Thematische Bibliographien / Indian music industry

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Auswahl der wissenschaftlichen Literatur zum Thema „Indian music industry“

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Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Indian music industry"

Ryu, Eunjoo. „The Study on the Identity of Contemporary Indian Film Music Portrayed by Lata Mangeshkar’s Singing: Focused on Analysis of Ornamentation Used in “Luka Chuppi”“. Korean Society of Human and Nature 3, Nr. 1 (30.06.2022): 139–56. http://dx.doi.org/10.54913/hn.2022.3.1.139.

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Lata Mangeshkar has a unrivaled position in numerous works and musical influence within the Indian film and music industry. Overseas researches that have studied her voice have been discussing femininity mainly in terms of slender tone and high-pitched tone. However, her unique tone technique that moves the compositional melody from left to right and up and down from her voice timbre itself and the vocal style that reproduces the melody based on above things which are distinctive feature in the style of Indian music that has been highly westernized. The purpose of this study is to analyze the musical ornamentation, gamaka, which is the key element that contemporary Indian music becomes more like western popular music. And I would like to point out this as an example and a countermeasure.

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Manuel, Peter. „The regional North Indian popular music industry in 2014: from cassette culture to cyberculture“. Popular Music 33, Nr. 3 (28.08.2014): 389–412. http://dx.doi.org/10.1017/s0261143014000592.

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AbstractThis article explores the current state of the regional vernacular popular music industry in North India, assessing the changes that have occurred since around 2000 with the advent of digital technologies, including DVD format, and especially the Internet, cellphones and ‘pen-drives’. It provides a cursory overview of the regional music scene as a whole, and then focuses, as a case study, on a particular genre, namely the languriya songs of the Braj region, south of Delhi. It discusses how commercial music production is adapting, or failing to adapt, to recent technological developments, and it notes the vigorous and persistent flowering of regional music scenes such as that in the Braj region.

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Kaur, Rupinder. „The Role of Private FM Radio Channels in Popularizing Indian Music“. ECS Transactions 107, Nr. 1 (24.04.2022): 10159–70. http://dx.doi.org/10.1149/10701.10159ecst.

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The radio industry has grown impressively as music is the backbone, which caters to 83 percent of the airtime. The present study assesses the intensity of preferring broadcasting music over content by private radio stations in Tricity and how it caught the youth imagination is examined. To keep the objectives in mind, the researcher analysed the data of aired music by two prominent private radio stations in the city. In the present paper, various genres of music, whether they are current or popular, old and latest, station royalty, and dependency on film music, have been analyzed. The study concluded that the majority of commercial radio’s schedule only hit numbers during prime time by keeping in mind their moving listeners. This study adds the peculiar finding that if a station does not make a playlist according to a listener’s preference, and then there is a constant risk of channel swapping by them.

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B., Killa,, und Upadhyay, A.K. „Business Models in the Music Streaming Industry: A Critical Review of Literature on the Role of Audio Advertising“. CARDIOMETRY, Nr. 24 (30.11.2022): 887–95. http://dx.doi.org/10.18137/cardiometry.2022.24.887895.

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This paper aims to explore advertising on music streaming platforms as an opportunity for brands to advertise in India by studying users’ attitudes towards advertisements while listening to music on these platforms. The paper is an outcome of reviewing several published journals and articles referring to music streaming services, their revenue models, and their impact on consumer listening behaviors. The paper presents an overview of the music industry’s evolution, the piracy issues involved, and revenue models of music streaming platforms; free streaming and paid/premium models. It discusses the music consumption behavior of users and the effect of audio advertising on the platform. Finally, the paper emphasizes the targeting and personalization of ads. The research only concentrates on the Indian consumer of music streaming platforms and is limited to advertising on India’s streaming platforms. The paper critically examines India’s potentially growing industry – the audio streaming industry, which has not been previously reviewed. It studies the users of music streaming platforms in India to conclude their listening patterns and behavior towards ads on the platform and further research.

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Kale, Appa M., Sunil S. Pimplikar und Shubham Nankar. „Development of Conceptual Sustainable Project Planning Model (SPPM) for Indian Roads“. Journal of Law and Sustainable Development 11, Nr. 8 (29.09.2023): e1446. http://dx.doi.org/10.55908/sdgs.v11i8.1446.

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Objective: This research aims to develop the conceptual sustainable project planning model for Indian roads using Sustainable Development Goals (SDGs) applicable to roads, Project Definition Rating Index (PDRI), Multi-Unit Selective Inventory Control- 3- Dimensional (MUSIC-3D) Approach, Project Evaluation and Review Technique (PERT), Three Point Cost Estimation & Life Cycle Cost Analysis (LCCA) for achieving Sustainability in Indian Roads. Theorotical Framework: The study is based on international scientific studies, articles, and publications. Additionally, actual materials relevant to the study subject were utilized for a more thorough and objective presentation of the issue at hand. Method: For development of Conceptual Sustainable Project Planning Model (SPPM) various research tools such as PDRI, MUSIC-3D, PERT & 3- Point Costing as well as LCCA were used incorporation of Sustainable Development Goals applicable to roads. Results & Conclusion: The development of a sustainable project planning model (SPPM) using tools like the Construction Industry Institute's Project Definition Rating Index (PDRI), the Multi Unit Selective Inventory Control- 3-Dimensional (MUSIC-3D) analysis, the Life Cycle Cost Analysis (LCCA) by IS 13147 (Part-2):1984, PERT, and Three Point Cost Estimation using MSP can help Indian roads become more sustainable. Originality/ Value: The sustainable project planning model can benefit the road infrastructure in several ways. By incorporating sustainable design principles, environmental assessment, and social impact assessment, the model ensures that construction projects are environmentally responsible and socially inclusive. This helps road infrastructure to minimize its negative impact on the environment and society. The model also emphasizes the importance of resource efficiency and waste reduction. By efficiently managing project resources, including materials, the model promotes sustainable procurement practices and minimizes harmful impacts on environment. This can lead to cost savings for the construction industry by reducing waste and optimizing resource utilization.

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Hughes, Stephen Putnam. „Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema“. Journal of Asian Studies 66, Nr. 1 (Februar 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.

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Beaster-Jones, Jayson. „Re-tuning the past, selling the future: Tata-AIG and the Tree of Love“. Popular Music 30, Nr. 3 (21.09.2011): 351–70. http://dx.doi.org/10.1017/s0261143011000183.

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AbstractThis article explores the mobilisation of Indian popular music in the Tata-AIG life insurance company television advertisement ‘Tree of Love’ (2004). I address ways in which music representing different periods of Hindi film, along with visual representations of Indian material culture, have been integrated into an advertising narrative that alludes to India's technological and economic development. I suggest that a range of aural and visual signs subtly complement each other in creating a narrative that not only marks the passage of time, but reframes past social and economic debates into contemporary terms. I contextualise this advertisement – and the signs that it uses – within the field of the Indian insurance industry, as well as within the social-historical context of modern India. Then, utilising elements of Peircean semiotic theory, I closely analyse the aural representations of the passage of time and different eras of Indian musical culture. The analysis ties together the interactions of musical and non-musical signs with the cultural memories that the commercial is designed to evoke. Ultimately, I argue that musical meaning in this advertising context emerges from the complex interaction of these aural and visual signs, and produces memory as much as it reflects it.

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Sridhar, B., und R. Jaggi. „Content Consumption Patterns of Korean Pop Fans in India“. CARDIOMETRY, Nr. 25 (14.02.2023): 315–24. http://dx.doi.org/10.18137/cardiometry.2022.25.315324.

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Digitization and pop culture has come a long way. Making and taking experiences online has given new spectrums for fans to participate and integrate. The Hallyu wave, one of the recent flagbearers of the pop culture phenomenon, facilitating the global rise of K-pop, has brought in new lessons for the music industry. With cultural similarity and fascination that draws audiences to K-pop, the Korean music industry relies on a solid audience presence for fans to interact, consumer, and garner intimacy from them as a two-way exchange. India is one of the Asian countries that has caught on to this wave through rapid digitization, giving the country a strong base of consumers. Content consumption through videos and articles is one way that fans learn more about Korea’s music, culture, and people. The following paper examines the nature of content consumption amongst Indian K-pop fans based on three parameters, the quantity of consumption, the preference of platform, and the perceived intimacy, given between the fans and K-pop by these platforms.

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Qureshi, Regula Burckhardt. „His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia“. Popular Music 18, Nr. 1 (Januar 1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.

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‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this musical reality after years of live study has prompted me first to situate the study of recorded qawwali vis-à-vis my own scholarly conventions and vis-à-vis the pioneering work on sound recording done in the very region of my own study. The aim is to address the problematic of an ethnographic approach to recorded qawwali, and to present preliminary findings, including some culturally meaningful examples from the repertoire.

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Arya, Suchivrat, und Gunjan Sharma. „Generative AI Images and Indian Media Industry: An Overview of Opportunities and Challenges“. Journal of Communication and Management 2, Nr. 04 (18.12.2023): 271–74. http://dx.doi.org/10.58966/jcm2023249.

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Artificial Intelligence (AI) has gained initial momentum in the past few years. Another side of this is Generative AI, which is growing and has the capacity to transform journalism and media content. There are speculations about the consequences of AI from creating warfare to the making of movies. This article considers notable platforms like Shutterstock, providers of stock photographs, music and editing tools and secondly, DALL.E 2-Open AI, a generative AI platform of Chat GPT.The proposed research article aims to find out the effects of generative AI images in the media industry, the opportunities of AI generative visuals and the challenges faced by the industry due to the innovative technology. This article will also try to demonstrate the capacity and the limitations of generative AI content and reflect on the implications of generative AI for media education and journalism.

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Dissertationen zum Thema "Indian music industry"

Chakraborty, Avishek. „Copyright infringement in hindi and bengali film industry in India: A critical study of the role of indian law enforcement mechanism“. Thesis, University of North Bengal, 2017. http://ir.nbu.ac.in/handle/123456789/2691.

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Nowak, Florence. „Regional music goes digital : challenges of the Garhwali music industry (North India)“. Paris, EHESS, 2015. http://www.theses.fr/2015EHES0668.

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Ma thèse porte sur l'industrie musicale du Garhwal, une région himalayenne de l'Inde du Nord. Une importante production en dialecte local étiquetée « garhwali music » ou « garhwali geet » s'y est développée depuis les années 1950, d'abord sous forme de cassettes, puis de disques compacts et de clips vidéo ; mais après un développement important de la diffusion numérique dans les années 2000, la production semble à présent être entrée en crise. Concomitamment, la création de l'état d'Uttarakhand en 2001 a suscité la mise en place d'une politique culturelle régionale, tandis que la généralisation de la musique en ligne a remis en cause le modèle économique de ce marché de niche. Par l'approche ethnographique de l'industrie locale, j'ai souhaité rendre compte des facteurs qui déterminent le dynamisme et les difficultés de la musique garhwalie au-delà de l'explication macro-économique du tournant numérique et du « piratage ». Cette analyse anthropologique a mis au jour des problématiques transversales émergées du terrain : la nature ambiguë de ce répertoire à la fois patrimoine collectif et produit culturel, les conflits interpersonnels et sociaux au sein du milieu, ou encore l'importance de la migration et notamment de la diaspora. En suivant ces dilemmes contemporains du point de vue des acteurs de l'ensemble de la chaîne de musicale, j'ai tenté de dégager les enjeux collectifs qu'ils posent pour la musique régionale populaire
This is a study of the musical industry of Garhwal, a Himalayan area in North India. An important production labeled as "Garhwali music" or "Garhwal geet" and sung in the Garhwali dialect has been developing locally since the 1950s, firstly in the form of cassettes, then of compact discs and video clips. However, after an important upswing of the digital diffusion in the early 2000s, the production now seems to have entered a state of crisis. Concomitantly, the creation of the state of Uttarakhand (including the division of Garhwal) in 2001 triggered the implementation of a regional cultural policy, while the generalization of online music circulation challenged the economic model of this niche market. Through an ethnographic approach of the local industry, I wished to account for the factors that determine the dynamism and the difficulties of Garhwali muusic since the digital turn beyond a mere macro-economic explanation centered on "piracy". This anthropological analysis shed light on transversal issues that emerged directly from the field: notably, the ambiguous nature of a repertoire that is both a collective heritage and a cultural product; the interpersonal and social tensions that shape this environment; and the crucial role of migration patterns. By following such contemporary dilemmas faced by the actors of th entire production chain, I sought to draw the collective issues that regional popular music is facing today

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Archer, Russell W. „If these walls could jump 'n' jive : a study of buildings and sites associated with jazz music in Indianapolis and Richmond, Indiana (c. 1910-1960)“. Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1260487.

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Indiana is a state rich in musical history. Two cities, in particular-Indianapolis and Richmond-have played significant roles in the evolution and dissemination of jazz music. There have been modest attempts to acknowledge and/or educate Hoosiers about the state's role in the development of ja7.z. However, a level of apathy remains with regard to this aspect of Indiana's cultural heritage. These factors, in conjunction with new development, socioeconomic hardship, and demolition by neglect, have resulted in the loss of countless buildings and sites associated with jazz, music in Indianapolis and Richmond.In the Circle City, Indiana Avenue was a hotbed of ja77. for decades, as were many other scattered downtown sites. All but just a few of these venues are extant today. In Richmond, the Gennett recording studio welcomed the greatest of the early jazz pioneers and pressed millions of records of this genre. The Gennett site lies in ruins today, consisting of remnants of only three structures.There is a need to heighten awareness of the buildings and sites that contributed to the thriving jazz scene in these two cities for the purpose of education, preservation, and interpretation. This thesis has attempted to document and inventory the historical resources associated with jazz in Indianapolis and Richmond in order to facilitate these processes. In addition to the inventory, the two cities are examined in the context of jazz history in Indiana, and current building and site conditions are discussed.
Department of Architecture

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Jackson, Melveen Beth. „Indian South African popular music, the broadcast media, and the record industry, 1920-1983“. Thesis, 1999. http://hdl.handle.net/10413/8883.

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This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify and Indianise Indian South Africans, preparing them for their role as a middle-class racially defined group, a homelands group without a homeland. South Africanised popular music, and Indian South African Western semi-classical, popular music, or jazz performance was rejected by the SABC. Ambiguous nationalisms shaped Indian South African aesthetics. Global monopoly controlled the music industry. Similarly, disruptions in the global market enabled local musicians and small business groups to challenge the majors. In the late forties and fifties, this resulted in a number of locally manufactured records featuring local and visiting musicians, and special distribution rights under royalty to an independent South Asian company. The local South African records were largely characterised by their syncretic nature, and generated a South African modernism which had the capacity both to draw and repel audiences and officials alike. A glossary of non-English terms and a discography of Indian South African music have been included.
Thesis (Ph.D.)-University of Natal, Durban, 1999.

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Karel, Ernst Kirchner Long. „Kerala sound electricals : amplified sound and cultural meaning in South India /“. 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3097125.

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Bücher zum Thema "Indian music industry"

Ziervogel, Kim. Meet a music industry professional: Alan Greyeyes. [Southampton, Ont.]: Ningwakwe Learning Press, 2009.

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Amlan, Das Gupta, Hrsg. Music and modernity: North Indian classical music in an age of mechanical reproduction. Kolkata: Thema, 2007.

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Montgomery, Erick. Duke Ellington: A life in music. Boston, Mass: Houghton Mifflin, 2004.

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Manuel, Peter. Cassette culture: Popular music and technology in north India. Chicago: University of Chicago Press, 1993.

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Recording culture: Powwow music and the Aboriginal recording industry on the Northern Plains. Durham, NC: Duke University Press, 2012.

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Cassette culture: Popular music and technology in north India. Chicago: University of Chicago Press, 1993.

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Is it all about hips?: Around the world with Bollywood dance. New Delhi: SAGE Publications, 2011.

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M, Ojha J. Cultural communication in India: Role and impact of phonograms. New Delhi: Concept Pub. Co., 1992.

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J, Rodriguez Luis. Music of the mill: A novel. New York: Rayo, 2005.

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Behind the curtain: Making music in Mumbai's film studios. New York: Oxford University Press, 2008.

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Buchteile zum Thema "Indian music industry"

Daga, Bhagyalakshmi. „India Beyond Bollywood? Exploring the Diverse Indian Independent Music Industry in the Digital Age“. In Creative Industries in India, 226–42. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003129370-15.

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Ahmed, Omar. „Representing Terrorism“. In Studying Indian Cinema, 183–200. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0011.

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This chapter explores Mani Ratnam's 1998 film Dil Se (From the Heart) to engage critically with changing representations of terrorism in contemporary Indian cinema. Mani Ratnam is recognised by many critics and the Indian film industry as one of its finest and most commercially successful film-makers. Dil Se was Ratnam's first Hindi film and the third part in a loose trilogy of films dealing with the relationship between nationalism, terrorism, and urban violence. The chapter then looks at regional film-making in India, particularly Tamil cinema. It also considers Mani Ratnam's concerns as an auteur, the music of Dil Se and composer A.R. Rahman, and perhaps most importantly, the impact the film had at the UK box office with the Non-Resident Indian (NRI) audience.

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Kumar, Yogesh. „Gun Culture: A Hidden Evil in Indian Society and Its Implications“. In Gun Violence and Prevention - Connections, Cultures, and Consequences [Working Title]. IntechOpen, 2023. http://dx.doi.org/10.5772/intechopen.1002221.

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India faces a serious issue of gun violence in many states. Despite having strict laws for firearms, there are many loopholes from where criminals and normal citizens acquire guns. Reasons can be many from portraying themselves as powerful to threatening someone or to protecting and even killing someone. Few surveys have revealed that the numbers of licensed firearms are very low as compared to unlicensed firearms. Government and police have taken severe measures to bring an end to the gun culture, but corruption and politics have given hope to the culprits. States like Punjab, Jammu & Kashmir and Uttar Pradesh are the worst affected regions. Art and culture such as the music industry have witnessed the glorification of guns through music videos and lyrics by many singers and artists. Thus, this chapter tries to bring out this situation, reasons and solutions for the prevailing evil form of gun culture in India.

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Kumari, Meenu. „“36th International SurajKund Craft Fair: A Fair to Remember”“. In Management and Practices of Pilgrimage Tourism and Hospitality, 171–80. IGI Global, 2023. http://dx.doi.org/10.4018/979-8-3693-1414-2.ch013.

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Travel and tourism are major economic drivers in the majority of the world's countries. The main aim of the study is to find out why people go to the SurajKund Crafts Fair in Faridabad. The tourism and hospitality industry ranks among India's top employers and has been a significant contributor to the country's foreign exchange earnings (FEE). The third tourism satellite account (TSA3) for the 2019–20 fiscal year shows that tourism contributed 15.34% to employment. Pushkar Fair in Rajasthan, SurajKund Crafts Mela of Haryana, Diwali, and Holi are a few significant fairs and festivals of India. This chapter used secondary means for its source of data. It is believed that SurajKund is a spectacular example of the fusion of Indian culture, art, traditions, folklore, and music with the ethos of other cultures with tranquil and musical events. The Mela is in fact a keeper of legacy crafts using age-old techniques that are disappearing owing to low-quality machine imitations, and a particular section is set aside for presenting these crafts.

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McGuinness, Chris. „Recovering Sample Authorship: The Case of Sohan Lal“. In Sampling Politics Today. Norient Books, 2020. http://dx.doi.org/10.56513/nftg6449-12.

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As digital samplers became more prominent during the 1990s, the «soundware» industry grew, providing sample libraries for music producers to use in their derivative works. South Asian sounds have long occupied a place in this market while being advertised as «world» sounds. In this article, ethnomusicologist Chris McGuinness discusses the case of Sohan Lal, a Punjabi singer whose voice ended up in such a sample library and was used in many popular songs. McGuinness shows how sampling aesthetics and Lal’s anonymity are intertwined, yet also a product of Indian musical lineages.

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Weidman, Amanda. „The Remarkable Career of L. R. Eswari“. In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0008.

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Song sequences in Indian popular cinema play a central role in organizing affect and desire through imagery and sound. These songs feature the voices of “playback” singers, so named because their voices are first recorded in the studio and then lip-synced by the actors and actresses on the set during the filming process. This chapter examines how playback singing, which emerged as a professional career possibility in the 1950s, produced new forms of stardom and opportunities for women to enter the public sphere, while serving as a key site for the creation and circulation of ideologies and aesthetics of gender and voice. In particular, it will examine the career and persona of L.R. Eswari, who, although she did not start out as such, came to be branded as a “vampy” singer in the late 1960s Tamil film industry, subsequently made a name for herself in devotional music in the 1970s and 80s, and has recently re-emerged as a playback singer in the last few years.

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Jenkins, Philip. „Haunting America“. In Dream Catchers, 1–19. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195161151.003.0001.

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Abstract Across the United States, thousands of Native Americans practice their ancient religions, complex beliefs and rituals that can be traced back long before the arrival of European settlers. At the same time, many more Americans with little or no Native heritage believe that they too are following the paths of Native spirituality. They engage in ritual drumming and hold sweat lodges, they use Native-themed Tarot cards: they believe in all sincerity that they are reviving shamanic traditions. Some travel as pilgrims to places long sacred to Indian nations. Others incorporate Native ways into their everyday lives, creating their own personal medicine bundles and domestic altars, which are grandly titled “Prayer Mesas.” Roaming across the endless plains of the Internet, pseudo-Native Americans tirelessly seek out aspects of Native religious tradition that they can appropriate as their very own. Spiritual consumers buy a great deal of bric-a-brac, including videos, music, jewelry, dream-catchers, crystals, medicine bags, fetishes, and the rest. A sizable industry caters to what is obviously a vast hunger for Native American spirituality.

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Manuel, Peter. „The cassette industry and popular music in North India“. In Non-Western Popular Music, 307–22. Routledge, 2017. http://dx.doi.org/10.4324/9781315090450-14.

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Kalinak, Kathryn. „A history of film music I“. In Film Music: A Very Short Introduction, 30—C4P35. 2. Aufl. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780197628034.003.0004.

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Abstract Music has been central to the history of film. This chapter charts that history through a global perspective, looking at the origins and development of musical accompaniment to motion pictures from the United States to South America, from Europe, Russia, and the Soviet Union to India, Japan, China, and numerous other countries in between. That history includes attention to the variety of forms that musical accompaniment to early film took from phonographic accompaniment to live performance, from improvisation to cue sheets to original film scores, and from a single musician to a symphony orchestra. This chapter incorporates new research since the first edition of this book in 2010 on film music in Ireland, Austria, Turkey, the Dutch East Indies, and the Netherlands; the role of women in the early film music industry; and the role of film music in the continued resurgence of silent film screenings.

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Schwender, Alyssa D., und Christopher J. M. Leet. „Offshoring Entertainment and Media to India“. In IT Outsourcing, 2278–92. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-770-6.ch144.

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This chapter explores opportunities for the offshoring of assorted processes in the global entertainment and media industry. Currently, this industry is experiencing incredible growth, much of it spurred by the increased digitalization of media production around the world. The rise of digital technology, faster global connectivity, an increased quality of downloads have been the driving factors behind this growth. The filmed entertainment, recorded music, and television networks and distribution sectors of the industry will undergo major technological changes in the coming years. These changes will provide opportunities for entrepreneurs to enter the global media industry. Using venture funding, startups are utilizing offshoring concepts to create a more efficient cost-effective means of doing business. The Asia Pacific market is currently the fastest-growing region, with India leading the way with offshoring of film functions. The industry will see a change from large media conglomerates as the sole owners of all media to smaller companies offering services, in which they specialize, to these larger companies, as digital media makes it easily accessible around the globe.

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