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1
Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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Arvidsson, Kjell. "Skivbolag i Sverige." Doctoral thesis, Göteborg Handelshögskolan vid Göteborgs Univ, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=016515417&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
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Papizzo, Brian O'Shea (Brian Thomas O'Shea). "Towards a political economy of the Canadian recording industry." Ottawa, 1993.
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5
Genevro, Brad. "The art of recording the American wind band." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
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Goh, Man-fat Joseph. "Music retailing in Hong Kong /." [Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13731105.
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Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.
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Choi, Ka-fai. "Some economics of the classical music record industry." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31938073.
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Western, Thomas James. "National phonography : field recording and sound archiving in Postwar Britain." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/33113.
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Vast numbers of historical field recordings are currently being digitised and disseminated online; but what are these field recordings-and how do they resonate today? This thesis addresses these questions by listening to the digitisation of recordings made for a number of ethnographic projects that took place in Britain in the early 1950s. Each project shared a set of logics and practices I call national phonography. Recording technologies were invested with the ability to sound and salvage the nation, but this first involved deciding what the nation was, and what it was supposed to sound like. National phonography was an institutional and technological network; behind the encounter between recordist and recorded lies a complex and variegated mess of cultural politics, microphones, mediality, sonic aesthetics, energy policies, commercial interests, and music formats. The thesis is structured around a series of historical case studies. The first study traces the emergence of Britain's field recording moment, connecting it to the waning of empire, and focusing on sonic aspects of the 1951 Festival of Britain and the recording policies of national and international folk music organisations. The second study listens to the founding of a sound archive at the University of Edinburgh, also in 1951, asking how sound was used in constructing Scotland as an object of study, stockpiling the nation through the technologies and ideologies of preservation. The third study tracks how the BBC used fieldwork - particularly through its Folk Music and Dialect Recording Scheme (1952-57) - as part of an effort to secure the aural border. The fourth study tells the story of The Columbia World Library of Folk and Primitive Music, produced by Alan Lomax while based in Britain and released in 1955. Here, recordings were presented in fragments as nations were written onto long-playing records, and the project is discussed as a museum of voice. The final chapter shifts perspective to the online circulation of these field recordings. It asks what an online sound archive is, hearing how recordings compress multiple agencies which continue to unfold on playback, and exploring the archival silences built into sonic productions of nations. Finally, online archives are considered as heritage sites, raising questions about whose nation is produced by national phonography. This thesis brings together perspectives from sound studies and ethnomusicology; and contributes to conversations on the history of ethnomusicology in Europe, the politics of technology, ontologies of sound archives, and theories of recorded sound and musical nationalisms.
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Choi, Ka-fai, and 蔡家輝. "Some economics of the classical music record industry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31938073.
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Howlett, Michael John Gilmour. "The record producer as nexus : creative inspiration, technology and the recording industry." Thesis, University of South Wales, 2009. https://pure.southwales.ac.uk/en/studentthesis/the-record-producer-as-nexus(b829aaf3-8ca1-4e8c-ab6e-f4f731644a47).html.
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What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. Finding an audience is the role of the record company. A record producer must also engage with the commercial expectations of the interests that underwrite a recording. This dissertation considers three fields of interest in the recording process: the performer and the song; the technology of the recording context; and the commercial ambitions of the record company—and positions the record producer as a nexus at the interface of all three. The author reports his structured recollection of five recordings, with three different artists, that all achieved substantial commercial success. The processes are considered from the author‘s perspective as the record producer, and from inception of the project to completion of the recorded work. What were the processes of engagement? Do the actions reported conform to the template of nexus? This dissertation proposes that in all recordings the function of producer/nexus is present and necessary—it exists in the interaction of the artistry and the technology. The art of record production is to engage with these artists and the songs they bring and turn these potentials into form.
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Stephens, Alexa Renee-Marie. "Atlanta's Digital Music Industry: Implications for Workforce and Economic Development." Thesis, Available online, Georgia Institute of Technology, 2007, 2007. http://etd.gatech.edu/theses/available/etd-07092007-093611/.
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Steyn, Martha Magdalena. "A supply chain model for the South African recording industry." Thesis, Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-09272005-100520.
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Bronskill, Jim (James Arnold) Carleton University Dissertation Journalism. "Sound barriers; the Canada-U.S. Free-Trade Agreement and the recording industry in Canada." Ottawa, 1992.
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15
Genevro, Bradley James. "The Art of Recording the American Wind Band." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.
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Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the integrity of the composer's intentions.
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Thorley, Mark. "The unexplored impact of emergent technologies on music industry stakeholders : aspirants, producers and consumers." Thesis, Coventry University, 2016. http://curve.coventry.ac.uk/open/items/42e3ee1b-3756-494c-9f5d-adec1b485be2/1.
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This critical overview draws upon a portfolio consisting of two book chapters, three journal articles and one conference paper all published in international publications between 2011 and the present. The papers have been underpinned, supported and disseminated through 18 conference presentations and a variety of interventions with the commercial environment, all undertaken during the same period. The outputs are crossdisciplinary encompassing technology, acoustics, psychoacoustics, business, music, psychology, physiology, cultural studies etc. The work is tied into two sets of funding from the Higher Education Academy (HEA) focussing on the use of emergent technology to develop music producers’ expertise. The work therefore represents a cohesive but diverse set of outputs, and is reflective of the technologically-driven nature of the creative industries, and the multidisciplinary experience of the author.
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Lapp-Szymanski, Jean-Paul. "Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.
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This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on technology, and theories of technology, within a geo-political framework. In Section I, this emphasis is most notably informed by the work of Harold Innis, Karl Marx and Lewis Mumford, with Marshall McLuhan and Walter Benjamin becoming more prominent in Section II. Key technologies in this analysis include mechanization (mechanical reproducibility), the Williamson amplification circuit, the House of Joy speaker, the dub plate (acetate phonograph) and vinyl record, twin-turntables and the microphone, the magnetic tape recorder, and perhaps most importantly, the multi-track recorder and interface (the multi-track mixing-board).
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Mehnert, Alyssa. "Reconsidering McKinney's Cotton Pickers, 1927–34: Performing Contexts, Radio Broadcasts, and Sound Recordings." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535373003017244.
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Babb, G. Kyle Boyd Jean Ann. ""Roll over Beethoven" the reaction of classical music recording divisions to the continuing emergence of a consumer culture in America between 1956 and 1982 /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5043.
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Goh, Man-fat Joseph, and 吳文發. "Music retailing in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31265650.
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Hill, Christopher. "The anarchist's jukebox? a historical account of the file sharing conflict : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2005." Full thesis. Abstract, 2005.
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Thesis (MA--Communication Studies) -- Auckland University of Technology, 2005.Chapter 5 not included in e-thesis. Also held in print (viii, 177 leaves, 30 cm.) in Wellesley Theses Collection. (T 338.4778149 HIL)
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Lobley, Noel James. "The social biography of ethnomusicological field recordings : eliciting responses to Hugh Tracey's 'The Sound of Africa' series." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:42da8899-6f92-4d65-9756-5c2be9656cad.
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This thesis is an ethnographic analysis of a collection of field recordings of music from sub-Saharan Africa: The Sound of Africa series made and published by Hugh Tracey between 1933 and 1973. I analyse the aims, methods, value and potential use of this collection, now held at the International Library of African Music (ILAM), in order to address a gap in the ethnomusicological literature and to begin to develop a critical framework for an evaluation of field recording and aural ethnography. An archival analysis of the collection enables me to trace the scope and intended uses of Tracey’s recordings. Identifying a primary intended audience that has not to date been engaged, I argue for the need to develop a new way to circulate recordings among a source community that has never before been reached through institutional archival practice. I use a small sample of Tracey’s archival Xhosa recordings and develop a method of sound elicitation designed to take the recordings back to urban Xhosa communities in the townships located near ILAM. By circulating archival recordings using local mechanisms in township communities, rather than institutional archival methods, I assess the potential relevance of historical recordings to an urban source community more than fifty years after the recordings were made. Having collected and analysed contemporary Xhosa responses, I consider the limitations and the potential for the recordings to connect with indigenous audiences and generate value. I argue that non-analytical responses to historical recordings may contribute to ethnographic understanding, to people’s own sense of Xhosa identity, and to archiving practice in future. Such responses may help increase our understanding of the relationships between music collectors in the field and the people recorded, whether fifty years ago, today or in future.
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Klypchak, Bradley C. "Performed Identities: Heavy Metal Musicians Between 1984 and 1991." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1167924395.
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González, Juliana Pérez. "A indústria fonográfica e a música caipira gravada: uma experiência paulista (1878-1930)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06092018-125317/.
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A presente pesquisa investiga o surgimento da música caipira gravada na fonografia brasileira durante a instauração do mercado do disco em São Paulo, entre 1878 e o começo da década de 1930. Observa-se um crescente mercado de música gravada e certo abandono das preferências musicais da cidade por parte das gravadoras ativas durante a fase mecânica do disco. Tal espaço foi preenchido pelos selos internacionais que chegaram no final dos anos 1920 e gravaram música de legítimos caipira paulistas, visando conquistar o mercado do Estado. O sucesso em vendas das primeiras gravações de música caipira paulista relaciona-se com o auge das representações caipiras, provenientes do século XIX, que alimentavam a nascente indústria do entretenimento urbano. Foram também importantes estratégias de propaganda orquestradas inicialmente pela Columbia, vinculando as gravações de músicos caipiras com o folclore, assim como a promoção realizada por intermédio de Cornélio Pires. Ademais, a música caipira gravada ajustou-se à necessidade sentida pelas elites hegemónica, de criar uma identidade cultural paulista que solapasse as tensões e conflitos raciais, culturais e de classe irresolutos durante a Primeira República.This research investigates the emergence of caipira music recorded in Brazilian phonography during the establishment of the disc market in São Paulo, between 1878 and the beginning of 1930s. From the arrival of the first phonograph until establishment of international record companies in the city, there was a growing market for recorded music. It seems there was a certain abandonment of musical preferences of the city by active recorders during the mechanical phase of disc. This space was filled by the international record companies arriving in the late 1920s and recorded music of legitimate paulista countrymen, aiming to conquer the Brazilian market. The success in sales of the first recordings was explained by the record companies publicity invested, the self-constructed image of Cornélio Pires defender of folklore paulista and above all, by the heyday of a tradition of country representation from the nineteenth century and kept by the nascent urban entertainment industry. In addition, the recorded caipira music was adjusted to the need, feeling the hegemonic elites, to create a cultural identity of São Paulo that would undermine tensions, racial, cultural and class conflicts unresolved during the First Republic.
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Burchfield, Rebekah Lynn. "Pressed between the Pages of My Mind: Tangibility, Performance, and Technology in Archival Popular Music Research." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277073992.
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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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Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.
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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.
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Percival, James Mark. "Making music radio : the record industry and popular music production in the UK." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/362.
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Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.
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Kazadi, Kanyabu Solomon. "A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018933.
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The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes within the music industry. The concept of ‘fields’ usefully framed an explanation of the struggles and connections within the various fields in the industry and a view of the Zambian music industry in relation to the international industry. To gather the data necessary for this research a qualitative approach was utilised involving semistructured in-depth questionnaires from twenty-three interviewees. These interviewees were selected from various sectors of the music industry in an attempt to gain a holistic perspective of the industry in the 21st century. There were four subgroups: the artists (singers, rappers and instrumentalists), managers, radio DJs, and a miscellaneous group made up of the remaining participants, a Sounds Arcade manager, a music journalist, the National Arts Council Chairperson, a Zambia Music Copyright Protection Society (ZAMCOPS) administrator, and the then President of the Zambia Association of Musicians (ZAM). With the limited exposure to formal musical, instrumental and production training, musicians, instrumentalists, managers and studio production personnel interviewed had had to learn their craft on-the-job. This limited knowledge appears to add to the hindrance of the development of careers and the industry, particularly in terms of how to register and distribute music correctly to earn royalties and protect their intellectual property against piracy. From an institutional level piracy is being addressed more forcefully with the introduction of holograms and the tightening of policies and structures to do with the music industry.
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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.
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Diniz, Sheyla Castro 1985. ""Nuvem cigana" : a trajetória do Clube de Esquina no campo da MPB." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278903.
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Orientador: Marcelo Siqueira RidentiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O trabalho aborda uma parcela da vasta e heterogênea trajetória do Clube da Esquina no campo da MPB (Música Popular Brasileira). Esse grupo de músicos, letristas e amigos, inicialmente gestado em Belo Horizonte/MG em meados dos anos 1960, atingiu o ápice fonográfico na primeira metade da década seguinte, conjugando um aguçado caráter experimental e coletivo na elaboração de seus discos e canções. Tomando como referência esses dois momentos, as análises almejaram problematizar as particularidades estético-musicais e filosóficas da turma, suas relações com outros artistas e com a gravadora EMI-Odeon e suas variadas respostas culturais ao contexto político-social no qual estava inserida. A pesquisa também pretendeu por em destaque os processos que, na passagem dos anos 1970 a 1980, demarcaram a diluição do Clube da Esquina como uma formação cultural. A observância desse período permitiu estender as investigações para abarcar algumas recentes iniciativas e lutas simbólicas que visam garantir ao Clube da Esquina certo reconhecimento e legitimação no atual rol de debates acerca da MPB
Abstract: The research intends to verify the heterogeneous trajectory of Clube da Esquina in the field of MPB (Brazilian Popular Music). This group of musicians, songwriters and friends, gestated in Belo Horizonte/MG in the mid-1960s, reached the phonograph peak in the first half of next decade, combining a pointed collective and experimentally character in the preparation of their albums and songs. About these two moments, the analyses explored some aesthetic-musical and philosophical aspects of the group, their relationships with others artists and with the label EMIOdeon and their cultural answers to social-political context. This academic work also examined the processes that, in the passage of the years 1970 to 1980, staked the dissolution of Clube da Esquina as a cultural formation. To observe that period allowed extending the investigations for study some recent initiatives and symbolic struggles that have ensured recognition and legitimacy to the Clube da Esquina in the current debates about MPB
Mestrado
Sociologia
Mestre em Sociologia
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Latson, Christopher Craig. "Contemporary Pirates: An Examination of the Perceptions and Attitudes Toward the Technology, Progression, and Battles that Surround Modern Day Music Piracy in Colleges and Universities." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4595/.
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The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
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While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
34
MAISONNEUVE, Sophie. "Le disque et la musique classique en Europe, 1877-1949 : l'invention d'un médium musical, entre mutations de l'écoute et formation d'un patrimoine." Doctoral thesis, 2002. http://hdl.handle.net/1814/5889.
Full textAbstract:
Defence date: 16 December 2002Examining board: Prof. John Brewer, supervisor ; Prof. Laurence Fontaine, co-supervisor ; Prof. Jean-Louis Fabiani, external supervisor ; Prof. Dominique Poulot ; Prof. William Weber
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
Ce thèse reconstitue les différentes étapes de la transformation d'une invention technique en médium musical. De l'étonnante " machine parlante " au système audio en passant par 1'" instrument de musique ", il reconstitue la genèse d'un objet et, avec lui, d'un système culturel tellement omniprésents aujourd'hui qu'ils en sont devenus transparents. Loin du schéma linéaire habituel des travaux sur l'histoire du disque, il suit pas à pas une trajectoire au caractère incertain, hybride et collectif : des espaces dans lesquels s'inscrit le disque, des réseaux qui se forment autour de lui, des qualités qui lui sont prioritairement attribuées, des compétences requises pour son appropriation, des moments et situations de son usage, des paradigmes préexistants sur lesquels celui-ci s'invente, aux publics visés ou conquis en passant par l'" objet " de l'enregistrement, ce thèse analyse une innovation culturelle associant ingénieurs, agents commerciaux, musiciens, critiques et amateurs, mais aussi objets, espaces, répertoires, compétences, médiations discursives et arts de faire. Ce faisant, il nous fait prendre la mesure des profondes mutations culturelles associées à ce processus, dont la moindre n'est pas l'invention d'un paradigme nouveau de la culture musicale, caractérisé par la triade consommation, domestication, personnalisation, et qui régit aujourd'hui encore, à travers de nouveaux médias, les pratiques musicales. Au-delà, l'analyse de cette innovation culturelle offre des ressources pour appréhender le développement des médias les plus contemporains, eux aussi situés à la rencontre des domaines technique, commercial, esthétique et culturel.
35
Filzen, Sarah. "The history of Cuca Records, 1959-1973 a case study of an independent record company /." 1998. http://digital.library.wisc.edu/1711.dl/FilznHCuca.
Full textAbstract:
Thesis (M.A.)--University of Wisconsin--Milwaukee, 1998.Online version produced by the University of Wisconsin-Madison Libraries. Title from title screen (viewed Nov. 8, 2001). Includes bibliographical references (leaves 178-183). Online version of the print edition.
36
"A Study of the variety of Cantonese popular songs in Hong Kong." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5886976.
Full textAbstract:
by Wong Siu Ling, Gabriella.Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.
Includes bibliographical references (leaves 64-69).
Chapter CHAPTER ONE --- INTRODUCTION --- p.1
Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6
Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15
Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23
Chapter CHAPTER FIVE --- METHODOLOGY --- p.37
Chapter CHAPTER SIX --- FINDINGS --- p.44
Chapter CHAPTER SEVEN --- DISCUSSION --- p.52
BIBLIOGRAPHY --- p.64
Chapter APPENDIX 1 --- List of Big Corporations and Independents --- p.70
Chapter APPENDIX 2 --- Production cost of a Standard L.P. record --- p.74
Chapter APPENDIX 3 --- Categories of song types --- p.75
Chapter APPENDIX 4 --- Comparison of songs from Big Corporations and the Indies by year --- p.78
Chapter APPENDIX 5 --- Comparison of songs from Big Corporations and the Indies from 1980- 1985 (51) 1986 -1991 (52) --- p.91
37
"The soundscape of China: the role of HUGO CDs in Chinese cultural memory." 2005. http://library.cuhk.edu.hk/record=b5896411.
Full textAbstract:
Wong King-chung.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 66-78).
Abstracts in English and Chinese.
Abstract --- p.i
Abstract (Chinese) --- p.ii
Acknowledgement --- p.iii
Table of Contents --- p.v
List of Figures and Tables --- p.vii
Chapter Chapter 1´ؤ --- Introduction
A New Age of Sound --- p.1
Academic Background and Related Studies --- p.2
Chinese Music and the Media --- p.4
The Present Study and Methodology --- p.5
Chapter Chapter 2´ؤ --- SoundScape of China: The Influence of Ethnomusicology in China in the 1980´ةs
Introduction --- p.8
From Comparative to Cultural: Chinese Music Scholarship in the Twentieth Century Mainland China --- p.10
Revealing a Soundscape of Chinese Music´ؤDevelopment of Musical Genre Study --- p.13
Concluding Remarks --- p.18
Chapter Chapter 3´ؤ --- Mapping a Soundscape: Analyzing the HUGO CD Catalogue(s)
Introduction --- p.20
"Classification, Category and Catalogue" --- p.20
Recording Industry in Hong Kong --- p.22
Aik Yeh-goh and HUGO Production (HK) Ltd --- p.28
HUGO'S Label Division --- p.29
Statistical Analysis of HUGO CD Catalogues --- p.31
An Aural Map´ؤSoundscape of China --- p.38
Concluding Remarks --- p.42
Chapter Chapter 4´ؤ --- Whose Music? The Role of the HUGO CD Catalogue in Chinese Cultural Memory
Introduction --- p.44
Communication Theory in Studying Recording Industry --- p.46
Lasswell's 5-W Formula as a System --- p.46
Lewin's Gatekeeping Theory --- p.50
The Role of HUGO CD: Imagination of Chinese Music outside Mainland China --- p.52
Concluding Remarks --- p.54
Appendix A: Name List of Record Companies in Hong Kong before the 1990's --- p.56
Appendix B: The Catalogue of the HUGO CDs --- p.58
Selected Bibliography --- p.66
38
Caxeiro, Susana Cristina Belchior. "Immaterial in the Material: A study on 78rpm audio carriers in Portuguese collections." Doctoral thesis, 2021. http://hdl.handle.net/10362/133066.
Full textAbstract:
In 1887, Emile Berliner patented the gramophone and its flat lateral-cut records, a format that was the basis
of the birth of the music recording industry. The aim of this study is to contribute to the history of sound
recording and to the preservation of shellac discs through a better knowledge of the material and immaterial
aspects of industrial record manufacture during the acoustic period, ca. 1898-1925, through a multidisciplinary approach, combining research methods from ethnomusicology, history of technology and conservation sciences.
The first part of this study is dedicated to the history of the recording companies and record labels active
in Europe during the acoustic era, considering the different perspectives of their activity in these early decades: from artist and repertoire selection to the technical challenges of the early recording sessions, and to the marketing and distribution strategies that led to the implementation of this emerging industry across the globe, with Portugal serving as a case study of how the business relations could lead to the introduction of local labels in a country with no manufacturing facilities, and how major companies, like the Gramophone Co., operated in these smaller markets. The study then goes into the more technical aspects of record manufacture, with a focus on the procedures inside the factory. Shellac disc compound recipes were compiled, retrieving information from patents and historical documentation, to assess the most common ingredients used over time by each company as fillers, binders, and additives.
This then led to the second part of this study, where a set of shellac discs from Portuguese collections was
analysed with a non-destructive method, µ-EDXRF, with the aim of identifying the materials used as fillers
and ascertain whether it would be possible to attribute a specific pattern or a tendency to the production of
each European factory over time. This study may enable the material characterization of the production of
each factory over time, allowing in the future a better knowledge of the manufacturing location of local labels
whose history is little known up to now, being also important for further studies on the preservation of these
sound carriers – which are important information providers themselves, and need to be preserved together with the audio signal they carry.Em 1887, Emile Berliner patenteou o gramofone e os seus discos planos de gravação lateral, um formato que esteve na génese da indústria fonográfica. O objetivo deste estudo é contribuir para a história da gravação sonora e para a preservação dos discos de goma laca por meio de um melhor conhecimento dos aspectos materiais e imateriais envolvidos no fabrico industrial de discos durante o período acústico, ca. 1898-1925, através de uma abordagem multidisciplinar, combinando métodos de pesquisa da etnomusicologia, história da tecnologia e ciências da conservação. A primeira parte deste estudo é dedicada à história das empresas discográficas e etiquetas activas na Europa durante a era acústica, considerando as diferentes perspectivas da sua atividade nessas primeiras décadas: desde a seleção de artistas e repertório aos desafios técnicos das sessões de gravação, passando pelas estratégias de marketing e distribuição que levaram à implementação desta indústria emergente por todo o mundo, com Portugal servindo como um estudo de caso de como as relações comerciais levaram à introdução de etiquetas locais num país sem meios próprios de produção, e como grandes empresas, como a Gramophone Co., operavam nesses mercados mais periféricos. Em seguida, o estudo aborda os aspectos mais técnicos do fabrico de discos, com foco nos procedimentos internos da fábrica. Foram compiladas receitas de compostos para fabricardiscos de goma laca a partir da consulta de patentes e de documentação histórica, de modo a listar os ingredientes mais comuns usados por cada empresa ao longo do tempo com a função de carga, ligante e aditivo. Este passo conduziu então à segunda parte deste estudo, onde foi analisado um conjunto de discos de gomalaca de colecções portuguesas por um método não destrutivo, µ-EDXRF, com o objectivo de identificar quais os materiais utilizados como carga, e averiguar a possibilidade de atribuir um determinado padrão ou tendência à produção de cada fábrica europeia ao longo do tempo. Com o desenvolvimento deste estudo poderá ser possível atribuir o fabrico de etiquetas locais, cuja história empresarial ainda seja pouco conhecida, a um determinado centro de produção. O conhecimento dos materiais presentes nos discos será também fundamental para futuros estudos sobre a preservação destes suportes de áudio, que são eles próprios importantes fontes de informação, sendo importante a sua preservação juntamente com o sinal de áudio que armazenam.
39
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.
Full textAbstract:
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.
40
Scully, Michael F. "American folk music revivalism, 1965-2005." Thesis, 2005. http://hdl.handle.net/2152/3522.
Full text
41
Lubin, Tom, University of Western Sydney, and Faculty of Humanities and Social Sciences. "An historical survey of technology used in the production and presentation of music in the 20th Century." 1997. http://handle.uws.edu.au:8081/1959.7/24903.
Full textAbstract:
This paper explores the historical progression of the technological development of records and radio and its impact on popular music. It also includes the production technologies that create recorded music, the development of records, cassettes and CDs, and areas of reproduction that have an association with popular music including the sound technologies of radio, film, television, background music, and the juke-box. This paper is not a cultural or social study, but is primarily an historical account of media technology in music production and delivery. Certain social and cultural consequences and issues are included as background and sidebars to the primary topic. The technology of live performance has been omitted because it alone represents a body of material large enough for an entire paper. Western society now travels through a sea of music emanating from countless hidden sources. Such music delivery systems provide a continuous musical score for most people's personal histories. Sound, fragments of sound, and the very processes by which sound is created and manipulated have become products and commodities. The technology has allowed anyone to participate in the creation and hearing of music. This paper traces the history of the various technologies that, in so many respects, have provided a catalyst for that which is created, and the means by which music is listened to in the 20th Century. With rare exception, each new invention, delivery system, or process has had both supporters as well as detractors. Throughout this paper, both the positive as well as the negative effects of these developments will be explored.Master of Arts (Hons)
42
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.
Full text
43
"跨國唱片公司壟斷下之香港粤語流行樂壇." 1991. http://library.cuhk.edu.hk/record=b5895402.
Full textAbstract:
黃志偉.手稿本影印本.
Thesis (M.A.)--香港中文大學傳播學部, 1991.
Shou gao ben ying yin ben.
Includes bibliographical references (leaves i-iv).
Huang Zhiwei.
Thesis (M.A.)--Xianggang Zhong wen da xue Chuan bo xue bu, 1991.
Chapter 壹 --- 導 論 --- p.1
Chapter 貳 --- 文獻參閱 --- p.11
Chapter (一) --- MISC´ؤ小國音樂工業研究計劃 --- p.11
Chapter (二) --- 媒介帝國主義 --- p.33
Chapter (三) --- 跨國公司 --- p.41
Chapter (四) --- 其他有關文獻 --- p.54
Chapter 参 --- 研究方法 --- p.66
Chapter (一) --- 研究目的 --- p.66
Chapter (二) --- 基本概念 --- p.73
Chapter (三) --- 研究方法 --- p.80
Chapter 肆 --- 歐美流行音樂與五大國際唱片集團 --- p.99
Chapter (一) --- 歐、美流行音樂發展概況 --- p.101
Chapter (二) --- 五大唱片集團壟斷下之國際唱片業 --- p.115
Chapter 伍 --- 跨國唱片公司的發展、業績及組織結構 --- p.131
Chapter (一) --- 五大跨國唱片公司在香港之發展 --- p.131
Chapter (二) --- 跨國唱片公司的組織結構及其輸入外國流行音樂信息之模式 --- p.158
Chapter (三) --- 五大跨國唱片公司壟斷下之粤語流行樂壇 --- p.183
Chapter (四) --- 跨國唱片公司組織結構對粤語流行曲改編歌曲之影響 --- p.202
Chapter 陸 --- 香港粤語流行曲的外來成份 --- p.216
Chapter (一) --- 五、六十年代作品分析 --- p.228
Chapter (二) --- 七、八十年代作品分析 --- p.248
Chapter 柒 --- 總結 --- p.271
Chapter (一) --- 研究成果摘要 --- p.271
Chapter (二) --- MISC 互動模型的分析結果 --- p.285
Chapter (三) --- 討論 --- p.305
參考書目 --- p.i
Chapter 附錄 --- 附件(一)：香港電台中文歌曲龍虎榜 一九七七年至八九年 每周榜首歌曲名單 --- p.v
附件(二)：歷屆十大中文金曲入選作品（1978-1989） --- p.xii
附件(三)：個人訪問之基本問題(1)´ؤ作曲家、樂評人、電台工作者 --- p.xviii
附件(四)：個人訪問之基本問題(2)´ؤ跨國唱片公司國際部行政人員 --- p.xx
44
Lubin, Tom. "An historical survey of technology used in the production and presentation of music in the 20th Century." Thesis, 1997. http://handle.uws.edu.au:8081/1959.7/24903.
Full textAbstract:
This paper explores the historical progression of the technological development of records and radio and its impact on popular music. It also includes the production technologies that create recorded music, the development of records, cassettes and CDs, and areas of reproduction that have an association with popular music including the sound technologies of radio, film, television, background music, and the juke-box. This paper is not a cultural or social study, but is primarily an historical account of media technology in music production and delivery. Certain social and cultural consequences and issues are included as background and sidebars to the primary topic. The technology of live performance has been omitted because it alone represents a body of material large enough for an entire paper. Western society now travels through a sea of music emanating from countless hidden sources. Such music delivery systems provide a continuous musical score for most people's personal histories. Sound, fragments of sound, and the very processes by which sound is created and manipulated have become products and commodities. The technology has allowed anyone to participate in the creation and hearing of music. This paper traces the history of the various technologies that, in so many respects, have provided a catalyst for that which is created, and the means by which music is listened to in the 20th Century. With rare exception, each new invention, delivery system, or process has had both supporters as well as detractors. Throughout this paper, both the positive as well as the negative effects of these developments will be explored.
45
Papadopoulos, Theo. "The economics of copyright, parallel imports and piracy in the music recording industry." Thesis, 2002. https://vuir.vu.edu.au/15661/.
Full textAbstract:
Australia has been at the forefront of trade-related copyright reform having, after almost a decade of debate and controversy, amended the import provisions of the
Copyright Act 1968 to allow parallel imports of sound recordings. This thesis begins with an investigation of the economics of the music recording industry, encompassing the nature of demand and supply of sound recordings, profit
maximising price strategies for a multi-product firm, and an investigation into the market structure and international distribution of sound recordings. This is followed by an investigation of the economics of copyright with respect to sound recordings and the evolution of international intellectual property rights law. This leads to a critical evaluation of the controversy surrounding the exhaustion of copyright and the case for copyright owner control over parallel imports.
46
Mueller, Darren. "At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz." Diss., 2015. http://hdl.handle.net/10161/9969.
Full textAbstract:
At the Vanguard of Vinyl investigates the jazz industry's adoption of the long-playing record (LP), 1948-1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians' voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation shifted, so too did jazz's relationship to white mainstream culture, Western European musical aesthetics, US political structures, and streams of Afro-modernism. Jazz, as an African American social and musical practice, became a form of resistance against the violent structures of institutional racism within the United States in the 1950s.
Using the records of Miles Davis, Duke Ellington, Dizzy Gillespie, and Cannonball Adderley, this study outlines the diverse approaches to record making that characterized the transitional years as the LP became the standard recording format. Through archival research, close listening, and detailed discographical analyses of the era's most influential record labels, I show how jazz practices and musical "mistakes" caught on record provided opportunities for recording experimentation. I examine choices made during the record production process, such as tape edits, microphone placement, overdubbing, and other sound processing effects, connecting such choices to the visual and tactile attributes of these discs. Drawing on scholarship that considers how sound reproduction technologies mediate constructions of race and ethnicity, I argue that the history of jazz in the 1950s is one of social engagement by means of and through technology. At the Vanguard of Vinyl is a cultural history of the jazz LP that underscores the ways in which record making is a vital process to music and its circulation.
Dissertation
47
Allen, Lucy Hawthorne. "Vernacular music brokers and mediators in the South 1900-1932 /." 2001.
Find full text
48
"Hong Kong classical compact disc market." Chinese University of Hong Kong, 1997. http://library.cuhk.edu.hk/record=b5888994.
Full textAbstract:
by Tsai Yee-Ah, Eva.Thesis (M.B.A.)--Chinese University of Hong Kong, 1997.
Incldues bibliographical references (leaves 108-112).
ABSTRACT --- p.iii
ACKNOWLEDGEMENTS --- p.vi
TABLE OF CONTENTS --- p.vii
LIST OF TABLES --- p.ix
LIST OF FIGURES --- p.x
CHAPTER
Chapter I. --- INTRODUCTION --- p.1
Objectives --- p.2
Chapter II. --- MARKET ANALYSIS --- p.4
Overview of the Music Industry in Hong Kong --- p.4
Hong Kong Classical Music Market and the Trends --- p.6
Definition of Classical Music --- p.6
Classical Music Becomes More Popular --- p.8
More Record Stores in Hong Kong Selling Classical CDs --- p.10
New Ways of Promoting Classical Music --- p.13
New Classical Music Repertoires and the Trends --- p.15
More Young Classical Performers --- p.16
Major Classical Companies in Hong Kong --- p.17
Bertelsmann Group --- p.17
EMI --- p.19
HNH Internationa] Ltd --- p.22
PolyGram --- p.25
Sony --- p.28
Warner --- p.32
Chapter III. --- RESEARCH METHODOLOGY --- p.37
Secondary Data --- p.37
Primary Data --- p.38
Experience Survey --- p.38
Sample Survey --- p.38
Limitations of the Research --- p.42
Research Design --- p.42
Data Collection --- p.43
Data Analysis --- p.44
Chapter IV. --- RESEARCH FINDINGS AND DATA ANALYSIS --- p.48
Response Rate --- p.48
Outcome of Self-Administered Questionnaire Survey --- p.48
Data Analysis --- p.49
Editing --- p.49
Coding --- p.50
RESEARCH FINDINGS --- p.50
Demographic Information of 200 Successful Respondents --- p.50
Respondents' Opinions of HMV --- p.53
Respondents' Usage Patterns of Classical CDs --- p.55
Brand Name of the Record Company --- p.55
Price --- p.60
Selection Criteria in Buying Classical CDs --- p.61
places for Buying Classical CDs --- p.72
Reasons for Buying Classical CDs --- p.74
Opinions of Sony's Classical CDs --- p.77
Preferred Promotional Methods --- p.81
Information Channels in Receiving Information about Classical CDs --- p.84
Maximum Price Willing to Pay --- p.88
Preferred Tangible Changes or Improvements --- p.89
Conclusion --- p.91
Competitive Profile --- p.91
Market Profile --- p.92
Customer Profile --- p.93
Product Profile --- p.94
Company Profile --- p.95
Chapter V. --- "MARKETING PLAN FOR SONY'S CLASSICAL DIVISION, 1997-1998" --- p.97
Target Markets --- p.97
Marketing Objectives --- p.98
Product Objectives --- p.98
Pricing Objectives --- p.99
Communication Objectives --- p.100
Distribution Objectives --- p.105
Monitoring System --- p.107
Conclusion --- p.108
APPENDIX --- p.110
BIBLIOGRAPHY --- p.133
49
Breen, Marcus. "The popular music industry in Australia : a study of policy reform and retreat, 1982-1996." Thesis, 1996. https://vuir.vu.edu.au/15443/.
Full textAbstract:
This study examines the political economy of popular music
policy initiatives during 1982-1996, when the Australian
Labor Party was in government Federally and in the State of
Victoria. Building on the cultural studies concept of
articulation, the popular music formulation theory is
proposed as the basis for examining the alignment of the
fields of social and industry policy with the existing
popular music industry. A series of case studies examine
the ALP'S interest in popular music policy, the influence
of Australian popular music achievements on the policy
formation, the role of activists within the party and the
subsequent inquiries and proposals that flowed from the
party's concern to establish programs that would offer
social provisioning outcomes. Using concepts derived from
institutional economics, the thesis shows that the existing
popular music industry, in particular multinational record
companies, were disinclined to participate in and
financially support the policies. Positive outcomes were
realised in the creation of institutions such as Ausmusic,
the Victorian Rock Foundation and The Push. Although
dependent on public subsidy, some of the initiatives
offered a new funding model, such as the failed blank tape
levy. Alternatively, the examination of community music
programs found that some local or micro projects generated
industrial characteristics of their own, to become
economically self-sufficient, rather than dependent on
subsidies. Evidence that the private interests of the
existing music industry determined their reluctance to
participate in the policy programs became clear with the
Prices Surveillance Authority's Inquiry Into the Prices of
Sound Recordings in 1990. The research found that from 1982
until Labor lost power in 1996, no effective method had
been established for engaging the existing music industry
in funding and supporting the policy initiatives. With the
possible exception of the evolution of industrial
characteristics within community music programs, no
resolution to this policy failure is apparent.
50
Kielman, Adam Joseph. "Zou Qilai!: Musical Subjectivity, Mobility, and Sonic Infrastructures in Postsocialist China." Thesis, 2016. https://doi.org/10.7916/D8TT4RGN.
Full textAbstract:
This dissertation is an ethnography centered around two bands based in Guangzhou and their relationships with one of China’s largest record companies. Bridging ethnomusicology, popular music studies, cultural geography, media studies, vocal anthropology, and the anthropology of infrastructure, it examines emergent forms of musical creativity and modes of circulation as they relate to shifts in concepts of self, space, publics, and state instigated by China’s political and economic reforms. Chapter One discusses a long history of state-sponsored cartographic musical anthologies, as well as Confucian and Maoist ways of understanding the relationships between place, person, and music. These discussions provide a context for understanding contemporary musical cosmopolitanisms that both build upon and disrupt these histories; they also provoke a rethinking of ethnomusicological and related linguistic theorizations about music, place, and subjectivity. Through biographies of seven musicians working in present-day Guangzhou, Chapter Two outlines a concept of “musical subjectivity” that looks to the intersection of personal histories, national histories, and creativity as a means of exploring the role of individual agency and expressive culture in broader cultural shifts. Chapter Three focuses on the intertwining of actual corporeal mobilities and vicarious musical mobilities, and explores relationships between circulations of global popular musics, emergent forms of musical creativity, and an evolving geography of contemporary China. Chapter Four extends these concerns to a discussion of media systems in China, and outlines an approach to “sonic infrastructures” that puts sound studies in dialogue with the anthropology of infrastructure in order to understand how evolving modes of musical circulation and the listening practices associated with them are connected to broader economic, political, and cultural spatialities. Finally, Chapter Five examines the intersecting aesthetic and political implications of popular music sung in local languages (fangyan) by focusing on contemporary forms of articulation between music, language, listening, and place. Taken together, these chapters explore musical cosmopolitanisms as knowledge-making processes that are reconfiguring notions of self, state, publics, and space in contemporary China.