative electronic
2. APPROACHES TO MUSIC
approaches to music in the Workshop
3. BEGAN TO ATTRACT SOME:
SIGNIFICANT YOUNG TALENT
began to attract some significant young talent
including:
Delia Derbyshire,
Brian Hodgson and
John Baker, who was in fact a jazz pianist
with an interest in reverse tape effects.
Later, in 1967. they were joined by David Cain,
a jazz bass player AND MATHEMATICIAN
and mathematician.
In these early days, one criticism[citation needed] the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature,
BUT ALSO BECAUSE OF THE UNIQUE
but also because of the unique
1. COMINATIONS
2. WORKFLOWS
combinations and workflows
which the Workshop
2.1. AFFORDED ITS COMPOSERS
afforded its composers.
In later years this would become less important as more electronic equipment
1.BECAUSE READILY AVAILABLE
2.A WIDER AUDIENCE
became readily available to a wider audience.[11]
Doctor Who
Main article: Doctor Who theme music
In 1963 they were approached by composer Ron Grainer to record a theme tune for the upcoming BBC television series
DOCTOR WHO
Doctor Who. Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles", Delia Derbyshire created a piece of electronic music which has become one of television's most recognisable themes.[12]
Over the next quarter-century the Workshop contributed greatly to the programme providing its vast range of unusual sound-effects, from the TARDIS dematerialisation to the Sonic screwdriver, as well as much of the programme's distinctive electronic incidental music, including every score from 1980 to 1985.
In 2018 Matthew Herbert, creative director of The New Radiophonic Workshop, composed the sting used alongside the reveal of the new Doctor Who logo debuting later that year.[13] It has yet to be confirmed as to whether the Workshop will be responsible for music in the series itself.
Changes
EMS VCS 3 (Putney)
EMS Synthi 100 (Delaware).
As the sixties drew to a close many of the techniques used by the Workshop changed as more electronic music began to be produced by synthesisers.
Many of the old members of the Workshop were reluctant to use the new instruments, often because of the limitations and unreliable nature of many of the early synthesisers but also, for some, because of a dislike of the sounds they created.
This led to many leaving the workshop making way for a new generation of musicians in the early 1970s including Malcolm Clarke, Paddy Kingsland, Roger Limb and Peter Howell. From the early days of a studio full of tape reels and electronic oscillators, the Workshop now found itself in possession of various synthesisers including the EMS VCS 3 and the EMS Synthi 100 nicknamed the "Delaware" by the members of the Workshop.
In 1977, Workshop co-founder Desmond Briscoe retired from organisational duties with Brian Hodgson, returning after a five-year gap away from the Workshop, taking over.
By this point the output of the Workshop was vast with high demand for complete scores for programmes as well as the themes and sound effects for which it had made its name.
BY THE END OR THE DECADE
By the end of the decade the
WORKSHOP WAS CONTRIBUTING
TO OVER
was contributing to over 300 programmes
A YEAR
a year from all departments of the BBC
and had long since expanded from its early
two room setup.
Its contributions included:
1. material for programmes such as The Body in Question, Blue Peter and Tomorrow's World
2.as well as sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy (in both its radio and television forms) by Richard Yeoman-Clark and Paddy Kingsland respectively.
By the early 1990s, BBC Director General John Birt decided that departments were to charge each other and bid against each other for services and to close those that couldn't make enough revenue to cover their costs.
In 1991 the Workshop was given five years in which to break even but the cost of keeping the department, which required two dedicated engineers, a software developer (Tony Morton)
AND A SECRETARY
and a secretary (Maxine) as well as the composers, proved too much and so they failed.
Dick Mills, who had worked on Doctor Who since the very beginning, left in 1993,[14] along with Ray White, Senior Engineer, and his assistant, Ray Riley, with the Maida Vale technical team taking on their role, and engineer Fiona Sleigh smoothing the transition.
In 1995, despite being asked to continue, organiser Brian Hodgson left the Workshop, and his role was carried out remotely from Broadcasting House by people with other priorities and little enthusiasm. Malcolm Clarke and Roger Limb left. By the end, only one composer, Elizabeth Parker, remained.
The Workshop officially closed in March 1998, but Elizabeth stayed on for a couple of months to complete her last job. John Hunt, (who took over much of the specialist editing side of the workshop previously done by Dick Mills) continued working in Studio E, now called “Radiophonics” until well into 2000, occasionally managing to fit in a bit of traditional Radiophonics work.
Mark Ayres recalls the Workshop's tape archive being collected on 1 April, exactly 40 years after the department had opened.
Legacy.
Following the decision to close the Radiophonic Workshop, the studios were cleared and most remaining equipment was disposed of, with some of it being sold to the composers. The tape library was largely forgotten until the room was ordered to be “cleared”.
Fortunately the Maida Vale studios technical team became aware of this and were able to hide the tapes away in various dark corners of the building before they could be thrown away.
Eventually Mark Ayres and Brian Hodgson were commissioned to catalogue its extensive library of recordings with help from other composers.[citation needed]
In October 2003, Alchemists of Sound, an hour-long television documentary about the Radiophonic Workshop, was broadcast on BBC Four.[15]
The Magnetic Fields titled the first track of their album Holiday, after the BBC Radiophonic Workshop.
Live reunions since 2009
Dick Mills, BBC Radiophonic Workshop reunion live at the Roundhouse in 2009.
In May 2009, Dick Mills reunited with former BBC Radiophonic Workshop composers Roger Limb, Paddy Kingsland and Peter Howell with archivist Mark Ayres for a live concert at The Roundhouse, Chalk Farm, London, performing as "The Radiophonic Workshop".
The composers, backed by a small brass section and a live drummer, performed a large number of their BBC-commissioned musical works including sections of incidental music from The Hitchhikers' Guide to the Galaxy and Doctor Who (including a medley of Mark Ayres's work) as well as some collaborative compositions written specifically for the Roundhouse concert.
The live performances were mixed in surround sound and interspersed with musical video montage tributes of deceased members of the Workshop including Daphne Oram, Delia Derbyshire and John Baker.
The two and a half hour event climaxed with live performances of the Derbyshire and Peter Howell arrangements of Doctor Who, segueing into a new Radiophonic version of the theme tune.
Celebrated attendees included actor/writer/composer Peter Serafinowicz and satirist/writer/broadcaster Victor Lewis-Smith.
MULTIPLE CAMERAS RECORDED
Multiple cameras recorded the event but it has yet to be broadcast or released in any form, although amateur footage of the event can be seen on YouTube.[citation needed]
In 2013 the original members of the Workshop regrouped again for a more concerted program of live appearances. Performing as 'The Radiophonic Workshop' (dropping the BBC prefix) they were joined by drummer Kieron Pepper (The Prodigy, Dead Kids, OutPatient) and Bob Earland from Clor. They also embarked on a new recording project set for release in Autumn of 2014.
This involved collaborations with contemporary electronic musicians, video artists, DJs, remixers, poets, writers and singers.
Live appearances in 2013 included Festival Number 6 at Portmeirion, Wales in September and The London Electronic Arts Festival in November.
The shows featured archive TV and visuals from many of the TV and film soundtracks that the Radiophonic Workshop contributed to between 1958 and 1998 when the unit was deactivated.
The Radiophonic Workshop appeared on BBC television's The One Show on 20 November 2013 playing a unique version of the Doctor Who Theme that combined Delia Derbyshire's original source tapes and Peter Howell's 1980 realisation of the Ron Grainer composition. Radio 6 Music's Marc Riley played host to a Radiophonic Workshop session where they delivered live versions of Roger Limb's Incubus, Paddy Kingsland's Vespucci, the Doctor Who Medley and a new composition - Electricity Language and Me (by American poet Peter Adam Salomon), featuring DJ Andrew Weatherall as the narrative voice for this classic piece of Radiophonic sound design.
There were a number of radio, online and print interviews done at the time to coincide with the 50th anniversary of Doctor Who.
The Workshop's early archive recordings were also reissued on vinyl in November 2013 to accompany this renewed activity. In 2014, "The Radiophonic Workshop" appeared at festivals including End of the Road Festival, and the reissue programme of earlier work from their extensive catalogue continues along with a planned exploration of previously unheard or rare archive recordings.
2012 online revival.
In September 2012 Arts Council England and the BBC announced a joint venture whereby the concept of the Radiophonic Workshop would be revived as an online venture, with seven new, non-original composers and musicians.
The new Workshop was based online at The Space,[16][17] a joint venture between the BBC and Arts Council England. Composer Matthew Herbert was appointed the new Creative Director, and worked alongside Micachu, Yann Seznec, Max de Wardener, Patrick Bergel, James Mather, theatre director Lyndsey Turner and broadcast technologist Tony Churnside.[2]
Composer Matthew Herbert's first work for The New Radiophonic Workshop takes audio from 25 previous projects featured on the website - from theater performances to poetry readings, creating a "curious murmur of activity".
It can be heard by clicking on a button labeled "listen to The Space" at the top of any page on the website.[18]
The New Radiophonic Workshop,[19] not to be confused with the reactivated Radiophonic Workshop[20][21] whose members are original BBC personnel,[22][23][24][25][21][26][27] an entirely separate entity from the original unit, was assembled by Mathew Herbert as an online collective of composers for The Space[28] arts project.
Techniques
Tape manipulation tools:
1. tape recorder,
2.tape splicer,
3.and mending tapes.
Sine wave oscillator.
The techniques initially used by the Radiophonic Workshop were closely
RELATIVE TO THOSE USED IN:
MUSIQUE CONCRETE
related to those used in musique concrète;
new sounds for programs were created
1.BY USING RECORDINGS
2.OF EVERYDAY SOUNDS
2.1. VOICES.
2.2. BELLS
by using recordings of everyday sounds such as voices, bells or gravel as raw material for "radiophonic" manipulations. In these manipulations,
3. AUDIO TAPES COULD BE PLAYES BACK
AT DIFFERENT SPEEDS
audio tape could be played back at different speeds (altering a sound's pitch),
REVERSED , CUT AND JOINED
PROCESSED USING:
1. REVERB
2. EQUALITATION
reversed, cut and joined, or processed using reverb or equalisation.
The most famous of the Workshop's creations using 'radiophonic' techniques include the Doctor Who theme music, which Delia Derbyshire created using a plucked string, 12 oscillators and a lot of tape manipulation; and the sound of the TARDIS (the Doctor's time machine) materialising and dematerialising, which was created by Brian Hodgson running his keys along the rusty bass strings of a broken piano, with the recording slowed down to make an even lower sound.
Much of the equipment used by the Workshop in the earlier years of its operation in the late 1950s
WAS SEMI-PROFESSIONAL
was semi-professional and was passed down from other departments, though two giant professional tape-recorders made an early centrepiece.
Reverberation was obtained using an echo chamber, a basement room with bare painted walls empty except for loudspeakers and microphones.
Due to the considerable technical challenges faced by the Workshop and BBC traditions, staff initially worked in pairs with one person assigned to the technical aspects of the work and the other to the artistic direction.
Influence on popular music.
The Radiophonic Workshop published "Radiophonics in the BBC" in November 1963,[29] listing all equipment used in their two workshops, diagrams of several systems, and a number of anecdotes.
The Radiophonic Workshop also contributed articles[7]
1. TO MAGAZINES OF ITS EPERIMENTS
to magazines of its experiments,
1.1. COMPLETE WITH INSTRUCTIONS
1.2.WIRING DIAGRAMS
complete with instructions and wiring diagrams.[30]
British psychedelic rock group Pink Floyd
made a memorable trip to the workshop in 1967.
They had employed tape loops, sound effects, found sounds and the principles of musique concrete on their debut album The Piper At The Gates of Dawn from that same year.
Other fans of the Radiophonic Workshop included The Rolling Stones' Brian Jones – who visited in 1968 – and Roger Mayer, who supplied guitar pedals to Jeff Beck, Jimmy Page and Jimi Hendrix. Phil Manzanera has also cited the Workshop as an influence on the sound of his group Roxy Music.[31]
In 1997
THE ELECTRONIC DANCE MUSIC
MAGAZINE
the electronic dance music magazine
MIXMAG
Mixmag described the Workshop as,
"the unsung heroes of British electronica".[32]
Their work has been sampled extensively
by contemporary electronic artists.[1]
Members of the Radiophonic Workshop
1958–1998.
Desmond Briscoe (1958–1983)
Daphne Oram (1958–1959)
Dick Mills (1958–1993)
Maddalena Fagandini (1959–1966)
Brian Hodgson (1962–1972), Organiser (1977–1995)
Delia Derbyshire (1962–1973)
John Baker (1963–1974)
David Cain (1967–1973)
Malcolm Clarke (1969–1995)
Paddy Kingsland (1970–1981)
Richard Yeoman-Clark (1970–1978)
Roger Limb (1972–1995)
Glynis Jones (1973–?)
Peter Howell (1974–1997)
Elizabeth Parker (1978–1998)
Jonathan Gibbs (1983–1986)
Richard Attree (1987–1998)
2009–present
Peter Howell (2009–present)
Roger Limb (2009–present)
Dick Mills (2009–present)
Paddy Kingsland (2009–present)
Mark Ayres (2009–present)
Kieron Pepper (2013–present)
Discography
Main article: BBC Radiophonic Workshop discography
Main albums
BBC Radiophonic Music
Fourth Dimension
The Radiophonic Workshop
Out of This World
Through A Glass Darkly
BBC Sound Effects No. 19 - Doctor Who Sound Effects
BBC Radiophonic Workshop - 21
BBC Sound Effects No. 26 - Sci-Fi Sound Effects
Doctor Who - The Music
The Soundhouse
The Living Planet
Doctor Who - The Music II
Doctor Who: 30 Years at the BBC Radiophonic Workshop
Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963–1969
Doctor Who at the BBC Radiophonic Workshop Volume 2: New Beginnings 1970–1980
Doctor Who at the BBC Radiophonic Workshop Volume 3: The Leisure Hive
Doctor Who at the BBC Radiophonic Workshop Volume 4: Meglos & Full Circle
The John Baker Tapes – Volume 1: BBC Radiophonics
BBC Radiophonic Workshop - A Retrospective
Doctor Who - The Caves of Androzani
Doctor Who - The Krotons
Radiophonic Workshop
The Vendetta Tapes
Burials In Several Earths
The Changes[33]
Doctor Who - The Five Doctors
Possum
The Box of Delights
The Stone Tape[34]
Selected other works
Radio dramas
The Foundation Trilogy (produced by David Cain) (1973)
A Wall Walks Slowly (produced by Desmond Briscoe with music by Peter Howell) (1977)
August 2026 (produced by Malcolm Clarke) (1977)
Notes from Janáček's Diary (produced by Maxwell Steer) (1991)
This was the only production ever to be realised at the Radiophonic Workshop completely by an external composer.
Sound effects and music contributions
Radio
The Goon Show
The Hobbit (effects and music composed by David Cain) (1968)
The Hitchhiker's Guide to the Galaxy (effects by Paddy Kingsland with additional effects by Dick Mills. Music (except theme music) for second series by Paddy Kingsland)
The Lord of the Rings (effects by Elizabeth Parker) (1981)
Doctor Who: Slipback (BBC Radio) (music by Jonathan Gibbs) (1985)
Doctor Who: The Paradise of Death (BBC Radio) (music by Peter Howell) (1993)
Doctor Who: The Ghosts of N-Space (BBC Radio) (music by Peter Howell) (1996)
Television
Quatermass and the Pit (effects by Desmond Briscoe & (uncredited) Dick Mills) (1958)
Doctor Who (effects by Brian Hodgson (1963–1972) & Dick Mills (1972–1989). Some additional effects provided by various Workshop members)
Penda's Fen (Paddy Kingsland) (1974)
Blake's 7 (effects by Richard Yeoman-Clark & Elizabeth Parker)
The Hitchhiker's Guide to the Galaxy (music and effects by Paddy Kingsland except theme music)
Doctor Who incidental music
The Doctor Who theme music was provided by the BBC Radiophonic Workshop from 1963 to 1985. From 1986 to the programme's demise the theme was provided by freelance musicians. Between 1980 and 1985 the complete incidental scores for the programme were provided in-house by the Workshop. Below is a complete[citation needed] list of incidental music provided by the Radiophonic Workshop for the programme.
1968
The Wheel in Sp
---------------
JOCHY SANTOS MARTE.
NACE 6 DE JUNIO, 1954.
DOMINICANO.
CAPITALENO....
SE LANZO A TRIUNFAR EN LA VIDA ....
ECONOMICA DOMINICANA....
A SUS 21 ANOS DE EDAD, EN 1975...
1. CON UN MICROFONO EN LA MANO...
2. COMO LOCUTOR & ACTOR DE HUMOR
DOMINICANO
----------
1.CIENTIFICO TICs DOMINICANO.
2.PRODUCTOR RADIAL & TELEVISIVO
DOMINICANO.
3.EXPORTADOR DE CONTENIDOS DOMINICANOS:
ORIGINALES, POR RADIO & TELEVISION
4.UN ACTOR ECONOMICO CONTEMPORANEO
4.1.de la ECONOMIA NARANJA...
4.2.DE LA ECONOMIA CREATIVA...
4.3.DE LA ECONOMIA DEL CONOCIMIENTO, desde
la produccion de :
4.3.1.CONTENIDOS ORIGINALES,
4.3.2.De CALIDAD EXPORTABLE,
4.3.3.En el siglo XX & Siglo XXI...
1. Humorista.
2. ACTOR & EMPRENDEDOR DESDE LOS MEDIOS
-ELECTRONICOS DE COMUNICACION-
DIGITALES DOMINICANOS...
1. ABIERTOS...
2. COMO SERVICIOS PUBLICOS....
--------
Jochy Santos MARTE.
--------
INFO PERSONAL.
-------------
Información personal
Nombre de nacimiento
José Luis de los Santos Marte
Apodo La Jocheta, Papapa
Nacimiento 6 de junio de 1954 (65 años)
Bandera de República Dominicana Santo Domingo, República Dominicana
Nacionalidad Dominicana Ver y modificar los datos en Wikidata
Familia
FAMILIA.
PADRES:
Alida Marte y Luis Dimas Santos Legacy
CONYUGE:
Luisa Saldaña (1982-2019).
HIJOS.
Hijos
José Ricardo,
Leandro José,
Eduardo José y
José Miguel
INFORMACION PROFESIONAL.
Información profesional.
OCUPACION
- MULTITASKING & TALENTOS COMPLEJOS-
Ocupación
1.TODA SU RELACION CON:
LA ECONOMIA DOMINICANA.
2. DEPENDE....
depende de su voz humana
- Educada , entrenada, DUCTIL , VERSATIL-
2.1.Presentador,
2.2.Locutor,
2.3.PRODUCTOR RADIAL:
2.3.1.Productor radial,
2.3.2.Humorista,
2.3.3.ACTOR.
actor
CUANDO INICIA SU CARERA PROFESIONAL
1.EN LOS MEDIOS ELECTRONICOS,
DOMINICANOS,
EN LAS FRECUENCIAS DEL:
ESPECTRO
-RADIO-ELECTRICO-
DOMINICANO?
1. EN 1975, un ANO DIFICIL DE:
LA economia dominicana....
2. SIN FORTUNA,
2.1.NACIA UN FAJADOR...UN EMPRENDEDOR:
2.2.UN INDUSTRIAL DE LOS MEDIOS :
DOMINICANOS...
2.3. UN POTENCIAL EXPORTADOR DE :
-CONTENIDOS ORIGINALES: AUDIOVISUALES-
DOMINICANOS, DE:
2.3.1.DOMINICANIDAD...COMO CIENTIFICO TICs...
2.3.2. PROYECTO DE VIDA, BIOGRAFICO,
2.3.2.1. EN MICRO-ECONOMIA,
2.3.2.2.PRESUPUESTO : BASE -CERO..
2.3.2.2.1.Sin dinero,
2.3.2.2.2.Sin apellido,
2.3.2.2.3.SIN PROVENIR DE NINGUNA ELITE :
-DOMINICANA O INTERNACIONAL...-
1. UN EXITO INDUSTRIAL MEDIATICO DE:
E-MEDIAS, DE LA INDUSTRIA RADIOFONICA.....
2. CONSTRUIRDO A BASE A:
2.1.IMAGINACION PROPIA...
2.2.A SU CEREBRO DOMINICANO....
2.3. PERO NO TRIUNFO
-EN LA ECONOMIA DOMINICANA,
-NI EN EL MERCADO DOMINICANO ,
-NI EN LA ECONOMIA NARANJA,DOMINICANA.
NI EN LA SOCIEDAD DEL CONOCIMIENTO,
-O EN LA ECONOMIA DEL CONOCIMIENTO-
DOMINICANA...
NI COMO CIENTIFICO TICs: DOMINICANO,
....EN UN DIA...
SE LANZO A TRIUNFAR EN SU VIDA... en 1975...
1. A ESCRIBIR SU AUTOBIOGRAFIA,....
pero en el timepo...
2.GUAYANDO LA YUCA...DIARIAMENTE...
-EN UNA CABINA DE RADIO O DE TELEVISION...-
1975,
1976,
1977,
1978,
1979,
19
ENFOCADO EN:
1. SU PROFESION & EN SU FAMIILIA,
2.DOMINICANA: SU MUJER Y SUS NINOS...
3, EN SUS SUENOS VOCACIONALES...
3.1. DE PROGRESO.
3.2. DE EXITO ECONOMICO
-a corto, mediano, largo plazo-
1. SIN EMIGRAR AL EXTRANJERO,....
2.SIN TENER: NINGUNA NECESIDAD.
3.DE IRSE DE REPUBLICA DOMINICNA
3.1 A VIVIR.
3.2. A TRABAJAR .
3.3. A ESTUDIAR
-A UNIVERSIDADES A L EXTRANJERO-
A NINGUNA PARTE DEL MUNDO...
1975,
1976,
1977,
1978,
1979,
1980,
1981,
1982,
1983,
1984,
1985,
1986,
1987,
1988
1989,
1990,
1991,
1992,
1993,
1994,
1995,
1996,
1997,
1998,
1999,
2000,
2001,
2002,
2003,
2004,
2005,
2006,
2007,
2008,
2009,
2010,
2011,
2012,
20013,
2014,
2015,
2017,
2018,
2019,
2020....
1. EN SU MICRO-ECONOMIA
-Personal & Familiar-
COMO EMPRENDEDOR EXITOSO ...
ECONOMICAMENTE
-DE: UNA E-MYPIME DOMINICANA...-
2.CON SUS TALENTOS DOMINICANOS...
3.SUS MULTIPLES INTELIGENCIAS...
DOMINICANAS...
4.SIN PADRINOS, SIN MAESTROS
DE UNIVERSIDAD...SIN MAS....
BRUJULA QUE EL MIMSMO,
MAS GURU QUE ELMI SMO,
MAS COACH QUE EL MISMO,
MAS TUTORING QUE EL MISMO,
MAS MENTORING QUE EL MISMO....
Años activo 1975-presente
Web
Sitio web
Jochy Santos
[editar datos en Wikidata]
José Luis de los Santos Marte
(Santo Domingo, 6 de junio de 1954),
1.conocido como Jochy Santos, es un
1. locutor,
2.presentador y
3.cómico dominicano. Santos es
CONSIDERADO PIONERO
1.PROGRAMAS RADIALES DOMINICANOS
considerado como el pionero en programas
1.1. RADIALES INTERACTIVOS.
radiales interactivos
1.2.MEZCLADOS CON HUMOR.
mezclados con humor en la República Dominicana.1
Santos saltó a la fama de su país como copresentador de un programa nocturno llamado "El Show de la Noche" junto al también presentador J. Eduardo Martínez a finales de los años 1980.
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