D'Angelo's Voodoo Technology: African Cultural Memory and the Ritual of Popular Music Consumption

2012 ◽  
Vol 32 (1) ◽  
pp. 137
Author(s):  
Kajikawa
Author(s):  
Pablo Bello ◽  
David Garcia

AbstractThe digitization of music has changed how we consume, produce, and distribute music. In this paper, we explore the effects of digitization and streaming on the globalization of popular music. While some argue that digitization has led to more diverse cultural markets, others consider that the increasing accessibility to international music would result in a globalized market where a few artists garner all the attention. We tackle this debate by looking at how cross-country diversity in music charts has evolved over 4 years in 39 countries. We analyze two large-scale datasets from Spotify, the most popular streaming platform at the moment, and iTunes, one of the pioneers in digital music distribution. Our analysis reveals an upward trend in music consumption diversity that started in 2017 and spans across platforms. There are now significantly more songs, artists, and record labels populating the top charts than just a few years ago, making national charts more diverse from a global perspective. Furthermore, this process started at the peaks of countries’ charts, where diversity increased at a faster pace than at their bases. We characterize these changes as a process of Cultural Divergence, in which countries are increasingly distinct in terms of the music populating their music charts.


2016 ◽  
Vol 20 (5) ◽  
pp. 476-491 ◽  
Author(s):  
Sarah Baker ◽  
Jez Collins

This article identifies the challenges community archives of popular music face in achieving medium- to long-term sustainability. The artefacts and vernacular knowledge to be found in community archives, both physical and online, are at risk of being lost ‘to the tip’ and, consequently, to ‘cultural memory’, due to a lack of resources and technological change. The authors offer case studies of the British Archive of Country Music, a physical archive, and an online Facebook group Upstairs at the Mermaid, to exemplify how and why such groups must strategize their practices in order to remain sustainable. By including both online and physical community archiving in the scope of this research, the authors find that despite key differences in practice, both archival communities face similar threats of closure. The article concludes with an overview of the general outlook for community archives, and possible solutions to this ongoing issue of sustainable practices and processes for this sector.


Author(s):  
Craig Hamilton

This report is an overview of my progress through a 3-year, AHRC-funded doctoral research project looking at the changing nature of Popular Music consumption, with a particular focus on digital technologies. I am undertaking this project within the School of Media at Birmingham City University in the United Kingdom. After providing an overview of the project and work completed so far, I will then highlight some of the key challenges I am facing now that I have reached the halfway point in my studies, before outlining some of the ways I am seeking to address these. I will end this report with a short reflection on the process of working towards a PhD.


2020 ◽  
Author(s):  
Pablo Bello ◽  
David Garcia

The digitization of music has changed how we consume, produce, and distribute music. In this paper, we explore the effects of digitization and streaming on the globalization of popular music. While some argue that digitization has led to more diverse cultural markets, others consider that the increasing accessibility to international music would result in a globalized market where a few artists garner all the attention. We tackle this debate by looking at how cross-country diversity in music charts has evolved over 7 years in 51 countries. We analyze two large-scale datasets from Spotify, the most popular streaming platform at the moment, and Itunes, one of the pioneers in digital music distribution. Our analysis reveals an upward trend in music consumption diversity that started in 2017 and spans across platforms. There are now significantly more songs, artists, and record labels populating the top charts than just a few years ago, making national charts increasingly different from one another. Furthermore, this process started at the peaks of countries' charts, where diversity increased at a faster pace than at their bases.


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