How the Central Sydney independent musicians use pre-established ‘online DIY’ to sustain their networking during the COVID-19 pandemic

Author(s):  
Shams Bin Quader
2009 ◽  
Vol 30 (2) ◽  
pp. 104-121
Author(s):  
Tao Gao ◽  
Brittanie Delava ◽  
Myke Doyle ◽  
Matt Shingler ◽  
Chad Stearns

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Marko S. Hermawan ◽  
Bastian Abiyusuf

Purpose This paper aims to examine Indonesian independent musicians' (indie) adaptation to the environmental business model. The research on institutional entrepreneurship (IE) has been used in organizational studies, including the music profession. However, the music industry's information and technology advancement has not been scrutinized in a less developed country (LDC) context. Design/methodology/approach A qualitative approach is used to conduct semi-structured interviews with 14 independent music professionals and enthusiasts. The interview result was three stages of coding, including open, axial and selective, as well as generating appropriate themes. Findings The results summarize entrepreneurial behavior, socio-economy and technology factors. The existing literature supports these results, though new perspectives are only identified in the LDC context. Internal factors drive IE, while socio-economy, including music literacy, education and legal issues, influence its sub-setting. On the other hand, technology positively or negatively impacts IE based on individual utilization. Research limitations/implications Despite the massive piracy and copyright issues, independent musicians require creativity and innovation beyond product creation. Weak and unclear regulations in Indonesia prevent musicians from revealing their identity and publishing their artwork, preventing or obstructing them from their goals. Practical implications This paper illustrates the urgency to implement copyright regulations for musicians in Indonesia, which are insufficiently enforced by law enforcement. Such conditions prevents musicians from revealing their identity and publishing their artwork. Social implications This paper addresses the extent to which a community such as independent musician, struggles to find its identity toward the changing of its business model. By mapping the factors associated with an independent musician, the paper suggests that this community has strategic economic potential as a creative entity. Originality/value This paper examines the music industry in less-developed nations by contextualizing their institutions using the IE framework. It contributes to identifying the environmental factors influencing independent institutional musicians. Internal and external factors significantly contribute to identifying Indonesia's independent musician setting through IE.


2017 ◽  
Vol 20 (5) ◽  
pp. 1973-1993 ◽  
Author(s):  
Jo Haynes ◽  
Lee Marshall

While mainstream accounts of the impact of internet technologies on the music industry have emphasised the crisis of the major-dominated mainstream recording industry, a more optimistic discourse has also been promoted, emphasising the opportunities that the Internet creates for independent musicians. These same new technologies, it is argued, enable artists to reach new global audiences and engage with them in ways that can facilitate more stable, financially self-sustaining independent careers. Little research has been conducted, however, on the effect of new Internet technologies on the careers and practices of independent musicians. This article, part of a pilot project on the working experiences of independent musicians, examines how musicians signed to small labels in the South-west of England use social media in their careers and discusses their understanding of its benefits and disadvantages. It concludes that social media use is an essential tool in the arsenal of an independent musician, and does provide advantages for them, but significant disadvantages have also emerged and thus the benefits of social media for independent musicians have likely been overstated.


Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 669-684
Author(s):  
Pat O'Grady

AbstractRecent popular music and film studies have revealed the political functions of documentaries about musicians. These studies suggest that such documentaries make powerful interventions into the field of music production as they construct the value of their subjects and their work. Owing to the expense and complexity of broadcast equipment, production companies have tended to favour documentaries about artists and work considered to be popular and historically significant. Over the past 15 years, however, new technologies have allowed musicians to make documentaries themselves, which they can release at the same time as their song or album. Using the example of Gotye and his album Making Mirrors, this article argues that these developments have led to powerful and distinct interventions into debates and themes within home music production for independent musicians. It also argues that the use of this technology on social media platforms challenges the relationships between text and process.


Córima ◽  
2019 ◽  
Vol 5 (8) ◽  
pp. 1-17
Author(s):  
Cristian Daniel Torres Osuna ◽  

2005 ◽  
Vol 22 (3) ◽  
pp. 199-215 ◽  
Author(s):  
Kim Burwell

Undergraduate training represents a crucial stage of development for instrumentalists, including singers, as they begin to mature as independent musicians and learners. This paper asks how instrumental and vocal teachers in higher education approach this stage of student development. It focuses on the use of questions by teachers, as they cultivate the students' contribution to their own learning. The basis of the study is a research project in a UK University College, investigating the conduct of instrumental lessons through video evidence, interviews and questionnaires.


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