scholarly journals DEVELOPMENTS IN MUSIC TECHNOLOGY: HYBRID ACTIVITY IN POPULAR MUSIC

eTopia ◽  
2005 ◽  
Author(s):  
Jeremy Wade Morris
Keyword(s):  
Popular Music ◽  
Business Models ◽  
Music Production ◽  
Recorded Sound ◽  
Production And Consumption ◽  
Critical Issues ◽  
New Business ◽  
Mp3 Players ◽  
History Of ◽  
Listening Process

The most critical [issues] to which we should turn our attention are those that have consequences for the movement of music within and through different (and sometimes altogether new) spaces, such as changes in sales mechanisms, Internet broadcasting, the use of computers for producing, consuming and distributing music, and the personalisation of musical tastes and behaviours. (Jones, “Musicand the Internet” 225) Since the invention of recorded sound, music and the technology with which it is recorded have been entwined. From the phonograph to the mp3, the history of popular music production, distribution and consumption in the twentieth century is one marked by various technological innovations (see for example Coleman, 2003; Garofalo, 1999). Currently, new digital recording technologies are facilitating changes to the music making process (Théberge, 1997). Sophisticated software programs such as ProTools and Nuendo offer near-professional song recording, mixing and mastering abilities while Reason, Acid, plus a host of other programs encourage the manipulation of original or sample-based sounds. Innovations in the technologies of consumption are causing similar impacts to the listening process (Bull, 2000). Digital jukeboxes, mp3 players and new business models from the likes of iTunes and Napster 2.0 are affecting the way we receive and use music. In many ways, the processes associated with production and consumption are currently converging into one machine: the computer.

scholarly journals The The skillset of professional studio musicians in the German popular music recording industry

2018 ◽  
Vol 30 ◽  
Author(s):  
Jan-Peter Herbst ◽  
Tim Albrecht
Keyword(s):  
Popular Music ◽  
Business Models ◽  
Recording Industry ◽  
Music Production ◽  
Public Media ◽  
New Business ◽  
Long Time ◽  
Technological Developments ◽  
Studio Musicians ◽  
Music Recording

Among the professional roles in the recording industry, studio musicians have received relatively little academic attention. Who has played on a record and who has developed the rhythms, melodies and fills are secrets that remain hidden behind closed studio doors. Since the little public media available mainly recollects memories of past stars or musical developments from more than twenty years ago, little is known about more recent biographies, individual skills and working practices of average studio musicians from different parts of the world. Against this backdrop, the present study explored the skillset of studio musicians in Germany’s popular music recording industry. The interviewees provided rare insights into their careers, expressed their views on technological developments and depicted their economic realities. With increasing power and affordability of music production resources, new business models for studio musicians were developing along with a change of skills. For a long time, the successful studio musician had incredible playing skills, stylistic flexibility and was an excellent sight-reader. These requirements seem to have shifted; today’s musicians must have a broader skillset and be experts beyond their instruments. A repertoire of ideas and sounds to be offered spontaneously in a recording session are highly valuable next to empathy, social skills and a likeable and humble personality. The musicians must be both unique and flexible to serve a project and compete with the many fellow musicians and programmers of computer instruments.

Digital music and subculture: Sharing files, sharing styles (originally published in February 2004)

First Monday ◽  
2005 ◽  
Author(s):  
Sean Ebare
Keyword(s):  
Popular Music ◽  
Social Dynamics ◽  
Online Communication ◽  
Digital Music ◽  
Music Production ◽  
Popular Music Studies ◽  
Production And Consumption ◽  
Online Music ◽  
Invaluable Tool ◽  
Identity And Difference

Digital music and subculture: Sharing files, sharing styles by Sean Ebare In this paper I propose a new approach for the study of online music sharing communities, drawing from popular music studies and cyberethnography. I describe how issues familiar to popular music scholars — identity and difference, subculture and genre hybridity, and the political economy of technology and music production and consumption — find homologues in the dynamics of online communication, centering around issues of anonymity and trust, identity experimentation, and online communication as a form of "productive consumption." Subculture is viewed as an entry point into the analysis of online media sharing, in light of the user–driven, interactive experience of online culture. An understanding of the "user–driven" dynamics of music audience subcultures is an invaluable tool in not only forecasting the future of online music consumption patterns, but in understanding other online social dynamics as well.

scholarly journals The Digitalisation of the Economy: Russia in the Context of Global Transformation

2019 ◽  
Vol 12 (4) ◽  
pp. 32-38 ◽  
Author(s):  
Z. V. Basaev
Keyword(s):  
Business Models ◽  
Direct Interaction ◽  
Special Kind ◽  
Digital Economy ◽  
Global Trends ◽  
Economic Relations ◽  
Russian Economy ◽  
New Business ◽  
History Of ◽  
Definition Of

The article deals with the analysis of global trends and processes of transformation of the Russian economy associated with the increasing digitalisation. The author showed the modern manifestations of this transformation and revealed the consequences of digitalisation of the world economy, including the reduction of transaction costs, the emergence of new business models, the exclusion of intermediaries due to direct interaction between the consumer and the supplier. The author notes the absence of a generally accepted scientific definition of the digital economy both in Russia and abroad, separately analyses the history of this concept, reveals in detail the modern approaches to the definition of the term. The author concluded that most experts consider the digital economy as part of the socio-economic relations or a special kind of economic activity, based on new methods of processing, storage and transmission of data. The author also presented the features of the formation of the domestic digital economy. Finally, the author identified the problems and possible directions for using digital technologies that contribute to the reduction of technological backwardness in Russia.

The Relentless Pursuit of Tone

2018 ◽  
Keyword(s):  
Popular Music ◽  
Wide Spectrum ◽  
Empty Space ◽  
Musical Instrument ◽  
Raw Material ◽  
Pop Music ◽  
Sound Waves ◽  
Recorded Sound ◽  
History Of ◽  
Entire History

The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.

In the Image of Pasteur

2020 ◽  
Vol 43 (4) ◽  
pp. 633-666
Author(s):  
Aro Velmet
Keyword(s):  
Business Models ◽  
Microbial World ◽  
Shape Representations ◽  
The Public ◽  
Colonial Expansion ◽  
New Business ◽  
History Of ◽  
Lens Change ◽  
The Great War

Abstract How does an imperial lens change our view of capitalism and science in early twentieth-century France? Using the colonial expansion of the Pasteur Institutes as a case study, this article argues that French microbiologists developed both new business models and new values of masculine comportment during their time in the colonies. There the dynamic interaction between economic success and demonstration of scientific masculinity became particularly important in reshaping how Pastorians both saw the future of their institution and interpreted the meaning of its past. Against the image of the ascetic, nonprofit scientist, Pastorians in the colonies opposed an ambitious and entrepreneurial hero. After the Great War undermined the ascetic model and weakened the economic power of the metropolitan institute, colonial Pastorians were able to shape representations of the Pastorian network to the public and narrate the history of its founder as a heroic conqueror of the microbial world. Comment une optique impériale change-t-elle notre perspective sur le capitalisme et la science au début du vingtième siècle ? Prenant l'expansion coloniale des instituts Pasteur comme exemple, cet article avance que les microbiologistes français ont développé à la fois de nouveaux modèles économiques et de nouvelles valeurs du comportement masculin au cours de leur séjour dans les colonies. Ici, l'interaction dynamique entre le succès économique et la démonstration de la masculinité scientifique est devenue particulièrement importante pour remodeler à la fois la façon dont les pastoriens voyaient l'avenir de leur institution et interpretaient le sens de son passé. Contre l'image du scientifique ascétique, les pastoriens coloniaux opposaient un héros ambitieux et entreprenant. Après que la Grande Guerre a sapé le modèle ascétique et affaibli le pouvoir économique de l'Institut métropolitain, les pastoriens coloniaux ont pu façonner des représentations publiques du réseau pastorien et raconter l'histoire de son fondateur comme conquérant héroïque du monde microbien.

Music as Product

2013 ◽  
Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki
Keyword(s):  
Popular Music ◽  
Music Production ◽  
Music Making ◽  
Production And Consumption ◽  
The Us ◽  
Sales Success ◽  
The Relationship ◽  
The Way

n order to develop a more holistic and integrated understanding of the relationship between music and the market, and consequently of music production and consumption, it is necessary to examine the notion of music as a product. The very act of exploring the relationship between music, markets and consumption immediately frames music as a ‘product’. In the marketplace, music is ‘produced’ and ‘consumed’ rather than made and heard. But the language and practices of the market and of marketing go far beyond the labelling of music making and listening in this way. They are pervasive and, as such, mediate our everyday engagement with music, regardless of the role we play in the market. The way the quality of music is evaluated is dominated by measures of sales success: songs ‘top the charts’, artists ‘sell out’ stadiums and tours, and recording companies sign ‘the next big thing’ to contracts in the expectation of future sales. Even a particular market can be held up as measure of success: in popular music, many bands, such as the Beatles, have been deemed to be successful only after they have ‘broken America’ by reaching high positions on the US music charts.

Digital Transformation and the Evolution of the Platform Economy

2022 ◽  
pp. 1-24
Author(s):  
Maxim Shatkin
Keyword(s):  
Business Models ◽  
Digital Transformation ◽  
User Interactions ◽  
Product Models ◽  
Production And Consumption ◽  
Starting Point ◽  
New Business ◽  
Online Reputation ◽  
Platform Economy ◽  
New Business Models

This chapter provides an overview of the evolution of the platform economy through the lens of digital transformation and transit from Industry 3.0 (I3.0) to Industry 4.0 (I4.0). The platform economy belongs to both I3.0 and I4.0 and goes through two cycles of digital transformation within them. In I3.0, the starting point of the platform economy is the digitization of social and commercial interactions over user-generated content. The resulting issues of trust and regulation of user interactions find solutions in new business models based on online reputation systems and algorithmic regulation. The specificity of I4.0 is the tendency to platform products, homes, factories, and cities through broad digitization of interactions between humans and things, and things and things. For the platform economy, the new cycle of digital transformation in the context of I4.0 means creating business models based on the ultimate customization of both the production and consumption of product-as-platforms and the rental of digital product models.

From Edison to MP3

2011 ◽  
pp. 203-225
Author(s):  
Conrad Shayo ◽  
Ruth Guthrie
Keyword(s):  
Value Chain ◽  
Business Models ◽  
Music Industry ◽  
Recording Industry ◽  
Trade Associations ◽  
Peer To Peer Networks ◽  
Industry Value Chain ◽  
New Business ◽  
History Of ◽  
Music Recording

This case discusses the challenges facing the music recording industry through the eyes of two of its most influential trade associations: the RIAA and the IFPI. First, readers of the case will learn about (a) the history of the music recording industry and how new emerging and innovative technologies can impact individual organizations or entire industries and (b) the music industry value chain and its various stakeholders, for example, record labels, artists, composers, distributors, and retailers. Second, they will learn about (a) the strategic opportunities and business models being unleashed by the new emerging technologies, for example, MP3 and peer-to-peer networks, and (b)the challenges facing music industry trade associations, such as the RIAA and the IFPI in protecting copyright in a digital age, reconciling conflicting goals of its members, and implementing new business models.

scholarly journals Popular Music and the Growth of Brazilian Culture Industries since 1945

2020 ◽  
Author(s):  
K. E. Goldschmitt ◽  
Eduardo Vicente
Keyword(s):  
World War Ii ◽  
Popular Music ◽  
Media Industries ◽  
Media Industry ◽  
Culture Industries ◽  
Music Production ◽  
History Of ◽  
The Media ◽  
The Military ◽  
Brazilian Culture

The period following the end of Getúlio Vargas’s second government (1951–1954) saw a massive expansion of the media industries, with popular music in particular becoming an important cultural touchstone. A major feature of the postwar period was the politicization of music and other media such as radio, television, and social media. Other salient trends include the incorporation of international musical influences (especially jazz, rock, and countercultural postures) into Brazilian musical production starting in the late-1950s, and the rise and prominence of regional genres in the national discourse. Along with the fluctuations in the national economy, the recording industry expanded and contracted. Brazilian media industry infrastructures have taken part in artistic expression, including both major multinational record labels as well as independent record companies. Popular music production has regularly responded to the social and economic upheavals that have characterized Brazil since the end of World War II, including the military dictatorship (1964–1985). While much of the international reputation of Brazilian music in this period relies on the popularity of bossa nova, the history of the country’s media industries shows how other genres such as música popular brasileira, rock, brega, and sertanejo adapted to public tastes. Even during the height of the military regime’s repression, the efforts of record companies and recording artists saw the expansion of Brazilian popular music into still more diverse sounds, a trend that continued through the first decades of the 21st century. Interdisciplinary perspectives, including communication studies, history, anthropology, and ethnomusicology, show some possible new routes for music and cultural industry research in Brazil.

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