Gotowe bibliografie tematyczne / Internet-Music

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Internet-Music”

Autor: Grafiati
Data publikacji: 6 września 2023
Data aktualizacji: 7 września 2023

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Artykuły w czasopismach na temat "Internet-Music"

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Burnett, Rachel. "Internet music piracy". ITNOW 48, nr 5 (1.09.2006): 34. http://dx.doi.org/10.1093/itnow/bwl065.

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AmRhein, Richard. "Internet resources for music". College & Research Libraries News 56, nr 11 (1.12.1995): 760–64. http://dx.doi.org/10.5860/crln.56.11.760.

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Jones, Steve. "Music and the Internet". Popular Music 19, nr 2 (kwiecień 2000): 217–30. http://dx.doi.org/10.1017/s026114300000012x.

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The fact is, if you want to make a difference in music, you have to change the machine. (Christie 1998)In my book Rock Formation I borrowed from Walter Ong and Jacques Attali when I noted that, ‘The ability to record sound is power over sound.’ (Jones 1992, p. 51) I continue to believe that statement to be true. Arguments that I then made about the increasing role computers would play in the production of music have been borne out. They were not hard forecasts to make: one only had to imagine that the processing power of computer chips would continue to increase according to Moore's Law and then extrapolate the possibilities such increases would create for sound recording and reproduction. Even comments I made, vaguely tongue-in-cheek, expecting that we would have, in addition to the ability to record high-quality digital audio in the home, the ability to press CDs at home, and print colour inserts for CD jewel boxes, thus creating not only home studios but home pressing plants, have become a reality. However, with but a few years' hindsight, I want to append to these an argument that recording sound matters less and less, and distributing it matters more and more, or, in other words, the ability to record and transport sound is power over sound. Consequently, technology is an even more important element to which popular music scholars must attend.
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Hugill, Andrew. "Internet music: An introduction". Contemporary Music Review 24, nr 6 (grudzień 2005): 429–37. http://dx.doi.org/10.1080/07494460500296094.

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Reese, Sam, i M'aud Hickey. "Internet-Based Music Composition and Music Teacher Education". Journal of Music Teacher Education 9, nr 1 (wrzesień 1999): 25–32. http://dx.doi.org/10.1177/105708379900900105.

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Alonso, Tomaz, Luciana Burger, Malu Villela, Márcio Villela i Jonas Vilandez. "Radio, Internet, Music and Mobile". SET EXPO PROCEEDINGS 2, nr 2016 (29.08.2016): 110–12. http://dx.doi.org/10.18580/setep.2016.30.

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Thompson, Keith P. "Internet Resources for General Music". Music Educators Journal 86, nr 3 (listopad 1999): 30–36. http://dx.doi.org/10.2307/3399557.

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Greig, Donald. "Early music on the Internet". Early Music XXIII, nr 3 (sierpień 1995): 532–34. http://dx.doi.org/10.1093/earlyj/xxiii.3.532.

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Bryant, Wanda. "Music resources on the internet". Popular Music and Society 20, nr 1 (marzec 1996): 93–122. http://dx.doi.org/10.1080/03007769608591613.

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Pinnolis, Judith S. "Jewish Music on the Internet". Notes 61, nr 1 (2004): 194–97. http://dx.doi.org/10.1353/not.2004.0123.

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Rozprawy doktorskie na temat "Internet-Music"

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

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

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In my paper I explored the success of independent artists on the Internet over the past three to five years while also examining the diminishing need for major record labels with regards to an independent artists success. I chose to examine this trend primarily because we are seeing the success of many artists to varying degrees who use the Internet to promote their music on a scale we’ve never seen before. Because of this, the entire structure of the music industry is beginning to change drastically and people have greatly begun to rethink the way we discover and enjoy music as well as the types of music we like. I wanted to explore the ways in which independent artists are achieving their success, the degree to which this success has been achieved, and why they have chosen to remain independent from major record labels. I began by researching independent artists before the Internet became a marketplace for music and how the Internet has changed the music industry to this day with regards to album sales. I then researched different platforms that have recently emerged on the Internet and how they are allowing artists to market themselves in effective ways and at little to no cost to the artist. I also examined the equipment required to make music in the digital age and how it has become cheaper and more accessible to obtain. Finally I examined specific independent artists who have emerged over the past few years on scales larger than many artists signed by major labels and why they have chosen to remain independent. From the research I did on the rise of independent music, I learned that most of these artists are doing something unique or different from artists signed to major labels. I also found that the message behind their music was sometimes contradictory to what has been accepted in mainstream media in the past. They have remained independent because they do not want to lose creative control of their music while also cutting out the middle man, or record labels, so they may keep a majority of their own profits. Through the artists that were researched, it can be seen that a major label budget or marketing scheme is far from necessary in the age of the Internet and can actually hinder the careers of certain artists. This is important because as major record labels continue to become less important, the structure of the music industry and its economy are changing in a way that is the opposite of what it once was. Music is now beginning to be empowered by the artists and fans rather than by major label corporations.
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Zimmermann, Harald. "Music on Demand Bezug und Vertrieb im Internet /". [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675550.

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

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The overall aim of this study was to research how music festivals in Oslo practise strategic Internet marketing and how these could improve their marketing throughout strategic Internet marketing. The interest of this study evoked since there was a lack in previous research in this field. Other issues to explore were marketing particularities and how these could be solved. Two music festivals in the city centre of Oslo were interviewed. The study was based on Chaffey and Smith’s (2008) SOSTAC planning framework, together with previous research findings in the field of strategic Internet marketing. The result showed a primarily use of informal goals, together with actions and evaluation based on gut feelings. Focus was placed on creating additional value and thus loyalty. Most applied marketing were connected to Web 2.0 techniques. The study found several shortcomings concerning the practise of strategic Internet marketing. Suggested improvements included use of online measurement systems and a strategic approach towards objectives and evaluation. The study found two distinct characteristics including the importance of visitor activity and loyalty. Web 2.0 techniques, the website and co-branding activities were concluded to be the most effective types Internet marketing. These together with an enhanced use of Web 2.0 techniques were also concluded to be the solution to marketing peculiarities.
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Oleksik, Gerard. "Music in the age of the Internet : an investigation into the relationship between music, music use and technology". Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/718/.

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

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Sharing music with friends and family has always been a popular activity. Under most copyright laws, sharing physical media with friends and family has always been seen as a 'fair use' - a set of usage patterns that have been traditionally considered to be exceptions to copyright law. With the advent of digital music in the early 1990's sharing of music became redefined. Whereas sharing of physical media meant that only one person could use the media at the same time, sharing digital music involved permanent reproduction of the music files. Thus, sharing digital music equated to reproduction and distribution of music. With the invention of the mp3 standard, the size of digital music files became much smaller without a noticeable compromise of quality. Thus reproduction and distribution of digital music became faster and even easier. [...]
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Hurst, Magnus, i Niklas Marklund. "Internet, music and communication : How the Internet is affecting communicational efforts of smaller independent record labels". Thesis, Uppsala University, Department of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-127118.

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

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

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

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

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The rise in the prevalence of the Internet has had a wide range of implications in nearly every industry. Within the music business, the turn of the millennium came with a unique, and difficult, set of challenges. While the majority of academic literature in the area focuses specifically on the aspect of file sharing within the Internet as it negatively impacts sales within the recording sector, this study aims to assess the Internet’s wider impacts on the broader music industry. In the same time that record sales have plummeted, the live music sector has thrived, potentially presenting alternative business models and opportunities. This paper will discuss a variety of recent Internet-related developments including the rise of legal digital distribution, key economic implications, general welfare effects, changes in consumer preference and social phenomena as they relate to both the recording and live entertainment sectors. I employ a time series multiple regression model to evaluate the statistical significance of the relationship between the Internet’s rise and the value of record sales. For the concert industry, I will examine recent trends and descriptive data as they relate to the Internet’s prevalence.
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Mott, Andrew. "File Sharing & Music Piracy: How the Internet is Changing the Tune". Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111683024.

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Książki na temat "Internet-Music"

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Mewton, Conrad. Music & the internet revolution. London: Sanctuary, 2001.

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Hafez, Salam. Investigation into internet music publishing. London: LCP, 2003.

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Hagues, N. Music teacher's guide to the Internet. Bristol: Classroom Resources, 1999.

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Esser, Torsten. Music-and-sound.de: Musik im Internet. Köln: PapyRossa, 2000.

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Haller, Albrecht. Music on demand: Internet, Abrufdienste und Urheberrecht. Wien: Orac, 2001.

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Flowers, James R. The Incredible Internet Guide to Pop Music. Tempe, Ariz: Facts on Demand Press, 2001.

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Omomowo, Ann. Copyright issues with music on the internet. London: LCP, 2000.

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Hagues, Natalie. The Music teacher's guide to the Internet. Bristol: Classroom Resources, 2001.

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Owsinski, Bobby. Music 3.0. New York: Hal Leonard Books, 2009.

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Owsinski, Bobby. Music 3.0. New York: Hal Leonard Books, 2009.

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Części książek na temat "Internet-Music"

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Iorwerth, Miriam. "Music over the internet". W Networked Music Performance, 26–54. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003268857-2.

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Jones, Steve. "Music and the Internet". W The Handbook of Internet Studies, 440–51. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444314861.ch21.

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Mazur, Zygmunt, i Konrad Wiklak. "Music Information Retrieval on the Internet". W Advances in Intelligent and Soft Computing, 229–43. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14989-4_22.

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Hardin, Marques, i Rob Toulson. "Music production utilising Internet of Things technologies". W Innovation in Music, 106–22. New York: Routledge, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-8.

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Frauenberger, Christopher, i Winfried Ritsch. "Internet Archive of Electronic Music IAEM – internet Audio Rendering System iARS". W Computer Music Modeling and Retrieval, 130–38. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/978-3-540-31807-1_10.

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Li, Wen. "The Music Channel Access System Based on Internet". W Intelligent Computing Theories and Application, 593–99. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42291-6_59.

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Aleksovski, Zharko, Warner ten Kate i Frank van Harmelen. "Approximate Semantic Matching of Music Classes on the Internet". W Intelligent Algorithms in Ambient and Biomedical Computing, 133–47. Dordrecht: Springer Netherlands, 2006. http://dx.doi.org/10.1007/1-4020-4995-1_9.

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Best, Curwen. "Caribbean Entertainment and Music Culture Pre- and Post-Internet". W The Politics of Caribbean Cyberculture, 91–136. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610132_5.

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Glitsos, Laura. "The ‘Creative Listener:’ Internet, Music, and the Computer-Bodymind Somatechnic". W Somatechnics and Popular Music in Digital Contexts, 99–122. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18122-2_5.

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Benabdelkader, Ammar, Hamideh Afsarmanesh i L. O. Hertzberger. "MegaStore: Advanced Internet-based E-Commerce Service for Music Industry". W Lecture Notes in Computer Science, 869–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-44469-6_81.

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Streszczenia konferencji na temat "Internet-Music"

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Rzeznik, Mariusz, Wojciech Zabierowski i Andrzej Napieralski. "Music Education in the Internet". W 2006 International Conference - Modern Problems of Radio Engineering, Telecommunications, and Computer Science. IEEE, 2006. http://dx.doi.org/10.1109/tcset.2006.4404702.

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Shang, Wenqian. "The Music Resource Recognition for Internet". W 2nd International Conference on Computer Science and Electronics Engineering (ICCSEE 2013). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/iccsee.2013.267.

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Lacy, Maher i Snyder. "Internet-aware Appliances For Digitally Encoded Music". W 1998 International Conference on Consumer Electronics. IEEE, 1998. http://dx.doi.org/10.1109/icce.1998.678361.

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W. L. Fong, Michelle. "Music in Cyberspace". W InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2831.

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The music scene in cyberspace is an example of how a legal framework has been developed to curb online copyright infringement. The emergence, in the mid-1990’s, of online music websites and software programs such as MP3 technology to compress and download music, have delivered considerable copyright threat to the music industry. This threat has been further exacerbated by the remarkable development of technological innovations, such as high-speed broadband Internet connection and affordable CD burners, which are capable of delivering fast download and reasonably good audio and visual quality. This emerging information technology has made reproducing and sharing the work of others extremely easy, and has caused great concern for the music industry. This paper traces the evolution of the digital music scene in cyberspace and describes the attempts of the US and Australian music trade groups in putting an end to music piracy in cyberspace.
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Tan, ZhuWen. "Music Appreciation Teaching in an Internet-Based Environment". W 2010 International Conference on Multimedia Technology (ICMT). IEEE, 2010. http://dx.doi.org/10.1109/icmult.2010.5629858.

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Wang, Yuanzhong, i Shutao Sun. "Emotion Recognition for Internet Music by Multiple Classifiers". W 2019 IEEE/ACIS 18th International Conference on Computer and Information Science (ICIS). IEEE, 2019. http://dx.doi.org/10.1109/icis46139.2019.8940288.

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Yanhong, JING. "Design and research of Music Internet of things". W 2021 IEEE 2nd International Conference on Big Data, Artificial Intelligence and Internet of Things Engineering (ICBAIE). IEEE, 2021. http://dx.doi.org/10.1109/icbaie52039.2021.9390058.

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Loncar, Paula. "Internet of Musical Things and Music Data Visualization". W 2022 45th Jubilee International Convention on Information, Communication and Electronic Technology (MIPRO). IEEE, 2022. http://dx.doi.org/10.23919/mipro55190.2022.9803404.

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November, Nancy. "Teaching Music Historical Literacy Using Video Clips". W Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9395.

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Four professionally-created, student-presented, three- to five-minute videos were integrated into two undergraduate music history courses at the University of Auckland, to support the development of key historical literacy skills. These include crucial skills and understandings that music students need to master in their first two years: identifying different kinds of music scores; understanding the difference between primary and secondary sources for music historical topics; finding one’s way around critical, “complete works” editions of music; and finding and assessing music-related literature on the Internet. The intervention led to marked improvements in student learning in each of the four areas.
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Roy, Samarjit, Anwesha Mukherjee i Debashis De. "MuSense: Sensor Data Fusion-inspired Intelligent Music Improvisation Framework in 5G-Internet of Music Things". W 2022 URSI Regional Conference on Radio Science (USRI-RCRS). IEEE, 2022. http://dx.doi.org/10.23919/ursi-rcrs56822.2022.10118455.

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Raporty organizacyjne na temat "Internet-Music"

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Winseck, Dwayne. Growth and Upheaval in the Network Media Economy in Canada, 1984-2021. Canadian Media Concentration Research Project (CMCRP), listopad 2022. http://dx.doi.org/10.22215/gmicp/2022.01.

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The Canadian contribution and data set prepared as part of the Global Media and Internet Concentration (GMIC) project offers an independent academic, empirical and data-driven analysis of a deceptively simple yet profoundly important question: have telecom, media and internet markets become more concentrated over time, or less? Media Ownership and Concentration is presented from more than a dozen sectors of the telecom-media-internet industries, including film, music and book industries.
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Winseck, D. Growth and Upheaval in the Network Media Economy in Canada, 1984-2019. Canadian Media Concentration Research Project (CMCRP), Carleton University, listopad 2020. http://dx.doi.org/10.22215/cmcrp/2020.1.

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This report examines the development of the media economy over the past thirty-five years. Since beginning this project a decade ago, we have focused on analyzing a comprehensive as possible selection of the biggest telecoms, Internet and media industries (based on revenue) in Canada, including: mobile wireless and wireline telecoms; Internet access; cable, satellite & IPTV; broadcast television, specialty and pay television services as well as Internet-based video subscription and download services; radio; newspapers; magazines; music; Internet advertising; social media; operating systems; browsers, etc.
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Nucera, Diana J., i Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, luty 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, luty 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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