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Journal articles on the topic 'Independent Music Production'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Andrew, Teguh Vicky, Riama Maslan Sihombing, and Hafiz Aziz Ahmad. "MUSIK, MEDIA, DAN KARYA : PERKEMBANGAN INFRASTRUKTUR MUSIK BAWAH TANAH (UNDERGROUND) DI BANDUNG (1967-1990)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 9, no. 2 (2017): 293. http://dx.doi.org/10.30959/patanjala.v9i2.18.

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AbstrakTren musik populer dari tahun ke tahun semakin mengguntungkan aliran musik bawah tanah (underground). Infrastruktur musik yang mandiri dan fleksibel, baik dalam tataran produksi, distribusi, dan konsumsi, menjadi kunci sukses aliran musik bawah tanah. Hal ini berlaku pula di Bandung. Namun pencapaian musik bawah tanah saat ini sebenarnya telah dirintis sejak 1970. Oleh karena itu, penelitian ini mencoba menelaah rintisan infrastruktur musik bawah tanah yang memiliki kontribusi bagi generasi sekarang. Untuk itu, penelitian ini dilakukan dengan menggunakan metode sejarah dengan pisau anal

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Walzer, Daniel A. "Independent music production: how individuality, technology and creative entrepreneurship influence contemporary music industry practices." Creative Industries Journal 10, no. 1 (2016): 21–39. http://dx.doi.org/10.1080/17510694.2016.1247626.

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Caston, Emily. "The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain." Journal of British Cinema and Television 16, no. 4 (2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.

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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music

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Magaudda, Paolo. "Processes of institutionalisation and ‘symbolic struggles’ in the ‘independent music’ field in Italy." Modern Italy 14, no. 3 (2009): 295–310. http://dx.doi.org/10.1080/13532940802556578.

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Over the last fifteen years, independent rock music has become a wider field of cultural production and consumption in Italy. Indeed, while during the 1970s and 1990s the production of independent music was connected predominantly to political movements, alternative subcultures and the antagonistic attitude of the ‘centri sociali’, in the present decade, independent popular music has moved towards the centre of the national music industry and the mass media of the musical mainstream. This article describes the phases of this process of institutionalisation, showing how the politically based cu

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Bowsher, Andrew. "Legitimising Strategies in the Field of Independent Cultural Production: the Case of Reissue Record Labels in the USA." International Review of Social Research 5, no. 2 (2015): 102–12. http://dx.doi.org/10.1515/irsr-2015-0009.

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Abstract This article examines the cultural practice of effecting an independent marketplace for reissued music in the United States, based on ethnographic fieldwork in Austin, Texas with independent record labels and consumers. As the music industry is not a homogenous entity (Williamson and Cloonan, 2007), I argue that the practice of legitimising an independent marketplace requires the formulation of a ‘mainstream’ market to which the independent is opposed, and the erecting of marketplace myths (Arsel and Thompson, 2010) to substantiate the independent marketplace’s claims to differ from t

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Tarassi, Silvia. "Multi-Tasking and Making a Living from Music: Investigating Music Careers in the Independent Music Scene of Milan." Cultural Sociology 12, no. 2 (2017): 208–23. http://dx.doi.org/10.1177/1749975517733221.

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The analysis of popular music scenes has traditionally focused upon grass-roots music-making practices, without considering how these practices are rooted in the organizational and economic dynamics that characterize today’s cultural economy. This article suggests the need to look at music production in music scenes as a more professionalized activity which requires entrepreneurial skills and economic sustainability. Drawing on the findings of a six-month fieldwork study of the music scene of Milan, this article will attempt to re-conceptualize our understanding of music scenes and to explain

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Gray, Herman. "Independent Cultural Production: The Case of a Jazz Recording Company." Popular Music and Society 10, no. 3 (1986): 1–16. http://dx.doi.org/10.1080/03007768608591246.

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8

Hesmondhalgh, David. "The British Dance Music Industry: A Case Study of Independent Cultural Production." British Journal of Sociology 49, no. 2 (1998): 234. http://dx.doi.org/10.2307/591311.

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Hracs, Brian J. "A Creative Industry in Transition: The Rise of Digitally Driven Independent Music Production." Growth and Change 43, no. 3 (2012): 442–61. http://dx.doi.org/10.1111/j.1468-2257.2012.00593.x.

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Vurma, Allan, and Jaan Ross. "Production and Perception of Musical Intervals." Music Perception 23, no. 4 (2006): 331–44. http://dx.doi.org/10.1525/mp.2006.23.4.331.

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This Article Reports Two Experiments. In the first experiment, 13 professional singers performed a vocal exercise consisting of three ascending and descending melodic intervals: minor second, tritone, and perfect fifth. Seconds were sung more narrowly but fifths more widely in both directions, as compared to their equally tempered counterparts. In the second experiment, intonation accuracy in performances recorded from the first experiment was evaluated in a listening test. Tritones and fifths were more frequently classified as out of tune than seconds. Good correspondence was found between in

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Walzer, Daniel. "Transient soundscape production." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (2021): 142–57. http://dx.doi.org/10.7146/se.v10i1.124203.

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Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music tec

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Hearn, Greg, Abraham Ninan, Ian Rogers, Stuart Cunningham, and Susan Luckman. "From the Margins to the Mainstream: Creating Value in Queensland's Music Industry." Media International Australia 112, no. 1 (2004): 101–14. http://dx.doi.org/10.1177/1329878x0411200109.

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As elsewhere, the music industry in Queensland comprises two tiers. The first tier is composed of products and services engaged by major music labels and commercially successful artists who at times attract significant sales. The second tier — or what is sometimes referred to as the ‘grassroots’ (Gibson, 2002) — largely consists of independent musicians, production personnel and producers attracting both niche and at times mainstream audiences. Characterised by informally networked micro-economies, independent artists, niche markets and the exploitation of new technologies, the second tier is

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Piper, Tina. "Putting Copyright in Its Place1." Canadian Journal of Law and Society / Revue Canadienne Droit et Société 29, no. 03 (2014): 345–59. http://dx.doi.org/10.1017/cls.2014.7.

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Abstract As copyright is asked to perform a greater role in governing creative activity, its focus on economic values above all others raises concerns. Interviews conducted by the author with Canadian independent music labels suggest that the law and the norms governing labels’ operations are more diverse and include direct subsidies, or grants, from government and the private sector. These grants perform many of the functions expected from copyright. This study concludes that copyright law is often exotic, peripheral, and even irrelevant to those involved in the spheres of remunerative Canadi

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Kaitajärvi-Tiekso, Juho Tuomas. "Monetizing Amateurs. Artistic Critique, New Online Record Production and Neoliberal Conjuncture." Culture Unbound 12, no. 2 (2020): 412–35. http://dx.doi.org/10.3384/cu.v12i2.894.

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This article examines the “new amateur music economy” as an emerging academic discourse. This represents amateur musicians and producers—with access to new digital production and communication tools—as entrepreneurial, aspiring professionals. The article then connects the discourse with its political, economic, and social context—or the neoliberal conjuncture. From the critical standpoint of conjunctural analysis it takes note of the albeit uneven nature of this neoliberalisation when it comes to the case of “independent micro-labels” in Finland who are seen to be maintaining the artistic crit

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Wulandari, Sri, Mira Triharini, and Sylvia Dwi Wahyuni. "The Effect of a Combination of Oxytocin Massage and Music Therapy on Breast Milk Production and Breastfeeding Self Efficacy in Primipara Post Partum Mothers." Pediomaternal Nursing Journal 6, no. 1 (2020): 49. http://dx.doi.org/10.20473/pmnj.v6i1.19181.

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ABSTRACTIntroduction: exclusive breastfeeding. Factors that affect mothers not to give breast milk to babies, including the condition of mothers who are stressed, lack of confidence can cause the production of breast milk not smooth. The aim of this study was to study the combination of oxytocin therapy and music therapy in breast milk production and breastfeeding self-efficacy in postpartum mothers.Method: The study design used Quasy Experiment with a pre-posttest design. The population of mothers after childbirth who worked in the Kalijudan Health Center area, Surabaya. The sample used was 8

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Chin, TanChyuan, and Nikki S. Rickard. "The Music USE (MUSE) Questionnaire: An Instrument to Measure Engagement in Music." Music Perception 29, no. 4 (2012): 429–46. http://dx.doi.org/10.1525/mp.2012.29.4.429.

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active engagement with music has been associated with cognitive, emotional, and social benefits, although measures of musicianship are typically limited to music training. A self-report questionnaire was developed to assess both quality and quantity of different forms of music use, with eight music background items, and a further 124 items testing music engagement. Analysis of engagement items with an initial sample (N = 210; mean age = 37.55 years, SD = 11.31) generated four reliable engagement styles (Cognitive and Emotional Regulation, Engaged Production, Social Connection, Dance and Physic

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Hwanho Choi. "A New Form of Independent Music Production in the Internet Age: A Study of Net-labels." E-Business Studies 16, no. 2 (2015): 19–33. http://dx.doi.org/10.15719/geba.16.2.201504.19.

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O'Grady, Pat. "Making mirrors, making albums and making documentaries: the music of Gotye and negotiating Bourdieu's field of cultural production." Popular Music 39, no. 3-4 (2020): 669–84. http://dx.doi.org/10.1017/s026114302000046x.

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AbstractRecent popular music and film studies have revealed the political functions of documentaries about musicians. These studies suggest that such documentaries make powerful interventions into the field of music production as they construct the value of their subjects and their work. Owing to the expense and complexity of broadcast equipment, production companies have tended to favour documentaries about artists and work considered to be popular and historically significant. Over the past 15 years, however, new technologies have allowed musicians to make documentaries themselves, which the

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Platte, Nathan. "Dream Analysis: Korngold, Mendelssohn, and Musical Adaptations in Warner Bros.' A Midsummer Night's Dream (1935)." 19th-Century Music 34, no. 3 (2011): 211–36. http://dx.doi.org/10.1525/ncm.2011.34.3.211.

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Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range from Korngold's presence on the set to the publicity department's efforts to spotlight Mendelssohn's music and Korngold's arrangements, I argue that the score for Dream played an important role in elevating film music and film composers within the hierarchy of Hollywood production and publicity. Not only

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Mbhele, Thokozani Patmond, and Praveena Ramnandan. "THE DIGITAL ECOSYSTEM AND ENTREPRENEURIAL MUSIC DISTRIBUTION: A FORCE FIELD PERSPECTIVE." Acta Tecnología 6, no. 4 (2020): 89–103. http://dx.doi.org/10.22306/atec.v6i4.87.

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The world of business has evolved from the 19th century (steam, rail and electricity) to the 20th century (telephone, radio, television and, especially, the computer as the greatest information technology that converts analogue signals into a digital form including binary digits), and the 21st century (the fourth industrial revolution (4th IR) – described as the advent of “cyber-physical systems” involving entirely new capabilities for people and machines). Digital entrepreneurship is an emergent phenomenon in which new digital artefacts, platforms and infrastructure are used to pursue innovat

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Luo, Mengyu. "The omnivore turn in cultural production: Case study of China’s Rainbow Chamber Singers." International Journal of Cultural Studies 23, no. 1 (2019): 81–101. http://dx.doi.org/10.1177/1367877919875972.

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Previous studies on China’s cultural production have concentrated on the tension between state and individual creativity, overlooking the more dynamic and popular expression in China’s complicated cultural market, especially in this information age. This article is inspired by the omnivore–univore argument in cultural consumption and argues there is a similar omnivore turn among China’s independent cultural producers. Drawing on a case study of the Rainbow Chamber Singers (RCS), this article provides a new dimension and perspective to examine omnivore production in China’s ‘unconventional’ cha

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VECCHIOLA, C. "Submerge in Detroit: Techno's Creative Response to Urban Crisis." Journal of American Studies 45, no. 1 (2010): 95–111. http://dx.doi.org/10.1017/s0021875810001167.

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The Detroit electronic music (DEM) community is a group of urban residents who, since the 1980s, have used new technologies in music production as well as changing communications technologies to create a transnational arts community. This article is a result of ethnographic research of the DEM community conducted from 1999 to 2007 and is focussed on the city's biggest independent distribution company, Submerge. The phrase “electronic music” refers to both house and techno music. Techno music and house music are African American music genres created in Detroit and Chicago respectively during th

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Bürkner, Hans-Joachim, and Bastian Lange. "Sonic capital and independent urban music production: Analysing value creation and ‘trial and error’ in the digital age." City, Culture and Society 10 (September 2017): 33–40. http://dx.doi.org/10.1016/j.ccs.2017.04.002.

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Levitin, Daniel J., and Ursula Bellugi. "Musical Abilities in Individuals with Williams Syndrome." Music Perception 15, no. 4 (1998): 357–89. http://dx.doi.org/10.2307/40300863.

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We report evidence for relatively preserved musical rhythm processing in individuals with Williams syndrome, supporting the theory that musical ability constitutes an independent intelligence. Williams syndrome occurs in 1 out of 20,000 births and is associated with a defect in elastin production, impaired cognitive function, and poor spatial, quantitative, and reasoning abilities, coupled with excellent face processing and relatively strong language abilities in adolescents and adults. Previously, informal qualitative observations have revealed an unusual degree of musicality and engagement w

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Harries, Guy. "Opera, devising and community: A creative and pedagogical methodology." International Journal of Community Music 13, no. 3 (2020): 271–82. http://dx.doi.org/10.1386/ijcm_00027_1.

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Create An Opera! was a fortnightly devising workshop led by the author at Theatre Delicatessen studios in London in 2017–20. It was free to the general public and attracted participants including both experienced and inexperienced performance practitioners. It aimed to create a safe, inclusive environment for experimentation in writing, composition and collaborative performance. This initiative arose from the author’s interest in challenging the sociopolitical traditions and hierarchical infrastructures associated with opera production. Inspired by the ethos of devised theatre, the workshops c

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London, Jeffrey. "Portland Oregon, Music Scenes, and Change: A Cultural Approach to Collective Strategies of Empowerment." City & Community 16, no. 1 (2017): 47–65. http://dx.doi.org/10.1111/cico.12222.

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This article highlights the role of the independent music culture of Portland, Oregon, in establishing a productive culture of consumption and spaces that contribute to the place character of the city. Derived from an ethnographic research project of urban culture and social change in Portland, Oregon, guided interviews and extended participant observation helped to bring to light the cultural economy that artists and musicians make for the city. The cultural production of Portlanders in the indie music community, and those who work and produce in neighborhood settings, has served the city in

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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.

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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oak

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Garrett-Davis, Josh. "American Indian Soundchiefs." Resonance 1, no. 4 (2020): 394–411. http://dx.doi.org/10.1525/res.2020.1.4.394.

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American Indian Soundchiefs, an independent record label founded by the Rev. Linn Pauahty (Kiowa) in the 1940s, developed a remarkable model of Indigenous sound media that combined home recording, dubbing, and small-scale mass production. Alongside other Native American media producers of the same era, Soundchiefs built on earlier engagements with ethnographic and commercial recording to produce Native citizens’ media a generation prior to the Red Power era of the 1960s and 1970s. This soundwork provided Native music to Native listeners first, while also seeking to preserve a “rich store of fo

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Moore, Ryan, and Michael Roberts. "Do-It-Yourself Mobilization: Punk and Social Movements." Mobilization: An International Quarterly 14, no. 3 (2009): 273–91. http://dx.doi.org/10.17813/maiq.14.3.01742p4221851w11.

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The intersection between music and social movements is a fertile area of research. We present three case studies taken from punk-the Rock Against Racism campaign in Britain during the late 1970s, the American hardcore scene of the 1980s, and the riot grrrl feminism of the early 1990s-as instances where music and subculture have not simply figured as symbolic forms of resistance and identity formation but also as a means of organizing protest, raising consciousness, and creating change. The central mechanism that has allowed punk subcultures to achieve high levels of mobilization has been the d

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Wainer, Daniel Ferreira. "Between music and technology: existence and functioning conditions of the Brazilian phonographic industry in the 21st century." Comunicação e Sociedade 31 (June 29, 2017): 327–42. http://dx.doi.org/10.17231/comsoc.31(2017).2621.

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This paper discusses the digitalization process of the Brazilian music industry through bibliographical, documental and empirical sources – the latter based on fieldwork and personal interviews conducted from July 2014 to June 2015. To achieve this goal, I intend to: highlight the conditions that lead to the emergence of the digital age; analyze the development of medias, devices and equipment which may have led to this turning point; investigate the possibilities of music production and distribution in the Brazilian context; cross the local circuits of piracy and the independent ways of comme

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Chan, Lisa P., Steven R. Livingstone, and Frank A. Russo. "Facial Mimicry in Response to Song." Music Perception 30, no. 4 (2012): 361–67. http://dx.doi.org/10.1525/mp.2013.30.4.361.

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We examined facial responses to audio-visual presentations of emotional singing. Although many studies have now found evidence for facial responses to emotional stimuli, most have involved static facial expressions and none have involved singing. Singing represents a dynamic ecologically valid emotional stimulus with unique demands on orofacial motion that are independent of emotion, related to pitch and linguistic production. Observers’ facial muscles were recorded with electromyography while they saw and heard recordings of a vocalist’s performance sung with different emotional intentions (h

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Pressing, Jeff. "The Micro- and Macrostructural Design of Improvised Music." Music Perception 5, no. 2 (1987): 133–72. http://dx.doi.org/10.2307/40285390.

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Two short pieces of freely improvised music by the same performer were recorded in microstructural detail by the use of a specially constructed automatic transcription apparatus. The apparatus consists of a modified DX7 synthesizer and 2650 microprocessor which interfaces with other computers for data processing. The resultant music is transcribed into a modified form of traditional notation and subjected to both micro- and macrostructural analysis. Microanalysis includes the areas of timing (interonset and duration distributions, displacement, chordal spreads, etc.), dynamics ( key velocity,

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Burford, Mark. "Sam Cooke as Pop Album Artist—A Reinvention in Three Songs." Journal of the American Musicological Society 65, no. 1 (2012): 113–78. http://dx.doi.org/10.1525/jams.2012.65.1.113.

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Abstract Though African American singer, songwriter, and entrepreneur Sam Cooke (1931–1964) is commonly celebrated as a pioneering soul singer, the preponderance of Cooke recordings suggesting to many critics a “white” middle-of-the-road pop sound has troubled this reception. From June 1957 until the end of 1959, Cooke recorded for the independent label Keen Records, where he charted a course for realizing his professional and socioeconomic aspirations, including his determination to harness the prestige attached to the long-playing album and the “album artist.” This article explores relations

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Munawaroh, Febria Yatimatul, Riyanto Riyanto, and Andi Warnaen. "PENGARUH DESAIN PESAN VIDEO INSTRUKSIONAL TERHADAP PERSEPSI PETANI TENTANG TRICHOKOMPOS." Jurnal Komunikasi 13, no. 1 (2019): 27–40. http://dx.doi.org/10.21107/ilkom.v13i1.5214.

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ABSTRACTThis research was conducted in District of Babadan Regency of Ponorogo East Java Province,to 62 chilli farmers and cattle farmers selected by simple random sampling. The purpose of thisresearch is to know the influence of video usage and video message packaging elements to farmerperception about Trichokompos production and usage. The research design is One-Shot CaseStudy, independent variable used is narration, material, picture, music, time, and text, while thedependent variable is farmer perception on making and using Trichokompos. Information gatheringon this is obtained through a s

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ILCHUK, LINA. "CONTENTS OF METHODICAL TRAINING OF FUTURE TEACHERS-MUSICIANS FOR THE USE OF BELL RINGING MEANS IN PROFESSIONAL ACTIVITY." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy, no. 2 (April 6, 2021): 60–69. http://dx.doi.org/10.25128/2415-3605.20.2.9.

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The urgency of improving the professional training of future music teachers in connection with the growing public demand for the professional qualities of teachers is substantiated. It is established that the teacher’s search for a new content of education, in particular among ethnopedagogical bell ringing means, the use of non-traditional methods and forms of teaching will promote creative development of an individual, the formation of value attitude to the traditions and customs of his/her nation. The necessity of formation of methodical readiness of future teachers-musicians for the use of

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Bedford, William. "‘Montreal might eat its young, but Montreal won’t break us down’: The co-production of place, space and independent music in Mile End, 1995–2015." Journal of Urban Cultural Studies 2, no. 3 (2015): 335–45. http://dx.doi.org/10.1386/jucs.2.3.335_1.

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LAGE, RAFAEL. "Artista Artesão ou Artista Igual Pedreiro: de Mozart a Macaco Bong, uma história de lutas por autonomia * Artist Craftsman or Artist Equal Mason: from Mozart to "Macaco Bong", a history of struggles for autonomy." História e Cultura 2, no. 1 (2013): 166. http://dx.doi.org/10.18223/hiscult.v2i1.849.

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<p><strong>Resumo:</strong> No livro "Mozart – Sociologia de um gênio", Norbert Elias descreve embates em torno de artistas artesãos (presos ao gosto musical da corte aristocrata) e artistas autônomos (com certa autonomia musical, só que menos estruturados socialmente), apresentando Mozart como um agente de transição. Já em pleno século XXI, surge com a banda brasileira Macaco Bong o conceito de artista igual pedreiro, a ideia de envolvimento do músico nos processos produtivos, não apenas na hora de subir ao palco, apontando novas tecnologias digitais como democratizadoras. N

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Maguire, Donald. "Determinants of the number of heavy metal musicians per capita." Metal Music Studies 7, no. 1 (2021): 1–41. http://dx.doi.org/10.1386/mms_00s44_1.

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This study is a follow-up to the 2015 study titled ‘Determinants of the production of heavy metal music’. That study attempted to find an equation that would predict the number of heavy metal bands that each country had. That study was unable to arrive at a single equation, and double counting the output of musicians who were in more than one band was likely the reason. This study re-tests the variables that were found to be significant in the original study, some alternatives to those variables, and reconsiders some variables that were not found to be significant in the original study. To ove

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Beeko, E. Kwadwo Odame. "The Dual-Relationship Concept of Right-Ownership in Akan Musical Tradition: A Solution for the Individual and Communal Right-Ownership Conflicts in Music Production." International Journal of Cultural Property 18, no. 3 (2011): 337–64. http://dx.doi.org/10.1017/s0940739111000191.

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AbstractThere are apparently two legal systems of “rights ownership” in Ghana, which are (1) the individuals' rights—a system that overemphasizes the exclusive protection of the individual musicians' rights to ownership, and (2) the communal or governmental rights—a system that provides an exclusive protection of the government's (or community's) rights to ownership. Thus, for while the first are the inalienable rights that empower the autonomous musician universally, and are seen as a “private property” of mutually independent individuals; the second are the inalienable rights that empower th

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Fallows, Tom. "Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero." Horror Studies 12, no. 1 (2021): 45–62. http://dx.doi.org/10.1386/host_00028_1.

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Film critic Robin Wood categorized George A. Romero as a transgressive genre filmmaker, a director who with films such as Dawn of the Dead offered a consistent, and consistently bloody, attack on the normative social constructs that dominate US culture. Within such advocacy, Wood helped define Romero as a specific cultural type – as a horror film auteur. This article considers Wood’s framing within a wider critical, commercial and industrial context, asking how this ideological analysis became, paradoxically, part of a more conservative organization of Romero. By drawing upon business theory a

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Lestari, Ningrum Dwi. "Proses Produksi dalam Industri Musik Independen di Indonesia." Jurnal Komunikasi 10, no. 2 (2019): 161–68. http://dx.doi.org/10.31294/jkom.v10i2.6207.

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This research focused on production process in the music recording industry independently by musician, Andien Aisyah. Previously Andien Aisyah worked with Major Label. The concept used in this research is concept of production, and associated with the production process on the recorded music by Andien. The research method used in this research is descriptive qualitative research. The results of the analysis of the production process recording music album by Andien independently has several similar stages to the production process previously with Major Label. In the production process between M

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Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.

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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

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Attfield, Nicholas. "From punk into pop (via hardcore): Re-reading the Sub Pop manifesto." Punk & Post-Punk 00, no. 00 (2021): 1–17. http://dx.doi.org/10.1386/punk_00086_1.

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Bruce Pavitt’s music fanzine Sub Pop, the first issue of which appeared in 1980, is often presented as a simple case of independent culture versus the reviled mainstream, with little reference to the actual written and graphic content of its pages. This article challenges and complicates that view with an account of Pavitt’s usage of language and specific genre terms – in particular, his tendency to rebrand punk as (indie) ‘pop’. This he reinforces with all manner of written and visual references to 1950s pre-corporate means of production and consumption. In so doing, I argue, he projects what

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Stezhko, Natalia G. "VR technologies in docudrama." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 73–80. http://dx.doi.org/10.17816/vgik11173-80.

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The essay explores the implementation of VR technologies in film production, a development due to which audio-visual content, which is in high demand both in television and on the Internet, has taken a new direction, and which is a topical issue in contemporary film studies. VR technologies allow the viewer who sits on a swivel chair and wears a VR-helmet incorporating 360-degree rotating LCD monitors to watch different areas of action. A characteristic feature of VR content is a multi-sensory experience including sight, hearing, smell and touch. VR creates a digital reality with maximum

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Kmet, Nicholas. "Remote Control: Collaborative Scoring and the Question of Authorship." Revue musicale OICRM 5, no. 2 (2018): 1–14. http://dx.doi.org/10.7202/1054145ar.

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Perhaps the most interesting – and controversial – aspect of Hans Zimmer’s Remote Control Productions is the collaborative workflow that many of the film scores that pass through the Santa Monica studio are produced under. While Zimmer and business partner Steven Kofsky have taken great pains in interviews to emphasize the independence of composers working at the Santa Monica studio – Kofsky has said that “these composers are independent, have their own businesses, and secure their own movies” – the reality is one of frequent collaboration. The website for the studio’s parent company – a joint

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Bennett, Andy. "Youth, Music and DIY Careers." Cultural Sociology 12, no. 2 (2018): 133–39. http://dx.doi.org/10.1177/1749975518765858.

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Since the 1970s, the concept of DIY (do-it-yourself) culture has evolved from a bluntly resistant statement of independence from dominant forms of capitalist cultural production and dissemination to a more nuanced expression of creative cultural practice. While such practice remains resistant to more mainstream forms of cultural production and consumption it has at the same time evolved a level of professionalism aimed towards ensuring cultural and, where possible, economic sustainability. In a time where the concept of the cultural industries has become commonplace across many regions of the

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Douche, Sylvie. "Music in France in the Years 1911–1913 According to Jean Chantavoine: Independent Thinking and Political Constraints." Nineteenth-Century Music Review 1, no. 2 (2004): 67–88. http://dx.doi.org/10.1017/s1479409800001361.

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On the eve of the First World War the French musical press enjoyed a freedom of expression which allowed it to put works and composers into clear-cut categories. This same freedom of expression authorized it to denounce explicitly the state's stranglehold over the organization of its grand theatres through the implementation of the cahiers des charges. This study is based on the articles which Jean Chantavoine published in l'Année musicale in 1911, 1912 and 1913. He writes annual statements which were more organizationally – rather than musically – orientated, and it is this feature which form

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Mawer, Deborah. "Music-Dance (and Design) Relations in Ballet Productions of Ravel’s Daphnis et Chloé." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 77–85. http://dx.doi.org/10.7202/1012353ar.

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This article investigates music−dance (and design) interplay and balletic challenges in Daphnis et Chloé, focusing upon the Ravel−Ashton−Craxton production for The Royal Ballet (1951, revived in 2004), in comparison with the Ravel−Fokine−Bakst original of 1912. Sources drawn upon include accessible choreographic materials of Frederick Ashton (1904−88), held at the Royal Opera House Archives in London, as well as first-hand correspondence with the designer John Craxton (1922−2009). In order to explore the main music−dance relationships and emergent meanings, the study engages with multimedia id

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Dorf, Samuel N. "Atossa’s Dream Yoking Music and Dance, Antiquity and Modernity in Maurice Emmanuel’s Salamine (1929)." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 27–34. http://dx.doi.org/10.7202/1012347ar.

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This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and m

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Liu, Siyuan. "“The Brightest Sun, The Darkest Shadow”: Ideology and the Study of Chinese Theatre in the West during the Cold War." Theatre Survey 54, no. 1 (2013): 27–50. http://dx.doi.org/10.1017/s0040557412000403.

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This is the new Communist drama, and the picture is frequently artless and sterile, without depth, without truth, and without reality.—Walter and Ruth Meserve, 1970Peking opera now is a mixture of drama, music, dance, acrobatics, poetry, propaganda and revolutionary history, with indefatigable heroes (more adroit than James Bond, and with a purpose he never dreamed of) and fabulously wicked villains—the whole socking out a message of exemplary struggle and courage.—Lois Wheeler Snow, 1972The study of Asian theatre as an academic field independent of English and Asian Studies arose in the West,

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