Tesis sobre el tema "Sound recording industry"
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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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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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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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Choi, Ka-fai y 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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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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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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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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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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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 y 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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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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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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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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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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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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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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Lima, Mariana Mont'Alverne Barreto. "As majors da musica e o mercado fonografico nacional". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280857.
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Orientador: Renato Jose Pinto OrtizTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta pesquisa analisa o funcionamento das quatro gravadoras de discos transnacionais que operam no mercado fonográfico brasileiro, a partir do estabelecimento do disco compacto como suporte padrão para a reprodução e comercialização de música gravada. Partindo da hipótese de que em tempos de globalização da economia e mundialização da cultura, este mercado se comporta e se transforma de modo diverso, investiga-se quais são as características estruturais de tais transformações e como agem os diferentes agentes sociais que disputam este espaço. Para isso, considerando a configuração destas gravadoras enquanto majors, ou seja, companhias que dominam a produção e distribuição de música gravada no mundo, a posição que passam a ocupar daí em diante, explora-se como se organizam frente aos desafios impostos pela economia global - seus pertencimentos a corporações transnacionais, os usos das tecnologias digitais em seus processos produtivos, o incremento da concorrência em escala mundial, etc. -, e, de que forma, conservam, ou não, os mecanismos de reprodução deste campo, no qual elas mesmas são fundadoras dos seus princípios de construção. Por meio de uma pesquisa empírica qualitativa realizada nas quatro majors - entrevistas, depoimentos pessoais, fontes estatísticas, relatórios técnicos ou ainda, publicações especializadas -, buscou-se captar a lógica de funcionamento deste universo particular das indústrias culturais, a partir do modo como aqueles que se encontram em posições dominantes se engajam, justificam e dão sentido às suas práticas e ações.
Abstract: This research analyzes the operation of four transnational record labels that operate in the Brazilian phonographic market, as of the establishment of the compact disc as a support pattern for the reproduction and sale of recorded music. Assuming that in times of economic and cultural globalization, this market behaves and becomes so diverse, we investigate what the structural features of such changes are and how the different actors competing for this space act. Thus, considering the configuration of those labels as majors, that is, companies that dominate the production and distribution of recorded music around the world, and the position they start to occupy thereafter, we explore how they organize themselves against the challenges imposed by the global economy - their attachments to transnational corporations, the uses of digital technologies in their production processes, the increase of worldwide competition, etc. - and, how, they save the reproduction mechanisms of this field or not, in which they are founders of their own construction principles. Through a qualitative empirical research carried out within the four majors - interviews, personal accounts, statistical sources, technical reports or even publications - we have sought to capture the operational logic of this particular universe of cultural industries, as of the way those who are in dominant positions engage, justify, and give meaning to their practices and actions.
Doutorado
Sociologia da Cultura
Doutor em Sociologia
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Lubin, Tom, University of Western Sydney y 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.
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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)
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Karel, Ernst Kirchner Long. "Kerala sound electricals : amplified sound and cultural meaning in South India /". 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3097125.
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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.
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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.
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"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.
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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
32
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.
Texto completoResumen
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.
33
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.
Texto completoResumen
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.
34
Papadopoulos, Theo. "The economics of copyright, parallel imports and piracy in the music recording industry". Thesis, 2002. https://vuir.vu.edu.au/15661/.
Texto completoResumen
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.
35
"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.
Texto completoResumen
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
36
Allen, Lucy Hawthorne. "Vernacular music brokers and mediators in the South 1900-1932 /". 2001.
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37
"The soundscape of China: the role of HUGO CDs in Chinese cultural memory". 2005. http://library.cuhk.edu.hk/record=b5896411.
Texto completoResumen
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.
Texto completoResumen
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
"Hong Kong classical compact disc market". Chinese University of Hong Kong, 1997. http://library.cuhk.edu.hk/record=b5888994.
Texto completoResumen
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
40
Kielman, Adam Joseph. "Zou Qilai!: Musical Subjectivity, Mobility, and Sonic Infrastructures in Postsocialist China". Thesis, 2016. https://doi.org/10.7916/D8TT4RGN.
Texto completoResumen
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.
41
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/.
Texto completoResumen
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.
42
Groenewald, Louise. "Legal analysis of fair dealing relating to music works in the digital environment". Diss., 2011. http://hdl.handle.net/10500/5742.
Texto completoResumen
Many people might think that downloading music without paying for it is not a big issue. Copyright owners disagree with this kind of reasoning because to them, music is intellectual property with substantial commercial value. Copyright law is the primary form of protection for intellectual property and is based on the fundamental principle that copyright works cannot be reproduced without the express consent of the copyright owner.
During the late 90’s however, new technology made it possible for millions of people to download music from the Internet without the express consent of copyright owners. The mere act of downloading songs illegally violates the exclusive right of the copyright owner to reproduce the work. It has also created problems within copyright law that was not foreseeable in the 17th century when the Statute of Anne was enacted.
In law, there is always an exception to the rule and it is no different with copyright law. Although copyright owners have the exclusive right to reproduce their work, the general public has been granted exceptions to make fair dealing of copyright works for private or personal use, purposes of research, private study, criticism, review or for reporting current events in a magazine, newspaper or periodical, broadcasting or by using the work in a cinematograph film by virtue of s12 of the Copyright Act 98 of 1978.
However, the list of exceptions supra may be changed and/or extended, provided that it remains in line with the international conventions and agreements that South Africa is a member to. The three-step test is inter alia provided for in Art. 9(2) of the Berne Convention1 (Paris Text of 1971) and permit exceptions to the reproduction right of the copyright owner:
1) in certain special cases;
2) that do not conflict with the normal exploitation of the work and;
3) that does not unreasonably prejudice the legitimate interests of the author/rights holder.
S17 provides that certain subsections of s12 shall apply mutatis mutandis with reference to sound recordings. However, s12(1)(a) is not one of the subsections mentioned in s17 which means that fair dealing in sound recordings for purposes of research or private study, or for personal or private use is NOT permitted.
Fair dealing however, is not absolute nor is it an easy doctrine to interpret. The legal interpretation and application of fair dealing has been fraught with complexity since the English courts first dealt with fair abridgement of literary works between the 17th and 18th century but this complexity has been compounded even more by new technology, especially in relation to music works.
The legal uncertainty of fair dealing with regard to music works is the reason why this comparative research has been undertaken in the jurisdictions of South Africa, the United Kingdom, Australia and the United States. Hopefully it will shed more light on the doctrine and lift the veil of confusion.Jurisprudence
LLM
43
Maseko, Mandla Selby. "An impact analysis of provincial music hubs". Thesis, 2017. https://hdl.handle.net/10539/24762.
Texto completoResumen
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts(Arts and Culture Management) 2017American film producer, Jason Berman reminds us that music is something the rest of the world wants to listen to; our job is to make sure they pay for it (Matzukis, 2013). When a piece of music is written, a legal right to it comes alive and is vested in the songwriter (author), but if that piece of music is later recorded, a totally different copyright vested in the record company comes alive (Matzukis, 2013). Unfortunately, it appears that the majority of local music role players, particularly composers, producers and performers, are not sufficiently equipped with legal knowledge and common understanding of the music trade’s secrets, its ecosystem or the music industry value chain. The lack of knowledge and exposure is attributed to historically manifested control of the music markets by record companies owned by foreign multinational conglomerates. As a result, a large number of famous and popular local musicians have died penniless. This scenario is painted vividly in an online article titled “Why do our artists die poor?”, which cites Brenda Fassie and Simon Mahlathini Nkabinde as examples of artists who died poor because of bad decisions they made in their career, despite their fame and wealth of music compositions. (www.you.co.za/entertainment/why-do-artists-die-poor/#) In South Africa, the major constraints on the launching of a musical career are access to trade knowledge and the means of production, such as recording facilities (Jordan, 2009).The Southern African Music Rights Organization’s empirical research shows that international music still dominates the South African music market, with 74% of music sold and played on broadcasting and public platforms (Samro, Notes, November 2014, p 13). As a result, the majority of local independent music composers, producers and performers are forced to share the remaining 26% of the music market. This situation worsens when widening the scope to include music role players who are located outside of urbanised provinces such as Gauteng and Western Cape, because most of them lack access to adequate and professional recording studios; lack basic knowledge on ownership of compositions and sound recordings rights; lack the skill to interpret the copyright laws; lack understanding of contractual issues between the artist and record company; lack understanding of the exportation trade; lack the means to submit their audiovisual works for airplay and lack adequate resources to build their brands for competitiveness. Since 2006 the South African music industry has seen an increase in government expenditure on and investment in musical institutions, at national and provincial levels, which are defined in this study as “music hubs”. In 2006, the Eastern Cape Audio Visual Centre (ECAVC) was established in East London (Eastern Cape Province); in 2009/2010, the KZN Music House was established in Durban (KwaZulu-Natal) and in 2008, the Downtown Music Hub was established in Johannesburg (Gauteng Province). The rationale to establish these music hubs is to ease access to the means of production for a large number of local music composers, producers and performers. The purpose of this impact analysis study is evaluate to what extent these music hubs are fulfilling their redress and transformation policy mandate to be beacons of hope for the local music industry. The theoretical grounds of this research study are premised on the concepts of transformation to create access for previously marginalized groups and black economic empowerment for local music role players. This research will unpack how these music hubs, in South Africa, can be used as tools for redress and to transform the music industry into an equitable market for all role players. Although government, at national and provincial level, shows commitment to establishing musical institutions that aim to combat the challenges facing the local music role players as outlined above, it is regrettable that the two music hubs (case studies) in the respective provinces are battling to position themselves as provincial music industry center pieces that create a competitive provincial music ecosystem and network to connect and empower local music industry role players. In 2009, the former minister of arts and culture, Pallo Jordan, in his speech at the launch of the Downtown Music Hub, indicated that the purpose of establishing the music hubs was to lower the barrier by making recording facilities, music manufacturing plants, music distribution channels and music stores more accessible to the most qualifying music role players (Jordan, 2009). This means that if these music hubs are understood as the music development trajectory in South Africa and well implemented, they have the potential to help local music industry role players become more competitive and perform on global music market platforms.
XL2018
44
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.
Texto completoResumen
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.
45
Hui, Alan Ho Lam. "99 problems but a riff ain't one : How sampling helps copyright promote originality". Phd thesis, 2017. http://hdl.handle.net/1885/141160.
Texto completoResumen
This legal policy thesis asks: Is sampling so inconsistent with
copyright that it warrants a unique system? Sampling is the
musical practice of arranging new recordings from existing
recordings. Often, it conflicts with copyright, a legal system
that aims to encourage progress and innovation, primarily by
granting exclusive rights as incentives to create and distribute
original works.
Two countervailing positions in existing literature articulate
the conflict between sampling and copyright. The first views
sampling as an appropriative practice that subverts copyright
safeguards against unauthorised copying and adaptation. If this
is true, then appropriation art cannot be reconciled with
copyright law in any stable, lasting or meaningful manner. The
second views copyright as an excessive restraint on creativity, a
leash on artists. Scholars holding this position point to
copyright's longstanding discrimination against sampling, evident
from US copyright cases restricting 1990s hip-hop artists and
admonishing one sampling artist with biblical commandment: 'Thou
shalt not steal'.
This thesis argues that sampling can align with the purpose of
copyright to encourage progress and innovation. It shows how
sampling is consistent with originality, the core concept that
separates the copyright wheat from the unprotected chaff.
Originality calls not for the conjuring of material from thin
air, but rather the rearrangement of prior works, genres and
conventions. By locating rearrangement at the heart of
originality, we can see that sampling can contribute to the body
of original works and therefore the purpose of copyright.
In doing so, this thesis shows that sampling conflicts with the
operation of copyright, as expressed in international treaty,
national laws and industry conventions. While amending the
operation of copyright is difficult, it is possible and indeed
desirable to reform copyright to encourage rearrangement, not
because it enables sampling, but because it promotes
originality.
Building on the concept that the rearrangement of past material
is the foundation of originality, this thesis explains two
potential policy responses to promote originality. Encouraging
transformative use, as a conceptual foundation for fair use
exceptions, can promote the rearrangement of existing original
works into new original works. Likewise, ex post monitoring, as
an alternative to ex ante licensing, can enable tolerated uses,
incremental originality and distributed innovation at the scale
of digital platforms.
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Andrade, Ricardo Miguel Bernardes. "Ar de Rock: o boom do rock em Portugal na primeira metade da década de 80". Doctoral thesis, 2021. http://hdl.handle.net/10362/123095.
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Esta tese aborda os vários processos musicais, editoriais e promocionais que caracterizaram o designado “boom do rock português” do início da década de 1980, expressão referente ao primeiro momento de grande sucesso comercial de repertório rock gravado e publicado em Portugal. Pretendi compreender as mudanças que enformaram e proporcionaram a intensificação do desenvolvimento de repertório rock em língua portuguesa na viragem da década de 1970 para a década de 1980, considerando o impacto das indústrias fonográfica, do espectáculo e da comunicação social (imprensa, rádio e televisão) neste processo. Durante as décadas de 1960 e 1970, a gravação de repertório original no universo do poprock em Portugal constituía uma prática pouco recorrente, a qual frequentemente cumpria, na óptica de diversos músicos e editores, uma função meramente promocional. A escassa possibilidade de gravação e a fraca promoção radiofónica dificultavam a apresentação de repertório original ao vivo, sendo recorrente a interpretação de versões de êxitos internacionais e a actuação em contextos de baile. Este cenário contrastava com a crescente popularidade, sobretudo no universo anglo-americano, do concerto rock enquanto modelo de apresentação e da obra fonográfica enquanto conceito de materialização de repertório em disco. Estes constituíam dois dos aspectos que vários músicos em Portugal procuravam emular, apesar de limitações de variada ordem. Em finais da década de 1970, mudanças nas equipas directivas editoriais, o surgimento de novos programas de rádio exclusivamente dedicados ao pop-rock e uma nova imprensa “especializada” contribuíram para o primeiro grande momento de sucesso comercial de discos de grupos rock gravados em Portugal e cantados em português. A publicação, em 1980, de canções como Chico Fininho, de Rui Veloso e a Banda Sonora, e Cavalos de Corrida, do grupo UHF, constituíram marcos inaugurais deste sucesso. A emergente aposta editorial nestes repertórios motivou o aparecimento de novos produtores e técnicos de som, empresas de som ao vivo e de agenciamento de artistas, assim como a reconfiguração das características de vários grupos que procuraram alinhar-se com o fenómeno, inclusive no crescente recurso à língua portuguesa no texto cantado, aspecto frequentemente desprezado até este período no âmbito das práticas do rock. Esta reconfiguração ocorreu num momento em que a proliferação de discos e de concursos dedicados ao “rock português”, frequentemente organizados por agentes ligados às várias indústrias, reforçou as expectativas de gravação por parte de novos grupos, vários dos quais foram criados com base na possibilidade de publicação fonográfica. Neste sentido, analiso a articulação entre as várias indústrias ligadas à prática musical neste período, ilustrando também o papel dos seus agentes não só enquanto intermediários entre grupos rock e audiências, mas também enquanto participantes activos na configuração da actividade musical dos grupos e respectivo repertório. Examino também os contextos e valores que enformaram as características do boom, articulando o fenómeno com as diversas transformações sociais e políticas ocorridas no período.This dissertation addresses the various musical, editorial and promotional processes that characterized the so-called “boom of Portuguese rock” of the early 1980s, an expression that is commonly used to designate the first moment of major commercial success of rock music composed, recorded and published in Portugal. I intended to understand the changes that shaped the development of rock music sung in Portuguese at the turn of the 1970s to the 1980s, considering the impact of the record, live music and media industries (press, radio and television) in this process. During the 1960s and 1970s, the recording of original repertoire within the pop-rock universe in Portugal was scarce, and it was often seen by several musicians and publishers as merely serving a promotional function. This limited possibility of recording hindered the live performance of original repertoire, the presentation of covers of international hits within dance contexts being more recurrent. This scenario contrasted with the growing popularity, especially in the Anglo-American universe, of the rock concert as a preferred presentation model and of record making as the main purpose of a group’s activity. These constituted two of the aspects that several musicians in Portugal sought to emulate, despite various limitations. In the late 1970s, changes in record publishing teams, the emergence of new radio programs exclusively dedicated to pop-rock music and a new “specialized” press contributed to the first major moment of commercial success of records by Portuguese rock groups, recorded in Portugal and sung in Portuguese. The release, in 1980, of the songs Chico Fininho, by Rui Veloso & the Banda Sonora, and Cavalos de Corrida, by UHF, were inaugural milestones of this success. The emerging focus of record companies on publishing and promoting this repertoire motivated the appearance of new producers and sound technicians, live sound companies and artists'agencies, as well as the reconfiguration of the characteristics of various groups that sought to align themselves with the phenomenon, resorting more and more to the Portuguese language in their lyrics, an aspect often overlooked until this moment within the scope of rock practices. This reconfiguration took place at a time when the proliferation of records and competitions dedicated to “Portuguese rock”, often organized by agents linked to the various industries, reinforced the expectations of new groups, several of which were founded on the growing possibility of getting signed by record companies. In this sense, I analyzed the articulation between the various industries linked to musical practice in this period, illustrating the role of their agents not only as intermediaries between rock groups and audiences, but also as active participants in the configuration of the musical activity of these groups and their repertoire. I also examine the contexts and values that shaped the characteristics of the “boom”, articulating the phenomenon with the various social and political transformations that occurred in this period.
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Scully, Michael F. "American folk music revivalism, 1965-2005". Thesis, 2005. http://hdl.handle.net/2152/3522.
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Zulu, Thulani. "Contemporary perceptions of music piracy in South Africa". Diss., 2015. http://hdl.handle.net/11602/215.
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