Gotowe bibliografie tematyczne / Sales in music

Gotowa bibliografia na temat „Sales in music”

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Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Sales in music"

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Koh, Byungwan, B. P. S. Murthi i Srinivasan Raghunathan. "Shifting Demand: Online Music Piracy, Physical Music Sales, and Digital Music Sales". Journal of Organizational Computing and Electronic Commerce 24, nr 4 (2.10.2014): 366–87. http://dx.doi.org/10.1080/10919392.2014.956592.

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Kretschmer, Tobias, i Christian Peukert. "Video Killed the Radio Star? Online Music Videos and Recorded Music Sales". Information Systems Research 31, nr 3 (wrzesień 2020): 776–800. http://dx.doi.org/10.1287/isre.2019.0915.

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We study how online video platforms affect the sales volume and sales distribution of recorded music. To do so, we study two events that removed and then partially restored access to online music videos for consumers in Germany. Because of a legal dispute, virtually all music videos were blocked from YouTube, which led to a decrease in record sales of about 5%–10%. When the dedicated platform Vevo entered a few years later, record sales increased again by a similar amount. This is effect can be attributed to user-generated content (fan videos and cover versions) as much as to official music videos. Record sales of newcomer artists and mainstream music benefit disproportionally. We discuss the implications for debates on the reform of compulsory licensing rules and copyright.
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North, Adrian C., Amanda E. Krause, Lorraine P. Sheridan i David Ritchie. "Energy, Typicality, and Music Sales". Empirical Studies of the Arts 35, nr 2 (22.01.2017): 214–29. http://dx.doi.org/10.1177/0276237416688063.

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Research on musical preference has been dominated by two approaches emphasizing, respectively, the arousal-evoking qualities of a piece or its typicality of the individual’s overall musical experience. There is a dearth of evidence concerning whether either can explain preference in conditions of high ecological validity. To address this, the present research investigated the association between sales of 143,353 pieces of music, representing all the music that has enjoyed any degree of commercial success in the United Kingdom, and measures of both the energy of each piece (as a proxy for arousal) and the extent to which each piece was typical of the corpus. The relationship concerning popularity and energy was U-shaped, which can be reconciled with earlier findings, and there was a positive relationship between the typicality of the pieces and the amount of time they featured on sales charts. The population-level popularity of an entire corpus of music across several decades can be predicted by existing aesthetic theories, albeit with modifications to account for market conditions.
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Mitchell, David M., C. Patrick Scott i Keneth H. Brown. "Did the RIAA’s Prosecution of Music Piracy Impact Music Sales?" Atlantic Economic Journal 46, nr 1 (30.01.2018): 59–71. http://dx.doi.org/10.1007/s11293-017-9567-1.

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Koster, Alexis. "The Emerging Music Business Model: Back to the Future?" Journal of Business Case Studies (JBCS) 4, nr 10 (5.07.2011): 17. http://dx.doi.org/10.19030/jbcs.v4i10.4812.

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For many years, the music industry has consisted of two main components: the concert industry and the recording music industry. Throughout the 80s and 90s, thanks mostly to CD sales, the recording music industry was dominant in terms of revenue and visibility. It reached record US sales in 1999 and 2000 (over $14.3 billion in 2000, $13.2 billion of which for CD albums), and between the years 2000 and 2007, the industry has seen a decline of 44% in its sales of physical records. Reluctantly, the recording industry has joined the digital world by signing agreements with a variety of organizations providing music downloading, in particular with Apple and its iTunes downloading service. It earned 1.4 billion dollars from music downloading in 2007 (with another billion from other digital sales such a cellular phone ringtones). Obviously, digital sales have fallen short of compensating the industry for its losses of physical record sales. The concert industry is re-emerging as the potential dominant component of the music industry. In contrast to the recording industry, its revenues have not been affected by illegal Internet downloading. On the contrary, it is making use of the Internet to increase them. Recording artists are taking advantage of the weakening of the recording labels and of the opportunities offered by the Internet to loosen their dependence on the labels. Finally, the once well-defined separation between the concert industry and the recording industry may be disappearing: concert organizers are getting into the recording business and majors are getting into the concert business.
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Sholeha, Dhika Amalia, i Muhammad Zaini. "ANALISA KESUKSESAN OTA (ONLINE TRAVEL AGENT) TIKET.COM MENGGUNAKAN MODEL DELONE AND MCLEAN (Studi pada Pembelian Tiket Konser K-Pop di Indonesia)". INTECOMS: Journal of Information Technology and Computer Science 7, nr 3 (16.05.2024): 573–83. http://dx.doi.org/10.31539/intecoms.v7i3.10018.

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The growth of Korean Wave in Indonesia has been very significant since the beginning of the pandemic in 2020 and the interest in K-Pop music is one proof of the phenomenon of Korean Wave in Indonesia. The huge interest in K-Pop music has attracted the attention of promoters to hold K-Pop music concerts in Indonesia. One of the elements in holding a music concert is ticket sales, and promoters will choose to prioritize online ticket sales to facilitate sales. One of the online ticket sales platforms for K-pop music concerts in Indonesia is tiket.com. As an online ticket sales platform, tiket.com must consider the quality of their system. This study aims to determine the factors that influence the success of the tiket.com platform using the DeLone and McLean Model theory (2003). The research method used is quantitative. The sampling technique used is nonprobability sampling technique with a sample of 100 respondents from tiket.com platform users who have transacted K-pop concert tickets. Data analysis was carried out using the PLS-SEM approach with the SmartPLS tool. The results of this study indicate that there is a significant effect on system quality, information quality and service quality on user satisfaction and a significant effect of user satisfaction on net benefits.
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Dewan, Sanjeev, i Jui Ramaprasad. "Social Media, Traditional Media, and Music Sales". MIS Quarterly 38, nr 1 (1.01.2014): 101–21. http://dx.doi.org/10.25300/misq/2014/38.1.05.

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Bălan, Oana-Mihaela. "A Synoptic View of Music Sales Management". Studia Universitatis Babeş-Bolyai Musica 62, nr 2 (20.12.2017): 17–26. http://dx.doi.org/10.24193/subbmusica.2017.2.01.

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Asai, Sumiko. "Sales Patterns of Hit Music in Japan". Journal of Media Economics 22, nr 2 (8.06.2009): 81–101. http://dx.doi.org/10.1080/08997760902900106.

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Hendricks, Ken, i Alan Sorensen. "Information and the Skewness of Music Sales". Journal of Political Economy 117, nr 2 (kwiecień 2009): 324–69. http://dx.doi.org/10.1086/599283.

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Rozprawy doktorskie na temat "Sales in music"

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Henning, Emelie, i Martin Palmcrantz. "Tacongruity : Impact of congruent music on sales of tex-mex products in a Swedish grocery store". Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-176778.

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This explanatory study investigated the possible causal relationship between congruent background music and consumer behavior. We studied empirically whether sales of tex-mex products was affected when congruent music was played in conjunction to the tex-mex section of a Swedish grocery store. A field experiment was conducted where stereotypical Mexican music was played in conjunction to the tex-mex section. Previous experiments have tested, and confirmed, the notion that music stereotypically related to a country can prime related knowledge and the selection of certain products if the products fit with that knowledge. Earlier research has also been able to support the notion that consumers tend to spend more money and time in store when congruent music is played. Mexican, Pop, and no music was played during three weekends and sales data on tex-mex products was gathered and analyzed. The results indicate that fewer consumers purchased tex-mex products when Mexican music was played, but those who did spent more money and/or purchased a slightly larger number of tex-mex products. However, the small differences between the music conditions were not statistically significant. The potential reasons for this is discussed in the analysis and lastly, implications for future research as well as managerial implications are discussed.
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Michel, Norbert. "A Theoretical and Empirical Analysis of the Impact of the Digital Age on the Music Industry". ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/64.

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We present an in-depth analysis of the music industry and use our findings to judge the practical assumptions and design of an original theoretical model. The model is in three stages, where, in a Hotelling-type framework, the last agents to act are consumers who choose between copying, purchasing, or staying out of the market for music. Prior to the last stage, the record label chooses its profit maximizing price and, in the first stage, we incorporate the artist-label bargaining agreement into a theoretical framework using the Nash cooperative bargaining solution. The current structure of the music industry is a combination of the oligopoly and monopolistic competition models, consisting of five major labels and many independents. Despite major labels' advantage in large-scale distribution, we argue that digital downloading has the potential to radically alter the current industry structure, and that artists would be unable to sell their music in such an environment without enforceable copyrights. Our model assumes that the most important determinants of CD and copy demand are consumers' tastes and transaction costs of copying, CD prices, and the substitutability between CDs and copies. We hypothesize that Internet file-sharing has been undertaken by both consumers who were previously not in the market, and by those who decided to copy rather than buy. In regard to firm strategy, the model suggests that labels could increase the sales of CDs by trying to increase consumers' taste for music, perhaps by reducing the price of CDs. Our model also predicts a positive relationship between artists' optimal share of album sales and their bargaining power, as well as a negative relationship between artists' optimal share and their risk aversion. Since lowering the reliance on labels for distribution would increase artists' bargaining power, our model predicts that artists' share of profits should increase as legitimate digital distribution gains prominence. We also provide empirical testing of our hypothesis that some music file-sharing has been done by consumers frequently not in the market. After examining consumers' expenditures and aggregate industry sales, we are unable to reject our hypothesis
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Beránek, Tadeáš. "Specifika amerického maloobchodního trhu s hudbou". Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-197243.

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This diploma thesis deals with complex issue of American recording industry and its specifics in retail industry. The thesis is composed of three main parts which are being linked with its theme, and they complement one another. The first part is a theoretical framework of American recording industry. The chapters pursue basic terminology of music market, analysis of business environment in the USA and comparison of the recorded music to other entertainment markets. The second part engages in history of the recorded music, yet it specially concentrates on market's outputs, i.e. volume of sold recordings and corresponding revenues for the period 1989-2012. Eventually, the final part thoroughly studies music business, its subjects and principles. Chapters describe and analyze the profile of American music consumer, the theory of music copyright and financial aspects of recording as well as music publishing.
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Štencel, David. "Analýza prodeje hudby prostřednictvím Internetu". Master's thesis, Vysoká škola ekonomická v Praze, 2008. http://www.nusl.cz/ntk/nusl-15947.

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The aim of this thesis is to create a comprehensive view of current developments in the music market, to explore the position of digital distribution in comparison to the distribution in the high street shops and to analyze current trends in the distribution of digital music. At the same time, this thesis could be interesting for readers because, today there is no current publication in Czech, in which the subject would be so comprehensively addressed. The goal of the first chapter is to briefly map the distribution of intangible goods and services over the Internet. The second chapter aims to analyze the distribution of digital music, to compare its success with distribution in the high street shops and examine current trends and possible future developments. The aim of the final chapter is to examine the services of the most important digital music distributors in the world as well the Czech market and also point out weaknesses and opportunities for improving customer service.
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Grobert, Julien. "L'effet de la congruence avec l'image d'une entreprise de deux facteurs atmosphériques (parfum et musique), sur la satisfaction et les réponses comportementales des individus : application au secteur bancaire". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENG001/document.

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Alors que l'univers bancaire va connaître ces prochaines années, de profonds changements liés à une restructuration de son modèle, il nous semble pertinent de comprendre si le marketing sensoriel peut créer de la valeur ajoutée pour le client et les entreprises dans ce contexte. Le fait de diffuser un parfum et/ou une musique doit néanmoins faire l'objet de certaines recommandations. En effet, un parfum, ou une musique, fortement congruent avec l'image d'une entreprise aura-t'il des effets différents (et plus ou moins forts) qu'un parfum (ou qu'une musique) faiblement congruent avec l'image de l'entreprise, sur la satisfaction et les réponses comportementales des individus ? Cette thèse a pour objectif d'étudier cette thématique. Deux phases de recherches ont été mises en oeuvre. Tout d'abord, une phase qualitative qui a permis de faire ressortir les marqueurs de l'identité de la marque, permettant la création de deux types de parfums (fortement congruent vs. faiblement congruent) et de deux types de musiques (fortement congruente vs. faiblement congruente). La deuxième phase, quantitative a été réalisée in situ. Les résultats montrent qu'une diffusion de parfum faiblement congruent avec l'image de l'entreprise conduit à des réponses plus favorables de l'individu sur la perception des éléments physiques et in fine sur sa satisfaction et ses réponses comportementales. A contrario, une diffusion de musique produit globalement des effets négatifs
While the bank sector will be the center of huge changes, during next years, due to a restructuration of its model. It seems relevant to understand whether the sensory marketing can create added value for the customer and companies in this context A scent and/or a music diffusion must nevertheless be the object of recommandations. Indeed, will a scent or/a music with high level of congruency with brand image have differents effects(and stronger or lower) than a scent (or a music) with a low level of congruency on the satisfaction and behavioral responses of consumer ? This doctoral research aims to investigate this issue. Two diffents stages have been realised. First of all, a qualitative study allowed to show brand's identity markers allowing the creation of two types of scents (high congruency vs.low congruency) and two types of musics (high congruency vs. low congruency). The second stage, quantitative, has been realised in situ. Results showed that diffusion of a perfume with low congruency with the brand image leads to more favorable responses of physical elements and in fine on the satisfaction and on the behavioral responses. Conversely,a music's diffusion overall leads to negatives effects
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Labská, Julie. "Vliv technologií na hudební průmysl z hlediska distribuce hudby". Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162616.

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Diploma thesis deals with the influence of technologies on the music industry in terms of music distribution. In the first part the two major issues are discussed for deeper understanding of the topic. The change of perception and creation of music over certain period of time and the development of technologies related to music in historical context. Following chapters are mainly focused on current technologies, digitalization and the internet, and global turnovers which have had impact on distribution of music as a consequence of technological spread. In addition to this, the issue of legal aspects related to sharing and downloading music via internet is described. The strategies have been created and adopted by the music industry representatives as a response to the situation of increasing intensity of infringing copyright law by unauthorized sharing and decreasing number of physical media sales. The goal of these strategies has been aimed at support expansion of online music services and raising of public copyright awareness. The work analyses and assesses above mentioned strategies and estimates the possible future development of music industry. Assumptions are created on the basis of historical background and current situation. The partial objective is to evaluate whether the sales of physical media have future as a main source of income for music industry or not.
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Mannis, Jose Augusto 1958. "Design de difusores sonoros a partir de processo serial : adequação acustica de pequenas salas a performance e audição musical". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284649.

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Orientadores: Jonatas Manzolli, Stelamaris Rolla Bertoli
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T10:18:44Z (GMT). No. of bitstreams: 1 Mannis_JoseAugusto_D.pdf: 7332479 bytes, checksum: c694f419a7ad3630d709d9c453b80cb7 (MD5) Previous issue date: 2008
Resumo: Este trabalho é dirigido a soluções de conforto acústico para escuta e performance musical, considerando sobretudo aspectos psicoacústicos da escuta subjetiva de músicos e especialistas nesta área. A partir de critérios de avaliação acústica de salas para música em Beranek e princípios de design e funcionamento dos difusores de Schroeder, a pesquisa apresenta soluções originais de concepção e design de difusores a partir da técnica de composição musical com 12 sons de Schoenberg, e pode ser qualificada como inovação tecnológica. A escuta técnica e de apreciação musicais são ao mesmo tempo base, guia e eixo deste trabalho, assim como a melhoria de condições permitindo escutas de boa qualidade é seu objetivo. Perguntas como: ¿O que acontece no som que é importante para os músicos em performance?¿, ¿Como e o que o músico ouve?¿ e ¿O que é importante para a escuta musical?¿ estão profundamente presentes tanto neste trabalho quanto nos trabalhos de Beranek que, por essa razão, foi, teoricamente, um dos pontos de partida adotados. A pesquisa aqui realizada, bem como este trabalho, situa-se na confluência de três grandes áreas do conhecimento: Artes e Humanidades (Música, Sonologia, Arquitetura), Ciência (Física: Acústica) e Tecnologia (Engenharia de áudio, Acústica aplicada, com alguns recursos de Engenharia Civil e Engenharia Mecânica). Na introdução é destacada a importância do som e do silêncio tanto na música quanto na acústica. Como fundamentação teórica há uma exposição ampla de princípios de acústica relacionados, tipologia das simetrias, elementos da técnica de composição musical serial, aspectos desejáveis e indesejáveis em auditórios, parâmetros de avaliação acústica de salas, princípios e funcionamento de difusores acústicos. São propostas três soluções para novos tipos de difusores, bem como apresentados dois projetos detalhados de adequação acústica de salas para música onde são aplicados, com medição de resultados em um dos casos. É apresentada e discutida uma simulação de desempenho das superfícies seriais através de análise modal, verificando a qualidade e desempenho esperados dos difusores concebidos
Abstract: This study is aimed at acoustic comfort solutions for music listening and performance by mainly considering psychoacoustic aspects related to subjective listening of musicians and specialists concerned with this field of knowledge. Starting from acoustic evaluation criteria of music rooms (opera houses and concert halls) in Beranek and principles of design and operation of Schroeder Diffusers, this piece of research presents original solutions and conception as well as design solutions for diffusers by taking Schoenberg¿s 12- sounds musical composition technique as a starting point. This research can be qualified as technological innovation. Simultaneously, both technical listening and music appreciation listening stand for a basis, a guide, and a main point for this work, as well as the improving conditions that allow good quality listenings makes up its objective. Questions such as: ¿What is important in the sound for performing musicians?¿, ¿How and what does the musician listen to?¿ and ¿What is important for music listening?¿ are deeply present either in this research or in Beranek¿s works, which therefore have been theoretically deemed as one of the starting points in use. The research undertaken ¿ as well as this work ¿ lays within the confluence of three major fields of knowledge: Arts and Humanities (Music, Sonology, Architecture), Science (Physics: Acoustics), and Technology (Audio Engineering, Applied Acoustics, in addition to a few resources from Civil Engineering and Mechanical Engineering). The introduction emphasizes the importance of sound and silence either in music or acoustics. The theoretical basis include an extensive exposition of related acoustic principles, symmetry types, elements of serial musical composition technique, desirable and undesirable aspects in auditoriums, acoustic evaluation parameters of rooms, principles and operation of acoustic diffusers. Three solutions are proposed for new types of diffusers. Two detailed projects of acoustic appropriateness are presented for music rooms and concert halls, where they are applied and, in one of the cases, results therefrom are measured. A simulation of the performance obtained in serial surfaces through modal analysis by checking both quality and performance expected from the conceived diffusers is presented and discussed.
Doutorado
Doutor em Música
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Parks, Regina Anne Tse Kenneth. "The saxophone music of Juan Orrego-Salas a biography and performer's guide for four works /". Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/417.

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Parks, Regina Anne. "The saxophone music of Juan Orrego-Salas: a biography and performer's guide for four works". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/417.

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Juan Orrego-Salas has made a significant contribution to the world of Latin American music. One of the most well known composers from Chile, he has taught around the world and founded the Latin American Music Center at Indiana University. While at Indiana, Orrego-Salas began to write for the saxophone. To date, he has composed four chamber works for saxophone: Quattro Liriche Brevi, Opus 61 for alto saxophone and piano, Partita, Opus 100 for alto saxophone and piano trio, Secuencias, Opus 120 for alto saxophone and percussion, and Movimiento Concertante, Opus 123 for alto saxophone and string quartet. Orrego-Salas also included the alto saxophone in his scherzo for orchestra, Riley's Merriment, Opus 94. After a current biography of Juan Orrego-Salas, this document provides a history and performer's analysis of each of the chamber works including the discussion of any errata, where applicable. Included in the appendices are documents that performers or teachers interested in Orrego-Salas' works might find useful. These include a letter written by Orrego-Salas to the master class participants of Eugene Rousseau titled, "The Saxophone and Me" and key articles found on the Internet about Orrego-Salas during the research of this document. Perhaps a source for future research will be the saxophone excerpt from Riley's Merriment, Opus 94 or the list of Chilean saxophone music compiled by Roger Greenberg.
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Carboni, Márcio Henrique de Sousa. "Qualidade acústica em salas de ensino de música". reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/28854.

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Resumo: Este trabalho busca revelar as preferências de professores de música para salas voltadas para o ensino e prática de música, principalmente no que diz respeito ao tempo de reverberação. Para alcançá-las várias etapas devem ser seguidas. Sabe-se que o fato de não haver um consenso sobre o assunto entre professores se dá principalmente por falta de conhecimento de um vocabulário descritivo das salas e sua acústica. Sendo assim, inicialmente é necessário estabelecer este vocabulário e tornálo familiar a estes atores. Neste trabalho foram explicados conceitos como: reverberação, calor, brilho, intimismo, timbre e coloração, clareza. Esses foram apresentados a uma amostra de professores de música visando sensibilizá-los, através de palestra/vídeo que utilizou um sobrevôo sobre a história da música como apoio para se falar sobre acústica. Essa capacitação foi feita para que, com um embasamento técnico fixado, eles pudessem fazer seus julgamentos ao responderem a um questionário. Essa survey foi aplicada a 30 professores de música de diversas localidades do país. Apesar de não ser possível fazer inferências estatísticas com uma amostra reduzida, foi possível ter pistas sobre as preferências dos professores fazendo uma análise qualitativa das respostas. Através de questões abertas desse questionário levantou-se um assunto inicialmente não considerado para este estudo que veio a fazer com que o autor repensasse as condições prioritárias para uma boa sala de ensino e prática musical considerando o contexto brasileiro: a maior preocupação com o isolamento acústico, talvez tão importante quanto a definição do tempo de reverberação mais adequado para estas salas.
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Książki na temat "Sales in music"

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Zimmerman, Lee. Music promotion. [Boca Raton, Fla.]: R. Pachter, 1989.

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Masubuchi, Toshiyuki. Yokubō no ongaku: "shumi" no sangyōka purosesu. Wyd. 8. Tōkyō: Hōsei Daigaku Shuppankyoku, 2010.

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Lathrop, Tad. This business of music marketing & promotion. Wyd. 2. New York: Billboard, 2003.

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Lathrop, Tad. This business of music marketing and promotion. New York: Billboard Books, 1999.

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Kulle, Jürgen. Oekonomie der Musikindustrie: Eine Analyse der koerperlichen und unkoerperlichen Musikverwertung mit Hilfe von Tontraegern und Netzen. Bern: Peter Lang International Academic Publishers, 2018.

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Rob, Rafael. Piracy on the high C's: Music downloading, sales displacement, and social welfare in a sample of college students. Cambridge, MA: National Bureau of Economic Research, 2004.

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Rob, Rafael. Piracy on the high C's: Music downloading, sales displacement, and social welfare in a sample of college students. Cambridge, Mass: National Bureau of Economic Research, 2004.

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O'Connor, Stephen. The evolution of store gestalt: A study of the use of music in the creation of in store ambience and atmospherics. Dublin: University College Dublin, Graduate School of Business, 1997.

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Konsarutingu, Mitsubishi UFJ Risāchi &. Nihon no kontentsu no kaigai tenkai sokushin ni kansuru kiso chosa hokokusho. [Tokyo]: Mitsubishi UFJ Risāchi & Konsarutingu, 2011.

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Potter, Dennis. Pennies from Heaven. London: Faber and Faber, 1996.

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Części książek na temat "Sales in music"

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Hodgson, Jay ‘Jedi’. "Loudness – the sales gimmick". W Mastering in Music, 226–33. [1.] | New York : Taylor and Francis, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429276590-16.

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Tschmuck, Peter. "Recorded Music Sales and Music Licencing in Australia, 2000–2011". W Music Business and the Experience Economy, 59–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_5.

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McKenzie, Jordi. "P2P File-Sharing: How Does Music File-Sharing Affect Recorded Music Sales in Australia?" W Music Business and the Experience Economy, 79–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_6.

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Porter, Laraine. "All Singing! All Talking! All British! Musical Moments in Early British Talkies 1929 to 1932". W When Music Takes Over in Film, 95–114. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_6.

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AbstractBritish silent cinema transformed to sound in June 1929, slightly ahead of Europe and a year or so behind Hollywood whose popular Al Jolson Musicals The Jazz Singer (1927) and The Singing Fool (1928) had taken British cinemas by storm. Alfred Hitchcock’s murder story (Blackmail, Alfred Hitchcock, UK) was Britain’s first official talkie and like the majority of films that followed in its wake, contained a pivotal musical moment. This article analyses the use of song and music in early British talkies as they sought to forge a new ‘talkie film language’ by combining dialogue, music and plot. It argues that these early musical moments deployed the dramatic potential of synchronised music at pivotal moments in the plot as well as using them to delineate gender and sexuality and signalling differences in class and culture through the representation of musical tastes, styles and motifs. In some cases, music freed the performers from the tyranny of early spoken dialogue, stilted scripts and primitive microphone technology. Importantly, musical interludes also created commercial opportunities from sales of the ‘song-from-the-film’, exploiting links between early talkies and the lucrative domestic gramophone and sheet music markets.
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Zhang, Zhuoer. "Research on Music Album Sales and Commercial Economic Value: Taking Taylor Swift as Evidence". W Proceedings of the 2022 2nd International Conference on Economic Development and Business Culture (ICEDBC 2022), 3–8. Dordrecht: Atlantis Press International BV, 2022. http://dx.doi.org/10.2991/978-94-6463-036-7_2.

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"Electronic Signatures and Online Music Sales". W Music Distribution and the Internet, 183–90. Routledge, 2017. http://dx.doi.org/10.4324/9781315248530-18.

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"Whose Law Applies to Internet Music Sales?" W Music Distribution and the Internet, 197–206. Routledge, 2017. http://dx.doi.org/10.4324/9781315248530-20.

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O’Reilly, Dr Daragh, Dr Gretchen Larsen i Dr Krzysztof Kubacki. "Music as Product". W Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2261.

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n order to develop a more holistic and integrated understanding of the relationship between music and the market, and consequently of music production and consumption, it is necessary to examine the notion of music as a product. The very act of exploring the relationship between music, markets and consumption immediately frames music as a ‘product’. In the marketplace, music is ‘produced’ and ‘consumed’ rather than made and heard. But the language and practices of the market and of marketing go far beyond the labelling of music making and listening in this way. They are pervasive and, as such, mediate our everyday engagement with music, regardless of the role we play in the market. The way the quality of music is evaluated is dominated by measures of sales success: songs ‘top the charts’, artists ‘sell out’ stadiums and tours, and recording companies sign ‘the next big thing’ to contracts in the expectation of future sales. Even a particular market can be held up as measure of success: in popular music, many bands, such as the Beatles, have been deemed to be successful only after they have ‘broken America’ by reaching high positions on the US music charts.
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"Economists Examine File Sharing and Music Sales". W Industrial Organization and the Digital Economy. The MIT Press, 2006. http://dx.doi.org/10.7551/mitpress/3740.003.0005.

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"Distance Selling Regulations and Online Music and Merchandise Sales". W Music Distribution and the Internet, 125–32. Routledge, 2017. http://dx.doi.org/10.4324/9781315248530-13.

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Streszczenia konferencji na temat "Sales in music"

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Chon, Song Hui, Malcolm Slaney i Jonathan Berger. "Predicting success from music sales data". W the 1st ACM workshop. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178723.1178736.

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Husin, Nanang, i Achmad Hidayanto. "Impact of Piracy on Music Sales in Digital Music Transformation - A Systematic Literature Review". W 2018 10th International Conference on Information Technology and Electrical Engineering (ICITEE). IEEE, 2018. http://dx.doi.org/10.1109/iciteed.2018.8534868.

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Sharma, Manish, Kulwinder Singh, Pawan Kumar i Manvendra Singh. "Relationships Between Virtual Universe, Innovative Business Models, Music Sales, and Music Piracy: Conceptual Case Studies". W The Barcelona Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2435-9475.2023.10.

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Brindisi, Jerry, i Jeff Apruzzese. "Sales, Streams and Socials: The Impact of Touring on the New Music Economy". W MEIEA Summit 2023. Music and Entertainment Industry Educators Association, 2023. http://dx.doi.org/10.25101/23.12.

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Leuko, Ferenc. "The Narratives of Sales Teams". W MultiScience - XXX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2016. http://dx.doi.org/10.26649/musci.2016.141.

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Rajput, Vinay, Hemakshi Rajput i P. Padmanabhan. "Music Recommendation System Using Machine Learning". W International Research Conference on IOT, Cloud and Data Science. Switzerland: Trans Tech Publications Ltd, 2023. http://dx.doi.org/10.4028/p-80t0o0.

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Usually, people really need advice in deciding their choices. Whether it's the movie to watch on Friday night or there are some exciting new things available on e-business. In this distinctive situation, we tend to build a framework which will thus bring down new melodies to shoppers supported their previous history of listening. Now many companies today use the recommendation systems to their advantage such as flip kart and Amazon for the sale of products (e-commerce), ganna.com and music for streaming music, for the sale of clothes, for the films. It assists each business and customers as businesses get financial advantages by attracting customers and users pick up services. Nowadays, everyone uses recommender systems in various forms and they are getting better and better day by day because researchers are trying to cause them to higher and higher each day because of the sturdy competitiveness of the marketplace to provide higher and higher offerings and entice peoples. This project mainly focuses on music only for the music lovers to help them listen to songs they might love. This project allows customers to find new collections or the songs by making the lovey the list accessible for the tuning. Along these lines, the executive can assess which artist or collection would co-ordinate the client's inclinations towards the customers. For the music lovers, music is lifeline and music are a lovely part of the everyone's life because everything in this world can be related to frequency and vibrations. According to all the good things about the music and the high demand for recommendation systems in the market, we chose to do music recommendation system.
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Illés, István, Meriem Sassi, Hanna Zakiyya i Tamás Kékesi. "The Fundamental Kinetic Characteristics of Aqueous Dissolution of Chloride and Fluoride Salts from Secondary Aluminium Dross". W MultiScience - XXXIII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2019. http://dx.doi.org/10.26649/musci.2019.083.

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Nutzel, Jurgen, i Mario Kubek. "A Mobile Peer-to-Peer Application for Distributed Recommendation and Re-Sale of Music". W 2006 Second International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS'06). IEEE, 2006. http://dx.doi.org/10.1109/axmedis.2006.7.

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Raporty organizacyjne na temat "Sales in music"

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Aguiar, Luis, i Joel Waldfogel. Streaming Reaches Flood Stage: Does Spotify Stimulate or Depress Music Sales? Cambridge, MA: National Bureau of Economic Research, październik 2015. http://dx.doi.org/10.3386/w21653.

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Rob, Rafael, i Joel Waldfogel. Piracy on the High C's: Music Downloading, Sales Displacement, and Social Welfare in a Sample of College Students. Cambridge, MA: National Bureau of Economic Research, listopad 2004. http://dx.doi.org/10.3386/w10874.

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