Is Anyone Listening? An Examination of New Zealand Musicians in the Digital Age

<p>With major recording artist Thom Yorke predicting the record industry will crumble in “Months” (Hudson, 2010), and sensationalist headlines such as “iPods and Young People Have Utterly Destroyed Music” (Buchanan, 2009) becoming commonplace, this research attempts to determine the current state of New Zealand music in the digital age. Despite the doom and gloom coming from the press in regards to the music industry, musicians haven’t stopped continuing to record, release, and promote their music as the costs of doing so continues to decline with the advent of new technologies. This research looks specifically into the music hosting website Bandcamp and determines what methods New Zealand musicians are currently using on the site in an effort to get their music into the ears and onto the hard drives of fans. Although a large amount of research has been performed on the impacts of piracy on music sales, very little has been conducted on what strategies musicians are implementing to increase their exposure and connect with their fan base in the 21st century, with no specific research having been performed on the unique circumstances faced by artists in New Zealand. This paper first presents a historical overview of the music industry in the last century, as well as a summary of where the industry currently stands in regards to Copyright, distribution methods, and price models in order to provide perspective on the difficulties and variety of choices currently facing musicians. Within this research paper, several hypotheses were tested in order to determine what factors have a significant effect on the amount of exposure that an artist has received for their music. In order to test these hypotheses, the number of audio streams and downloads that an artist has received for their songs posted to the music hosting site Bandcamp was used as a measure to determine the amount of exposure that a specific artist has received. Due to the subjective nature of the quality of music which each musician creates, a survey was sent to over 500 New Zealand musicians whom provided at least one song for download on the website in order to gather as much overall data on the success generated by New Zealand musicians online as possible. A quantitative analysis was then performed to determine what social networking and music hosting sites are most popular with Kiwi artists; whether musicians are still creating physical copies of their works; and what licenses and payment models artists are applying to their songs. This analysis identified two important factors as statistically significant in terms of affecting the number of downloads and audio streams an artist receives on Bandcamp, the length of time that an artist has been present on the site and the payment model that an artist applies to their works. In addition to the quantitative analysis performed on the success that artists were achieving on Bandcamp, a qualitative analysis was performed on the motivations artists had for applying specific pricing models and licenses to their works. The results of this analysis found a nearly unanimous positive response from musicians who had applied traditional Copyright to their work when asked if they would allow their fans to share their music without expressed permission. This research also determined that a majority of musicians currently applying traditional Copyright to their works are unfamiliar, unaware, or uninformed about Creative Commons licenses, with traditional Copyright being applied more out of habit than a desire for their works to be protected under the rights granted under traditional Copyright. A discussion about what these results indicate for artists is also presented as a guide for future and current musicians looking to upload their music to Bandcamp, depending on the goals that the musician is looking to achieve with their music. Finally, this paper concludes with an analysis of what limitations are present in the results of the research, as well as where the need exists for future research.</p>

Is Anyone Listening? An Examination of New Zealand Musicians in the Digital Age

<p>With major recording artist Thom Yorke predicting the record industry will crumble in “Months” (Hudson, 2010), and sensationalist headlines such as “iPods and Young People Have Utterly Destroyed Music” (Buchanan, 2009) becoming commonplace, this research attempts to determine the current state of New Zealand music in the digital age. Despite the doom and gloom coming from the press in regards to the music industry, musicians haven’t stopped continuing to record, release, and promote their music as the costs of doing so continues to decline with the advent of new technologies. This research looks specifically into the music hosting website Bandcamp and determines what methods New Zealand musicians are currently using on the site in an effort to get their music into the ears and onto the hard drives of fans. Although a large amount of research has been performed on the impacts of piracy on music sales, very little has been conducted on what strategies musicians are implementing to increase their exposure and connect with their fan base in the 21st century, with no specific research having been performed on the unique circumstances faced by artists in New Zealand. This paper first presents a historical overview of the music industry in the last century, as well as a summary of where the industry currently stands in regards to Copyright, distribution methods, and price models in order to provide perspective on the difficulties and variety of choices currently facing musicians. Within this research paper, several hypotheses were tested in order to determine what factors have a significant effect on the amount of exposure that an artist has received for their music. In order to test these hypotheses, the number of audio streams and downloads that an artist has received for their songs posted to the music hosting site Bandcamp was used as a measure to determine the amount of exposure that a specific artist has received. Due to the subjective nature of the quality of music which each musician creates, a survey was sent to over 500 New Zealand musicians whom provided at least one song for download on the website in order to gather as much overall data on the success generated by New Zealand musicians online as possible. A quantitative analysis was then performed to determine what social networking and music hosting sites are most popular with Kiwi artists; whether musicians are still creating physical copies of their works; and what licenses and payment models artists are applying to their songs. This analysis identified two important factors as statistically significant in terms of affecting the number of downloads and audio streams an artist receives on Bandcamp, the length of time that an artist has been present on the site and the payment model that an artist applies to their works. In addition to the quantitative analysis performed on the success that artists were achieving on Bandcamp, a qualitative analysis was performed on the motivations artists had for applying specific pricing models and licenses to their works. The results of this analysis found a nearly unanimous positive response from musicians who had applied traditional Copyright to their work when asked if they would allow their fans to share their music without expressed permission. This research also determined that a majority of musicians currently applying traditional Copyright to their works are unfamiliar, unaware, or uninformed about Creative Commons licenses, with traditional Copyright being applied more out of habit than a desire for their works to be protected under the rights granted under traditional Copyright. A discussion about what these results indicate for artists is also presented as a guide for future and current musicians looking to upload their music to Bandcamp, depending on the goals that the musician is looking to achieve with their music. Finally, this paper concludes with an analysis of what limitations are present in the results of the research, as well as where the need exists for future research.</p>

“We gon be alright:” containment, creativity, and the birth of hip-hop

In the United States, Black cultural production is bound up with geographic containment, restrictions on mobility, and racial segregation. Jazz, hip-hop, house music, and the Minneapolis Sound (the music associated with late recording artist, Prince) were mid-wifed by some of the most repressive systems of geographic order. Indeed, containment and creativity, geographies of trouble and hope are hallmarks of Black cultural production. This dialectic calls into question the belief that art can only be created in conducive or untroubled spaces. Hip-hop provides a perfect case study to challenge this assumption. Born in the Bronx, NY in the early 1970’s, hip-hop was a cultural movement that emerged in against the backdrop of racial and economic segregation, mass incarceration, and joblessness. Yet, hop-hop “danced its way of these constrictions” and created geographies of hope. In doing this, hip-hop shows that Black cultural production and the radical imagination from which it springs, have the capacity to create counter-spatial imaginaries that challenge those under which it was produced. To that end, this article addresses the relationship between creativity and containment. Through linking the rise of carceral power, racially restrictive housing practices, a deindustrializing economy, and expanding prison populations with the hip-hop, I demonstrate the dialectic between systematic spatial containment of poor and working-class Black and Latinx Americans and the role it played in creation of the world’s most powerful cultural force.

Adapting Starbuck: Dualbunny’s Battlestar Galactica Trilogy

What does it mean for a series or f ilm to be adapted to a vid? The final chapter of Fanvids is an analysis of three Battlestar Galactica (2004-2009) vids, designed to examine both the vid’s relationship with adaptation and the central role that songs play in making meaning in vids. Vids rely heavily on their soundtrack to structure meaning, with vocals, lyrics, and instrumentation vital in completing the vid’s reinterpretation of its source text. In this case, the music, voice, and star image of the recording artist Pink are used to appraise Kara ‘Starbuck’ Thrace. Each vid in the trilogy was made at different points during Battlestar’s production; the trilogy reflects the character’s development and memorializes the series’ (frustrated) potential for a particular kind of feminist representation.

Music videos in the British screen industries and screen heritage: From innovation to curation. Introduction

In December 2019, Rolling Stone magazine ran a piece on the best videos of the year which began by asking, “What even counts as a music video now?” (Shaffer). Vevo, Tiktok and Instagram TV have blurred the lines. Videos can be an hour long. They can be events on YouTube Premiere. They can be virtual reality. The idea that the world of the earliest creators of pop promos was simple in comparison to today subtends this dossier. In 2015, I was awarded an Arts and Humanities Research Council (AHRC) grant to investigate the history of music videos in Britain since 1966. At the end of the grant, I curated a collection of the most significant of those videos into a limited-edition box set (Power). Selecting them involved very detailed discussions with our interviewees and industry consultants about just what a “music video”—known as a “promo” until the mid 1980s—is. The term “music video” arose in the 1980s. It was used in record labels to describe visual products mastered on physical videotapes for television broadcast. In fact, almost all of those products were shot on celluloid (16mm or 35mm) until digital technologies allowed HD to become the norm in the 2000s. For the purposes of this dossier, I define music videos and pop promos as a type of musical short film for mass audiences commissioned and released by record labels (usually) at the same time as the release of a synchronised audio “single”; the shorts comprise a copyrighted synchronised picture and audio track in which a percentage of the royalties accrue to the recording artist and/or record label. This dossier is a collection of core materials emerging from the AHRC project.

Church Realness

Chapter 7 examines ethnography of formerly gay gospel recording artist and pastor Donnie McClurkin’s sermonizing as a performance of the heteropatriarchal scripts that manage gospel enthusiasts concerns about queer(ed) musicians’ spiritual fitness and protect the social order of church leadership. Since the early 2000s, McClurkin has been regarded as the architect of the deliverance from homosexuality testimony format of communicating queer sexual history in Pentecostal worship. Men’s performance of church realness in historically black Pentecostal churches is the deployment of sung and spoken heteropresentation and gender conformity. The objective of the performance is both to blend in and to assert dominance in gospel music heteropatriarchal forums in a manner that has been socioculturally required of them.

Musical Labor and the Nashville Studio System

Many of the most iconic recordings of the Nashville Sound era gained popularity not simply because of the recording artist whose name appeared on the labels of the singles and albums that contained them, but because of the contributions of Nashville’s session musicians who crafted arrangements and “hook” motifs. Yet, for the most part, these session musicians were never credited and received only a seemingly small one-time fee for their efforts. This chapter considers the creative impact of Nashville’s session musicians through a careful examination of several chart-topping Nashville Sound–era recordings, exploring the ways that the arrangements and “hook” motifs that they created shaped the works. Moreover, this chapter suggests that, although session musicians were seldom credited for their work, many of them presented clear artistic identities that are anonymously visible across a wide spectrum of recordings.

Rose Maddox

Chapter 5 continues to explore the themes of theatricality and vocal performance in California country music by focusing on Rose Maddox as a member of her family band and as a solo recording artist during the 1940s and 1950s. In her farcical and striking covers of country songs, Maddox drew on a range of vocal styles, including a belting vocality that incorporated southern idioms, appreciated by her audience of Okies. Her various vocal approaches re-created the carnivalesque revelry of the roadhouse and helped to shape narratives that underscored the shifts in marriage and autonomy for Okie women after World War II. Because of the expressive power of her voice and her dynamic, fluid stage persona, Maddox helped carve out performance spaces for female artists such as Jean Shepard in 1950s honky-tonk and rockabilly artists like Wanda Jackson.

Sonic Grounding and Internalizing Structure: Themes of Continuity in the Music of John Coltrane

(Opening paragraph): Examining the musical development of John Coltrane, one often gets a deep sense of change. Respected Coltrane scholar Lewis Porter characterizes Coltrane’s career by the “fact that he was constantly developing and changing.” To account for this perception of change, the tendency is to divide Coltrane's music into segmented stylistic periods. This allows us a greater understanding of Coltrane’s developmental building blocks, and the specific elements that he focused on while creating his music. For example, Eric Nisenson divides Coltrane’s work into “Early Coltrane” including his work with Dizzy Gillespie, Miles Davis, and his first recordings for Atlantic, a “Middle Period” including his work with Thelonious Monk and the early Impulse recordings, and finally a “Late Period” including Coltrane’s avant-garde albums. In The Dawn of Indian Music in the West Peter Lavezzoli states “Coltrane’s music went through more evolutionary stages during his ten years as a solo recording artist than many musicians realize in a fuller lifetime.” Historical and bibliographical references including the New Grove Dictionary of Music and Musicians also characterized Coltrane’s development as moving from one period to the next.