Relevant bibliographies by topics / Internet-Music / Dissertations / Theses
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Dissertations / Theses on the topic 'Internet-Music'

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Published: 6 September 2023
Last updated: 7 September 2023

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1

Tang, Charles Wei-Ting. "Live interactive music performance through the Internet." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/62625.

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2

Reinke, Bryan E. "Indie Music In The Age Of The Internet." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/634.

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In my paper I explored the success of independent artists on the Internet over the past three to five years while also examining the diminishing need for major record labels with regards to an independent artists success. I chose to examine this trend primarily because we are seeing the success of many artists to varying degrees who use the Internet to promote their music on a scale we’ve never seen before. Because of this, the entire structure of the music industry is beginning to change drastically and people have greatly begun to rethink the way we discover and enjoy music as well as the types of music we like. I wanted to explore the ways in which independent artists are achieving their success, the degree to which this success has been achieved, and why they have chosen to remain independent from major record labels. I began by researching independent artists before the Internet became a marketplace for music and how the Internet has changed the music industry to this day with regards to album sales. I then researched different platforms that have recently emerged on the Internet and how they are allowing artists to market themselves in effective ways and at little to no cost to the artist. I also examined the equipment required to make music in the digital age and how it has become cheaper and more accessible to obtain. Finally I examined specific independent artists who have emerged over the past few years on scales larger than many artists signed by major labels and why they have chosen to remain independent. From the research I did on the rise of independent music, I learned that most of these artists are doing something unique or different from artists signed to major labels. I also found that the message behind their music was sometimes contradictory to what has been accepted in mainstream media in the past. They have remained independent because they do not want to lose creative control of their music while also cutting out the middle man, or record labels, so they may keep a majority of their own profits. Through the artists that were researched, it can be seen that a major label budget or marketing scheme is far from necessary in the age of the Internet and can actually hinder the careers of certain artists. This is important because as major record labels continue to become less important, the structure of the music industry and its economy are changing in a way that is the opposite of what it once was. Music is now beginning to be empowered by the artists and fans rather than by major label corporations.
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3

Zimmermann, Harald. "Music on Demand Bezug und Vertrieb im Internet /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675550.

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4

Turesson, Eric. "STRATEGIC INTERNET MARKETING FOR MUSIC FESTIVALS IN OSLO : A qualitative case study on two music festivals practise of strategic Internet marketing." Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17979.

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The overall aim of this study was to research how music festivals in Oslo practise strategic Internet marketing and how these could improve their marketing throughout strategic Internet marketing. The interest of this study evoked since there was a lack in previous research in this field. Other issues to explore were marketing particularities and how these could be solved. Two music festivals in the city centre of Oslo were interviewed. The study was based on Chaffey and Smith’s (2008) SOSTAC planning framework, together with previous research findings in the field of strategic Internet marketing. The result showed a primarily use of informal goals, together with actions and evaluation based on gut feelings. Focus was placed on creating additional value and thus loyalty. Most applied marketing were connected to Web 2.0 techniques. The study found several shortcomings concerning the practise of strategic Internet marketing. Suggested improvements included use of online measurement systems and a strategic approach towards objectives and evaluation. The study found two distinct characteristics including the importance of visitor activity and loyalty. Web 2.0 techniques, the website and co-branding activities were concluded to be the most effective types Internet marketing. These together with an enhanced use of Web 2.0 techniques were also concluded to be the solution to marketing peculiarities.
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5

Oleksik, Gerard. "Music in the age of the Internet : an investigation into the relationship between music, music use and technology." Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/718/.

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6

Bechle, Thomas. "eMusic - Legal issues concerning downloading music over the Internet." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/4543.

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Sharing music with friends and family has always been a popular activity. Under most copyright laws, sharing physical media with friends and family has always been seen as a 'fair use' - a set of usage patterns that have been traditionally considered to be exceptions to copyright law. With the advent of digital music in the early 1990's sharing of music became redefined. Whereas sharing of physical media meant that only one person could use the media at the same time, sharing digital music involved permanent reproduction of the music files. Thus, sharing digital music equated to reproduction and distribution of music. With the invention of the mp3 standard, the size of digital music files became much smaller without a noticeable compromise of quality. Thus reproduction and distribution of digital music became faster and even easier. [...]
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7

Hurst, Magnus, and Niklas Marklund. "Internet, music and communication : How the Internet is affecting communicational efforts of smaller independent record labels." Thesis, Uppsala University, Department of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-127118.

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The purpose of this thesis is, through a case study, to analyse how the Internet is affecting smaller independent record labels' communicational efforts, and if these companies are dealing differently with this technological change. In order to accomplish this, a number of interviews have been conducted with smaller independent record labels. The findings have been analysed using a theoretical frame of reference covering innovation management and communicational methods. Our results show that the Internet has had an effect on these labels’ communicational efforts, either directly through an increased use of online communication or indirectly through the decreasing effectiveness of some traditional channels. However, as many traditional channels are still being used, smaller independent record labels are now managing an increased number of channels simultaneously. Furthermore, the degree of online communicational efforts varies depending on musical genre, being more commonly used in popular music genres. For labels with a high online activity, social networks play a prominent role, with considerable effort and time allocated towards working with these. Also, these companies are very attentive to the rapidly changing online environment with the aim of staying at the forefront of this development.

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8

Johansson, Tobias, and Oskar Wallin. "Winds Of Change : Marketing effects of the Internet at Universal Music." Thesis, Uppsala University, Department of Business Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9451.

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The internet has fundamentally changed our society during the past decade with considerable ramifications for business practices in all types of industries. The music industry is arguably one where the effects have been most evident with a drastic decline in record sales as a result of piracy and increased competition for customers’ attention. Thus, record companies must find new ways of satisfying music consumers’ needs by restructuring their promotion and distribution processes. Therefore, this paper investigates how the internet has affected the promotion and distribution of music at major Swedish record companies by performing a case study at Universal Music AB. To analyse the effects of the internet, a resource based view of the firm is adopted with special focus on market based assets. The analysis indicates that the most significant changes brought about by the internet regarding the distribution of music are the transition from brick and mortar retailers to online equivalents and the creation of alternative means of distribution, such as digital sales. The internet also contributes with new channels for music promotion, which not only increase competition for customers’ attention but also encourage the search for new marketing partners, particularly evident in the demise of MTV and the emergence of online channels such as Youtube and Myspace. Finally the Internet also induces a need to capture all the revenue streams music has to offer, ranging from ring tones to concerts.

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9

El, Gamal Ashraf. "The Evolution of the Music Industry in the Post-Internet Era." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/532.

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The rise in the prevalence of the Internet has had a wide range of implications in nearly every industry. Within the music business, the turn of the millennium came with a unique, and difficult, set of challenges. While the majority of academic literature in the area focuses specifically on the aspect of file sharing within the Internet as it negatively impacts sales within the recording sector, this study aims to assess the Internet’s wider impacts on the broader music industry. In the same time that record sales have plummeted, the live music sector has thrived, potentially presenting alternative business models and opportunities. This paper will discuss a variety of recent Internet-related developments including the rise of legal digital distribution, key economic implications, general welfare effects, changes in consumer preference and social phenomena as they relate to both the recording and live entertainment sectors. I employ a time series multiple regression model to evaluate the statistical significance of the relationship between the Internet’s rise and the value of record sales. For the concert industry, I will examine recent trends and descriptive data as they relate to the Internet’s prevalence.
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10

Mott, Andrew. "File Sharing & Music Piracy: How the Internet is Changing the Tune." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111683024.

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11

Ebel, Marc. "Digital music consumption on the Internet : consumer behaviour in the light of digital piracy, legal alternatives and ethical considerations." Thesis, University of South Wales, 2014. https://pure.southwales.ac.uk/en/studentthesis/digital-music-consumption-on-the-internet(a351c4f6-b984-4383-8e41-4b9a3c2c988a).html.

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Purpose: The purpose of this research is to evaluate the usage behaviour of legal and illegal digital music services on the internet and derive a theoretical model that includes the determinants for these behaviours. Based on this model, hidden heterogeneity will be examined amongst the sample population to extract different user-groups with similar attitudes, perceptions and behaviours and to derive and describe these different customer segments of digital music consumers. Design/methodology/approach: A theoretical framework has been developed through a synthesis of the Theory of Planned Behaviour (TPB), Unified Theory of Usage and Acceptance of Technology (UTAUT) and ethical decision making theories. A structured self- completion online-questionnaire has been conducted in Germany and Partial Least Square Structural Equation Modelling (PLS-SEM) has been applied to analyse and validate the theoretical model. Hidden heterogeneity has been analysed using the Finite Mixture (FIMIX) algorithm for PLS-SEM to derive three different customer segments amongst the sample population. Findings: The cause-and-effect model has been proven valid and has revealed the most important antecedents of the usage of legal vs. illegal digital music services on the internet: performance expectancy, facilitating conditions, habit and usage behaviour, perceived risks and benefits, and attitudes including moral and ethical considerations. Besides this, three different segments of customers have been identified, which show different values, opinions and behaviours with the other segments, but homogeneous within the segments. The segments are: Legal Power-Users, Digital Laggards and Young Indifferents. Practical implications: The cause-and-effect model and the three customer segments inform practice for a better understanding of the digital music customer and provide important inputs for the development of new products and services, positioning of the services and communication strategies for current and future services as well as policy makers. Originality/value: Two research gaps have been closed: (1) newer legal digital music services have hardly been examined in the literature and (2) only student samples have been used in digital piracy studies. This study is the first to fill both gaps in expanding the scope explicitly to legal vs. illegal services and to a sample population beyond students. The synthesis of theoretical models to a more comprehensive model to understand the usage and determinants of digital music services has been created. The identification of the three customer segments with the FIMIX algorithm and their real-life description is a contribution to practice, knowledge and methodology. Additionally the research shows, that the evaluation of hidden heterogeneity enriches the pure SEM-analysis, has even improved the evaluation of the overall model and should be a new standard for future SEM-research.
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12

Wiafe, Samuel. "Examining Internet and E-commerce Adoption in the Music Records Business in Ghana." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2300.

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Context: Information Communication Technologies (ICT) and its related applications are increasingly penetrating all spheres of individual, organizational, and societal aspects of everyday life in the developing economies and Africa as well. The Internet is emerging as an important technology for commerce and business. The employment of Internet based technologies and applications in music service both in online sales and marketing of music records and digital music service is significantly altering the approach that traditional commerce is done. It eliminates all geographical bottlenecks, allowing the establishment of virtual outlets and presence throughout the world, and permits direct and instant foreign market entry to less known artistes and music records businesses. Objectives: In this study, I investigate the state of internet and e-commerce adoption in the music record business in Ghana. I seek to find out the reasons for the adoption of e-commerce platform within the music industry and to assess the challenges confronting the adoption of e-commerce. Methods: We conducted a Literature Review to get an overview of the music industry as a whole, and also to describe the diffusion of e-commerce technologies in music services. We use qualitative research approach to collect data and to identify reasons for the adoption of e-commerce platforms primarily among consumers and retailers of the music services. We conducted interviews with musicians and managers of record companies were conducted to ascertain their reasons for using or non using e-commerce technologies, and identify prospects and challenges confronting its adoption within the industry. Conclusion: The evaluation from musicians, consumers and other key players indicated their willingness to go for the e-commerce platforms in music service delivery. However, they are challenged by poor infrastructures, unsettled issues of monetization of music contents coupled with high digital gap among the citizenry. Prevailing government efforts contribute nevertheless in closing the digital disparity among the populace, and Telecom and ISPs improvement in service delivery give an outlook of full realization of the goal of e-commerce adoption in the music industry in Ghana.
Samuel Kwesi Wiafe P.O. Box KF 2034, Koforidua-Ghana Tel: +233 (0)208801106
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13

Boone, Will Katz Mark. "Composing playlists, conducting streams the life of classical music in the internet age /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1819.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music." Discipline: Music; Department/School: Music.
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14

Wong, Chi-chung Elvin. "The working of pop music culture in the age of digital reproduction." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44140101.

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15

Wessman, Joel, and Jonas Westerling. "Internet som marknadsföringsverktyg för låtskrivare/producenter." Thesis, University of Skövde, School of Humanities and Informatics, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-1295.

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Tanken med vårt examensarbete var att vi skulle ge oss själva en bra start i arbetslivet. Dels genom att komma igång mer med låtskrivandet men framförallt att få inblick i vad som ska till för att vi senare ska kunna ta oss hela vägen. Att slå sig in i musikbranschen som låtskrivare/producent är ingen lätt uppgift och att göra sig ett namn som en sådan duo eller ett sådant team är få förunnat.

Internet är ett bra forum att visa upp sig på men där om någonstans slåss man med många om uppmärksamheten. De moment som alltid varit viktiga finns fortfarande kvar trots Internets intåg. Produktion, presentation och kontaktnät är tre viktiga hörnstenar till den framgång som många söker.

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16

Trš, Lukáš. "Vliv rozšíření internetu na pokles prodejů hudebních nosičů CD." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-75145.

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This thesis is concerned with the effect of widespread internet use on the sales of audio CDs. It analyses trends in the American and Czech markets from the end of the 1990's to today. Its analysis is based on the relationship between musical genres and their respective target audiences with the hypothesis being that genres with listeners who have adopted the internet more rapidly are more affected than other genres. The thesis proves that the decrease in music sales in the last ten years, the bulk of which have been CDs, has been caused by the graudual establishment of the internet with its probable illegal downloading of recordings and the change in format to MP3 from CD.
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17

McLaughlin, Elbert H. "The coalescence of music and the Internet, a hybrid solution for the use of music materials in World-Wide Web publication." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44097.pdf.

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18

McLaughlin, Elbert H. "The coalescence of music and the internet : a hybrid solution for the use of music materials in world-wide web publication." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20232.

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The World-Wide Web (WWW) is currently witnessing a dramatic trend toward the incoporation of multimedia elements into on-line publishing. These elements can be very effective for communicating ideas that are difficult to explain with text alone. For the presentation of music, the WWW brings the capability of embedding audio files (recordings) into a document, thus providing audible musical excerpts in addition to textual references to selected points of interest in a musical score. However, there are technical challenges and copyright issues to be addressed when providing musical excerpts on the WWW. The research undertaken in this study brings one possible solution to these issues through the design and implementation of a hybrid system using a combination of the internet and commercially available audio compact discs.
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19

Dobie, I. "The impact of new technologies and the Internet on the music industry, 1997-2001." Thesis, University of Salford, 2001. http://usir.salford.ac.uk/2027/.

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This dissertation analyses the controversial issues surrounding the rise of the online music space at the turn of the millennium.' The consumer-led online music revolution rode on the back of a new technology that enhanced connectivity but disregarded notions of copyright and intellectual property. This enabled artists to create, promote and disseminate their own music, but also allowed end users to share unauthorized music files, to the financial detriment of the music industry. It examines the major music corporations' attempts to halt what they considered to be undesirable behaviour, as well as the struggle over control of copyrights, and assesses the likely path of the development of viable online music services. The findings suggest that the music industry is capable of success within the online environment as long as it heeds the lessons of the consumer-driven market. Artists and end users have been empowered by the technology, and niches have emerged for new intermediaries to service new demands. The significance of this study is that it contextualizes and analyses the turmoil and flux which this period experienced; it identifies the underlying issues, and points the direction for the future of the industry. This has been an important juncture in the history of the recording industry, and the new network technology has engendered considerable changes in the relationship between the major corporations and the public. While existing studies of the music industry and copyright law have informed the work, this dissertation provides original research into how the online music space relates to and affects the major label- dominated offline music industry, weaving together the various strands in a multi-disciplinary approach.
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20

Wilson, Aaron James. "Bridging the virtual gap in Internet based music instruction| A feasibility study in trombone performance education." Thesis, The University of North Carolina at Greensboro, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3568938.

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Since being introduced into classrooms in the late 1990s, online instruction has grown substantially both in student enrollment and the number of programs offered at state, district, and multi-district levels. Although having been applied liberally to all core subjects and many supplemental subjects, online instruction has yet to be utilized extensively in the musical arts. Courses in music performance present a unique set of technological and logistical challenges when adapted to an online setting. Nevertheless, private music teachers have utilized Internet resources extensively. Similar techniques applied to public school music programs, however, have yet to be explored thoroughly. Utilizing a combination of asynchronous instruction and synchronous instruction for teaching online music performance courses offers a potential for study and development.

The purpose of this study was to establish the feasibility of an online music performance course that included both asynchronous and synchronous instruction. An approach that utilized both a multimedia blog format and real-time video instruction was developed, implemented, and delivered to a limited group of trombone students as a pilot study. Nine students participated in online trombone lessons that focused primarily upon the development of performance fundamentals. The delivery of content was assessed to determine a feasible format for music performance instruction in an online setting. Although typical technological shortcomings were experienced during instructional settings, students were able to identify, explain, and apply concepts gleaned from the blog and real-time video lessons.

Internet-based resources have been applied to independent and collegiate music performance instruction; pedagogical approaches, however, have not been developed for use in secondary level online learning programs. Consequently, online music performance instruction has not evolved as rapidly as online instruction of core academic subjects. As technological advances become available, the possibility for delivering online instruction in areas of the performing arts, and especially in music performance, becomes more feasible and likely will be integrated into the curricula of many online learning programs. Until such time, the implementation of viable online instructional models is essential for the development of traditional music performance courses.

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Lawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.

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Thesis (M.A.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).
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22

Wong, Chi-chung Elvin, and 黃志淙. "The working of pop music culture in the age of digital reproduction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44140101.

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23

Cook, Mark. "Telematic Music: History and Development of the Medium and Current Technologies Related to Performance." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1447261468.

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24

Svensson, Nina. "TV, music and the Internet : Outside and inside the classroom at a lower secondary school." Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2651.

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Since the 1950’s medial resources have accelerated at an apparent pace. The access to several TV channels, to the Internet and to cell phones has increased and is available almost every student. In the society of today young people are exposed to media technology everywhere. It is apparent that children as well as adolescents and adults are affected by television, music, the Internet in one way or the other. The aim of this essay was to investigate if students think that TV, music and the Internet affect their English language learning outside the classroom. Furthermore, the purpose was also to see in what ways their teachers use these kinds of media recourses.

Questionnaires were handed out to three ninth grade classes (56 students) and interviews were made with their English teachers. The investigations showed that the majority of the students thought that they learned a lot outside of the school, mostly from TV and films. They claimed that they learned things like words, phrases and pronunciations.

Two of the three teachers who were interviewed used TV and music frequently in their teaching because they thought it was of importance to their students’ different learning styles, while the third teacher rarely used any of the resources mentioned above. Even though their methods differed they were of the same opinion that TV, music and the Internet have a huge impact on their students.

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Ibrahim, Anwar Salim. "The song inside the tune : popular music theory and listening practice in the internet age." Thesis, University of Surrey, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529437.

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26

Waugh, Michael. "'Music that actually matters'? : post-Internet musicians, retromania and authenticity in online popular musical milieux." Thesis, Anglia Ruskin University, 2015. http://arro.anglia.ac.uk/701474/.

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This thesis is the first academic text to apply the notion of the ‘Post-Internet’ to music, uniquely deploying the concept to stress the role that authenticity has played in contemporary online musical milieux. Using digital aesthetics and themes, Post-Internet art considers a symbiotic relationship between post-millennial youths and their technological devices that has ramifications for contemporary identity and communication. This thesis argues that Post-Internet musical cultures also exhibit these motifs. Much academic analysis of post-millennial musical milieux is narrowly focused on changes to the music industry that occurred at the turn of the millennium, or maintains that the mass archives of the Internet promote retromanic musical production. This thesis contrastingly analyses contemporary musicians that evince Post-Internet themes in their music and self-representation. One of the thesis’ original claims is that these musicians have developed an authentic representation of Post-Internet existence due to their sensitive examination of post-millennial cultural and personal experiences. Post-Internet themes and academic debates about authenticity are presented as a key context for the textual analyses of these undertheorised Post-Internet musicians. The thesis’ multi-disciplinary focus draws on posthumanism, queer theory, notions of information overload, social media theory and representation politics. Academic works by theorists such as Simon Frith, Simon Reynolds, Nathan Jurgenson, Mark Fisher, Sarah Thornton, Richard Middleton, Adam Harper and Steve Jones are analysed. The texts explored in this thesis include albums, YouTube videos, social media, live performances, games and digital mixes. References to influential blogs and magazines such as Pitchfork and The Fader illustrate online reaction to these musicians and emphasise the authentic reputation that they have attained. I conducted fifteen interviews with the key musicians, exploring the perspectives of these practitioners as a means to illuminate their oeuvres. The research spotlights, for the first time, music that self-consciously expresses Post-Internet themes to explore digital technology’s impact on identity, culture and society. One of the key original arguments offered is that these artists develop authentic representations of Post-Internet cultural and personal experience through their output and public personas. The conclusion notes that the aesthetic trend outlined here has also informed mainstream musicians, with many commercially successful artists appropriating from, and collaborating with, Post-Internet musicians in order to develop a comparably authentic representation of Post-Internet culture and identity.
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Waugh, Michael. "‘Music that actually matters’? Post-internet musicians, retromania and authenticity in online popular musical milieux." Thesis, Anglia Ruskin University, 2015. https://arro.anglia.ac.uk/id/eprint/701474/1/Waugh_2015.pdf.

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This thesis is the first academic text to apply the notion of the ‘Post-Internet’ to music, uniquely deploying the concept to stress the role that authenticity has played in contemporary online musical milieux. Using digital aesthetics and themes, Post-Internet art considers a symbiotic relationship between post-millennial youths and their technological devices that has ramifications for contemporary identity and communication. This thesis argues that Post-Internet musical cultures also exhibit these motifs. Much academic analysis of post-millennial musical milieux is narrowly focused on changes to the music industry that occurred at the turn of the millennium, or maintains that the mass archives of the Internet promote retromanic musical production. This thesis contrastingly analyses contemporary musicians that evince Post-Internet themes in their music and self-representation. One of the thesis’ original claims is that these musicians have developed an authentic representation of Post-Internet existence due to their sensitive examination of post-millennial cultural and personal experiences. Post-Internet themes and academic debates about authenticity are presented as a key context for the textual analyses of these undertheorised Post-Internet musicians. The thesis’ multi-disciplinary focus draws on posthumanism, queer theory, notions of information overload, social media theory and representation politics. Academic works by theorists such as Simon Frith, Simon Reynolds, Nathan Jurgenson, Mark Fisher, Sarah Thornton, Richard Middleton, Adam Harper and Steve Jones are analysed. The texts explored in this thesis include albums, YouTube videos, social media, live performances, games and digital mixes. References to influential blogs and magazines such as Pitchfork and The Fader illustrate online reaction to these musicians and emphasise the authentic reputation that they have attained. I conducted fifteen interviews with the key musicians, exploring the perspectives of these practitioners as a means to illuminate their oeuvres. The research spotlights, for the first time, music that self-consciously expresses Post-Internet themes to explore digital technology’s impact on identity, culture and society. One of the key original arguments offered is that these artists develop authentic representations of Post-Internet cultural and personal experience through their output and public personas. The conclusion notes that the aesthetic trend outlined here has also informed mainstream musicians, with many commercially successful artists appropriating from, and collaborating with, Post-Internet musicians in order to develop a comparably authentic representation of Post-Internet culture and identity.
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Johansson, Karin. "Brassundervisning på internet : En kvalitativ studie om innehållet i instruktionsvideor på YouTube." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-54924.

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Syftet med föreliggande studie är att från ett designteoretiskt och multimodalt perspektiv undersöka hur instruktionsvideor i brassinstrumentspel på YouTube designas. Fem videor valdes ut, transkriberades och analyserades. Analysen visade att samtliga videor hade ett liknande innehåll med fokus på bland annat buzzing och tonbildning. Ämnesinnehållet i videorna stämde ganska väl överens med litteratur på området. Framförallt användes talet som resurs för att kommunicera innehållet. Kroppen och instrumentet användes i mindre utsträckning och framförallt tillsammans med talet. De tekniska resurserna i form av exempelvis digitala bilder och text användes i mycket liten omfattning. I diskussionen framkommer olika möjligheter för vad kombinationen av resurser innebär för kommunikationen av innehållet. I videorna förklarades musikaliska och instrumenttekniska begrepp i olika stor utsträckning vilket ställer större eller mindre krav på den som vill använda sig av videon att ha egna kunskaper på området för att kunna tillgodogöra sig undervisningen. Den som vill använda sig av instruktionsvideor på YouTube bör ha ett visst mått av källkritik samt förmågan att kunna jobba självständigt mot ett mål.
The purpose of this study is to from a design theory and multimodal perspective study how instructional videos for brass instrument playing on YouTube are designed. Five videos were selected and transcribed and analyzed. The analysis showed that all videos had a similar content focusing on buzzing and tone production. The content of the videos was quite well matched with literature on the subject. The speech was used as the main resource for communication of the content. The body and instrument were used to a lesser extent, and mostly together with the speech. The technical resources in the form of, for example, digital images and text were used to a very small extent. The discussion reveals different possibilities for what the combination of resources means for the communication of the content. In the videos, musical and instrument-technical concepts were explained to different extent, which places greater or lesser demands on those who want to use the video to have their own knowledge in the field in order to gain from the teaching. Those who want to use YouTube video tutorials should be source-critical and have the ability to work independently towards a goal.
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Lindmark, Jeanette. "Nyckelharpan under 2000-talet : Ett instruments spridning och användning." Thesis, Örebro universitet, Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-15858.

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I och med att nyckelharpan blivit allt populärare, har den spridit sig över Sverige och även utanför landets gränser. Som nyckelharpsspelman och lärare på nyckelharpa, väcktes ett intresse för att undersöka hur nyckelharpans spridning ser ut under 2000-talet. Syftet är att få vetskap om hur och till vilka nyckelharpan spridit sig och vilka nya användningsområden den kommit att få. Undersökningen genomfördes som litteraturstudier med jämförelser av litteratur nära knutet till ämnesområdet.   Resultatet av undersökningen visar att nyckelharpans spridning under 2000-talet främst skett genom olika medier där Internet spelat en framträdande roll. Den globala spridningen är betydande med nya utövare, främst i USA men även i flera Västeuropeiska länder. Likaså kan man skönja en stor social spridning bland nyckelharpsspelarna. Studien visar även att nyckelharpan inte längre bara används som traditionellt folkmusikinstrument, utan nya användningsområden uppenbarar sig i dess väg genom olika musikgenrer allt ifrån konstmusik till rock.
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Fernandez, Arturo. "Windlife Vs. Let's Read." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1509983717956456.

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Sjögren, Pia-Karin. "...folkmusikportalen.se : En mötespunkt på Internet?" Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4834.

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Jag har undersökt vad människor i Folkmusiksverige vill läsa om på en kommande internetportal, folkmusikportalen.se. Detta har jag gjort genom en enkät, som låg på Internet och var öppen i två veckor. Jag fick in 81 svar. Frågorna jag ställde handlade om respondenternas bakgrund, hur de ställer sig till reklam, vad de vill läsa/diskutera om och vilka konferenser de eventuellt har besökt och vilka ämnen som isf togs upp där.Jag har kommit fram till att intresset för en kommande portal är stort. Jag har fått mycket förslag på vilka ämnen och funktioner som skulle kunna finnas med på portalen. Det rör sig om CD-recensioner, reportage, händelsekalender, länkar och ett forum där det finns ett oändligt antal ämnen som bara väntar på att få diskuteras!


I examined what people, who take part in Swedish folk music, want to read and discuss on the upcoming internet forum, folkmusikportalen.se. I used a survey to obtain my answers. The inquiry was posted online, and was available for users during a two-week period. 81 people answered my survey. The questions dealt with the background of the recipients, if they want to advertise, what they want to read/discuss, and which conferences they attended and which subjects were discussed there. I discovered that the forum was received with great interest. I have received numerous suggestions with regard to what subjects and functions would be fun to have on this internet portal. Many would like to see CD-reviews, reports, a calendar, links and a forum where there is an infinite amount of subjects waiting to be discussed.

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Bielas, Ilan. "The Rise and Fall of Record Labels." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/703.

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This thesis studies the music industry as a whole, and delves more specifically into how new technologies have disrupted the old business model. Advances in technology such as the Internet, MP3s, and file-sharing software have made it possible to bypass the traditional role of record labels, thus creating a closer link between artists and consumers. As the music industry transformed over time, the role of record labels became less defined. This has left once behemoth labels struggling to find a competitive advantage in a rapidly devolving industry. Record labels are no longer the most relevant segment of the music industry, and this work provides an in-depth analysis of the processes that destroyed their relevance. This thesis begins by examining the music industry at a macro level, before tracking record labels from their prominence to their current marginalized role. Advancements in MP3, P2P networks, and other consumer-enabling technologies have transformed the music industry. The lack of a significant response to this shifting landscape within the industry has left record labels on a slippery slope towards extinction. As record labels failed to adapt to shifting demand and changing methods of consumption, private entrepreneurs have intervened to solve inefficiencies in the market. This thesis will leave the reader with an expansive knowledge of how the music industry has transformed, as well as its future trajectory without record labels.
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Conter, Marcelo Bergamin. "Imagem-Música em vídeos para web." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/49264.

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A presente dissertação propõe-se a investigar os modos com que a música sobrecodifica a linguagem audiovisual em vídeos para a web, criando novos processos de significação e complexificando a virtualidade musical (compreendida aqui como a totalidade irrepresentável de imagens que a expressam). O site YouTube se estabelece como um lócus privilegiado para tal estudo, pois nele encontra-se uma quantidade significativa de vídeos musicais em que a música se manifesta em todos os elementos audiovisuais, interferindo nos processos de composição audiovisual (tanto na trilha visual quanto na sonora). O que pode deste encontro derivar são atualizações e potencialidades do virtual da música, manifestadas como imagemmúsica. Os vídeos que constituem o corpus são organizados em quatro categorias mais recorrentes, ordenados de acordo com a proximidade que têm com a linguagem do videoclipe, o que permite perceber como, progressivamente, nos vídeos para web, está ocorrendo um processo de autonomização da imagem-música: mashup audiovisual; sampling audiovisual; spoof de shreds; auto-tunning. Essas práticas já estavam contidas, em potência, em audiovisuais anteriores, no cinema, na televisão, na videoarte, no videoclipe – e também nas práticas da música eletrônica –, mas somente na web elas conseguiram se manifestar a pleno. Como referencial teórico para compor o modo como será observado o fenômeno, utilizar-seão as teorias do filósofo Henri Bergson para compreender a virtualidade da música; de Gilles Deleuze, para entender os processos de significação que a sobrecodificação da música exerce sobre o audiovisual, e como ela movimenta suas estruturas através de tal processo; de Nicklas Luhmann, para compor um ponto de observação para os vídeos musicais para web diferente do que tradicionalmente se dirige ao videoclipe televisivo; e de Vilém Flusser, para compreender a natureza das imagens técnicas. Conclui-se que os vídeos para web estudados efetivamente se apartam da lógica do videoclipe televisivo, parte por não dialogarem com a lógica da indústria fonográfica, parte porque a música é resultado da montagem, e não o contrário, como ocorre normalmente em videoclipes; além disso, evidencia-se que a música é capaz de imprimir algo de si nos audiovisuais estudados, e que está ocorrendo uma tendência para a diluição da distinção entre arte figurativa e música: através desses vídeos, mostra-se possível a produção de música imaginativa, derivada da reciclagem de material audiovisual disponível na web.
The present dissertation proposes to investigate how music over-codifies the audiovisual language of web videos, creating new signification processes and complexifying the musical virtuality (here understood as the unrepresentable totality of images that express it). YouTube’s website is established as a privileged locus for such study because it contains a significant amount of music videos in which music manifests itself in every audiovisual element, interfering in the audiovisual composing process (both in the visual and the sound tracks), which is edited according to musical rules. What may come from this encounter are updates and potentialities from the music’s virtual, manifested in the form of what will be here understood as image-music. The videos that compose the work's corpus are organized in four categories that are defined according to videoclip's language proximity: audiovisual mash up, audiovisual sampling, shreds spoofs, and auto-tuning. This procedure allows us to perceive how, progressively, in web videos, an empowerment of music-image is occurring. These practices were already contained, potentially, in previous audiovisuals, like cinema, television, video art and video clips – and also on electronic music practices –, but only in the web they managed to be fully manifested. Different theories will be presented and utilized as theoretical references, like those of French philosopher Henri Bergson, which will be used to comprehend music’s virtuality; works from Gilles Deleuze, will be utilized to aid our understanding of the signification processes that music’s over-codification performs on audiovisual, and how its structure is altered by it through this process; from Nicklas Luhmann's theories will provide a different point of view, on web music videos; and Vilém Flusser’s works will be employed to understand the nature of the technical image. We conclude that the web videos analyzed effectively move away from the logic of television music video, first, because they do not dialogue with the recording industry’s logic; second, because the songs created result from editing and not the other way around, as often occurs in video clips; third, it becomes clear that music is able to print something out of itself on the studied videos, there is an ongoing tendency for the dilution of the distinction between figurative art and music; throughout these videos, the production of imaginative music becomes possible, created from the recycling of audiovisual material available on the web.
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Helb, Colin. "Use and Influence of Amateur Musician Narratives In Film, 1981-2001." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245445172.

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Mayer, Adam P. "“The Fist in the Face of God”: The Decentralized Diffusion of Heavy Metal Music through the Internet." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1314362557.

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Terriah, Sean C. "A survey of networked and compact disc technologies and applications for interactive music systems." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23362.

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The proliferation of the Internet and the convergence of telecommunication, computing, compact disc, and media technologies have paved the infrastructure for new interactive music environments. It is essential for those in the field of new media to be aware of the ramifications of these developments. Furthermore, there has been a growing interest among new media developers to provide the tools necessary to allow an end-user to take an active role in the outcome of an interactive multimedia presentation. This concept introduces the notion of end-user as artist and collaborator. This concept introduces the notion of end-user as artist and collaborator. This thesis investigates the diverse applications and technologies that have emerged through cross-disciplinary collaboration and how they may be used to specify and design innovative musical environments.
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Kenttä, V. (Ville). "Gender performances as a response to accelerationism:self-destructive masculinity in the post-internet music of Death Grips." Master's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201906182561.

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Abstract. This master’s thesis is an examination of the experimental hip hop band Death Grips and specifically the masculine persona that their music portrays. The theoretical framework is comprised of examination of the genre of post-internet music and comparison to its other artists, the theory of accelerationism and also studies of internet subculture discourses. As many post-internet artists also express accelerationist themes in their music and their artistic representation links heavily to internet subcultures, these form a crucial part in understanding the subject at hand. In comparison with other post-internet artists, Death Grips can be seen to portray a significantly more fatalistic view of the accelerationist future. It is marked by downward trajectories in dire economic realities, inherent white supremacy in society and in the ways that technology will increasingly be used to control humans. The prevalent instances of toxic behavior are then symptoms of a masculine identity in crisis due to the inevitability of this accelerationist progression and an attempt to survive by violent exertion. Also noteworthy is how the interactions between Death Grips and their 4chan audience continuously co-construct the development and resultant implications of the band’s works. In this, the band not only exhibits a notable example of processual post-internet approach to creating art but also by engaging in 4chan’s transgressive meme culture, they strengthen the platform’s societal relevance that has been noted for directly influencing accelerationist developments in contemporary mainstream politics.Tiivistelmä. Tämä pro gradu tutkii kokeellista hiphopbändiä Death Gripsiä, ja erityisesti heidän musiikissaan esittämää maskuliinista persoonaa. Teoreettinen viitekehys koostuu post-internet musiikkigenrestä ja vertailusta muihin kyseisen genren artisteihin, akselerationismin teoeriasta ja internetdiskurssien tutkimuksista. Koska monet post-internet artistit myös esittävät akselerationistisia teemoja musiikissaan ja heidän artistinen representaatio linkittyy vahvasti internetin alakulttuureihin, nämä osat muodostavat oleellisen osan aiheen tutkimisesta. Verratessa toisiin post-internet artisteihin, Death Gripsin voi nähdä esittävän merkittävästi fatalistisempaa kuvaa akselerationistisesta tulevaisuudesta. Tämä käsittää huonontuvan kehityksen taloudellisissa realiteeteissa, yhteiskunnan ylläpitämässä valkoisessa ylivallassa ja tavoissa, joilla teknologia tulee kontrolloimaan ihmisiä. Toksinen käytös on täten oireilua maskuliinisen identiteetin kriisistä väistämättömän akselerationistisen kehityksen edessä ja pyrkimys selviytyä väkivaltaisin ponnistuksin. Huomionarvoista on myös, kuinka Death Gripsin ja heidän 4chan-yleisönsä väliset interaktiot konstruoivat bändin kehitystä ja heidän töidensä implikaatioita jatkuvassa vuorovaikutussuhteessa. Death Grips osoittaa tällä sekä esimerkkiä post-internetille ominaisesta prosessuaalisesta lähestymisestä taiteeseen, mutta osallistumalla 4chanin transgressiiviseen meemikulttuuriin he myös vahvistavat kyseisen keskustelualustan yhteiskunnallista relevanssia, jonka on nähty suoraan vaikuttavan akselerationistisiin muutoksiin nykyajan valtavirtapolitiikassa.
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Cruz, Leonardo Ribeiro da 1982. "Internet e arquiteturas de controle : as estratégias de repressão e inserção do mercado fonográfico digital." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281177.

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Orientador: Laymert Garcia dos Santos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Essa pesquisa discute as estratégias de combate e de inserção do mercado fonográfico na internet e seus efeitos no desenvolvimento da rede. Para tal, ela parte da análise do mercado tradicional de discos, que durante todo o século XX se solidificou através do controle dos meios de produção, distribuição e promoção de cópias gravadas em suporte físico bem como através da proteção das leis regulamentadoras desse mercado ¿ as leis autorais. Entretanto, a internet e as tecnologias de reprodução e distribuição de bens culturais digitalizados reorganizaram o mercado fonográfico ao propiciar uma ampla e gratuita disponibilização de seus produtos. Tal reorganização teve ressonâncias em diversos aspectos desse mercado, principalmente nas formas tradicionais de negociação e valorização dos produtos culturais. As primeiras movimentações do mercado fonográfico foram a de combate à distribuição digital de música em favor da proteção do mercado tradicional de música gravada, pautada pelo paradigma da escassez e pelo controle oligopolista e altamente concentrado do mercado. Contudo, acontecimentos mais recentes no campo da negociação dos produtos culturais e das empresas fonográficas apontam para novos desdobramentos relacionados à aproximação das estratégias de inserção das empresas de entretenimento com a distribuição digital que, por sua vez, buscou transformar o modelo de negócio do mercado fonográfico através de uma redefinição de seus produtos e de sua atuação. A partir de novos serviços legais de disponibilização gratuita de músicas, as grandes empresas fonográficas inauguraram formas distintas de negociação de seus produtos culturais, pautando seus lucros a partir do cada vez mais onipresente marketing comportamental. A música como mercadoria muda de natureza comercial em favor de uma nova lógica de valorização, pautada na abundância e na gratuidade de produtos a partir de seu acesso. Ao reforçar a hegemonia de um modelo de negócio pautado no controle do acesso de informações, na criação de ambientes fechados e voltados à valorização ¿ baseado na ação simultânea de suas estratégias de repressão e de inserção ¿ a indústria fonográfica volta a buscar o controle da produção, distribuição e promoção de música gravada ao mesmo tempo que alteram definitivamente a experiência de navegação do usuário e o próprio desenvolvimento da topologia da internet
Abstract: This research discusses the strategies of repression and insertion of the music industry on the Internet and its effects on the development of the network . To this goal, it starts from the analysis of the traditional music market, that throughout the twentieth century solidified by controlling the means of production, distribution and promotion of recorded copies on physical media as well as through the protection of the laws regulating this market ¿ the copyright laws. However , the internet and the technologies of reproduction and distribution of digitized cultural goods reorganized the music industry by providing a wide and free availability of their products . This restructuring had resonances in various aspects of this market , especially in traditional forms of trading and valuation of cultural products . The first strategy of the music industry were to combat the digital distribution of music in favor of protecting the traditional market for recorded music, guided by the paradigm of scarcity and the highly concentrated and oligopolistic market control. However, recent events in the trading of cultural products and in the record companies fields indicate a new developments related to the integration strategies of entertainment companies in the digital distribution that, in turn, sought to transform the business model of the music industry through a redefinition of its products and its operations. From new legal services with free music available, large music companies opened different ways of negotiating their cultural products, basing its profits from the increasingly ubiquitous digital behavioral marketing. Music as merchandise changes of its commercial nature in favor of a new logic of valuation, based on the abundance and gratuity of product through their access. By reinforcing the hegemony of a business model guided by the access information control, the creation of closed and controlled digital environments - based on the simultaneous action of their strategies of repression and insertion - the music industry back to seek control of production, distribution and sale of recorded music while definitely alter the user's browsing experience and the development of the topology of internet
Doutorado
Sociologia
Doutor em Sociologia
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Högberg, Fredrik. "iOPERA : den virtuella operahuset." Licentiate thesis, Luleå tekniska universitet, Musik och dans, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-18036.

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Classical music has a troubled history regarding the transformation into new forms of media, and the Internet is no exception. The aim of the present research project is to explore the possibilities of building a virtual, interactive opera house on the Internet, seeking answers to the following research questions:– Is the Internet an ideal platform for a composer of scenic music who, like myself, strives to control all artistic parameters? Or can it turn out the be just the opposite: a creative forum where boundaries between author and audience/users tend to dissolve?– In what way should my music develop to fit into this new arena? And conversely, how will it be possible to develop the Internet to suit my musical and artistic intentions?– Is it possible, in this new public environment, to come through with art and music intended to be an alternative to cultural commercialism and economic speculation and a voice against alienation and intolerance?– How can the increasingly neglected genre of art music find a new audience on the Internet?– How can economic needs be met without losing artistic values?In order to find answers to these questions, iOPERA AB was formed and the production of The Woman of Cain, the first opera exclusively designed for the Internet, began. The idea of a crossover platform for interactive, virtual opera on the Internet started to take shape. Some of my research questions are yet to be answered, but it has become clear that the adaption of the art of music drama to the Internet is possible. The idea of letting opera develop and adjust to the Internet is attractive, and I have not found that the genre would thereby be artistically compromised, especially since most art forms have successfully made the leap into new media and new distribution methods. In the near future, all kinds of creators will be able to develop skills and craftsmanship in various artistic fields, as software and interfaces become more accessible. The idea of a virtual opera house on the internet appears to be within reach and a logical step to take.The text of the thesis is accompanied by a DVD containing material from the opera production, including full score, libretto and media files.

Godkänd; 2012; 20120502 (johsod); LICENTIATSEMINARIUM Ämnesområde: Musikalisk gestaltning Examinator: Professor Sture Brändström, Institutionen för konst, kommunikation och lärande, Luleå tekniska universitet Diskutant: Professor Johannes Landgren, Högskolan för scen och musik Göteborg Tid: Onsdag den 30 maj 2012 kl 13.00 Plats: G137, Campus Piteå, Luleå tekniska universitet

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Galletta, Thiago Pires 1979. "Cena musical independente paulistana - início dos anos 2010 : a "música brasileira" depois da internet." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279205.

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Orientador: Pedro Peixoto Ferreira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Os desenvolvimentos sócio-técnicos observados em torno da internet, ao longo dos anos 2000, são fundamentais para entendermos o processo de formação de uma nova geração produtora e consumidora de música no Brasil. Este processo é especialmente significativo quando se considera a música produzida pela chamada ?cena brasileira independente? contemporânea. Neste contexto, cada vez mais artistas partícipes desta cena, viabilizando seus trabalhos sem o aporte de grandes gravadoras, têm alcançado repercussão significativa junto a públicos segmentados, obtendo crescente reconhecimento em premiações nacionais de música e em uma gama variada de mídias especializadas, nas quais esta produção musical tem sido apontada como responsável por muitas das inovações e contribuições estéticas mais significativas no atual panorama da ?música brasileira? contemporânea. A chamada ?cena independente paulistana? do início dos anos 2010, e seus artistas, têm assumido um papel de relevo neste cenário, projetando muitos dos principais nomes associados ao que tem sido identificado e discursado, no período, como um ?novo momento da música brasileira?. O objetivo principal desta pesquisa foi identificar e analisar - a partir de vasto levantamento de dados sobre o campo enfocado e de entrevistas com artistas e produtores, realizadas presencialmente ou obtidas a partir de publicações na internet - as principais especificidades desta ?cena paulistana? responsáveis por singularizá-la, potencializar suas condições criativas e/ou de produção e a distinguir em relação a: (1) momentos anteriores da ?produção musical independente? no Brasil; (2) o conjunto da produção fonográfica contemporânea no país; (3) a ?cena independente e o novo momento da música brasileira?, mais particularmente. Com respeito aos conjuntos (1) e (2) assume importância fundamental as novidades trazidas pelas tecnologias digitais e pelos novos processos econômicos e novas políticas culturais observados no país nos últimos 15 anos. Na composição da especificidade da ?cena paulistana? em relação à ?cena independente brasileira? mais ampla (3), têm se destacado centralmente as oportunidades privilegiadas encontradas em São Paulo-SP para o desenvolvimento, sustentabilidade e repercussão de trabalhos musicais autorais independentes. Estas oportunidades serão responsáveis pela migração de um conjunto significativo de artistas independentes de outros estados brasileiros para o solo paulistano, nos últimos anos. A contribuição estética variada e diferenciada, trazida por estes músicos migrantes, se somará à peculiaridade da cultura musical paulistana e aos talentos criativos de seus artistas, bem como às vivências urbanas próprias à cidade, compondo-se, assim, a especificidade musical desta cena - cena marcada, de modo importante, por um alto nível de produção colaborativa entre seus agentes, e por trabalhos que tem buscado se afirmar para além de gêneros e categorizações musicais específicas
Abstract: The socio-technical developments related to the Internet between 2000 and 2010 are essential for an understanding of the process of formation of a new generation of music producers and consumers in Brazil. This process is especially significant when one considers the music put out by the so-called contemporary "independent Brazilian scene." Growing numbers of musicians took part in this scene and produced their work with no backing from the large recording companies and they have been very well received by segmented markets. They have won Brazilian awards in music and they have been recognized in a broad range of specialized media, where their musical output has been considered responsible for many of the innovations and significant aesthetic contributions in today's panorama of contemporary "Brazilian music." The so-called "São Paulo independent scene" of the early 2010s and its musicians have assumed an outstanding role in this context, projecting many of the most outstanding names associated with what has been described as a "new moment in Brazilian music." The main objective of the study for this paper was to identify and analyze the main specific aspects of this "São Paulo scene." The research is based on a careful collection of data about the field and on interviews with musicians and producers. Interviews were carried out in person or taken from publications found on the Internet. Several specific aspects of this "São Paulo scene" are responsible for stimulating the creativity and productivity of this phenomenon and, at the same time, distinguish it (1) from preceding historical periods of "independent musical production" in Brazil; (2) from the overall contemporary phonographic production in Brazil; and, especially, (3) from the "independent scene and new moment in Brazilian music." With respect to Items 1 and 2, new aspects brought on by digital technologies, new economic advances and new political-cultural observed in Brazil over the last 15 years have all been particularly important. The exceptional opportunities found in São Paulo for the development, continuation and repercussion of independent musical production have all stood out in the specific character of the "São Paulo scene" vis-a-vis the broader "independent Brazilian scene" (Item 3). These opportunities stimulated the migration to São Paulo of a great many independent musicians from other states in Brazil in recent years. The varied and distinct aesthetic contribution brought by these musicians has joined hands with the peculiar musical culture of São Paulo, the creative talent of its musicians, and the city's intense urban character. It is a scene strongly marked by a high level of cooperative output by its agents and by work that has sought to assert itself beyond specific musical genres and categories
Mestrado
Sociologia
Mestre em Sociologia
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41

Cortez, Igor Siqueira. "Uma análise empírica do consumo de música na Universidade de São Paulo." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/12/12138/tde-04112010-164142/.

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O compartilhamento de músicas pela Internet pode ter efeitos negativos ou positivos sobre a indústria musical. Por um lado, pode limitar a poder de incentivos à criação garantidos por direitos autorais. Por outro lado, contribui para a divulgação de artistas e músicas. Este artigo estima os efeitos de downloads de música sobre o consumo de CDs e shows para uma amostra de 7.147 estudantes universitários. Utilizando variáveis instrumentais motivadas por um modelo teórico simples, associadas à habilidade em informática e tolerância à ilegalidade, estimamos que a prática de downloads de música reduz a probabilidade de consumir CDs em até 45%, ao passo que aumenta a probabilidade de ir a shows em até 35%. Nossos resultados também apontam que existe uma relação de substituição entre pirataria física de CDs e downloads de música. Esse último resultado sugere que as estimativas feitas sem levar em conta o consumo de CDs piratas na equação estrutural podem ser viesadas.
Music file sharing may have positive or negative effects over the music industry. On the one hand, it might undermine incentives for music creation guaranteed by copyrights. On the other hand, it contributes to the dissemination of artists and songs. In this paper we estimate the effect of music downloads over the consumption of CDs and concerts for a sample of 7.147 university students. Using theoretically motivated instrumental variables related to computer skills and illegality acceptance, we estimate that the practice of downloads generates a reduction on the probability of buying CDs of up to 45% and an increase in the order of 35% on the probability of going to concerts. We also show the existence of a substitution relationship between physical CD piracy and music downloads. This last result suggests that estimates without controlling for CD piracy may be biased.
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42

Puu, Magnus. "Crescendo Online: en programsvit för kollaborativ musikproduktion." Thesis, Umeå University, Department of Informatics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-23540.

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Collaborative music making on the Internet is not a new phenomenon, but no applications have yet caught on with the vast number of laptop and bedroom studio musicians active today. This is strange considering the inherent social and interactive nature of music, especially amongst trends like Web 2.0 where collaboration and user-generated data is key. In this paper I study the problems these applications face, and why they do not have a greater appeal to musicians. With the results I develop and evaluate my own framework, known as Crescendo Online: a multi-user sequencing and modular synthesis environment, intended to pave the way for a new type of online music creation platform.

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43

Lisý, Martin. "Návrh internerové televize pro hudební portál Bandzone.cz." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-16726.

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The diploma thesis is discussing the proposal of the internet television for the music portal Bandzone.cz. The internet television is understood to be a web server aggregating the audiovisual content, which allows the viewers to decide what and when they want to watch. This is not a television that would show programs in real time and broadcast on the fixed schedule for 24 hours. The introduction of the diploma work discusses different approaches to internet business. It is followed by the presentation of the main subjects of the audiovisual media market operating in Czech Republic and worldwide. The following chapters are dealing with practical design of the internet TV station, from content and business model and up to user interface design. In the conclusion are named the key factors essential for success of the proposed e-business initiative, including the possibilities for its further deve;lopment.
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44

Dias, Joel Alexandre Rosa. "MUSICTRIP: Agência de viagens online especializada em festivais de música." Master's thesis, Escola Superior de Hotelaria e Turismo do Estoril, 2012. http://hdl.handle.net/10400.26/4455.

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A participação em festivais de música é, actualmente, uma prática crescente. Alguns dos festivais, nacionais e estrangeiros, vêem, de ano para ano, as suas edições esgotadas com diversos meses de antecedência. Um número considerável dos seus participantes provém de países estrangeiros, à procura de dias de música, lazer e aventura. Diversos autores aliam esta prática ao chamado music tourism. De facto, não raros são os festivais comunicados e vendidos como verdadeiros pacotes turísticos. Publicitados como uma forma acessível de fazer férias, os festivais possuem todos os elementos necessários para a evasão e lazer: diversão, alojamento e sol. Em mutação estão também os canais de comércio, assistindo-se a alterações no processo de compra e venda de produtos e serviços turísticos. O recurso a intermediários tem sido progressivamente substituído pela compra directa, sobretudo através de meios online e de novos conceitos como o dynamic packaging e o B2C. Este trabalho tem por fim a elaboração de um Plano de Negócios de uma agência de viagens online especializada em festivais de música. Trata-se de um modelo de negócio que pretende agregar, através de um site, diversos produtos e serviços turísticos, permitindo a todos os que desejam participar num festival de música a composição e compra do seu próprio pacote turístico. Para validar o conceito de negócio e medir a apetência do mercado nacional para um projecto desta dimensão, foi realizada uma pesquisa primária tendo por método de estudo a realização de inquéritos por questionário. Os resultados obtidos, quer no estudo de mercado quer no plano financeiro, onde indicadores fundamentais, como a VAL e a TIR, foram sempre positivos, permitem concluir que um projecto desta natureza poderá ser económica e financeiramente viável.
The participation in music festivals is nowadays a growing practice. Year by year, part of the festivals, domestic and overseas, notice sold out editions several months before. A considerable number of their participants is from abroad, looking for days of music, entertainment and adventure. Many authors connect this practice with the so-called music tourism. In fact, many festivals are communicated and sold as real vacation packages. Advertised as a different but affordable way of doing vacations, festivals have all the necessary elements for evasion and leisure: fun, sun and accommodation. Trade channels are also in mutation, perceiving changes in the process of buying and selling travel services and products. The use of intermediaries has been progressively replaced by direct purchase, mainly through online channels and new concepts as dynamic packaging and B2C. This project aims the development of a Business Plan for an online travel agency focused in music festivals. It is a business model that intends to aggregate, through a website, many travel products and services, allowing all the ones who wish to participate in a music festival to create and purchase their one vacation package. To validate this business concept and to measure the appeal of the national market for a project with this feature, a primary research was done having for methodology the realization of a survey by questionnaire. The results, both in the market research and in the financial plan, where key indicators, as NPV and IRR, were always positive, allow concluding that a project of this nature can be economically and financially viable.
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45

Du, Preez Liska. "Effects of selected modes of digital distribution on music consumerism, with reference to the album format." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1427.

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In this digital age many listeners of music now purchase albums from online digital music stores instead of buying a physical album from the record store. This has created a concern with many regarding the future of the album as a physical medium. This study investigates the impact of the possible death of the album on certain listening habits, the activity of record collecting, the creation of large-scale musical works, music consumerism, and its implications for the creative process on music as art and sound-recording quality. Three realisations have led to the problem statement. Firstly, the album might not have a future in the digital age. Secondly, downloadable songs might not be able to recreate an album experience. The third realisation is that the possible death of the album could create new, exciting challenges to artists as they strive to create art. This study is exploratory in nature - and no hypothesis was generated. The research necessitates qualitative, exploratory, descriptive and contextual approaches. Furthermore, the investigation has led to the collection of mostly new data, constituting a “primary data design” through the implementation of qualitative listening experiments and a focus group, using full-time NMMU students between 18 and 25 years of age. It is herein argued that digital distribution might possibly have an effect on the perception of the album format and might possibly still be a relevant listening experience, valued by young people. Singles and albums are collectable; and good albums are considered artistic and comparable to the large-scale musical works of the past. If the concept of an album does not die out, then high fidelity formats should be able to re-invent the album experience. Listening experiences other than the album experience do exist, and they could generate new ways for artists to create musical art.
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46

Víšek, Jakub. "Marketingové metody hudebního průmyslu v éře digitální distribuce." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-192681.

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This thesis explores history and development of music industry including tools of monetization, from the beginning of music publishing, inventions of various sound recording methods and related birth of recording industry, to various forms of internet-based distribution of recorded music. It especially focuses on digital means of music distribution and their influence on artists, recording companies as well as consumers -- listeners. It maps connections and consequences resulting from over one hundred old paradigm shift caused by rapid evolution of mobile technology and Internet. Especially the last chapter attempts to anticipate future of this market segment, based on the examples of particular artists, even though it is still in a process of on-going changes.
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47

Guglielmino, Edward. "A qualitative study of small-scale artist run 'Indie' music business in Brisbane." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/69035/1/Edward_Guglielmino_Thesis.pdf.

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This study is an examination of three small-scale artist run music businesses based in Brisbane. The researcher embedded himself within these three environments over the space of three years, using participant observation and content analysis to establish the key motivations, theories, and ideas which drove these businesses. As a researcher participant the author also drew on his own experiences to interrogate those investigated by other researchers in the field, with the underlying key theories influenced by Pierre Bourdieu's writings on Small-Scale production. This study provides a fascinating insight into Brisbane music culture, in particular the independent music scenes.
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48

Losso, Fabio Malina. "Os direitos autorais no mercado da música." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/2/2131/tde-28092009-082901/.

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A presente tese parte da constatação de que diversas crises nos direitos autorais impactaram o mercado da música, todas coincidentes com a introdução de novas tecnologias. Com o advento das tecnologias digitais de fixação de obras musicais e da internet, passou-se a questionar se o momento atual permite identificar uma autêntica crise no direito do autor e, a partir disso, como se pode refletir sobre as questões decorrentes das novas tecnologias que, fatalmente, são pensadas com as velhas normas e teorias. São linhas essenciais do trabalho: a) a criatividade musical e o impacto de diferentes tecnologias para sua fixação e distribuição; b) a criatividade musical e o reconhecimento e a proteção de direitos do criador; c) a inflexão entre os interesses do criador e os outros diversos sujeitos envolvidos na fixação e distribuição da obra artística musical ao lado do interesse dos destinatários; d) a pluralidade de soluções para definir os moldes dessa inflexão e as direções tomadas pelo direito brasileiro. Verifica-se, no decorrer do presente estudo, a existência de conflito de interesses entre o investidor cultural, o compositor e o consumidor, que se projeta no conflito entre os direitos autorais e o direito de acesso aos bens culturais. A conformação de ambos constitui um relevante desafio trazido pelos novos tempos da chamada \"sociedade da informação\", na qual a música digital está inserida.
The present thesis parts from the affirmative that many crises in copyright impacted the music market, all coincident with the introduction of new technologies. With the advent of digital technologies for the fixation of musical works and of the intemet, it was questioned whether the present moment permits identification of an authentic crisis in copyright, and, from that, how is it possible to reflect about the issues due to the new technologies that, fatally, are thought according to old laws and theories. The essential guidelines of the thesis are: a) musical creativity and the impact of different technologies for its fixation and distribution; b) musical creativity and the acknowledgement and copyrights protection; c) the inflexion between the author\'s and other people\'s, who are involved in the fixation and distribution of artistic musical works, interests contrasted with the interests of the addressees; d) the plurality of solutions to define the molds of this inflexion and the directions taken by Brazilian law. It is verified, throughout the present study, the existence of a conflict of interests between the cultural investor, the composer and the consumer, that projects itself on the conflict between copyrights and the right to access cultural assets. The conformation of both constitutes a relevant challenge brought by the new times of what is called \"information society\", in which digital music is inserted.
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49

Soares, Maria Cecília. "Escuta musical via internet: contribuições para o ensino musical." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/9725.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research had as its main objective to understand if the teachers who took part at ON LINE COURSE ,1B 1, an extension of the programme Find out About the Symphonic Orchestra of São Paulo, that took place in the first semester of 2012, could get some more musical improvement. This course EaD via Internet focussed on the appreciation of a better guided music repertoire whose main objective was to develop and improve a more attentive musical listening to teachers with no music knowledge. As a teacher/tutor of the course 1B1, it was important to analyse what advantages this on line course on music appreciation could bring to the learning of music, what would be the risks involved, and what contributions it would bring to the participants. With all these doubts, in the tutoring that lasted a term, three Forums took place focussing on activities on guided musical listening. We also used a guided activity related to the Parameters of sound, (loudness, intensity, duration, timbre) and another focussing on the listening of the high notes and a project on musical practice. We made use of qualitative and quantitative research in order to collect the data. The tool used for collecting the qualitative data was Wordle -Map of Clouds - and for the collecting of quantitative data, we used a tool found in Moodle called Task (the sending of a unique file was used for the collecting of the quantitative data). We also used a questionnaire to find out a bit about the participants profiles. To reach our objectives, we started our journey by analysing what music is, its origin and importance in Greek education, its transformation through digital means and the importance of MP3 file in this process. Adorno s, Moraes s and Santaella s writings helped us to discover the different types of emergent listeners and different ways to listen to music. Among other researchers, Almeida, Morin, Gohn, Sekeff , Fonterrada, Chizzoti and Freire have shown ways followed by Education as regards long distance education via internet, musical listening and the teaching of music. After having analysed the data, we could show that by developing an attentive listening via Internet, the teachers could understand and identify musical aspects. We also found out that although the teachers involved did not have any knowledge of the technical words of music, this lack did not interfere with the musical listening activity
A presente pesquisa teve como proposta compreender se os professores que participaram do Curso online, 1 B1, realizado no primeiro semestre de 2012, no Programa Descubra a Orquestra da OSESP, obtiveram maior aprimoramento musical. Este curso EaD via Internet esteve voltado para a apreciação de um repertório musical dirigido, e priorizava desenvolver uma escuta musical mais atenta para os professores sem conhecimento musical. Como professora Tutora do curso 1B1 era importante analisar que benefícios este curso de apreciação musical, a distância via Internet, poderiam trazer à aprendizagem musical? Quais contribuições? Quais seriam os riscos? Focada nestas indagações, foi feito um acompanhamento durante o semestre do curso, através de três Fóruns com atividade de escuta musical dirigida. Valemos-nos igualmente de uma atividade dirigida aos Parâmetros do som (Altura, Intensidade, Duração e Timbre), uma atividade direcionada à escuta da altura das notas e um projeto de prática musical. A metodologia adotada foi a qualitativa com o método Misto - Qualitativa /Quantitativa da qual fizemos uso para coleta e análise dos dados. O Wordle Mapa de Nuvens foi a ferramenta usada para análise dos dados qualitativos e a ferramenta do Moodle denominada Tarefas envio de arquivo único foi utilizada para a coleta dos dados quantitativos. Também utilizamos um questionário para gerar o perfil dos participantes. Para alcançar nossos propósitos fizemos um percurso a partir da concepção do que é música, passando por sua origem, importância na educação Grega, sua transformação nos meios digitais, a importância do arquivo MP3 neste processo. Apoiamos-nos em Adorno, Moraes e Santaella para desvendar os tipos de ouvintes emergentes de diferentes formas de se ouvir. Almeida, Moran, Gohn, Sekeff, Fonterrada, Chizzotti, Freire, Fazenda, entre outros pesquisadores, nortearam os caminhos pela educação, tecnologias na educação, educação a distância via internet, pela escuta musical e ensino da música. Ao final da Tese, as análises nos mostraram que os professores, ao desenvolverem uma escuta atenta via Internet, conseguem compreender e identificar aspectos da música. Concluímos ainda que o fato de os professores não terem conhecimentos de termos técnicos da música, não interferiu na atividade de escuta musical
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50

Špak, Richard. "Marketing v hudebním průmyslu se zaměřením na elektronickou taneční hudbu." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-264408.

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The purpose of this thesis is to describe, analyze and compare traditional and new marketing tools of music industry, focusing on distribution and promotion, and demonstrate through an example of succes of electronic dance music in recent years that digital era and internet development have significant influence on mujsic marketing. Based on analysis and primary research reveal basic segments of listeners and recommend a mix of tools for a starting artist.
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