scholarly journals The regional North Indian popular music industry in 2014: from cassette culture to cyberculture

Popular Music ◽  
2014 ◽  
Vol 33 (3) ◽  
pp. 389-412 ◽  
Author(s):  
Peter Manuel
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
North India ◽  
Commercial Music ◽  
Music Production ◽  
Music Scenes ◽  
Current State ◽  
Technological Developments ◽  
Regional Music ◽  
Popular Music Industry

AbstractThis article explores the current state of the regional vernacular popular music industry in North India, assessing the changes that have occurred since around 2000 with the advent of digital technologies, including DVD format, and especially the Internet, cellphones and ‘pen-drives’. It provides a cursory overview of the regional music scene as a whole, and then focuses, as a case study, on a particular genre, namely the languriya songs of the Braj region, south of Delhi. It discusses how commercial music production is adapting, or failing to adapt, to recent technological developments, and it notes the vigorous and persistent flowering of regional music scenes such as that in the Braj region.

The Jewish Population of Tennessee

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Jewish Population ◽  
Music Industry ◽  
Major Power ◽  
Sheet Music ◽  
Early Music ◽  
Music Publishers ◽  
Popular Music Industry

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

The Tracker Producer and Top-Liner Collaborative Music Production Project (Advanced)

2020 ◽  
pp. 275-282
Author(s):  
Brendan Anthony
Keyword(s):  
Popular Music ◽  
Student Learning ◽  
Music Industry ◽  
Online Communication ◽  
Student Interaction ◽  
Modern Music ◽  
Face To Face ◽  
Assessment Item ◽  
Music Production ◽  
Written Assessment

This project engages students with the collaborative realities of modern popular music production via an amalgamation of the music programmer, producer, and songwriter roles. Students engage in face-to-face and remote/online communication, composition, and production to manifest an original popular music output that is generated primarily within the DAW. Student learning is encapsulated within the autonomous interaction and workflows associated with the task, and reflected upon within a journal that informs a written assessment item. This activity is designed as a profession-based engagement that bridges student interaction to the realities of the modern music industry. This is intended to promote notions of professional ability within students upon completion.

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