‘We have no music industry!’ Exploring the context of post-Soviet music making through the lens of contemporary Swedo-Russian collaborations

2021 ◽  
pp. 62-78
Author(s):  
Ingrid M Tolstad
Keyword(s):  
Music Industry ◽  
Music Making ◽  
Soviet Music

No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America

2010 ◽  
Vol 4 (4) ◽  
pp. 509-520
Author(s):  
EARLE HITCHNER
Keyword(s):  
Music Industry ◽  
Traditional Music ◽  
Internet Technology ◽  
Downward Trend ◽  
Paradigm Shifts ◽  
Sharp Decline ◽  
The Past ◽  
Music Making ◽  
Irish America ◽  
Do It Yourself

AbstractThe emergence of the compact disc in 1979 was regarded as the likely sales salvation of recorded music, and for many years the CD reigned supreme, generating steady, often substantial, company profits. More recently, however, the music industry has painfully slipped a disc. The CD has been in sharp decline, propelled mainly by young consumer ire over price and format inflexibility and by Internet technology available to skirt or subvert both. Irish American traditional music has not been impervious to this downward trend in sales and to other challenging trends and paradigm shifts in recording and performing. Amid the tumult, Irish American traditional music has nevertheless shown a new resilience and fresh vitality through a greater do-it-yourself, do-more-with-less spirit of recording, even for established small labels. The five recent albums of Irish American traditional music reviewed here—three of which were released by the artists themselves—exemplify a trend of their own, preserving the best of the past without slavishly replicating it. If the new mantra of music making is adapt or disappear, then Irish American traditional music, in adapting to change free of any impulse to dumb down, is assured of robustly enduring.

The Church Music Industry

2020 ◽  
pp. 31-36
Author(s):  
Nicholas Baragwanath
Keyword(s):  
Church Music ◽  
Music Industry ◽  
Daily Routine ◽  
Liturgical Music ◽  
Tourist Industry ◽  
Divine Office ◽  
Music Making ◽  
The Hours ◽  
The Church

The chapter details the daily routine of an apprentice, which involved singing and playing for an interminable round of church services as part of the enormous liturgical music industry in Italy. Such services included the hours of the Divine Office, daily Masses, saints’ days and feast days, religious processions, and other events in the liturgical calendar. Some performances by choristers took place outside churches, as well. Attempts by religious and secular leaders to rein in overly ornate or ambitious Italian church music making are described. Drawing on the accounts of travelers to the region, the chapter also highlights the role of church music as a lucrative tourist industry.

Post-Punk's attempt to democratise the music industry: the success and failure of Rough Trade

Popular Music ◽  
1997 ◽  
Vol 16 (3) ◽  
pp. 255-274 ◽  
Author(s):  
David Hesmondhalgh
Keyword(s):  
Music Industry ◽  
Economic Effects ◽  
Punk Rock ◽  
Cultural Impact ◽  
Margaret Thatcher ◽  
Music Making ◽  
Cultural Life ◽  
British Music ◽  
British Prime Minister

Punk's widely accepted status as a watershed in British music-making has produced some fine academic and journalistic studies. Greil Marcus has devoted much of the last twenty years to an assessment of the legacy of punk rock (Marcus 1989, 1993). Dave Laing's One Chord Wonders provides a multi-layered approach which might serve as a model for any analysis of a particular musical–cultural moment (Laing 1985). The most detailed and thorough account is Jon Savage's England's Dreaming (1991), a paean to the mischievous self-consciousness of punk and a sly put-down of its earnest political wing. Yet there are some important gaps in this literature. Only Laing (1985, pp. 14–21) has addressed the institutional and economic effects of punk in any detail, but his account ends, like that of Savage, with the incorporation of punk imagery and sounds into the mainstream of British cultural life at the end of the 1970s. The symbolic death of punk is marked by the election of Margaret Thatcher as British Prime Minister in May 1979. Marcus traces the underground simmering of punk in 1980s America, and his vision of post-punk as a lasting source of vitality and rebellion in an increasingly conformist culture is a compelling one. But he is drawn primarily to the situationist and dadaist elements of punk politics. As in Savage (1991), lasting institutional repercussions are sidelined in favour of an exploration of punk's cultural impact. What follows, then, is an assessment of punk's significance as a long-term intervention in the British music industry. This means tracing the development and mutation of punk initiatives into the 1980s–long after its supposed incorporation.

Introduction

2018 ◽  
Author(s):  
Kenneth B. McAlpine
Keyword(s):  
Video Games ◽  
Methodological Approach ◽  
Music Industry ◽  
Cultural Affiliation ◽  
Digital Arts ◽  
The Third ◽  
Music Making ◽  
Software Interfaces ◽  
Working Practices ◽  
Broad Structure

This chapter outlines the methodological approach that underpins the book and sets out the broad structure of the storyline that the later chapters explore. It outlines a chronological structure and groups the chapters together into three themed sections. The first explores the roots of chiptunes in 8-bit video games and shows how the specifications and constraints of the hardware shaped both the sound of 8-bit music and the working practices of those who wrote it. The second section discusses how, through a combination of new software interfaces and new musical contexts, chiptune became a defining characteristic of the demoscene, an underground community of digital arts practitioners. Finally, the third section charts the reemergence of chiptune as a live, performative form of music making and shows how, as it grew in popularity, around it grew other aspects of the music industry: online record labels, fandom, and cultural affiliation.

scholarly journals Band Geek: a study of the Toronto independent music scene

2021 ◽  
Author(s):  
Sacchin Prashad
Keyword(s):  
Social Media ◽  
Music Industry ◽  
Online Social Media ◽  
Independent Music ◽  
Music Making ◽  
Production Distribution ◽  
Research Findings ◽  
Streaming Services ◽  
Independent Musicians ◽  
Original Documentary

Digital technologies have revolutionized the music industry over the last decade and have fundamentally altered production, distribution, consumption and promotion of music. As a result, there have been fewer sales of physical recordings, less support from record companies managing musical artists and more self-promotion by musicians through social media and streaming services. My research examined how independent musicians in Toronto are handling the changed music-making scene and the challenges they face as a consequence of these changes. This paper addresses topics such as: the benefits of connecting with music audiences on social media; musicians striking licensing deals with streaming services (Spotify and Apple Music); and current strategies used to promote music online. My research findings led to my developing a new online social media page, Band Geek, that creates original documentary journalism exclusively for burgeoning local Canadian artists in the music industry.

scholarly journals Band Geek: a study of the Toronto independent music scene

2021 ◽  
Author(s):  
Sacchin Prashad
Keyword(s):  
Social Media ◽  
Music Industry ◽  
Online Social Media ◽  
Independent Music ◽  
Music Making ◽  
Production Distribution ◽  
Research Findings ◽  
Streaming Services ◽  
Independent Musicians ◽  
Original Documentary

Digital technologies have revolutionized the music industry over the last decade and have fundamentally altered production, distribution, consumption and promotion of music. As a result, there have been fewer sales of physical recordings, less support from record companies managing musical artists and more self-promotion by musicians through social media and streaming services. My research examined how independent musicians in Toronto are handling the changed music-making scene and the challenges they face as a consequence of these changes. This paper addresses topics such as: the benefits of connecting with music audiences on social media; musicians striking licensing deals with streaming services (Spotify and Apple Music); and current strategies used to promote music online. My research findings led to my developing a new online social media page, Band Geek, that creates original documentary journalism exclusively for burgeoning local Canadian artists in the music industry.

Music of Tragedy

2017 ◽  
Author(s):  
Naomi A. Weiss
Keyword(s):  
Cultural Context ◽  
Musical Language ◽  
New Approach ◽  
Late Work ◽  
Music Making ◽  
Dramatic Action ◽  
Instrumental Accompaniment ◽  
And Performance

The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Drawing on the ancient conception of mousikē, in which words, song, dance, and instrumental accompaniment were closely linked, Naomi Weiss emphasizes the interplay of performance and imagination—the connection between the chorus’s own live singing and dancing in the theater and the images of music-making that frequently appear in their songs. Through detailed readings of four plays, she argues that the mousikē referred to and imagined in these plays is central to the progression of the dramatic action and to ancient audiences’ experiences of tragedy itself. She situates Euripides’s experimentation with the dramaturgical effects of mousikē within a broader cultural context, and in doing so, she shows how he both continues the practices of his tragic predecessors and also departs from them, reinventing traditional lyric styles and motifs for the tragic stage.

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