Selling the Songbook

Jazz Bubble ◽  
2018 ◽  
Author(s):  
Dale Chapman
Keyword(s):  
Corporate Strategy ◽  
Music Industry ◽  
Corporate History ◽  
Commercial Viability ◽  
History Of

Chapter 3 addresses the corporate history of Verve Records, the erstwhile independent label founded by Norman Granz and subsequently acquired by PolyGram. The revitalization of the Verve legacy under the stewardship of PolyGram A&R executive Richard Seidel, beginning in the early 1980s, provides us with an intriguing window onto corporate strategy in the music industry at the height of the neoclassical jazz “boomlet”: what began as the jazz division’s effort to take advantage of PolyGram’s strengths in the marketing of classical records and back catalog soon expanded into a more ambitious strategy of new artist development, as Seidel sought to cultivate what Verve saw as the commercial viability of the “young lions” movement.

’Garde ici et ’garde lá-bas

2017 ◽  
Author(s):  
Jared Snyder
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Native American ◽  
Music Industry ◽  
Dance Music ◽  
The Core ◽  
Early Twentieth Century ◽  
History Of

This chapter explores the history of the Creole accordion. Black Creoles in Louisiana have created their own, distinctive accordion music adapted from French, Native American, and African cultures. While Creole musicians in the early twentieth century were often hired for Cajun dances, where they played Cajun dance music, at their own gatherings they played a uniquely Creole repertoire that drew from the African American blues—a repertoire later developed by accordionists such Clifton Chenier and Boozoo Chavis. Zydeco, as this music eventually was labeled, has become a symbol of Louisiana Creole culture. It is argued that despite the pressure on modern zydeco bands to adapt to the demands of the music industry, the traditional accordion and rubboard remain the core instruments, and zydeco accordionists keep playing in a distinctively Creole style.

scholarly journals Alternative Conceptions of Modernity in the History of Iban Popular Music

2017 ◽  
Vol 3 (2) ◽  
pp. 55
Author(s):  
Connie Lim Keh Nie
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Cultural Development ◽  
Alternative Conceptions ◽  
Physical Environments ◽  
Indigenous Ethnic Group ◽  
Historical Processes ◽  
The Social ◽  
Agents Of Change ◽  
History Of

This paper examines how modernity has historically shaped developments in the industry of Iban popular music. The Iban make up one third of the Sarawakian population and are the largest indigenous ethnic group in Sarawak, Malaysia. As with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. Historically, the Iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of Malaysia. Throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt themselves in the era of modernization. Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of Malaysian nationalism. Drawing upon Barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the Iban reference both a national as well as a local music industry particularly through their use of language as an expression of Iban. First the paper will examine changes in Iban society through political and economic modernization. Then I look at differential transformation within Iban music industry because of relative exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments.

scholarly journals Building an integrated history of musical numbers in Brazilian chanchadas

2020 ◽  
pp. 13-27
Author(s):  
Flávia Cesarino Costa
Keyword(s):  
Popular Music ◽  
Cultural Practices ◽  
Music Industry ◽  
History Of ◽  
Historical Accounts ◽  
Domestic Influences

This article discusses industrial and aesthetical aspects of the musical numbers in 1950s Brazilian chanchadas. The chanchadas were a body of films made between the 1930s and 60s, that combined a mixed style derived from domestic influences of radio and popular music routines and from local forms of comic theatrical revues. I propose an examination of the entertainment industry’s influence on the musical numbers chosen for these 1950s chanchadas. This intermedial approach is based on the strong links between cinema and other cultural practices. I will argue the need to take into account not only theatrical practices, but also the routines of carnival culture, as well as the music industry and radio performances, in order to reconsider longstanding historical accounts based on the specificity of film media.

World Music: A Very Short Introduction

2020 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Music Industry ◽  
Folk Song ◽  
World Music ◽  
Short Introduction ◽  
National Pride ◽  
The Enlightenment ◽  
The World ◽  
History Of ◽  
Different Cultures

World Music: A Very Short Introduction looks at the history of world music and its many definitions. ‘World music’ is more than a marketing term for the music industry. During the Enlightenment, the idea of the ‘folk song’ encouraged European audiences to imagine music from around the world. Technology helped to create the ‘audio moment’—the transformation of sound into material which could be recorded and distributed worldwide. Throughout history, music has been used to express unity and national pride. World music both foregrounds and transgresses borders. Ideas in different cultures about world music, and indeed about music, are as diverse as ever.

Viewing Corporations as Information Ecosystems: The Case of IBM, 1914–1980s

2020 ◽  
pp. 1-34
Author(s):  
JAMES W. CORTADA
Keyword(s):  
Corporate History ◽  
History Of

Corporations can be viewed as large information ecosystems, not more narrowly as corporate entities, and the author uses the example of IBM to defend this point. This essay illustrates issues and topics that can be studied to enhance understanding of corporate history, building on prior methods used by scholars. It builds on research the author performed in writing a history of IBM from the 1880s to the present.

Turkish popular music videos as a multimodal site of resistance

2012 ◽  
Vol 1 (3) ◽  
Author(s):  
Lyndon C.S. Way
Keyword(s):  
Popular Music ◽  
Free Market ◽  
Music Industry ◽  
Music Videos ◽  
Religious Values ◽  
Multimodal Analysis ◽  
Indigenous Music ◽  
History Of ◽  
Dominant Discourses ◽  
Western Democracies

AbstractCountercultural, alternative and subversive values share a history with some popular music, it being subjected to political scrutiny in both western democracies and less tolerant states. In Turkey, despite a thriving indigenous music industry, there has been a long history of censorship, arrests and even exiles due to popular music and its politics. Since 2002, the Justice and Development Party (AKP) has governed Turkey, embracing free market policies, privatisation of state services and monopolies alongside conservative Islamic social and religious values. Many of AKP’s dominant discourses are articulated in Turkey’s media, due to intertwined relations. This paper asks how popular music videos can express subversion to AKP’s dominant discourses. A sample of Turkish videos is examined using a multimodal analysis of images, lyrics and music to reveal how these three modes and relations between them shape discourses of subversion. This is contextualised by examining AKP policies and a history of Turkish popular music. This study demonstrates how popular music videos can articulate discourses of subversion to dominant conservative ideologies that benefit those with power to the detriment of those without.

Building the youth music industry in South Wales, 1996–2020

2021 ◽  
Vol 5 (1) ◽  
pp. 119-125 ◽  
Author(s):  
Spike Griffiths
Keyword(s):  
Young People ◽  
Popular Music ◽  
Music Industry ◽  
Self Esteem ◽  
Career Pathways ◽  
Creative Potential ◽  
South Wales ◽  
History Of ◽  
Youth Music ◽  
New Gateway

This article shines a light on the tailored and targeted popular music provision provided by Sonig, Rhondda Cynon Taf County Borough Council’s (RCTCBC) long-standing music industry programme. Over a twenty-year period, Sonig has successfully engaged with young people in disenfranchised areas of South Wales, many of whom have never experienced a way of accessing the music industry. Through workshops, masterclasses, performance opportunities, mentoring, networking and signposting career pathways, Sonig has become a new gateway for young talent. Creating these pathways is key to an equality of access and furthermore, enabling young people to reach their creative potential, through developing confidence, self-esteem and raising their aspirations. This article tracks the history of Sonig and provides a focus on how its constant evolution has positively intervened in the lives of many young people living in Wales.

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