While the Music Industry Slept

The music industry was caught off guard by what were initially external forces: the internet and Apple. It changed a business model that had been financially beneficial for decades.

Production and Consumption Model of a Modern Music Product

Introduction. The relevance of the study is in the formation of conceptual and terminological apparatus for the functioning of the music industry in Ukraine, the identification of music product producers, determining the specifics of music product and its essence, to develop an effective mechanism for copyright protection of authors and performers (artists) in a crisis of royalty payments formed in Ukraine in 2021. Purpose and methods. The study aims to determine the model of production and consumption of a modern music product given the rapid digitization of such a product in the last decade. The methodological basis of the study is comprehensive, systematic, and historical approaches. Results. A music product is defined in two definitions: first, like a musical composition with lyrics (song) or without lyrics (melody); secondly, “artist” as a music product that is directly involved in creating a track (song), public performance (concert), products with the symbols of their brand (merch) and content for social networks, television, radio, including advertising. Modern manufacturers of the music industry commercialize the artist's brand, his unique story. This strategy ensures rapid monetization of the music project and reduces investment risks. Conclusions. The scientific novelty of the research results is to determine the specifics of the functioning of traditional and modern models of modern music product production and consumption. The practical significance of the obtained results is in the use of the concept of “music product” for the development and improvement of legislation in the field of culture, the functioning of the music industry, and the protection of intellectual property rights, including copyright.

Music Genre Classification and Recommendation

There are various sorts to group the music. Classes are for the most part various classifications wherein music is partitioned. In this day and age as music industry develops quickly, there are various kinds of music sorts made. It is essential to classify the music into these classifications, yet it is mind boggling task. In past times this is done physically and prerequisite for programmed framework for type grouping emerges. As a rule, AI techniques are utilized to group music types and profound learning strategy is utilized to prepare the model yet in this undertaking, we will utilize neural organization strategies for the characterization.

The Hegemony of Western Pop Music in Indonesia 2010-2020 Period

One of the strong and real cultural dominations in Indonesia is the dominance of Western pop music. In this case, there is a voluntary acceptance by the Indonesian people of Western pop music which leads to the concept of Gramsci's hegemony. The continuity of the hegemony of western pop music in the country has been going on for a very long time, for that of course there is a need for deeper advocacy of the hegemony of western pop music so that the Indonesian people are aware of the ‘colonialism’ of western pop music in the country. This critical paradigm research is supported by a qualitative approach based on the theory of hegemony and supported by the concept of cultural imperialism. The findings of this study are the hegemony of western pop music that is widespread and civil society, namely, the Indonesian people tend to accept it with joy so that it seems that it even perpetuates the hegemony itself. Meanwhile, in the aspect of political society (government), various efforts have been made in advancing the national music industry; but are still considered less than optimal.

Representasi Stereotip Perempuan dalam Musik Dangdut: Hegemoni Kuasa dan Strategi untuk Bertahan

This research aims to explain the empowerment and capacity of an actor in dangdut music industry. Specifically, it tries to explain the knowledge, involvement, capacity and empowerment of a female singer acting in carrying songs containing what is considered vulgar values or not. Using the social praxeology concept by Bourdieu, this research argues that female singers are dominating actors in terms of dangdut music industry’s growth, though their own positions are not always special, and often enough, at its rock bottom. The stereotype role of a women’s sex and objectification both on the paper or visually can impacts her in social culture system, the self-sexualization of a women actor creates an instruct representation in public. This study uses a qualitative method with data collecting that consists of interviews with 5 female singer actors within dangdut orchestran music industry Alta Musik Pugung

Why the Internet is Good for Music

<p>The purpose of this thesis is to challenge the common notion that the internet has had a detrimental impact on the music industry, and on musicians’ ability to generate a viable income while still producing good music. Note, that the following arguments do not automatically extend to the effect that the web has had on books, patents, films, journalism or any other medium. The reason for this is because these different disciplines have individual characteristics that make them respond differently to the same socio-economic pressures. However, on the same token, it does not necessarily follow that the conclusions reached here are inapplicable to other activities: perhaps what is true for music in the following pages is also true for e.g. photography. Furthermore, I am not advocating for a free-for-all internet where behemoths like Google, Amazon and Facebook get to do whatever they wish. Although I am intrigued by such matters, the constraints of both time and space allow me only the possibility to focus on the subject that I am most familiar and passionate about. Furthermore, because I am painting a broad picture which encompasses many intellectual disciplines, many of which I am not an expert in, this work is to be considered more on the consistency of the overall argument rather than the minutia of its individual parts.</p>

Why the Internet is Good for Music

<p>The purpose of this thesis is to challenge the common notion that the internet has had a detrimental impact on the music industry, and on musicians’ ability to generate a viable income while still producing good music. Note, that the following arguments do not automatically extend to the effect that the web has had on books, patents, films, journalism or any other medium. The reason for this is because these different disciplines have individual characteristics that make them respond differently to the same socio-economic pressures. However, on the same token, it does not necessarily follow that the conclusions reached here are inapplicable to other activities: perhaps what is true for music in the following pages is also true for e.g. photography. Furthermore, I am not advocating for a free-for-all internet where behemoths like Google, Amazon and Facebook get to do whatever they wish. Although I am intrigued by such matters, the constraints of both time and space allow me only the possibility to focus on the subject that I am most familiar and passionate about. Furthermore, because I am painting a broad picture which encompasses many intellectual disciplines, many of which I am not an expert in, this work is to be considered more on the consistency of the overall argument rather than the minutia of its individual parts.</p>

Chart Chicks and Gear Girls

This chapter situates the voices of 1960s young women pop singers in a broader landscape of representations of young, white femininity and the historiography of 1960s British pop, Swinging London, and British girlhood. Drawing primarily on music magazines and fashion and entertainment magazines produced for young women in the 1960s (including titles such as Boyfriend, Fabulous, Honey, Mirabelle, and Petticoat) it shows how music was construed as a key element of modern, youthful, white femininity and self-expression. The chapter connects stories told about girl pop singers and popular narratives about young women seeking independence and shows how these stories are ultimately about attaining access to voice. These narratives about young women’s voices shaped music industry attitudes toward young women as consumers and producers of music, in turn shaping the kinds of musical opportunities that were available to girl and young woman singers.