Analogue or Digital Recording

2019 ◽  
pp. 167-186
Author(s):  
Peter Townsend
Keyword(s):  
Music Industry ◽  
Digital Recording ◽  
Future Scenarios ◽  
Pop Music ◽  
Financial Returns ◽  
Original Performance ◽  
Mass Market ◽  
Personal Preference ◽  
Considerable Concern

Recordings have progressed from wax to shellac, vinyl, tapes, and CDs with recent variants of downloads or streaming. In every case the sound and type of distortion are different. Nevertheless, they all have impact on every type of music and the quality of reproduction with different challenges for each genre. This chapter details many examples. There is no ideal answer because all systems produce music that is distorted from the original performance. It is a matter of personal preference as to which is favoured. Of considerable concern to the music industry—and to audiences interested in listening to classical or jazz—is the trend of the mass market pop music to be heard via streaming. This produces very poor financial returns for the industry, and to most performers. A discussion of future scenarios is timely and is included in this overview.

scholarly journals From roadman to royalties: Inter-representational value and the hypercapitalist impulses of grime

2021 ◽  
pp. 174165902110243
Author(s):  
Orlando Woods
Keyword(s):  
Digital Media ◽  
Music Industry ◽  
Music Videos ◽  
Digital Recording ◽  
Commercial Success ◽  
Production And Distribution ◽  
Ubiquitous Access ◽  
Rap Artists

This paper explores how digital media can cause the representational value of rap artists to be transformed. Ubiquitous access to digital recording, production and distribution technologies grants rappers an unprecedented degree of representational autonomy, meaning they are able to integrate the street aesthetic into their lyrics and music videos, and thus create content that offers a more authentic representation of their (past) lives. Sidestepping the mainstream music industry, the digital enables these integrations and bolsters the hypercapitalist impulses of content creators. I illustrate these ideas through a case study of grime artist, Bugzy Malone, who uses his music to narrate his evolution from a life of criminality (selling drugs on the street; a ‘roadman’), to one in which his representational value is recognised by commercial brands who want to partner with him because of his street credibility (collecting ‘royalties’). Bugzy Malone’s commercial success is not predicated on a departure from his criminal past, but the deliberate foregrounding of it as a marker of authenticity. The representational autonomy provided by digital media can therefore enable artists to maximise the affective cachet of the once-criminal self.

Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry

Popular Music ◽  
1990 ◽  
Vol 9 (1) ◽  
pp. 61-77 ◽  
Author(s):  
Ubonrat Siriyuvasak
Keyword(s):  
Young People ◽  
Middle Class ◽  
Music Industry ◽  
Country Music ◽  
Copyright Law ◽  
Pop Music ◽  
The Past ◽  
Previous Generation ◽  
Indigenous Music ◽  
The People

Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation who grew up with western pop and rock. Young people in the countryside have begun to acquire a taste for the same music as well as enjoy a wider range of Pleng Luktoong, the country music with which they identify. How did this change which has resulted in the creation of a new pleasure industry come about? And what are some of the consequences of this transformation.

scholarly journals МЕТОД ВРЕДНОВАЊА И ОЦЕЊИВАЊА ТУРИСТИЧКОГ ДОГАЂАЈА: СТУДИЈА СЛУЧАЈА ФЕСТИВАЛА ЗАБАВНЕ МУЗИКЕ У ВРЊАЧКОЈ БАЊИ

TEME ◽  
2020 ◽  
pp. 475
Author(s):  
Marija Lakićević ◽  
Marija Kostić ◽  
Snežana Milićević
Keyword(s):  
Primary Data ◽  
Survey Method ◽  
Pop Music ◽  
Tourist Destination ◽  
Research Results ◽  
The Given

The focus of the research presented in the paper is the method for evaluating and assessing tourism events and its applicability which is illustrated with the visitors’ assessment of the Festival of pop music in Vrnjačka Banja (the Festival). The primary data collected for the purpose of the Festival evaluation were gathered by survey method on a sample of 200 respondents, who were classified into two groups, locals and other visitors, and asked to assess the given criteria. The paper aims at using evaluation for improving the Festival development with the ultimate goal of improving the quality of the very event, which would influence an increase in the number of visitors to the Festival, i.e. tourist destination. The research results confirm the employed method to be useful for the evaluation of tourism events.

Stevenson’s Careful Observances

2007 ◽  
Author(s):  
Stephen Arata
Keyword(s):  
Robert Louis Stevenson ◽  
The Novel ◽  
Mass Market ◽  
Literary Traditions ◽  
The Many

Abstract In his own time, Robert Louis Stevenson was admired as a careful technician of language, a stylist to be put in the company of de Quincey or Pater. In our time, he is known primarily as the author of potboiling plot-driven Gothic tales and adventure yarns. Stevenson himself saw no contradiction in pursuing what Lionel Johnson called his “stylistic nicety and exactitude” in fiction aimed at the mass market, but critics both then and now have largely sidestepped the question of how to reconcile these twin allegiances. In this essay I read The Wrecker (1892), arguably the most densely plotted of Stevenson’s novels, as an extended meditation on the historicity of words. The novel continually calls attention to the “refractive” quality of certain keywords around which the story is structured. At the same time, The Wrecker is concerned with the dynamics of narrativity. It is concerned not just with the procedures by which fictional events are translated into intelligible story, but also with the many ways in which narratives are generated through collaboration: between writers and the literary traditions they work in, between writers and words in their historicity, between writers and their readers—real, imagined, and unforeseen.

Music, Borders and Nationhood in Algeria

Algeria ◽  
2017 ◽  
Author(s):  
Tony Langlois
Keyword(s):  
Music Industry ◽  
Regional Identity ◽  
Local Form ◽  
Pop Music ◽  
The Core ◽  
Musical Practices ◽  
Western Algeria ◽  
Eastern Morocco ◽  
Musical Genres

This chapter looks at the role of musical genres in the borderland between Oran in Western Algeria and Oujda in Eastern Morocco – in many ways a single cultural and economic zone that is distinct from the core of each of their respective nations. Once this had been the boundary of the Ottoman Empire, but at other times a refuge for political dissidents from either side in their many anti-colonial struggles. Today the cities are economically linked by smuggling and culturally by language, common tradition and strong musical connections – the raï pop music industry is strong on both sides of the border, but as important is the local form of ‘classical’ Andalous music tarab el gharnati and Berber ‘folk’ genres. Music itself marks boundaries of taste, heritage and allegiance, and these often have a tangential relationship to those demarcated by nationalist discourses. The chapter considers the ways in which musical practices preserve a sense of regional identity and allegiance despite the formal closure of the border in 1994. It looks at the economic and cultural consequences of this relationship and at the efforts of the Algerian government to maintain formal boundaries and address the broader context of cross-border cultural flow, not only with Morocco, but, increasingly, the wider mediated world.

From Live Music to Electronic Offerings

2019 ◽  
pp. 151-166
Author(s):  
Peter Townsend
Keyword(s):  
Pop Music ◽  
Original Performance ◽  
Sound Processing ◽  
Live Music ◽  
Performance Errors ◽  
P Distribution ◽  
The Way ◽  
A Performance

Distribution of music via recordings and broadcasts has been a lively activity for well over a century. The value for music is immense, but this is a symbiotic process, where the musical demands spawned the invention of electronic amplifiers, microphones, speakers, and onward to all modern electronics. The original aim was to make a faithful recording of a performance. In reality, this is impossible because the conditions for listening are always different from the original performance. The musical data and reproduction are modified by every aspect of the electronics, and the way in which sound engineers and marketing companies handle the music. There may be advantages in that performance errors can be corrected, balance between instruments adjusted, or the pop music autotune which corrects the pitch. This chapter considers many aspects of current and future sound processing.

Nordic Modernity and the Structure of the Musical Landscape

2017 ◽  
Author(s):  
Fabian Holt
Keyword(s):  
Mass Media ◽  
Popular Music ◽  
Cultural Geography ◽  
Structural Changes ◽  
Sociological Theory ◽  
Music Industry ◽  
Pop Music ◽  
Musical Style ◽  
Global Modernity

This chapter outlines macro structural changes in the Nordic music landscape, drawing from sociological theory of modernity. The chapter identifies popular music in wider tensions in Nordic modernity, particularly in relation to shifting hegemonic cultures to uncover the underlying dynamics of tensions between shifting mainstream formations and their alternatives. Following this logic, musical style and taste involve positionings in relation to issues of capitalism, nationalism, and mass media. The chapter analyzes changes in the region’s music landscape within the region’s evolving modernity, particularly in the transition from a national to a more global modernity. This is illustrated by the declining status of Stockholm’s Anglo pop music industry as the region’s center into a more decentralized and networked transnational cultural geography.

Buck Owens, country music, and the struggle for discursive control

Popular Music ◽  
1990 ◽  
Vol 9 (3) ◽  
pp. 275-290 ◽  
Author(s):  
Mark Fenster
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Country Music ◽  
Pop Music ◽  
Musical Style ◽  
Studio Musicians ◽  
Music Publishers ◽  
Music Genre ◽  
Recording Studios

In the early- and mid-1960s, as mainstream popular music began to reach and exploit the growing youth market, the country music genre was going through a number of important transformations (see Malone 1985; Hemphill 1970). During this period the country music industry, including record companies, recording studios, managing and booking agents, music publishers and musicians, was becoming more fully consolidated in Nashville. In addition, a different kind of dominant sound was beginning to coalesce, based on a more ‘uptown’ feel and intended for a more cosmopolitan audience accustomed to mainstream, adult pop music. The beat and whine of the honky-tonk song, as epitomised by the rural twang in the music of Hank Williams, Lefty Frizzell and Webb Pierce, was being replaced as the dominant country music sound by the smooth and urbane ballad styles of Eddy Arnold, Jim Reeves and Patsy Cline. This shift was both caused by and helped to foster the development of a steady set of studio musicians who would appear on thousands of country recordings per year. The musical style that coalesced in Nashville studios through the regular collaboration of these musicians and the record label producers who loosely arranged them became known as the ‘Nashville Sound’, a marketable and identifiable name for a particular set of musical conventions. This sound, nearly as similar to Rosemary Clooney as it was to Hank Williams, called into question the generic boundaries between ‘country’ music and mainstream ‘pop’ music.

Demand for cosmetology procedures in accordance with psychological aspects of personality

2019 ◽  
Vol 4 (2) ◽  
pp. 11-26
Author(s):  
Екатерина Задионченко ◽  
Ekaterina Zadionchenko ◽  
Полина Казакова ◽  
Polina Kazakova
Keyword(s):  
Subjective Evaluation ◽  
Mass Market ◽  
Social Trends ◽  
Physiological Processes ◽  
Anonymous Questionnaire ◽  
Psychological Behavior ◽  
Wide Range ◽  
Important Quality ◽  
High Motivation

An increased number of cosmetic institutes and cosmetologists as well as a wide range of service in this field is explained by natural physiological processes in our body, whichsteadily lead to decline of its functions, i.e. aging. Fashion for bright, young and successful look makes a great contribution to psychological behavior of a modern woman making her conform to social trends. The presence of various skin diseasesresulting from pathological aspects, disruption of hormonal status, bad ecology, and stress entails early appearance of aesthetic drawbacks that makes a person call upon specialists of aesthetic and cosmetology fields, or even dermatologists, in some severe cases. We were interested people of what age and with what problems address cosmetologists. The object of our research was men and women older than 18, dissatisfied with their appearance or having some skin problems. We did not take into account people who visit cosmetologists on instructions of their parents (average age of such patients is 12±1,8 years old). Anonymous questionnaire was held among 163 people, among whom there were 37 men (average age is 28±1,9 years old) and 125 women (average age is 33±1,7 years old). All the respondents were asked to answer the questions of a prepared questionnaire (pic.1; pic.2): about multiplicity of visits to a cosmetologist, about the reasons of visiting a cosmetologist, types of cosmetology service, and to evaluate (subjectively) the efficiency of mass-market cosmetics and professional cosmetics, and to point out the qualities that a cosmetologist should possess. By analyzing the obtained data we learnt that men (75,3%) almost do not visit a cosmetologist, but women vice versa visit a cosmetologists on a regular basis (70,9%). However, 22,1% of women carry out procedures more often than 1-2 times a month, and the others (6,6%) – 1-2 times a week. It happened that the most popular procedure is depilation (34,4%). A facial (21,6%) and massage (21,6%) are less in demand.It was revealed that women almost equally use mass-market cosmetics and professional cosmetics while men (85%) do not differentiate between these them and do not use any of them. According to a subjective evaluation, in 46,4% of the cases the use of professional cosmetics was more popular than cosmetics made of simple home ingredients that was bought in ordinary shops. 93,1% of respondents pointed out that the most important quality of a cosmetologist is medical education. Despite high motivation of women to visit a cosmetologist, according to the questionnaire, high prices of procedures limits the quantity of visits, 34,2% of respondents told this.

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