Is the Music Industry Dying?: Stop lamenting your losses, start changing the way you do business

IESE Insight ◽  
2010 ◽  
Vol 6 ◽  
pp. 5-5
Author(s):  
Luís Cabral
Keyword(s):  
Music Industry ◽  
The Way

Ripped, torn and cut

2018 ◽  
Keyword(s):  
Cultural Politics ◽  
Music Industry ◽  
Cultural Impact ◽  
Underground Press ◽  
Original Essays ◽  
Political Ideas ◽  
The Uk ◽  
The Way

Ripped, torn and cut offers a collection of original essays exploring the motivations behind – and the politics within – the multitude of fanzines that emerged in the wake of British punk from 1976. Sniffin’ Glue (1976–77), Mark Perry’s iconic punk fanzine, was but the first of many, paving the way for hundreds of home-made magazines to be cut and pasted in bedrooms across the UK. From these, glimpses into provincial cultures, teenage style wars and formative political ideas may be gleaned. An alternative history, away from the often-condescending glare of London’s media and music industry, can be formulated, drawn from such titles as Ripped & Torn, Brass Lip, City Fun, Vague, Kill Your Pet Puppy, Toxic Grafity, Hungry Beat and Hard as Nails. Here, in a pre-internet world, we see the development of networks and the dissemination of punk’s cultural impact as it fractured into myriad sub-scenes: industrial, post-punk, anarcho, Oi!, indie, goth. Ripped, torn and cut brings together academic analysis with practitioner accounts to forge a collaborative history ‘from below’. The first book of its kind, this collection reveals the contested nature of punk’s cultural politics by turning the pages of a vibrant underground press.

scholarly journals The Phenomenal Side of the Operatic Performance: Implications of Promotion Strategies on Cinematic Representations of the Twenty-First Century

2021 ◽  
Author(s):  
Johanna Ethnersson Pontara
Keyword(s):  
Classical Music ◽  
Music Industry ◽  
First Century ◽  
Promotion Strategies ◽  
Contemporary Cinema ◽  
Twenty First Century ◽  
Aesthetic Values ◽  
Modernist Discourse ◽  
The Way

During the last decades, scholars have paid increasing attention to how cinema deals with traditional aesthetic values in its representation of opera. This research shows that contemporary cinema both manifests and challenges conceptions of opera anchored in romantic-modernist ideals. Recent film, however, also reveals an intriguing complexity surrounding conceptions of opera through the way in which it reflects promotion strategies of the classical music industry. This article draws attention to promotions of singers and opera music found in recent cinema that contribute to juxtapositions of different conceptions of opera. By letting operatic performances have a particular impact on fictional listeners and their ensuing actions, films associate opera with ideals belonging to a romantic-modernist discourse. However, they let this impact emanate from a way of performing opera that stands in contradiction to these same ideals. Discussing some central scenes from three recent films, I argue that the films’ displays of singers and opera music in this way remodels romantic-modernist discourses.

scholarly journals A new era for the music industry: How new technologies and the internet affect the way music is valued and have an impact on output quality

2008 ◽  
Vol 55 (2) ◽  
pp. 233-248 ◽  
Author(s):  
Tassos Patokos
Keyword(s):  
New Technologies ◽  
Music Industry ◽  
The Internet ◽  
New Era ◽  
The Past ◽  
Output Quality ◽  
Marketing Tool ◽  
The Impact ◽  
The Way

Since its early days, the Internet has been used by the music industry as a powerful marketing tool to promote artists and their products. Nevertheless, technology developments of the past ten years, and especially the ever-growing phenomenon of file sharing, have created the general impression that the Internet is responsible for a crisis within the industry, on the grounds that music piracy has become more serious than it has ever been. The purpose of this paper is to present the impact of new technologies and the Internet on the three main actors of the music industry: consumers, artists and record companies. It is claimed that the Internet has changed the way music is valued, and also, that it may have a direct effect on the quality of the music produced, as perceived by both artists and consumers alike.

“You Have to Strike That Balance Between Sharing and Charging”

Ethnologies ◽  
2013 ◽  
Vol 33 (2) ◽  
pp. 181-201
Author(s):  
Ian Hayes
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Intellectual Property Rights ◽  
Music Industry ◽  
Commercial Music ◽  
Financial Compensation ◽  
Cape Breton ◽  
The Individual ◽  
The Way

This article will discuss the concept of musical ownership and copyright in the Cape Breton fiddling tradition. Intellectual property rights have become an increasingly important issue in recent years and represent an intersection between the commercial music industry and vernacular tradition. As such, the way boundaries are constructed in regard to repertoire and ownership is subject to debate. On one hand, some discourses favor the rights of the individual, arguing that intellectual property should be protected, acknowledged and subject to financial compensation. Other perspectives favor the rights and needs of the community, valuing free exchange.

Southern Migrant Blues

2018 ◽  
pp. 49-68
Author(s):  
Kevin D. Greene
Keyword(s):  
Music Industry ◽  
New Negro ◽  
Early Stages ◽  
Music Scene ◽  
Recording Artist ◽  
The Way

As part of his New Negro transformation, Broonzy would give himself a new moniker, “Willie Broonzy,” and engage with black Chicago’s powerfully vibrant music scene. There, Broonzy would transform his musicianship from that of the country fiddler to a street singing, rent party, and burgeoning recording artist, fully engaged and carving out space in Bronzeville. Along the way, he would meet numerous musicians, talent scouts, and community stake holders whose expectations aided in Broonzy’s evolution as a southern migrant, New Negro, and aspiring musician. This chapter highlights Broonzy’s first forays into Chicago’s music industry and the vibrant but cutthroat environment shaping the early stages of his celebrity.

Michie Mee

2021 ◽  
pp. 109-130
Author(s):  
Athena Elafros
Keyword(s):  
Rap Music ◽  
Music Industry ◽  
People Of Color ◽  
Caribbean Diaspora ◽  
Canadian Identity ◽  
The Caribbean ◽  
Diasporic Identities ◽  
The Way

This chapter analyses the formation, maintenance, and transformation of the Caribbean diaspora in the formation of rap music in Toronto, Ontario, Canada. It discusses the marginalization of rap music and people of color within the music industry in Toronto. The author focuses especially on the way artists use rap music to challenge racist and racialized conceptions of Canadian identity and, at the same time, help redefine Canadian identity in ways that emphasize the importance of diasporic identities.

scholarly journals Dealing with digital: the economic organisation of streamed music

2020 ◽  
Vol 42 (7-8) ◽  
pp. 1461-1478
Author(s):  
Ruth Towse
Keyword(s):  
Economic Analysis ◽  
Business Model ◽  
Service Providers ◽  
Music Industry ◽  
Empirical Support ◽  
Digital Service ◽  
Streaming Services ◽  
Music Streaming ◽  
Digital Sphere ◽  
The Way

The intervention of digital service providers (DSPs) or platforms, such as Spotify Apple Music and Tidal, that supply streamed music has fundamentally altered the operation of copyright management organisations (CMOs) and the way song-writers and recording artists are paid. Platform economics has emerged from the economic analysis of two- and multi-sided markets, offering new insights into the way business is conducted in the digital sphere and is applied here to music streaming services. The business model for music streaming differs from previous arrangements by which the royalty paid to song-writers and performers was a percentage of sales. In the case of streamed music, payment is based on revenues from both subscriptions and ad-based free services. The DSP agrees a rate per stream with the various rights holders that varies according to the deal made with each of the major record labels, with CMOs, with representatives of independent labels and with unsigned artists and song-writers with consequences for artists’ earnings. The article discusses these various strands with a view to understanding royalty payments for streamed music in terms of platform economics, offering some data and information from the Norwegian music industry to give empirical support to the analysis.

scholarly journals Determinants of attendance frequency to flamenco shows in Spain. A cultural economic approach

2020 ◽  
Vol 29 ◽  
pp. 79-98
Author(s):  
Jesús Heredia-Carroza ◽  
Luis Palma Martos ◽  
Alejandro Marín
Keyword(s):  
Educational Level ◽  
Music Industry ◽  
Econometric Models ◽  
Empirical Literature ◽  
Economic Approach ◽  
Cultural Economic ◽  
The Way

This article aims to determine which variables have effect on the attendance frequency to live flamenco shows. Firstly we have done interviews to flamenco and music industry experts to achieve new-fangled variables in our analysis. Secondly, these variables were valued by flamenco consumers through surveys. Afterwards, with these data, we used a methodology based on different econometric models to obtain the coefficients of the variables. The results show how variables such as educational level, the way the music is listened or the valuation of the performer, amongst others, have an influence on the attendance frequency to flamenco live shows. The article contributes to the scarce empirical literature relating attendance frequency determinants to traditional popular genres by adding never studied before variables, focusing on the flamenco case.

Self-sacrifice for in-group's history: A diachronic perspective

2018 ◽  
Vol 41 ◽  
Author(s):  
Maria Babińska ◽  
Michal Bilewicz
Keyword(s):  
Clinical Psychology ◽  
Historical Events ◽  
Emotional Events ◽  
Reciprocal Process ◽  
The Way

AbstractThe problem of extended fusion and identification can be approached from a diachronic perspective. Based on our own research, as well as findings from the fields of social, political, and clinical psychology, we argue that the way contemporary emotional events shape local fusion is similar to the way in which historical experiences shape extended fusion. We propose a reciprocal process in which historical events shape contemporary identities, whereas contemporary identities shape interpretations of past traumas.

What is the purpose of cognition?

2020 ◽  
Vol 43 ◽  
Author(s):  
Aba Szollosi ◽  
Ben R. Newell
Keyword(s):  
Infinite Number ◽  
Human Cognition ◽  
The Way

Abstract The purpose of human cognition depends on the problem people try to solve. Defining the purpose is difficult, because people seem capable of representing problems in an infinite number of ways. The way in which the function of cognition develops needs to be central to our theories.

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