scholarly journals Rock the Nation: MuchMusic, Cultural Policy and the Development of English-Canadian Music-Video Programming, 1979-1984

2001 ◽  
Vol 26 (4) ◽  
Author(s):  
Ira Wagman
Keyword(s):  
Cultural Policy ◽  
Government Support ◽  
Music Video ◽  
Sound Recording ◽  
Recording Industry ◽  
Application Process ◽  
Canadian Music ◽  
National Music ◽  
English Canadian ◽  
Seul Point

Abstract: This paper focuses on the various interrelationships between the Canadian sound recording industry, broadcasting community, cultural-policy practitioners, and the CRTC, which influenced the application process for MuchMusic (Canada's national music video service) between 1979 and the station's debut in 1984. These dates are significant as they witness the intersection of a sound recording industry seeking reinvigoration and additional government support; a broadcast regulator seeking television applicants of solid financial grounding; and a cultural-policy strategy oriented toward improving the marketing and distribution of Canadian cultural products. Each of these elements converge on one point of general assent: that Canada "needed" a national music video broadcaster. Résumé : Cet article porte sur les rapports divers entre l'industrie canadienne de l'enregistrement sonore, la communauté de radiodiffuseurs, les praticiens de politiques culturelles et le CRTC concernant la demande d'application de MuchMusic (service canadien de vidéos musique) entre 1979 et la mise en ondes de la station en 1984. Ces dates sont importantes car elles marquent l'intersection d'une industrie de l'enregistrement sonore cherchant à se renouveler et à se faire appuyer davantage par le gouvernement, d'un organisme de réglementation de la radiodiffusion cherchant des candidats aux finances solides, et d'une stratégie en politique culturelle cherchant à améliorer la promotion et la distribution de produits culturels canadiens. Chacun de ces éléments allait mener à un seul point de convergence : le « besoin » d'un radiodiffuseur national de vidéos musique.

Coda

2020 ◽  
pp. 215-222
Author(s):  
Landon Palmer
Keyword(s):  
Popular Music ◽  
First Century ◽  
Music Video ◽  
Recording Industry ◽  
Unique Form ◽  
Moving Image ◽  
Political Expression ◽  
Feature Film ◽  
Medium Specificity ◽  
History Of

This chapter concludes the volume with a concise coda that problematizes the genre and medium specificity of categories such as “rock” and “cinema,” and interrogates their relevance to understanding popular music stardom onscreen in the twenty-first century. By exploring several recent visual albums, this coda demonstrates how the history of rock stardom onscreen paved the way for the unification of the feature film and the music video on display in this unique form. Yet, at the same time, visual albums present musicians with renewed opportunity for overt political expression and aesthetic experimentation not seen since late 1960s rock movies. Visual albums are ultimately the latest intersection between the recording industry and moving image media—an intersection that, as this book demonstrates, has a rich and enduring history.

scholarly journals The first jazz gramophone record: the music of the moment which became timeless

2021 ◽  
pp. 14-22
Author(s):  
Vladislav Vyacheslavovich Rykunin
Keyword(s):  
Academic Community ◽  
Sound Recording ◽  
Recording Industry ◽  
Critical Research ◽  
Historical Sources ◽  
Recording Technology ◽  
Stage Of Development ◽  
Jazz Music ◽  
Audio Recordings ◽  
The Moment

Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.   

scholarly journals Inside Out: The Internationalization of the Canadian Independent Recording Sector

2015 ◽  
Vol 40 (2) ◽  
Author(s):  
Richard Sutherland
Keyword(s):  
Music Industry ◽  
Domestic Market ◽  
The Other ◽  
Sound Recording ◽  
Music Business ◽  
The Past ◽  
Canadian Music ◽  
Independent Sector ◽  
Inside Out

This article examines the growing internationalization of English Canada’s independent sound recording sector, largely defined by Canadian ownership. Although Canada’s music industry has had considerable links with the global music business for decades, the independent sector remained focused on the production of recordings by Canadian artists for sale in the domestic market. Recently, the links between Canadian music and Canadian-owned record companies have weakened, such that each is less reliant on the other. The article discusses the ways in which this dissociation has occurred within the context of the transformation of the global music industry over the past 15 years and considers the implications for future Canadian music industry policy.Cet article examine l’internationalisation croissante du secteur d’enregistrement sonore indépendant au Canada anglais (secteur caractérisé par le fait d’avoir des propriétaires canadiens). L’industrie de la musique canadienne a depuis des décennies noué de nombreux liens avec l’industrie mondiale, mais le secteur indépendant s’est concentré sur la production d’artistes canadiens pour le marché canadien. Récemment, cependant, les liens entre musique canadienne et compagnies de disques appartenant à des Canadiens se sont affaiblis, de manière à ce que l’un dépende moins de l’autre. Cet article commente les manières dont cette dissociation a eu lieu au cours des quinze dernières années dans le contexte de transformations mondiales de l’industrie de la musique et considère les conséquences pour l’avenir de politiques relatives à la musique au Canada.

The Azerbaijani Tar and Projects to Reconstruct National Music

2021 ◽  
pp. 53-64
Author(s):  
Анэта Стшемжальска
Keyword(s):  
Cultural Policy ◽  
Classical Music ◽  
Musical Instrument ◽  
New Techniques ◽  
The Caucasus ◽  
School Of Music ◽  
Performance Techniques ◽  
National Music ◽  
Traditional Performance ◽  
The 19Th Century

Тар - это струнный щипковый музыкальный инструмент с длинной шейкой, который играет важнейшую роль как в традиционной, так и в классической музыке Азербайджана, находится в центре дискуссий о природе национальной музыки и занимает важное место в культурной политике страны. В данной статье рассматриваются исторические и политические обстоятельства появления и распространения тара на Кавказе, а также анализируется современная практика игры на нем. Проведение в XIX в. музыкантом Садыхджаном реконструкции тара и введение новых приемов игры на нем способствовали популяризации инструмента в Азербайджане. В ходе этого процесса в первых десятилетиях ХХ в. тар стал основой национальной музыкальной школы, и под его звучание были настроены другие народные инструменты, входящие в состав профессиональных музыкальных коллективов. Однако приспособление азербайджанской модальной музыкальной системы к европейской 12-тоновой темперации потребовало последующей реконструкции тара, которая ограничила возможности создания микротоновых звуков на инструменте. В зависимости от уровня сохранения традиционной техники исполнения сегодня различают три главные школы исполнения на таре. Они обогащаются новыми проектами реконструкции инструмента, направленными на сохранение, возрождение, популяризацию досоветской техники игры на нем. The tar is a long-necked, stringed, plucked musical instrument that plays an essential role in both the traditional and classical music of Azerbaijan. In accordance with official cultural policy, the instrument is at the center of discussions about the nature of national music. This article describes the historical and political circumstances of the invention and popularization of the tar in the Caucasus, as well as the instrument’s main performance styles. The reconstruction of the instrument and the introduction of new techniques for playing it in the 19th century by the musician Sadigjan contributed to the popularization of the tar in Azerbaijan. During this process, in the first decades of the 20th century the tar became the basis of the national school of music, and other folk instruments included in professional musical groups were tuned to its sound. However, the adaptation of the Azerbaijani modal musical system to the European 12-tone scale required a further reconstruction of the tar, which, in turn, limited the creation of micro-tonal sounds on the instrument. Today there are three main schools of performance on the tar, which depend upon the degree that traditional performance techniques are preserved. These techniques are enriched by new projects for reconstructing the instrument that are aimed at popularizing the pre-Soviet method of playing.

Cultural Policy in American Music History: Sammy Davis, Jr., vs. Juvenile Delinquency

2010 ◽  
Vol 4 (1) ◽  
pp. 33-58
Author(s):  
ANNA NEKOLA ◽  
BILL KIRKPATRICK
Keyword(s):  
Juvenile Delinquency ◽  
Cultural Policy ◽  
Music History ◽  
The United States ◽  
American Music ◽  
Recording Industry ◽  
The Public ◽  
Specific Factors ◽  
Cultural Tensions ◽  
The Right

AbstractIn 1956 entertainer Sammy Davis, Jr., attempted to organize the music industry in a campaign against juvenile delinquency, using musical public service announcements to encourage teens to stay on the right side of the law. Although popular with the public and some industry insiders, Davis's idea failed, officially because of opposition from the Recording Industry Association of America. Although Davis's campaign went nowhere, we argue that this episode provides an important illustration of the need to broaden our understanding of cultural policy studies in the context of American music history. Specifically, we argue for an approach to policy analysis that draws on poststructuralist historiography to capture the forms that cultural policy takes in the United States, including the specific factors of race, intra-industry struggles, and the persona of Sammy Davis, Jr., himself, a pivotal figure who has been largely neglected by music historians despite embodying many of the key cultural tensions of postwar U.S. society. By examining the case of Sammy Davis, Jr., vs. Juvenile Delinquency, we can achieve a better understanding of how U.S. music, U.S. culture, and cultural policy intersect.

scholarly journals Introduction

Popular Music ◽  
2008 ◽  
Vol 27 (2) ◽  
pp. 189-191 ◽  
Author(s):  
Simon Frith ◽  
Martin Cloonan
Keyword(s):  
Popular Music ◽  
Cultural Policy ◽  
Music History ◽  
European Countries ◽  
Political Agenda ◽  
Special Issue ◽  
Cultural Conditions ◽  
National Music ◽  
The University

This special issue of Popular Music has its origins in a seminar organised at the University of Stirling in 2004. This meeting, one of a series on cultural policy, brought together researchers from a number of European countries who were asked to describe state music policy in their respective countries and to reflect on what differences, if any, such policies had made to recent national music history. As the seminar’s organisers, we were interested in a couple of issues: first, how policy approaches to popular music had changed since it first began to appear on the European political agenda in the 1970s; second, how local political and cultural conditions had affected ideas of what popular music policy could or should be.

Video in the machine: the incorporation of music video into the recording industry

Popular Music ◽  
1997 ◽  
Vol 16 (3) ◽  
pp. 293-309 ◽  
Author(s):  
Jack Banks
Keyword(s):  
Music Videos ◽  
Visual Images ◽  
Music Video ◽  
Pop Music ◽  
Recording Industry ◽  
Record Industry ◽  
The Past ◽  
Television Shows ◽  
The Uk ◽  
Important Form

Music video has become an increasingly integral component of the music recording business over the past three decades. Major US record companies with international divisions have made music clips since the 1970s to promote their acts in the UK and continental Europe where television shows were a more important form of promotion for recording artists. However, record labels did not make a full commitment to music clips until after the premiere of MTV in August 1981 as a 24-hour US cable programme service presenting an endless stream of music videos. As MTV's popularity blossomed in the early 1980s, music video revitalised a troubled record industry suffering a prolonged recession by prompting renewed consumer interest in pop music and successfully developing several new recording acts like Madonna, Cyndi Lauper and Boy George with provocative visual images.

Cultural Industry or Social Problem? The Case of Australian Live Music

2002 ◽  
Vol 102 (1) ◽  
pp. 88-100 ◽  
Author(s):  
Shane Homan
Keyword(s):  
Cultural Policy ◽  
Cultural Practice ◽  
Government Support ◽  
Cultural Industry ◽  
Live Performance ◽  
The Arts ◽  
Live Music ◽  
The Social ◽  
The Face ◽  
History Of

The live music pub and club scene has historically been regarded as the source of a distinctively Australian rock/jazz culture, and the basis for global recording success. This paper examines the history of live venue practices as a case study of a local cultural industry that often existed outside of traditional policy structures and meanings of the arts industries. Confronted with a loss of performance opportunities for local musicians, it is argued that traditional cultural policy mechanisms and platforms used for cultural nationalist outcomes are no longer relevant. Rather, policy intervention must engage with administrative obstacles to live creativity, specifically the series of local regulations that have diminished the viability of live venues. The decline of the rock/jazz pub continues in the face of current federal government support for touring musicians. A closer inspection of the local administration of cultural practice remains the best means of understanding the devaluation of the social and industrial value of live performance.

scholarly journals Canadian Indie Games Between the Global and the Local

2017 ◽  
Vol 42 (5) ◽  
Author(s):  
Felan Parker ◽  
Jennifer Jenson
Keyword(s):  
New Media ◽  
Cultural Policy ◽  
Government Support ◽  
Cultural Industries ◽  
Arts Policy ◽  
Community Organizers ◽  
Il Y A ◽  
Media Globalization ◽  
Gaming Activity ◽  
Game Developers

 Background  Independent or “indie” games play a significant role in the contemporary game industry, and Canada is home to several prominent hubs of indie gaming activity. Analysis  Drawing on 34 interviews with developers and community organizers across the country, this article examines how Canadian indie game developers construct their identities and communities on three levels: global, national, and local. Conclusions and Implications  While online and local indie gaming communities provide a variety of material and symbolic benefits to participation, national identification is conspicuously absent, except in certain contexts tied to cultural policy and government support. This article argues that the intersection of the global and the local is the primary site of indie identity and community and considers the implications for Canadian cultural industries more generally. Keywords  New media; Globalization; Cultural industries policy; Arts policy; Production/co-production RÉSUMÉ Contexte  De nos jours, les jeux en ligne indépendants occupent une place significative dans l’industrie du jeu vidéo, et il y a plusieurs centres de jeux indépendants au Canada. Analyse  Cet article se fonde sur 34 entrevues avec des créateurs et des organisateurs communautaires partout au pays afin d’examiner comment les créateurs de jeux vidéo indépendants au Canada construisent leurs identités et leurs communautés à trois niveaux : mondial, national et local. Conclusions et implications  Au niveau local, les communautés de jeux indépendants en ligne ont beau offrir un éventail de bénéfices matériaux et symboliques aux participants, l’identification nationale brille par son absence, sauf dans quelques contextes établis grâce à certaines politiques culturelles et à un appui de la part du gouvernement. Cet article soutient que l’intersection du mondial et du local est le site primaire de l’identité et de la communauté indépendantes et il considère plus généralement les implications des jeux indépendants pour les industries culturelles canadiennes. Mots clés  Nouveaux médias; Mondialisation; Politiques sur les industries culturelles; Politiques sur les arts; Production/coproduction 

scholarly journals Book Monuments: Legal and Organizational Problems of State Registration

2015 ◽  
pp. 23-30 ◽  
Author(s):  
Irina P. Tikunova
Keyword(s):  
Cultural Policy ◽  
Government Support ◽  
Record Keeping ◽  
Legal Rules ◽  
Existing Problems ◽  
Russian State ◽  
The Government ◽  
State Registration ◽  
Further Development ◽  
Organizational Problems

Conservation of rare and valuable books in our country has a long tradition. Since 2001, work on identification and state recording of book monuments is one of the priority directions of State Cultural Policy of Russia. Functions of organizational and scientific-methodological center are being performed by the Russian State Library.By now there is created scientific-methodological and organizational basis of the system of state registration of book monuments. There are adopted legal rules governing the state registration of book monuments, however its implementation involves significant legal and organizational problems. For further development of system of state recording of book monuments and solution of the existing problems, at the Government support there is created the All-Russian Corpus of Book Monuments, there is continued scientific and applied research on its identification and description, implemented and improved the technology of automated record-keeping, there is executed training of personnel capable to implement system approach in work with book monuments.

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