Digital Technologies in Development of Modern Music Industry

2020 ◽  
Author(s):  
Larisa V. Sharakhina ◽  
Nikita V. Mikhailov ◽  
Ksenia D. Selyankina ◽  
Anastasia S. Semkina
Keyword(s):  
Music Industry ◽  
Digital Technologies ◽  
Modern Music

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.

Gender, Branding, and the Modern Music Industry

2013 ◽  
Vol 1 (2) ◽  
pp. 183-185
Author(s):  
Thomas M. Kitts
Keyword(s):  
Music Industry ◽  
Modern Music

Reflecting on the digit(al)isation of music

First Monday ◽  
2005 ◽  
Author(s):  
David Beer
Keyword(s):  
Future Study ◽  
Music Industry ◽  
Digital Technologies ◽  
Industry Data ◽  
Field Of Study

This paper is a collection of notes written in response to the main themes contained in Martin Kretschmer’s essay "Artists’ earnings and copyright: A review of British and German music industry data in the context of digital technologies" (2005), which was published recently in First Monday. These notes are intended to focus briefly on the exploration of these themes with the intention of generating and developing questions that may open doors for future study. The objective of this piece is not the review of Kretschmer’s essay; rather it is an attempt to probe, to examine, and to question its findings and guiding themes. These notes, therefore, are left as a set of open suggestions rather than defining statements. It is hoped that this fits with the emergent and yet to be embedded field of study to which they relate.

Artists' earnings and copyright: A review of British and German music industry data in the context of digital technologies (originally published in January 2005)

First Monday ◽  
2005 ◽  
Author(s):  
Martin Kretschmer
Keyword(s):  
Research Agenda ◽  
Music Industry ◽  
Distribution Channel ◽  
Digital Technologies ◽  
Secondary Data ◽  
Copyright Law ◽  
Industry Data ◽  
Depth Interviews

Digital technologies are often said (1) to enable a qualitatively new engagement with already existing cultural materials (for example through sampling and adaptation); and, (2) to offer a new disintermediated distribution channel to the creator. A review of secondary data on music artists’ earnings and eight in–depth interviews conducted in 2003–04 in Britain and Germany indicate that both ambitions have remained largely unfulfilled. The article discusses to what extent the structure of copyright law is to blame, and sets out a research agenda.

scholarly journals Digital Technologies and Music Digitisation: Challenges and Opportunities for the Nepalese Music Industry

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Subash Giri
Keyword(s):  
Business Model ◽  
Music Industry ◽  
Digital Technologies ◽  
Digital Music ◽  
Structured Interviews ◽  
Music Business ◽  
Challenges And Opportunities ◽  
Market Trends ◽  
Music Market ◽  
Major Medium

Abstract This paper investigates the current legitimate digital music business trends and models created by the innovation of new digital technologies and examines their pertinence in the Nepalese music industry. Further, it scrutinises neighbouring music markets and juxtaposes the Nepalese music market against their current market trends. Based on eight in-depth semi-structured interviews with executives and stakeholders of different major, medium and independent Nepalese record labels, the paper examines two questions: what is preventing Nepalese recorded music from being found digitally and accessible legally; and what are the opportunities, gaps and requirements that confront the search for a commercially viable route for the optimal digital music business model to make Nepalese music digitally and legally accessible, both locally and globally?

Improvisation and new frontiers in creative practice

2020 ◽  
pp. 1-24
Author(s):  
Raymond A. R. MacDonald ◽  
Graeme B. Wilson
Keyword(s):  
Everyday Life ◽  
Cultural Change ◽  
Performing Arts ◽  
Music Industry ◽  
Digital Technologies ◽  
Spontaneous Generation ◽  
Creative Practice ◽  
The Arts ◽  
Improvised Music ◽  
The Media

This chapter draws together recent advances across musical fields to frame improvising as an innovative and vibrant way of doing creative practice at a professional level and in everyday life. It presents examples of cross-disciplinary improvised work and festivals at the cutting edge of the performing arts. Improvised music is discussed in relation to broader social and cultural change and transformations within the media and music industry. The possibilities of new digital technologies for expanding improvising are reviewed and help set the context for the proceeding chapters. It shows how group improvisation involves the spontaneous generation of novel music, dance, or art by two or more people. It describes the groundswell of interest across the arts in improvisation with artists, festivals, and venues dedicated to pushing this creative approach beyond genre boundaries.

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