Academic literature on the topic 'Independent record labels'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Independent record labels.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Independent record labels"
1
Strachan, Robert. "Micro-independent record labels in the UK." European Journal of Cultural Studies 10, no. 2 (2007): 245–65. http://dx.doi.org/10.1177/1367549407075916.
Full text
2
Mall, Andrew. "Concentration, diversity, and consequences: Privileging independent over major record labels." Popular Music 37, no. 3 (2018): 444–65. http://dx.doi.org/10.1017/s0261143018000375.
Full textAbstract:
AbstractThe field of popular music studies has long been interested in the relationships between record labels and the music they make available to consumers. At the micro level, research on record labels provides insight into the tensions between art and commerce and those between individuals and institutions. At the macro level, this research illuminates changes in socio-economic trends, music industry structures and structural inequalities. A meta-analysis of this literature reveals an ‘indie prejudice’: a preference for (and even a bias in favour of) independent labels coupled with a dismissive approach to the study of major labels and musical mainstreams that impacts our ability, as a scholarly field, to speak with authority about the largest segments of the commercial record industries. What larger implications for our scholarship might confronting this prejudice reveal? What master narratives have structured popular music studies’ preference of independent over major record labels? In this article, I argue that the art/commerce dichotomy has remained influential, although it can have unintended and dangerous side effects if it becomes a guiding assumption.
3
O’Connor, Alan. "Habitus and field: Punk record labels in Spain." Punk & Post Punk 10, no. 2 (2021): 265–89. http://dx.doi.org/10.1386/punk_00071_1.
Full textAbstract:
Following the method of Bourdieu’s Distinction (1984) and especially The Weight of the World (1999), this article presents interviews with four Spanish record labels, which provide case studies of the workings of the field. Distinction shows that uses of culture are affected by social class. The Weight of the World presents lightly edited interviews with marginalized groups in France. The interviews presented in this article attempt to relate the lifestyle or class habitus of the person interviewed to their strategies of operating a punk record label. The recorded interviews also provide a great deal of concrete information on independent punk labels in Spain.
4
Lee, Stephen. "Re-examining the concept of the ‘independent’ record company: the case of Wax Trax! records." Popular Music 14, no. 1 (1995): 13–31. http://dx.doi.org/10.1017/s0261143000007613.
Full textAbstract:
In the American record industry, independent record companies have long held a cultural status that far exceeds the actual economic impact they have in the market-place. Independent record companies, or ‘indies’, have become understood as innovative and creative oases for new or unconventional musicians in the midst of a capital-driven and profit-oriented record business. The development of a wide range of musical genres and styles – from rhythm and blues and soul to punk and industrial – are often attributed to the small companies that operated outside of the control of the larger ‘major’ labels.
5
Gamble, Jordan Robert. "Marketing madness or financial folly?" European Journal of Marketing 53, no. 3 (2019): 412–41. http://dx.doi.org/10.1108/ejm-11-2017-0830.
Full textAbstract:
Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. Findings The loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. Research limitations/implications The implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. Practical implications The insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics. Originality/value This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.
6
Hearn, James. "The Representation of Major and Independent Record Labels in Billboard Magazine." Journal of the Music and Entertainment Industry Educators Association 9, no. 1 (2009): 113–32. http://dx.doi.org/10.25101/9.5.
Full text
7
Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.
Full textAbstract:
Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.
8
Howes, Seth. "DIY, im Eigenverlag: East German Tamizdat LPs." German Politics and Society 35, no. 2 (2017): 26–47. http://dx.doi.org/10.3167/gps.2017.350203.
Full textAbstract:
Between 1983 and 1989, as the two German pop music industries continued to license one another’s properties, and Amiga continued releasing American and British records, five long-playing records were released by independent labels based in Western Europe that contained music recorded in the German Democratic Republic. They were then smuggled out of the country rather than formally licensed for release abroad. Existing outside the legal framework underlying the East German record industry, and appearing in small pressings with independent labels in West Germany and England, these five tamizdat LPs represent intriguing reports from the margins on the mutual entanglement of the two Germanies’ pop music industries. Closely examining these LPs’ genesis and formal aspects, this article explores how independent East German musicians framed their own artistic itineraries with respect to (or in opposition to) the commercial pop circuit, as they worked across borders to self-release their music.
9
Drijver, Robin den, and Erik Hitters. "The Business of DIY. Characteristics, motives and ideologies of micro-independent record labels." Cadernos de arte e antropologia, Vol. 6, No 1 (April 1, 2017): 17–35. http://dx.doi.org/10.4000/cadernosaa.1192.
Full text
10
Schwartz. "From Blue Horizon to Saydisc: Independent Record Labels in the British Blues Revival." Global South 14, no. 1 (2020): 94. http://dx.doi.org/10.2979/globalsouth.14.1.05.
Full textDissertations / Theses on the topic "Independent record labels"
1
Roy, Elodie Amandine. "British independent record labels, memory and mediation : situating music objects in physical and digital contexts." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2778.
Full textAbstract:
This thesis examines the changing relationship between the material culture of music (in the form of recorded music objects) and memory (as it is sedimented in, and mediated by, the work of a selection of British independent record labels). The principal aim of this work is to explore the significant but often-overlooked material paradigm of recorded music, from Edison’s invention of the phonograph in 1877 up until the early twenty-first century, increasingly characterised by the digital archiving, collecting and consumption of music. Drawing from a broad range of cultural theorists (including Benjamin, Straw, Sterne, Kittler, Gitelman and Huyssen), this research seeks to situate recorded sound within broader discourses on memory and mediation, technology and cultural transmission. The thesis is structured around the analyses of several British independent record labels from the recent past and the present: Sarah Records (1987- 1995), Ghost Box Records (2004-) and reissue record labels, including Finders Keepers (2004-). By focusing on specific record labels and situated configurations of the material culture of music, both physical and digital, I identify and map various aspects of the music object and clarify the particular socio-technological contexts within which such configurations arise.
2
Hurst, Magnus, and Niklas Marklund. "Internet, music and communication : How the Internet is affecting communicational efforts of smaller independent record labels." Thesis, Uppsala University, Department of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-127118.
Full textAbstract:
<p>The purpose of this thesis is, through a case study, to analyse how the Internet is affecting smaller independent record labels' communicational efforts, and if these companies are dealing differently with this technological change. In order to accomplish this, a number of interviews have been conducted with smaller independent record labels. The findings have been analysed using a theoretical frame of reference covering innovation management and communicational methods. Our results show that the Internet has had an effect on these labels’ communicational efforts, either directly through an increased use of online communication or indirectly through the decreasing effectiveness of some traditional channels. However, as many traditional channels are still being used, smaller independent record labels are now managing an increased number of channels simultaneously. Furthermore, the degree of online communicational efforts varies depending on musical genre, being more commonly used in popular music genres. For labels with a high online activity, social networks play a prominent role, with considerable effort and time allocated towards working with these. Also, these companies are very attentive to the rapidly changing online environment with the aim of staying at the forefront of this development.</p>
3
Primschitz, Christina. "The effects of digitization on the music industry – From the viewpoint of music creators and independent record labels in Sweden." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20756.
Full textAbstract:
Digitaliseringen, uppkomsten och den ökade populariteten av on-demand musikstreamingtjänster har förändrat musikbranschen i snabb takt. Tidigare studier visar att digitaliseringen har påverkat sättet hur media skapas, publiceras, distribueras och konsumeras. Studier om digitaliseringens effekter på kreatörer och distributörer inom musikbranschen visade sig däremot vara få. Det ansågs därför som en möjlighet att utforska hur artister och oberoende skivbolag uppfattar digitaliseringens effekter för att minimera den nuvarande kunskapsluckan. Den explorativa sekventiella studien bestod av två faser och baserades på en kombination av olika metoder. Den initiala studien utgjordes av tre kvalitativa intervjuer och resulterande arbetsteorier prövades därefter i en kvantitativ enkätundersökning (n=81). Resultatet indikerar att större andelen av oberoende skivbolag har anpassat sina affärsmodeller och utvecklats till s.k. 360°-musikföretag. Resultatet visar vidare att digitaliseringen har till viss grad påverkat sättet hur musik skapas och produceras, med en tendens mot en mer individualistisk och digital process, och vidare medfört en förenkling för artister att publicera sin musik. Artisternas intäkter har däremot inte förbättrats och många upplever att arbetsklimatet har försämrats. Resultatet visar att digitaliseringen sedan uppkomsten av musikstreamingtjänster har medfört omvälvande förändringar, dock verkar dessa inte ha lett till en demokratisering av musikbranschen utan enbart till en förflyttning av makten från skivbolagen till musikstreamingtjänsterna. Både artister och oberoende skivbolag uppfattar att den nära framtidens främsta utmaningar å ena sidan är att uppnå en skälig betalning för artister, samt å andra sidan att framgångsrikt marknadsföra musiken för att nå igenom bruset. Det indikeras vidare att regler och lagar är nödvändiga för att kunna säkerställa en hållbar utveckling av musikbranschen.<br>The emergence and continuously growing popularity of on-demand streaming music services has changed the music landscape rapidly and new services are entering the market at a high pace. Prior studies show that digitization has affected the way media is created, published, distributed and consumed. The literature review revealed a knowledge gap regarding the effects on music professionals and provided an opportunity to explore how artists and independent record labels perceive the aspects of digitization. The study followed an exploratory sequential mixed-methods approach and consisted of two phases, an initial study including three qualitative interviews, and a quantitative follow-up study, in which working theories that had resulted from the initial study were tested through an online survey (n=81). The results indicate that many independent record labels have changed and adapted their business models and turned into so called 360° music companies. The results further show that digitization developments have to some degree affected the way music is created and produced, with a tendency towards a more individualistic and digital process, and that it has become easier for artists to publish their music; their incomes have however not improved and for many artists the working climate has become harder. The results show that the emergence of on-demand streaming services has disrupted the music industry, instead of having a democratic impact, the power that record labels used to have appears to have shifted to streaming services. Both artists and independent record labels perceive the achievement of fair payments and successful promotion to be the main future challenges. It is indicated that regulations and laws that prevent exploitation are necessary in order to ensure the music industry to be sustainable in the future.
4
Reinke, Bryan E. "Indie Music In The Age Of The Internet." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/634.
Full textAbstract:
In my paper I explored the success of independent artists on the Internet over the past three to five years while also examining the diminishing need for major record labels with regards to an independent artists success. I chose to examine this trend primarily because we are seeing the success of many artists to varying degrees who use the Internet to promote their music on a scale we’ve never seen before. Because of this, the entire structure of the music industry is beginning to change drastically and people have greatly begun to rethink the way we discover and enjoy music as well as the types of music we like. I wanted to explore the ways in which independent artists are achieving their success, the degree to which this success has been achieved, and why they have chosen to remain independent from major record labels.
I began by researching independent artists before the Internet became a marketplace for music and how the Internet has changed the music industry to this day with regards to album sales. I then researched different platforms that have recently emerged on the Internet and how they are allowing artists to market themselves in effective ways and at little to no cost to the artist. I also examined the equipment required to make music in the digital age and how it has become cheaper and more accessible to obtain. Finally I examined specific independent artists who have emerged over the past few years on scales larger than many artists signed by major labels and why they have chosen to remain independent.
From the research I did on the rise of independent music, I learned that most of these artists are doing something unique or different from artists signed to major labels. I also found that the message behind their music was sometimes contradictory to what has been accepted in mainstream media in the past. They have remained independent because they do not want to lose creative control of their music while also cutting out the middle man, or record labels, so they may keep a majority of their own profits. Through the artists that were researched, it can be seen that a major label budget or marketing scheme is far from necessary in the age of the Internet and can actually hinder the careers of certain artists. This is important because as major record labels continue to become less important, the structure of the music industry and its economy are changing in a way that is the opposite of what it once was. Music is now beginning to be empowered by the artists and fans rather than by major label corporations.
5
Callahan, Lorenzo Lee Jr. "Creating an independent record label." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1977.
Full textAbstract:
The primary purpose of this thesis was to illustrate the creation of a successful independent record label. The research analyzed current music business trends in addition to general business literature. The guidelines of general business were adapted and transformed to meet the needs of a record label. Interviews with individuals that have expertise in music business were also conducted to accurately assist in the development of a record label. It was determined that several important elements must be addressed when starting a record label, they are: Your Business Description; Marketing Strategies; Analyzing the Competition, and Financial Planning concerns. Although these were the most important topics when creating your label, other sections were added to assist with record label development. With proper research and planning, your record label will have a higher rate of success.
6
Mu-HsuanHung and 洪穆萱. "An Exploratory Research on Business Models of Taiwan Record Companies -Cases of International and Independent Record Labels-." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/nhwruk.
Full textAbstract:
碩士<br>國立成功大學<br>企業管理學系<br>107<br>Record companies have experienced lots of ups and downs in Taiwan, such as the boom of domestic record labels in the 1980s, the enter of international record companies in Taiwan since the 1990s, and the threats of digital music happening at the present time. The aim of this study is to primarly investigate the business model of record companies through comparing the case of Taiwan international record companies as well as the independent music labels. The researcher selected both two companies among each international and independent music labels, which all established more than five years and possess certain scales. Our interview guide based on “Business Model Canvas” which conducted by Osterwalder ＆ Pigneur in 2010 and the researcher also followed this model to analyse and compare these cases.
The results an be summarized and divided into three parts: (1) the generalized business model of international record companies. (2) the induction of independent music lables’ business model. (3) the comparasion of business model between international record companies and independent music labels.
In the light of the results above, this thesis gave some pratical suggestions to both two companines: expanding the scope from music to Over-the-top (OTT) industry for international record companies and forming an alliance with other labels to contend with large-scale companies as a advice for independent music labels.
7
Tai, Yun, and 戴昀. "The Practice of the Independent Record Label in Taiwan - A Case Study of White Wabbit Records." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/13200274900156690494.
Full textAbstract:
碩士<br>國立政治大學<br>社會學研究所<br>94<br>This research is a case study of White Wabbit Records (hereafter WWR), an independent record label in Taiwan. I investigated the mode of WWR’s operation as well as the process from production to consumption of its music merchandise. Through in-depth interviewing and archival strategies, I collected data on the views and experiences of four different actors in the independent music business: the executive of the independent record label, the independent bands and artists, the consumers of independent music, and music critics. There are two primary aspects involved in this research: 1) “performance”, which includes production, consumption, and interactions amongst the actors; and 2) “ideology”, which comprises the views and practice of each actor with respect to the “independent-ness” in independent music products and production.
The research found that two distinguishing features – “low cost” and “high autonomy” – are involved in the production of independent music. First, independent record labels are predominantly small companies, and thus the executive’s social capital is crucial to the establishment and ongoing operation of the company. However, in order to cut costs, many procedural restrictions exist, such as in the choice of collaborationists and promotional methods. Second, the autonomy in creativity that independent bands and artists enjoy during the production and promotional processes is much higher than that of their major record label counterparts. Nevertheless, artistic freedom comes at a cost: greater autonomy means the bands and the artists are unable to rely on their record labels to provide the bulk of the necessary resources. Moreover, the consumers of independent music are more proactive in accessing musical information, as they do not depend passively on the information transmitted to them through major broadcasting venues and the mass media.
With respect to issues of globalization, even though WWR is a local independent record label with a particular niche different from that of transnational corporations, Anglo-American recordings continue to be WWR’s most important merchandise. Ultimately, while an “independent record label” already exists in Taiwan, the independent music industry here still needs to facilitate its development in the production of home-made music, rather than rely on Western imports. The achievement of this goal needs further participation and efforts of related actors as well as the government of Taiwan.
8
Gaffuri, Flora. "La promotion sur Internet : analyse d’un discours sous l’angle du mythe. Le cas de labels indépendants de rap au Québec." Thèse, 2012. http://hdl.handle.net/1866/8834.
Full textAbstract:
À l’heure où l’industrie de l’enregistrement sonore connait un certain nombre de bouleversements, Internet apparait à la fois comme un responsable d’une crise du disque et comme une plate-forme de diffusion et de promotion de la musique enregistrée. C’est dans ce contexte de mutations des industries culturelles que sont les industries de la musique que les labels indépendants voient les possibilités liées à la promotion se multiplier. Notamment par le biais des sites internet que j’envisage ici comme discours encodé et diffusé. Ce mémoire explore deux sites internet officiels de labels indépendants de rap québécois à l’aide de la proposition de la présence du mythe dans le discours de promotion. S’appuyant sur la théorie de Barthes, mon analyse s’articule autour de l’étude de la signification afin de mettre en lumière la façon dont le mythe fonctionne dans le discours. En m’intéressant principalement à l’image et au texte, je mets notamment en valeur le traitement de l’artiste, de la création musicale et du label dans le discours.<br>At a time when the music recording industry is going through some shake ups, Internet is seen both as a responsible for a disc crisis and as a plateform for diffusion and promotion of recorded music. This cultural industries' mutations context is now revealing multiple promotion opportunities for independant labels, as part of the music industries. This can be seen through websites which I consider to be a broadcasted, encoded and decoded discourse. This master thesis explore two independant record companys’ websites, both producing rap music in Québec, with the proposal of the presence of the myth in the promotionnal discourse. Based on Barthes' theory, my analysis is built around the study of the signification in order to outline the way the myth works in the discourse. While focusing on images and text, I mainly emphasize the treatment of the artist, the musical creation and the record label in the discourse.
Books on the topic "Independent record labels"
1
Ogg, Alex. Independence days: The story of UK independent record labels. Cherry Red, 2009.
Find full text
2
Schreiber, Norman. The Scouting Party index of independent record labels. Scouting Party Press, 1985.
Find full text
3
Maeda, Martha. How to open & operate a financially successful independent record label: With companion CD-ROM. Atlantic Pub., 2011.
Find full text
4
Woodall, Paul. An Investigation into the local and cultural context of independent record labels, focusing on Manchester based factory records.. University of Central England in Birmingham, 1997.
Find full text
5
The ultimate guide to independent record labels and artists: An A-to-Z source of great music. Pharos Books, 1992.
Find full text
6
Rudsenske, J. Scott. Start an independent record label. Edited by Denk James P. Schirmer Trade Books, 2005.
Find full text
7
Label launch: A guide to independent record recording, promotion, and distribution. St. Martin's Griffin, 2002.
Find full text
8
Listening to the Wind: Encounters with 21st Century Independent Record Labels. Omnibus Press, 2020.
Find full text
9
Zak, Albin J. The Death Rattle of a Laughing Hyena. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0014.
Full textAbstract:
In 1958, record producer Mitch Miller vehemently criticized the state of Top 40 radio. He argued that DJs were pandering excessively to the tastes of teenagers and playing low-quality popular music. This criticism was aimed largely at rock and roll records produced by the low-budget, independent recording firms with whom he now found himself in competition. This chapter traces the development of the major-labels’ novel pop music production practices in the 1950s, specifically the use of overdubbing, unconventional arrangements, added reverb, and Foley effects. These techniques are compared with indie-label recording, which captured more populist genres with less expensive postproduction capabilities. Finally, the chapter traces the aesthetics of DIY (do-it-yourself) records made by amateur musicians-turned-radio-stars, and concludes with a discussion of the lasting effects of these 1950s pop music crosscurrents.
10
Burford, Mark. Gospel Singing as Black Popular Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.003.0004.
Full textAbstract:
Gospel music was integral to the culture of many black churches, but gospel singing offered pleasures to its practitioners and fans that extended beyond musical worship. In the late 1940s, Jackson’s career was interwoven with two phenomena that nudged black gospel singing toward the realm of popular culture: the “song battle” and the high-profile programs of religious music presented at Harlem’s Golden Gate Auditorium by promoter Johnny Myers. Pitting Jackson against such rivals as Roberta Martin and Ernestine Washington, the battle of song offered gospel singers alternate forms of prestige and extended to gospel audiences opportunities for active and engaged participation. Myers made instrumental use of the song battle format, deploying a roster of local talent and national stars and connections with New York–based independent record labels. It was through this Myers “syndicate” that Jackson was introduced to Apollo Records, launching her career as a recording artist.
Book chapters on the topic "Independent record labels"
1
Percival, J. Mark. "The independent record label, ideology and longevity." In DIY Cultures and Underground Music Scenes. Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-19.
Full text
2
Robin, William. "Record Labels." In Industry. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190068653.003.0008.
Full textAbstract:
In the 1990s, Bang on a Can jumped from releasing albums on the academic label Composers Recordings, Inc. to signing a contract with the major label Sony Classical. Their path emblematized an unusual moment in recording contemporary music: after Nonesuch’s 1992 recording of Henryk Górecki’s Symphony No. 3 became extraordinarily popular, major labels looked to contemporary music as a means to reach new listeners. Whereas new music had previously been the provenance of noncommercial labels like CRI, major labels began investing in new composers and new institutions like Bang on a Can in the hopes of turning new profits. From Sony, Bang on a Can jumped to Philips’s Point Music and released their rendition of Brian Eno’s Music for Airports, an album designed to reach new rock audience; and from there, amidst the industry tumult of the late 1990s, they struck out on their own with the independent label Cantaloupe Music.
3
Allen, Ray. "The Brooklyn Soca Connection." In Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.003.0007.
Full textAbstract:
Chapter 6 focuses on the rise of Brooklyn soca (soul/calypso), beginning with the story of the early Bronx-based independent record company Camille Records, before shifting to the three most important Brooklyn-based labels: Straker’s Records, Charlie’s Records, and B’s Records. These Caribbean-owned businesses, along with a cadre of influential calypso/soca singers and the music arrangers with whom they collaborated, played a crucial role in the evolution of modern calypso and soca music during the 1970s and 1980s. Brooklyn’s Labor Day celebration had been dominated by calypso from its inception. Indeed, calypso and the new variant soca (soul/calypso) were essential hallmarks of the festivities. Equally important, and concurrent with the rise of Brooklyn Carnival in the 1970s, was the borough’s emergence as a vital transnational center for the recording and production of calypso and soca music.
4
Frangos, Stavros K. "Steve Zembillas (1923–2002) and the Grecophon Record Company." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0028.
Full textAbstract:
From 1946 through 1954, Grecophon Record Company of Gary, Indiana issued the seldom recorded traditional Greek island music, or nisiotika, that had its American roots in Tarpon Springs Florida. Founded by Skevofylax (Steve) Zembillas, originally from Kalymnos, Greece, this small independent label eventually released a wide range of Greek music by popular Greek musicians and vocalists of the period.
5
Erbig, Jeffrey Alan. "Where the Lines End." In Where Caciques and Mapmakers Met. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655048.003.0006.
Full textAbstract:
This chapter addresses the disappearance of Charrúas and Minuanes from historical records by the 1830s. Rather than marking the end of Charrúas or Minuanes themselves, this discursive shift was due to three factors. First, during the eighteenth century, colonial agents captured and exiled several thousand Charrúas and Minuanes, whose separation from tolderías rendered them ethnically indistinguishable in written records. Second, as Indigenous go-betweens moved between settlements and tolderías, colonial writers disassociated them from the ethnic labels that they reserved for tolderías. Third, the dissolution of the interimperial border via wars of independence in the early nineteenth century made tolderías an untenable living arrangement. The disappearance of tolderías as political entities engendered the discursive erasure of Charrúas and Minuanes altogether.
6
Chapman, Dale. "Selling the Songbook." In Jazz Bubble. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520279377.003.0004.
Full textAbstract:
Chapter 3 addresses the corporate history of Verve Records, the erstwhile independent label founded by Norman Granz and subsequently acquired by PolyGram. The revitalization of the Verve legacy under the stewardship of PolyGram A&R executive Richard Seidel, beginning in the early 1980s, provides us with an intriguing window onto corporate strategy in the music industry at the height of the neoclassical jazz “boomlet”: what began as the jazz division’s effort to take advantage of PolyGram’s strengths in the marketing of classical records and back catalog soon expanded into a more ambitious strategy of new artist development, as Seidel sought to cultivate what Verve saw as the commercial viability of the “young lions” movement.
7
Cutler, Chris, and Benjamin Piekut. "The Multiple Politics of Henry Cow." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0005.
Full textAbstract:
Chris Cutler is a percussionist, composer, lyricist, and writer. He was a member of avant-rock group Henry Cow between 1971 and 1978, after which he co-founded international groups including Art Bears, News from Babel, Cassiber, and The Science Group. He founded and runs the independent label and distribution service ReR/Recommended. This chapter recounts the evolution of political concerns within Henry Cow, as manifested in (amongst other things) the group's relationship to the record industry, its attitude to the different musical genres on which it drew, and its aspiration to collective forms of organisation and musical practice. The band's experience of playing for events organised by leftist groups (including the Italian Communist Party) are described, as are the alternative performance circuits established by Cutler in the later 1970s.
8
Ninh, Van-Tu, Sinéad Smyth, Minh-Triet Tran, and Cathal Gurrin. "Analysing the Performance of Stress Detection Models on Consumer-Grade Wearable Devices." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2021. http://dx.doi.org/10.3233/faia210050.
Full textAbstract:
Identifying stress level can provide valuable data for mental health analytics as well as labels for annotation systems. Although much research has been conducted into stress detection models using heart rate variability at a higher cost of data collection, there is a lack of research on the potential of using low-resolution Electrodermal Activity (EDA) signals from consumer-grade wearable devices to identify stress patterns. In this paper, we concentrate on performing statistical analyses on the stress detection capability of two popular approaches of training stress detection models with stress-related biometric signals: user-dependent and user-independent models. Our research manages to show that user-dependent models are statistically more accurate for stress detection. In terms of effectiveness assessment, the balanced accuracy (BA) metric is employed to evaluate the capability of distinguishing stress and non-stress conditions of the models trained on either low-resolution or high-resolution Electrodermal Activity (EDA) signals. The results from the experiment show that training the model with (comparatively low-cost) low-resolution EDA signal does not affect the stress detection accuracy of the model significantly compared to using a high-resolution EDA signal. Our research results demonstrate the potential of attaching the user-dependent stress detection model trained on personal low-resolution EDA signal recorded to collect data in daily life to provide users with personal stress level insight and analysis.