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Wasson, Carla Sue. "An analysis of college applied woodwind positions in the academic labor market from 1983-1990 /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226171.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 120-126).
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Perez, Julian. "Music Festivals: A Secondary Market Analysis." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1338.
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While the majority of the literature on secondary markets for tickets in the entertainment industry focuses on concerts and sporting events, this study aims to shed light specifically on the music festival resale market. Music festivals have risen in prominence in recent years, particularly among millennials, during the time that the internet has dramatically facilitated the resale of tickets through online marketplaces. With many of the top festivals selling out rapidly, a great deal of music fans turn to secondary markets for tickets. However, very little is known about the behavior of secondary markets for music festivals due to information not being readily available to the public. This study uses demand-side data including transaction prices and quantities acquired from one of the largest online secondary ticket marketplaces to examine market behavior. My findings show that on average, prices decline for music festivals as they approach, but that there are years for certain festivals where this isn’t the case. Other results show that markets for festivals with multiple weekends operate differently and that special artist performances such as band reunions can have a significant positive effect on consumer demand. Lastly, the majority of all ticket sales are found to take place in the final 30 days before music festivals transpire.
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Wennlo, Alexander, Adam Falk, and Victor Zhang. "The Business of Production Music : A Value Chain Approach to the Swedish Market for Production Music." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Företagsekonomi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-20232.
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Within this thesis we map the Value-Chains of the Swedish market for Production Music. The reason behind this is that the authors believe this sub-segment of the music industry to be relatively unexplored by business research. Thus increased knowledge should increase transparency for all market actors. We have gathered previous research regarding value chains in the music industry and compare this research to empirical findings on the Production Music Industry. These findings are primarily gathered from three interviews with individuals in well informed positions within the industry. The three interviews are also backed up by secondary information found through industry websites and other vendors. Analysis indicates that there are two general forms of Value-Chains in the Production Music Industry that are significantly different from each other, and that these are either centered around the Swedish Performing Rights Organization STIM, or the relatively new internet based music library called Epidemic Sound. Specific forms of value delivered back and forth within these value chains consists of everything from education and coaching in production techniques, to monetary compensation and recognition. Analysis also shows that while there is a rather big difference in how the two general value chains are constructed, there seems to be less variation when it comes to how these value chains are governed.
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Styvén, Maria. "Exploring the online music market : consumer characteristics and value perceptions /." Luleå, 2007. http://epubl.ltu.se/1402-1544/2007/71/.
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Styvén, Maria. "Exploring the online music market : consumer characteristics and value perceptions." Doctoral thesis, Luleå tekniska universitet, Industriell Ekonomi, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26440.
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The advent of the Internet and the digitization of music has resulted in a multitude of new challenges and opportunities for the recording industry. So far, sales of digital downloadable music have not compensated for the decrease in CD sales throughout the twentyfirst century. To attract new customers and successfully compete with file-sharing networks, commercial online music services need to meet customer expectations by delivering what they value. Therefore, to increase the understanding of prospective customers, the purpose of this thesis was to explore and describe customer value and target groups within the online music market. Data were collected through a survey of Swedish consumers between 16 and 60 years old. Customer-perceived value of downloadable music, in terms of expected value for money, was found to be quite low. Value could, however, be increased by improving the most important benefits. In addition to fundamental functions, such as ease of use and search, a large music catalogue, and good sound quality, flexibility in use is essential. This involves ensuring transferability, compatibility, possibility to duplicate files, and opportunity to sample. The high level of desired flexibility suggests that digital rights management (DRM) restrictions decrease value by making it difficult for consumers to use the product freely. Furthermore, perceived value could be enhanced by decreasing privacy risk, such as concerns about paying with credit card online, and, most importantly, lowering prices. Consumers, on average, thought that a downloadable song should cost 5-6 SEK, i.e. about half of the current price. However, providing better value in terms of the proposed benefits, combined with lower risk, would improve consumers' willingness to pay. The study also found that current potential target customers of online music services are between the ages of 25 and 45, have a higher-than- average interest in music, low concerns about risk, and are experienced users of the Internet and digital music overall. Clearly, use of file- sharing networks and commercial online music services is not mutually exclusive. In fact, P2P users in the study were generally more likely than P2P non-users to be customers of commercial services. Moreover, increased customer value of pay-per-download services is more likely to result in higher usage intentions among consumers with current Internet music download experience. An important challenge for commercial online music services, therefore, is not only to attract more file sharers, but also to retain occasional customers by increasing the perceived value.Godkänd; 2007; 20071128 (ysko)
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Scheckter, Jonathan. "A holistic approach to consumption analysis in the popular music market." Thesis, Rhodes University, 2006. http://eprints.ru.ac.za/216/.
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Jackson, Nicholas Allen. "The Creation, Performance, and Preservation of Acousmatic Music." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619144438948909.
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Vickers, David. "Handel's performing versions : a study of four music theatre works from the "Second Academy" period." Thesis, n.p, 2007. http://ethos.bl.uk/.
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Olszewski, Carol A. "Experiences of Music Therapy Junior Faculty Members: A Narrative Exploration." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu156812475885396.
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Tran, Khanh Quang. "The Historical Significance of the Compositions for Clarinet by Nguyen Phuc Linh in Vietnamese Instrumental Music." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752390/.
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The document provides an annotated bibliography of the compositions for clarinet by Dr. Nguyen Phuc Linh, one of Vietnam's foremost contemporary classical musician. Brief biography of Nguyen and his music aesthetic are also included. The dissertation also provides an overview of Vietnamese music and instrumental music.
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Carrick, Jamie. "Playing the market : contemporary Christian music and the theory of religious economy." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43663.
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Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy.
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Caillet, Maxence, and Daniel Yamba-Guimbi. "The state of the digital music market in France and its tendencies." Thesis, Halmstad University, School of Business and Engineering (SET), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-5002.
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The digital music market is a dynamic market which keeps evolving all the time, as it is the case in France.
The purpose is to explore what the state of the current digital music market in France is and its trends.
Thus, we exhibit the tools implemented by companies to act in this market.
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Silva, João Luis Meireles Santos Leitão. "Music, theatre and the nation : the entertainment market in Lisbon (1865-1908)." Thesis, University of Newcastle upon Tyne, 2012. http://hdl.handle.net/10443/1408.
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The development of the Portuguese entertainment market and the rise of several types of musical theatre are inextricably bound to the complex symbolic and material process through which Portugal was established, presented, developed, and commodified as a modern nation-state between 1865 and 1908. During this period, several fundamental transformations that merged urban planning, everyday life, and modernity took place in Lisbon. In this process, leisure activities began to include new forms of music theatre (such as operetta and the revue theatre) that became an important site for the display of modernity, representing and commodifying the nation. Despite its colonial possessions, Portugal was a peripheral European country where modernity developed in a specific way. The commodification of music associated with both music publishing and mechanical music fostered the creation of a transnational market for goods in a period when most of the trade was conducted with or within national economies. In this context, the Portuguese entertainment market reflected a particular form of negotiation between the local, the national and the global levels, in which gender, class, ethnicity, and technology intertwined with theatrical repertoires, street sounds and domestic music making.
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Forsén, Lotta. "Sjunkande kunskaper i musikteori? – om en möjlig orsak : En undersökning om förekomsten av musikteoriundervisning bland Sveriges musik- och kulturskolor." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8758.
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Mitt syfte med den här uppsatsen är att undersöka om det finns ett samband mellan de försämrade musikteoretiska kunskaperna bland de sökande till musikhögskolorna och utbudet av teoriundervisning på de svenska musik- och kulturskolorna. För att uppnå detta har jag gjort en kartläggning av förekomsten av musikteori som enskilt ämne på de svenska musik- och kulturskolorna, samt hur denna bedrivs. Jag har använt mig av en enkät som rektorer eller lärare i musikteori har svarat på, samt undersökt antagningsproven (C-proven) i musiklära och satslära från olika år på Ingesunds musikhögskola. Enkätsvaren visar att en tredjedel av dem som svarat, erbjuder musikteori som eget ämne. Dessa skolor hittar vi i både stora och små kommuner medett varierat elevantal. Musikteorin verkar inte ha minskat nämnvärt under de senaste 9 åren. Hos de skolor som inte har teoriundervisning uppges anledningen vara dålig ekonomi, men hos de skolor som har haft, men tvingas lägga ner teoriundervisningen anges orsaken vara bristande elevintresse. Jag har även undersökt lektionernas utformning, lärarnas behörighet, integration av musikteori i instrumentallektionerna och marknadsföring av ämnet. I diskussionen resonerar jag om resultatet kan ge en förklaring till problemet med sjunkande kunskaper i musikteori. Svaren pekar på att det troligtvis inte är ett minskat utbud av musikteori, utan en minskad efterfrågan, som gör att kunskapsnivån har sjunkit.The purpose of this study is to examine if there is a connection between the diminishing knowledge of music theory of applicants to colleges of music, and the offering of music theory in the Swedish music and culture schools. In order to reach this goal, I conducted a survey of the prevalence of music theory among the Swedish music and culture schools, and how this is organized. I have used a questionnaire in which the principal or the teacher of music theory has responded to, and I have examined the entrance examinations (C-test) in basic theoretical knowledge and harmony from different years at The Music Academy of Ingesund. Survey responses indicate that a third of those who answered, offer music theory as its own subject. These schools can be found in both large and small municipalities, with a varied number of students. Music theory does not seem to have decreased significantly over the past nine years. Among the schools that do not offer music theory, the main reason given for this is a poor economy. But among schools who offered music theory but were forced to discontinue, the main reason given were the students' lack of interest. I have also investigated the structure of the lesson, certified teachers, integration of music theory in instrumental lessons and the marketing of the subject. In the section where I discuss the results, an explanation may be found as to why there appears to be a declining knowledge of music theory. The responses indicate that while music theory is still generally offered as before, there is a reduction in demand, which may cause the knowledge level to decrease.
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Wilson, Nicholas Charles. "Explaining labour market emergence : the case of early music performance in the UK." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20281/.
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The primary purpose of this thesis is to provide a causal explanation of the emergence of the UK early music labour market. The labour market for early music performers was held to have appeared in the 1970s, when the early music movement established itself as a major cultural force in the UK. It is argued that current labour market theory has been hampered in its ability to explain this phenomenon because i) it has generally taken the view that labour markets “just exist”, and ii) because existing accounts are too often founded on conflationary theorising. The only way to offer a practically adequate causal explanation of this emergent phenomenon is to adopt an approach that can account for the transformational and stratified nature of social reality. Critical realism is introduced as the philosophical “underlabourer” for this research project, with Archer's (1995) morphogenetic method representing its methodological complement. Following an immanent critique of the labour market literature, I present a re-conceptualisation of the labour market and its emergence, drawing on a critique of the entrepreneurship literature and the process of qualification. This frames the empirical research of the emergent early music labour market, involving both intensive and extensive research. The outcome of the research takes the form of an analytical historical account. The temporal and relational emergence of the UK early music labour market is shown to depend upon a range of key causal configurations (including the presence/absence of funding and training; enterprising capabilities; incubation opportunities; and re-qualification). Two underlying causal mechanisms (the tendency towards transformation and the tendency towards standardisation) are highlighted. It is argued that the retroduction of these mechanisms represents a significant contribution to knowledge with respect to our understanding of labour markets, markets in general, and the process of entrepreneurship.
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Gardner, Matthew. "Handel and Maurice Greene's circle at the Apollo Academy the music and intellectual contexts of oratorios, odes and masques." Göttingen V & R Unipress, 2007. http://d-nb.info/99013962X/04.
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Bernard, Anna. "Music markets and the adoption of novelty : experimental approaches." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01E020/document.
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Par sa nature prototypique, chaque bien musical, et par extension chaque bien culturel, est un bien nouveau. Cette thèse a pour objectif d’étudier la consommation et le financement de la nouveauté musicale en adoptant deux approches de l’économie expérimentale : les expériences en laboratoire (première partie) et l’interprétation des données de terrain à partir de mesures expérimentales (seconde partie). La première partie explore les déterminants et les caractéristiques de la demande de nouveauté musicale. Dans un premier chapitre, nous étudions l’effet de l’information et du prix sur la concentration de la demande lorsque les consommateurs peuvent choisir entre des artistes établis sur le marché et des nouveaux entrants. Le second chapitre propose une estimation de systèmes complets de demande pour quatre genres musicaux. La seconde partie de cette thèse s’intéresse aux comportements de contributeurs sur une plateforme de financement participatif avec récompenses. Dans le troisième chapitre, nous proposons un modèle rendant compte de la décision de contribuer à un projet musical à partir du constat que les contributeurs font face à deux types de risque : le risque d’échec de la coordination et le risque de non livraison du produit. Dans ce contexte, l’illusion de contrôle permet d’expliquer la dynamique de contribution. L’étude du rôle des préférences face au risque montre que lorsque le risque d’échec de la coordination disparaît, l’aversion au risque est corrélée négativement au niveau des contributions. Cependant, en début de campagne, cette corrélation est positive. Le dernier chapitre se concentre sur la nature hybride du financement participatif. Les résultats suggèrent que la décision de contribution relève d’une logique de don tandis que le niveau de ces contributions relève d’une logique de consommationBy its prototypical nature, each musical good, and by extension each cultural good, is new. The aim of this thesis is two study the consumption and the funding of musical novelty, using two experimental approaches : the use of in-lab experiments to study demand (part I) and the use of experimental measures to understand field behaviors (part II). The first part explores the determinants and characteristics of demand for novelty. In the first chapter, we study the demand concentration when consumers can choose between established artists and new entrants. The second chapter presents estimations of an almost ideal demand system for four musical genres. The second part of this thesis focuses on contributors’ behaviors of a reward-based crowdfunding platform. In a third chapter, we propose a model of decision to contribute to a musical project, based on the observation that contributors are exposed to two types of risk : a risk of coordination failure and a risk of non delivery. With this in mind, illusion of control allows to understand the timing of decision. A closer look at the role of risk preferences shows that risk aversion is negatively correlated with contributions when coordination is ensured. On the contrary, the correlation becomes positive at the beginning of a campaign. In the last chapter, we investigate the mixed nature of crowdfunding. Results suggest that the decision to contribute falls within a donation logic while the decision on how much to contribute falls within a consumption logic
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Kokanović, Marković Marijana. "Short music biography of Bosnia and Herzegovina (1878–1918): concert recordings (October 24, 2014); Academy of Music in Sarajevo, Sarajevo, 2014; Maja A ́vckar Zlatarević, piano; Concert organizer and editor Dr. Lana Paćuka, [Rezension]." Gudrun Schröder Verlag, 2019. https://ul.qucosa.de/id/qucosa%3A70780.
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Die CD Kratka muzička biografija Bosne i Hercegovine (1878–1918) [dt.: Eine kurze musikalische Biografie von Bosnien und Herzegowina] entstand dank der Forschungsarbeiten der jungen bosnisch-herzegowinischen Musikwissenschaftlerin Lana Paćuka, Dozentin an der Musikakademie in Sarajevo.
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Beránek, Tadeáš. "Specifika amerického maloobchodního trhu s hudbou." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-197243.
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This diploma thesis deals with complex issue of American recording industry and its specifics in retail industry. The thesis is composed of three main parts which are being linked with its theme, and they complement one another. The first part is a theoretical framework of American recording industry. The chapters pursue basic terminology of music market, analysis of business environment in the USA and comparison of the recorded music to other entertainment markets. The second part engages in history of the recorded music, yet it specially concentrates on market's outputs, i.e. volume of sold recordings and corresponding revenues for the period 1989-2012. Eventually, the final part thoroughly studies music business, its subjects and principles. Chapters describe and analyze the profile of American music consumer, the theory of music copyright and financial aspects of recording as well as music publishing.
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Kaye, D. Bondy Valdovinos. "Same song, new dance: analyzing market structure and competition in the digital music aggregation industry." Thesis, Kansas State University, 2016. http://hdl.handle.net/2097/32644.
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Master of ScienceDepartment of Journalism and Mass Communications
Angela Powers
Technological revolutions of the past century have fueled dynamic paradigm shifts across a broad spectrum of mass media industries. This study examines an innovative new market segment in the music recording industry: digital music aggregation. Digital music aggregators are music distributors that directly connect artists, any creator of musical content, to digital music vendors, online music stores such as iTunes or digital music streaming services such as Spotify. Digital music aggregator companies offer services similar to major record labels, such as mass distribution, royalty collection, and intellectual property protection. Digital music aggregators provide services to artists at all levels of prestige and experience. Essentially any artist interested in publishing music can do so using digital music aggregators. Despite their growing influence in the music recording industry, digital music aggregators have been afforded little scholarly attention. This study responds to Galuszka's (2015) call for further research on aggregator market structure and competition, proposing the following research questions: 1) how is the digital music aggregator market structured? 2) What competitive strategies do digital music aggregators employ? This study is framed by the industrial organizational model of market structure (Bain, 1968) and Porter’s (1980) theories of competitive strategy. Six in-depth qualitative interviews were conducted for this study. Results illuminate market structure and competitive strategies in the digital music aggregation industry and lay foundation for future study and industrial application within this nascent branch of the music recording industry.
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SILVA, ANNA PAULA DE O. MATTOS. "PINDORAMA, WHERE SAMBA IS PURER: THE DISCOURSE OF TRADITION IN BRAZILIAN POLITICS, CRITICISM AND MUSIC MARKET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12730@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Esta tese reúne observações críticas sobre o samba como manifestação musical urbana e de massas, discute a atualidade de um gênero tradicionalmente afirmado como síntese da sonoridade nacional, e analisa a reconfiguração das composições musicais num contexto de globalização dos signos. Tendo em vista tais propósitos, debruçamo-nos sobre discursos que ainda hoje evocam a força simbólica do samba como meio de legitimar projetos políticos e consolidar modelos estéticos. Estas reflexões se corporificaram em três textos interconectados. O primeiro é dedicado ao estudo das políticas culturais de patrimônio imaterial que tomaram o samba como objeto a partir do ano de 2004. O segundo tece considerações sobre a vertente tradicionalista da crítica de música popular por meio da análise das obras de dois de seus principais expoentes, o historiador José Ramos Tinhorão e o pesquisador e compositor Nei Lopes. O último capítulo trata da reivindicação de um trajeto único para o desdobramento do samba por parte dos artistas mais conservadores, e dos desvios promovidos pelos novos modos de criação e circulação musical.
This dissertation gathers critical observations about how samba, as an urban, massive musical manifestation, discusses the current state of a genre that is traditionally presented as the synthesis of national sound, and analyze the reconfiguration of musical compositions in a context of globalized signs. Taking that into consideration, we studied the discourses that still claim the symbolic force of samba as means to legitimate political projects and to consolidate aesthetic standards. These ideas are developed in three essays. The first one is dedicated to the study of cultural policies for the protection of immaterial cultural heritage that took samba as their focus since 2004. The second essay discusses the traditionalist branch of popular music criticism by analyzing the works of two of its main exponents: the historian José Ramos Tinhorão and the researcher and composer Nei Lopes. The last chapter discusses the claim of an exclusive line in the development of samba by more conservative artists, and the deviations promoted by new means of musical creation and circulation.
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Morse, Matthew C. 1967. "The West Point Band's Wind Commissioning Project in Celebration of the Bicentennial of the United States Military Academy." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984246/.
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The United States Military Academy Band, also known as the West Point Band is the oldest active band in the United States Army and the oldest unit at the United States Military Academy, and is considered to be one of the finest military musical organizations in the world. The band has also been instrumental in facilitating the creation of new works for wind band.As the commissioning of new music has been essential to the expansion of the wind band's repertoire, several major commissioning projects were undertaken in the mid-twentieth century by various organizations, including the West Point Band, the Goldman Band in conjunction with the League of Composers and later the American Bandmasters Association, Kappa Kappa Psi and Tau Beta Sigma, the American Wind Symphony, and the College Band Directors National Association. These commissioning projects and many others have contributed hosts of new quality works to the repertoire of the wind band. The West Point Band's 1952 commissioning project celebrating the Sesquicentennial of the United States Military Academy was among the first of these mid-twentieth century commissioning projects to seek out prominent composers of the day and have them write works for wind band. The project contributed several seminal pieces to the wind band's repertoire, including Morton Gould's Symphony for Band: West Point. In 1996, as tribute to both the Academy and to the earlier commissioning project, the West Point Band sought to celebrate the Academy's 2002 bicentennial in a similar fashion by commissioning well-known composers to contribute substantial wind works. These pieces would be premiered and recorded by the West Point Band over a number of years, including a gala Bicentennial Celebration concert at Carnegie Hall in March 2002. The purpose of this study is to create a consolidated written record of the wind music composed for the West Point Band as part of the band's Bicentennial Wind Commissioning Project, and to describe the process and circumstances by which this music was created and premiered. The continuing development of a quality original repertoire is important to the wind band community as a whole, and commissioning composers to write wind band music is the primary means by which new music is acquired. By any account, the twenty-six works produced through the West Point Band's Bicentennial Commissioning Project constitute a significant contribution to this repertoire. As this project and many of these pieces are not well known, it is the author's intent to bring increased attention to this commissioning project and to this music.
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Rumbley, Erica J. "FROM PIANO GIRL TO PROFESSIONAL: THE CHANGING FORM OF MUSIC INSTRUCTION AT THE NASHVILLE FEMALE ACADEMY, WARD’S SEMINARY FOR YOUNG LADIES, AND THE WARD-BELMONT SCHOOL, 1816-1920." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/24.
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During the nineteenth century middle and upper-class women in Nashville and the surrounding region occupied a clearly defined place within society, and their social and academic education was designed to prepare them for that place. Even as female education gradually became more progressive in the later nineteenth-century, its scope was still limited by gender roles and expectations. Parents wanted their daughters to learn proper social graces, and “ornamental” studies such as music, needlework, and painting were a large part of their education. As the nineteenth gave way to the early twentieth-century, the focus of women’s education began to shift, with more scholarly subjects added to the list of studies and more career choices open to women. Women became empowered in new ways through the women’s suffrage movement and sought to use their new freedom to pursue higher education and academic careers.
Female education mirrored the changing status of women in general, and music, in particular, provides a unique perspective on the changing role of women in American society during this time. This study focuses on three schools in Nashville, Tennessee, a city which provides an excellent example of the formation and development of women’s education in female academies and seminaries, as well as being a cultural center of the South. The music programs at the Nashville Female Academy, Ward’s Seminary for Young Ladies, and the Ward-Belmont School for Girls are studied in order to demonstrate how the level of instruction changed over time, mirroring similar changes in society as a whole. Recital programs, instruction books, and biographies of faculty members all help to develop a picture of the music education students received. As changes in repertoire, faculty, and coursework from the mid-nineteenth-century into the twentieth century are discovered, connections emerge between female music education in Nashville and the status of women across America.
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MacGilvray, Brian. "The Subversion of Neoplatonic Theory in Claude Le Jeune’s Octonaires de la vanité et inconstance du monde." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1481567182875404.
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Milachay, Marin Flavia Luciana. "Academia de Interpretación Musical." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626203.
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El proyecto consiste en el diseño de una Academia de Música en la intersección de los distritos Pueblo Libre, Cercado de Lima y San Miguel. El objetivo principal es ofrecer una infraestructura de carácter interdistrital que logre acoger músicos en formación y profesionales para brindarles ambientes donde puedan recibir una formación musical y se desempeñen en su labor como artista. El concepto arquitectónico tiene como énfasis integrar el programa educativo con la exposición de la música a través de espacios intermedios. Además, se propone que este sea un proyecto que pueda despertar sensaciones en el usuario a través del manejo de la luz y el color en los espacios para lograr influenciar positivamente en el aprendizaje y crear ambientes agradables.This thesis is a design proposal for an academy of music, planned for the intersection of the districts of Pueblo Libre, Cercado de Lima and San Miguel. The aim of the project is to offer an infrasctructure for the three neighbouring districts, which will host future and professional musicians and will bring them closer to a creative environment, where they can get a musical education and therefore be able to carry out their work as artists. The architectural concept emphasizes the integration of the educational program and the exposure to music by using intermediate spaces. Furthermore, the building is designed in order to inspire its users through the use of light and color, so that it might positively influence their learning process and at the same time create a pleasant environment.
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Conduto, Ana Filipa Seno. "Market analysis of a new business opportunity in mobile-casual gaming: partnership between Nmusic and Rovio entertainment Ltd." Master's thesis, NSBE - UNL, 2014. http://hdl.handle.net/10362/11833.
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A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and EconomicsTaking in consideration its entrepreneurial culture and the huge growth of mobile gaming and digital music, Nmusic1 identified a window of opportunity for the development, in partnership with Rovio Entertainment Ltd.2, of a new game product, combining Angry Birds games with music contents. In view of that, it was necessary to perform the market analysis of this new game and, after a detailed study, it was concluded that the current environmental context supports this business opportunity and corroborates its market potential. The analysis involved the study of the evolution and competitive environment of both industries and of the impact of this new game in industry dynamics. Moreover, the drivers and trends influencing the business environment were also studied and used for the elaboration of recommendations for product development and strategic planning.
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Thomas, Steffan Wyn. "A consumer investigation : monetising, marketing and distributing digital music in a niche and minority language market : the situation in Wales." Thesis, Bangor University, 2015. https://research.bangor.ac.uk/portal/en/theses/a-consumer-investigation(e60cc315-f5d8-4bb0-bb91-c26b91d1bf66).html.
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The music industry has experienced a period of disruption to its production and distribution method since the mid-to-late 1990’s (Vaccaro & Cohn, 2004). Peer-to-peer software and the introduction of the Mp3 file format have allowed consumers to gain advantage over record producers (Zentner, 2006, Chen et al, 2008 & Bateman et al, 2011) This market wide change has impacted not only the major record labels, but also small, niche and minority language music production companies. When the Mp3 arrived on the market in the mid 1990’s, the music industry, rather than embracing new technology, feared and dismissed it (Romer, 2002 & Zentner, 2006). Napster’s launch in 1999 brought the Mp3 format to the mass market, offering the free transfer of music files to its service users (Madden, 2009). Napster became the fastest downloaded software with the number of downloads running into billions of tracks per year (Rutter, 2010). The development of digital music happened before the industry was able to develop a business model and strategy to exploit its potential. Consumers’ expectations have changed as a result of the new digital services (Kacen et al, 2013). Without an online presence producers are deemed as not being legitimate production companies; and that without the exposure digital services offer, their music will not be discovered or acquired (Dewan & Ramaprasad, 2014). The importance of this study as highlighted by Carr (2012) is to develop a theoretical knowledge base for the Welsh music industry that promotes its cultural language and identity. Williamson and Cloonan (2007) identified twelve elements to the Welsh music industry, however further work by Rhisiart and Owen (2011) indicated that there remains a lack of understanding and development in the Welsh industry. This study addressed this gap by contributing the theoretical, empirical and policy knowledge. This research used the literature review along with the analysis of empirical evidence gathered via a consumer survey from over 1000 consumers to assess the opportunities for a small, minority language music producer online. Chi squared correlation tables were used to evaluate the subjective responses of consumers. These responses were mapped against the proposed business model for a 16-week route to market. Empirical evidence gathered from a consumer survey was analysed against consumer profile variables. Positive correlations indicated a point of control for the Welsh music industry within a theoretical model for distribution. This study has identified ways of capitalising on new digital opportunities. The theoretical model provides a framework for introducing market control and scarcity into the digital economy. Specific genres have been mapped against the model, which was derived from the literature.
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Kube, Sven. "Born in the U.S.A. / Made in the G.D.R.: Anglo-American Popular Music and the Westernization of a Communist Record Market." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3656.
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Scholars from various disciplines have demonstrated that popular culture factored significantly in Cold War contestation. As a pervasive form of cultural content and unifying medium for baby boomers worldwide, pop music played an important part in the power struggle between the era’s two adversarial camps. Historical studies of the past thirty years have identified initiatives of cultural diplomacy, from radio broadcasting to live concert tours, as key to disseminating Western music in Eastern Bloc societies. This project explains how cultural commerce across the divide of the Iron Curtain familiarized millions of music fans in the German Democratic Republic (GDR) with popular sounds from the United States, the United Kingdom, and other Western democracies. Detailing a process that affected all Bloc states in similar ways, it seeks to enrich the scholarly discourse on the role of pop culture in the twentieth century’s defining ideological conflict.
Through analysis of previously unavailable or inaccessible sources, the dissertation reconstructs the economic development of a communist culture industry and measures the commercial significance of Western commodities in one Eastern Bloc marketplace. Drawing on untapped archival files, it traces the evolution of Deutsche Schallplatten (German Records) from a small private firm into a flagship enterprise on the GDR’s cultural circuit. It illuminates how dependency on technology and resources from capitalist countries prompted East Germany’s managers to prioritize the westward export of classical recordings for the purpose of earning hard currencies. Based on oral histories of contemporary witnesses, it documents how the Amiga label through the parent company’s business ties to capitalist partners advanced the import of Western jazz, blues, rock, pop, and dance music to exhaust the purchasing power of the home audience. Empirically evaluating formerly classified production data for a total of 143 million records, it reveals how the state-owned monopolist engineered a de facto takeover of the domestic marketplace by American, British, and West German performers to achieve high profitability. The dissertation argues that intensifying Westernization of its walled-in music market exemplified the GDR’s decision to concede the Cold War battle over cultural preferences and political loyalties of its citizens out of economic necessity.
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Schindler, Agata. "Oskar Elschek (Hg.): A History of Slovak Music. From the Earliest Times to the Present, Bratislava (Veda, Publisher of the Slovak Academy of Sciences) 2003 [Rezension]." Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15998.
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Pimentel, Maria Odília de Quadros. "Traços de percursos de inserção profissional : um estudo sobre egressos dos conservatórios estaduais de música de Minas Gerais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/122546.
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O presente trabalho teve como objetivo geral investigar a inserção profissional de egressos dos cursos técnicos dos Conservatórios Estaduais de Música de Minas Gerais (CEM). Os objetivos específicos buscaram identificar quem são os egressos dos cursos técnicos dos CEM; mapear as atividades profissionais dos egressos; examinar suas condições de trabalho; e analisar a avaliação dos egressos sobre o curso técnico. Nortearam o trabalho os conceitos de inserção profissional, trabalho, emprego e ocupação, além da definição de precarização e flexibilização do trabalho. O método escolhido foi o de levantamento ou survey, sendo que a população do survey foi composta pelos egressos dos cursos técnicos de dez dos 12 CEM dos anos de 2010, 2011 e 2012. A amostra foi considerada probabilística aleatória simples e o instrumento de coleta de dados escolhido foi o questionário autoadministrado via internet. Para analisar os dados, foi utilizada a estatística descritiva, realizada a partir de análises univariadas, bivariadas e comparação de subgrupos, e a estatística inferencial, realizada através de testes de significância estatística. Neste trabalho, a inserção profissional é considerada um percurso, um processo educativo. O percurso da inserção profissional dos egressos dos CEM é esboçado a partir dos traços deixados por esses egressos, imprescindíveis para demarcar aspectos que demonstram as relações que os egressos estabelecem entre o curso técnico oferecido pelos CEM e suas escolhas profissionais. Os resultados indicaram que os percursos de inserção profissional dos egressos são marcados por características sócio-demográficas, como idade, raça/etnia, sexo e religião; pela precocidade, tanto da formação quanto da atuação profissional; pela continuidade da formação, seja na área de música ou em outras áreas; e, em alguns casos, pela disfunção da inserção profissional, já que nem todos passam a atuar profissionalmente na área do curso depois de o terem concluído. Em relação às condições da atuação profissional, apesar da precariedade e flexibilidade no trabalho e dos baixos salários, abaixo da média nacional para a maioria dos egressos, a satisfação dos egressos com seu trabalho atual é alta e a avalição dos cursos, para a grande maioria dos egressos, bastante positiva; o mercado na área de música se caracteriza pela crise do emprego e não do trabalho. As atividades musicais realizadas profissionalmente pelos egressos são variadas e têm relação com vários momentos do sistema cultural, indicando que, embora os cursos técnicos dos CEM tenham como finalidade central a formação de cantores e instrumentistas, eles não fixam uma identidade única para seus egressos. A inserção profissional dos egressos é caracterizada como um mosaico de trajetórias, que se constitui a partir de egressos que permanecem na área de música, seja estudando, trabalhando, ou estudando e trabalhando, egressos que se deslocam para outras áreas, porque não encontraram as condições de trabalho desejadas ou porque não buscavam se profissionalizar em música, e egressos que se mantêm vinculados à área de música, participando de grupos musicais e desenvolvendo trabalho voluntário. Esses resultados poderão subsidiar a avaliação e o planejamento dos cursos técnicos dos CEM, contribuindo, assim, para uma melhor compreensão da articulação dos cursos com o mercado de trabalho da área de música e, de modo mais amplo, com a sociedade.The general aim of the present research was to investigate the professional insertion of the former students of the Minas Gerais State Conservatories of Music (CEM) technical education programs. The specific objectives aimed to identify who are the CEM‟s former students; to map their professional activities; to examine their working conditions; and to analyze how they evaluate the technical program they have attended. This research was guided by the concepts of professional insertion, labor, employment and occupation, as well as by the definition of job insecurity and work flexibility. The method chosen to carry out this study was the survey, and students, who have completed the technical education program from 10 out of the 12 CEMs in the years 2010, 2011 and 2012, composed the sample population of the survey. A random probabilistic sampling was used and the data collection instrument chosen was a self-administrated on-line questionnaire. In order to analyze the data, descriptive statistics was carried from univariate, bivariate and sub-group comparison analyzes, and inferential statistics undertaken through tests of statistical significance. Throughout this research, the professional insertion is considered a path, an educational process. The professional insertion path of the former CEM students is outlined from traces left by them, traces that are essential to demarcate the aspects that show the relation that the former students establish between the technical education offered by the CEM and their professional career choices. The results indicate that the former student‟s professional insertion path is marked by social-demographical characteristics, such as age, race/ethnicity, sex and religion; by precociousness, both in their formation and in their professional performance; by a continuity of their professional formation, in the musical field or in other areas of study; and, in some cases, by a professional insertion dysfunction, since not all of the former students have been working in the area of their formal training. Regarding the working conditions, in spite of the job insecurity, work flexibility and the low salaries – which are below the national average for most of the former students, their satisfaction with their jobs is high and the courses evaluation – for the majority of the former students – is very positive. The job market for music careers is characterized by an employment crisis and not by a working crisis. The former students perform various musical activities related to different moments of the cultural system. This fact indicates that, although the CEM‟s technical programs have as their main goal the formation of singers and instrument players, they do not attach a unique identity to their former students. A mosaic of trajectories characterizes the former CEM students‟ professional insertion. This mosaic is constituted by former students that continue to work in the music field – either as students, as professionals or as both students and professionals; former students who migrate to different careers because they couldn‟t find the desired working conditions or because they did not want to professionalize in music; and former students who are still attached to the musical field through the participation in musical groups and/or developing volunteer work. The results of the present research can enable the evaluation and planning of the CEMs, and therefore contribute to a better understanding of the programs‟ articulations with the job market for music graduates and, in a broader way, with the whole society.
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Gordon, Gary (Gary Adrian). "Four Evening Service Settings of Joel Martinson: An American's Contribution to Anglican Evensong Repertoire." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505135/.
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The Evening Service settings of great British composers like Charles Stanford, A. Herbert Brewer, Charles Wood and Herbert Howells are well known and performed often throughout the world. However, little is known about the body of settings created by American composers. There are currently approximately 75 American composers dating from 1890 to the present, with Evening Service settings in print. Joel Martinson, based in Dallas, Texas, is an American composer, church musician, concert organist, and presenter. Although Martinson has composed four Evening Service settings (Evening Service for the St. Mark's School 1996, Evening Service for the Incarnation 2000, Evening Service for Church of the Nativity 2002, and Evening Service for the Transfiguration 2015), these works are not widely known outside of Dallas and small Anglican circles, nor is the value of his contributions to Anglican Evensong repertoire recognized. The purpose of this study is to demonstrate that Martinson's four settings make a valuable American contribution to Anglican repertoire through his neo-classical style and creative counterpoint. The four settings are modern and challenging but remain approachable for both choir and audience.
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Robison, Jennaya Jorie. "Choral Pivoting Solutions for Tessitura-Related Vocal Fatigue in Frank Martin's Messe pour double choeur a cappella." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293589.
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The purpose of this study is to investigate the management of tessitura in the choir though the use of choral pivoting in Frank Martin's Messe pour double choeur a cappella (1922), since the ranges of a vast number of choral works extend beyond the limits of what the American Academy of Teacher's of Singing have deemed "best" and "safest." According to the American Academy of Teachers of Singing, many great teachers of singing hesitate to allow their "pupils to participate in choral singing because experience has proven that, due to the unusually high tessituras dominating the arrangements of many choral works, harm is done to the voice. "This study includes an in-depth summary of the anatomy and physiology of the vocal mechanism in specific registers and the potential for harm, vocal strain, or vocal fatigue when singers must sing in an extremely high or low tessitura for an extended amount of time. Three methods of vocal pivoting are examined and explanations given as to how choral pivoting may be applied in Messe pour double choeur a cappella.
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Mesquita, Regina Marcia Bordallo de. "Da bossa à barricada? Engajamento político e mercado na carreira de Geraldo Vandré (1961-1968)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-10032016-130725/.
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Este trabalho teve por objetivo analisar, a partir do estudo da trajetória musical de Geraldo Vandré, no período compreendido entre o surgimento da chamada Bossa Nacionalista na canção popular brasileira e o ano de 1968 - quando da implementação do AI 5 - a mudança de postura de certos setores do campo musical que, acompanhando as transformações ocorridas na conjuntura política do país, paulatinamente vão deixando de lado o caráter inicialmente denunciativo da bossa engajada para ingressar na luta de resistência ao regime militar. Durante este processo, foi possível observar as imbricadas relações entre a construção de um projeto estético ideológico de esquerda e a necessária ligação com o mercado fonográfico e de entretenimento, assim como o entrecruzamento com setores envolvidos com a luta armada contra o governo.This paper had the aim of analyzing throughout the study of Geraldo Vandrés career compromised in a period between the appearance of Bossa Nacionalista in Brazilian popular song and 1968-during the AI 5 implementation- the different behavior in certain sections of the musical field that following the changes in the countrys political context leaves behind the initial bossas criticizing tone to engage in resistance with the military regime. In this process, it was possible to observe the interlinking relations between the construction of an ideological esthetic Right-wing project and the necessary connection with the entertainment and phonographic market, likewise the intersection with evolved sections with the armed struggle against the military government.
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Toyama, Míriam Costa. "Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/7630.
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This doctoral dissertation seeks to explain the changes in the music market in the last decade using the Field Theory, by Fligstein and McAdam (2012). Thus, we consider the music market a strategic field of action, which, according to the authors is in frequent adjustment and are subject to external shocks. In this way, through events in nearby fields, the development of innovations that allowed the unauthorized sharing and downloading content over the internet has had a profound impact on the music market, and later on other cultural goods markets. Initial reactions of the incumbent actors have been through strategies that had already been used in earlier times: law suits, educational campaigns and pressuring the government in favor of a stronger legislation. Thus, the reactions of incumbent actors were acoording to what explains the theory, the use of strategies known to restore the status quo. However, due to the crisis that shook the ability of incumbent actors to reproduce their advantages, new players entered the market. In addition, incumbent actors gave way and changed their business models, establishing relations with the new entrants, and adopting new business models leveraging the internet as a means of distribution, dissemination and others. Record companies also started expande their activtities, working with artist's career management. Thus, according to the analysis of the work, we concluded that there was a change in the business model, and that in the Brazilian case these changes followed the international trends. Through research field we conclude that Brazilian companies have adopted the distribution of digital music through online stores and through cell phone companies, streaming services as well as the actors have adopted the 360 contracts.
No presente trabalho busca-se explicar as modificações ocorridas no mercado de música de massa na última década utilizando como referencial teórico a Teoria dos Campos de Fligstein e McAdam (2012). Considera-se o mercado de música um campo de ação estratégica que, de acordo com os autores, está em frequente ajuste e sujeito a choques externos. Transformações em campos próximos, como o desenvolvimento de inovações que permitiram o compartilhamento e download não autorizado de conteúdo através da internet, tiveram impacto profundo sobre o mercado de música e, posteriormente, sobre outros mercados de bens culturais. As reações iniciais dos atores incumbentes constituíram estratégias que já haviam utilizado em momentos anteriores: processos, campanhas educativas e pressões sobre o governo. Tais reações são explicadas pela teoria dos campos: a utilização de estratégias conhecidas a fim de restabelecer o status quo. Entretanto, as mudanças abalaram a capacidade dos atores incumbentes de reprodução de suas vantagens quando entraram novos atores no mercado. Além disso, os atores incumbentes cederam e modificaram seus modelos de negócios, estabelecendo relações com os novos entrantes e adotando modelos de negócios que utilizavam a internet como meio de distribuição, divulgação entre outros. As gravadoras também passaram a atuar de forma mais abrangente, trabalhando com a administração da carreira do artista. Desta forma, de acordo com a análise feita neste trabalho, conclui-se que houve mudanças no modelo de negócios e que, no caso brasileiro, essas mudanças seguiram as tendências internacionais. A pesquisa de campo realizada possibilitou mostrar que as empresas brasileiras adotaram a distribuição de música digital através de venda online, através de empresas de telefonia celular e serviços de streaming, assim como parte dos atores adotaram os contratos 360°. O presente trabalho utiliza pesquisa bibliográfica e estudo de caso para analisar o objeto de estudo.
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Medeiros, Abda de Souza. "Entre a terra do sol e a cidade maravilhosa: rotas, desvios e torneios de valor no rock Metal." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16521.
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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoTrata-se de uma tese cuja reflexÃo alude Ãs rotas, desvios e circuitos dos bens materiais e simbÃlicos (APPADURAI, 2008; KOPYTOFF, 2008) entre os afinados com um dos estilos do gÃnero rock denominado metal, tendo por objetivo verificar de que forma se dà a relaÃÃo entre a mÃsica do rock com menor (ou nenhuma) visibilidade nos meios de comunicaÃÃo e a que dispÃe de todo um aparato de produÃÃo e divulgaÃÃo organizadas segundo as regras do sistema mundial capitalista (SAHLINS,1998). Em outras palavras, esta pesquisa pretende compreender atà que ponto a produÃÃo underground no Metal toma como referÃncia o que à produzido pela grande indÃstria musical neste segmento e, por outro lado, de que maneira, na prÃtica, diferenciam-se desta em seus modos de ser, fazer e tornar-se reconhecidos no mercado musical. Tanto como banda, quando assim se organizam, como em formato de plateia, que frequenta os shows e consome os produtos oriundos deste universo como marcas distintivas no mundo destes bens (DOUGLAS; ISHERWOOD, 2009). O campo empÃrico desta investigaÃÃo à o pÃblico que se identifica com o aludido gÃnero musical na cidade de Fortaleza, sendo que, ao longo do texto, as experiÃncias vivenciadas pelos afinados com rock metal na cidade do Rio de Janeiro tambÃm sÃo descritas e utilizadas como aportes comparativos e suporte à interpretaÃÃo da experiÃncia em Fortaleza. A ideia à estabelecer diÃlogos entre contextos culturais dentro de um mesmo paÃs, o Brasil, que se diferenciam nas formas de se organizar, vivenciar e promover o rock metal, apontando para as dimensÃes transcultural, afetiva e polÃtica experimentadas por estes indivÃduos em suas respectivas trajetÃrias. Os dados aqui apresentados foram colhidos por meio de observaÃÃo em ambas as cidades, entrevistas, material fonogrÃfico produzido pelas bandas e meios virtuais pelos quais estes sujeitos compartilham os bens materiais e imateriais, gerando, assim, um mercado prÃprio.
It is a thesis whose reflection refers to routes, deviations and circuits of material and symbolic goods (APPADURAI, 2008; KOPYTOFF, 2008) between the well tuned with the rock metal, having by objective check that way if the relationship between the music of rock with less (or no) visibility in the media and the music of the rock that has an entire apparatus of production and dissemination organized according to the rules of the capitalist world system (SAHLINS,1998). In other words, is to check to what extent the production underground in rock metal takes as reference which is produced by large music industry in this sector and, on the other hand, in what way, in practice, they differ from this in their ways of being, doing and becoming recognized in music market. Both as a band, when thus organize themselves, as in format of audience, which frequents the shows and consumes the products derived from this universe of rock as distinguishing marks in the world of these goods (DOUGLAS; ISHERWOOD, 2009). The field of empirical research are tuned with the rock metal in the city of Fortaleza, being that, throughout the text, the experiences in rock metal experienced by tuned with the same in the city of Rio de Janeiro, also, are described and used as comparative intakes and support the interpretation of experience in Fortaleza. The idea is to establish dialogs between cultural contexts, within a same country, Brazil, that differ in the forms of organizing, experience and promote the rock metal, pointing to the transcultural dimensions, affective and political experienced by these individuals in their trajectories. The data presented here were collected by means of observation in both cities, interviews with the tuned with or rock metal, phonographic material produced by bands and virtual means by which these individuals share the material and immaterial assets, thus generating a market of their own.
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Karpowicz, Alexandre Prinzler. "Ensaios abertos : estudo sobre a gestão econômica da criatividade em ambientes organizacionais de orquestras no contexto da economia criativa." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/116473.
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O tema central desta dissertação refere-se às formas organizacionais no contexto da chamada economia criativa, explorando-se mais especificamente o que ocorre em relação aos músicos de orquestra na cidade de Porto Alegre. A proposta ampara-se na abordagem da sociologia econômica, tentando-se apreender as relações entre organizações burocráticas e criatividade dos agentes, em meio às novas interações entre artes, tecnologia e mercado nos processos econômicos atuais. Trata-se, pois, de reconhecer características do ambiente organizacional que favoreçam ou obstaculizem a criatividade. A investigação acha motivação na constatação de que a valorização de bens, produtos e serviços da economia criativa, a partir dos anos 2000, configura uma importante mudança no que tange a nova orientação produtiva das economias mundiais, mediante novas interfaces entre artes – tecnologia – mercado. Para a realização da coleta dos dados empíricos, foram entrevistados músicos, maestros e gestores culturais, de duas orquestras da cidade de Porto Alegre, respectivamente uma orquestra pública e uma orquestra privada. Como principais resultados obtidos pelo estudo, destaca-se que o contexto de expansão da economia criativa tenderia estimular o surgimento de novas condições tecnológicas e de mercado da música, inclusive no segmento de orquestras, requerendo uma nova configuração organizacional e o desenvolvimento de novas habilidades pelos agentes. O estudo aponta também para a possibilidade de choque entre as crenças e valores institucionais, não constituindo necessariamente em uma limitação a manifestação da criatividade nas organizações pesquisadas. Por fim, o processo de gestão da música erudita evidencia traços de uma nova etapa de racionalização em suas dinâmicas, tendo em vista a complexidade de fatores de ordem social e institucional que constituem os processos de criação dos agentes.The central theme of this dissertation refers to the organizational forms in the context of creative economy, more specifically what happens in relation to orchestral musicians in Porto Alegre city. The proposal sustains itself in the economic sociology approach, trying to grasp the relationship between bureaucratic organizations and agents’ creativity inside the new interactions among art, technology and market in the current economic processes. That is, to recognize characteristics of the organizational environment favoring or hindering creativity. The research has motivation in noting that the valuation of goods, products and services of the creative economy from the 2000s, an important change regarding the new production guidance of world economies through new interfaces among arts - technology - market. In order to achieve the empirical data collection, musicians, maestros and cultural managers from two orchestras of Porto Alegre city were interviewed, respectively, public and private ones. The main results obtained by the study are emphasized that the context of expanding creative economy would tend to stimulate the arising of new technological conditions and musical market, including orchestral segment, requiring a new organizational configuration and new skills development by agents. The study also points to the possibility of an impact between institutional values and beliefs; it does not necessarily constitute a restriction to the expression of creativity in the surveyed organizations. Finally, the process of erudite music management shows features of a new step rationalization in its dynamics, in view of the factors complexity from social and institutional orders which constitute the processes of agents’ creation.
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Huang, Jin. "Business Models for Mobile Media Services : A case study in China mainland market." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-121301.
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Mobile media OTT service such as mobile music and mobile video is believed to be the next big revenue driver for mobile operator’s mobile broadband business. The media industry is willing to take mobile distribution channel to increase the content value. In Europe, there are already several successful cooperation cases between online media service provider and mobile operator, such as Spotify and Telia. However, with more complicated market and business environment in China, the mobile media services are still under development with immature business models.This thesis report aims to identify the business models of mobile media services in Europe and China, and to give business solution and strategic recommendation after analysis on actors, business roles, resources and activities using several business model theories. Six interviews have been done with industrial people from mobile network operator, online media service provider and TV channel in Sweden and China. With Spotify and Telia cooperation as the major part of case study in Europe market, data was gathered through business intelligent reports and interviews in Sweden. Six elements of business model theory from Chesbrough & Rosenbloom are used to conduct business model analysis onTelia-Spotify case. The result shows that Spotify play a joint connection role between tons of content from music insustry and mobile connection provider Telia, delivering value of good user experience and brand. Telia put the value of network, billing capability and user resource in the partnership with Spotify and benefit from the differentiated mobile broadband service, in terms of incearsing customer experience and reducing churn rate. TV4 case is investigated to analyze thebusiness development of mobile video in Europe. The result shows that there are two obstacles when delivering TV content to mobile device from TV channel’s perspective. One is that there is no way to measure the advertisement rate on mobile device, the other is that it is difficult to do localized advertisement program on mobile network. In the business model analysis in China, actors from mobile operator, state-owned media group and Internet company are identified as well as their activities in mobile media service. ARA model theory is used to analyze the value network and give the clear map of different actors’relations. The result shows that mobile media service in China has different situation in platform development, partnership with labels, service provider organization property and revenue model. Chinese mobile operators as state-owned companies develop mobile media service platform ontheir own instead of cooperation with service provider to avoid political and finance risk. They have direct partnership with content provider and give 50% of media OTT service revenue to content provider. The pirate rate of music in China is high, which result in very little willingness to pay for the music streaming service. Internet companies can build freemium service model with both licensed music content and content from illegal aggregators on advertising revenue model. However in online video area, Chinese government have implement strict regulatory to protect the copyright of video content. The major part of online video service providers’ revenueis also advertising, but with only licensed video content. The main factor that makes the different business environment between Europe and China is that the state-owned economy force in China plays important role in mobile media area. State owned mobile operators take the most business roles in mobile media service, which makes the possibility to cooperate with Spotify-like Internet companies is low. The first patch 3G mobile licenses are only granted to eight state-owned media groups, which are the only possible content providers of mobile operators’ mobile video service. To address the problem of cooperation inbetween mobile operators and Internet companies, to setup joint venture is the recommended solution. High customer satisfied service platform should be developed to enlarge the value of service. The recognized service value will lower the piracy rate and make the subscription revenue model possible.
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Neiva, Giórgia de Aquino. "Nas redes dos alternativos – mercado, sexualidade e produção de diferenças na cidade de Goiânia." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4096.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This Master’s dissertation is an ethnographic study about two alternative nightclubs at Setor Sul, in the city of Goiania, Goiás. These are places that host alternative people (emic category), ie, subjects that are not suffice in unbending definitions as to the identity and sexuality. At such leisure environments, there is greater sexual fluidity, covering subjects from heterosexual, bisexual or homosexual, to those who don’t define their sexuality and selfdeclare as “unlabeled”. Thus, the understanding of the category alternative is also expanded to the places, since they are not part of the hegemonic circuit of night leisure. Moreover, these places are not identified as "GLS" (gays, lesbians and friendly) although they are not strictly heterosexual too. Such establishments admit 18-to-30-year-old people – with some incidence of older people – irrespective of sex and who also enjoy alternative music, which lines off the "underground scene" as to be outside of the mainstream musical axis. Therefore, this youth sociability aims to build his own style in order to escape of the fashion industry impositions and sexual identity labels. This attitude is consistent with the current dynamism of sexual and gender social movements that question the dichotomies, dualities and binarisms, as well as the naturalization of compulsory heterosexuality. Thus, the networks of alternative subjects show that there are no true or false acts of gender, bringing to question whether heterosexuality is a regulatory fiction.
A presente dissertação de mestrado é um estudo etnográfico realizado em duas casas noturnas alternativas, no Setor Sul da cidade de Goiânia, no estado de Goiás. Trata-se de lugares que comportam sujeitos alternativos (categoria êmica), ou seja, que não se bastam em definições estanques quanto à identidade e à sexualidade, e se encontram em ambientes de lazer onde há maior fluidez sexual, abarcando desde sujeitos heterossexuais, bissexuais, ou homossexuais, até os que se dizem “sem rótulos”. Desta maneira, o entendimento da categoria alternativo se amplia para os lugares, posto que estes não fazem parte do circuito hegemônico de lazeres noturnos. Ademais, estes lugares não são identificados como “GLS” (gays, lésbicas e simpatizantes) – mas também não são heterossexuais. Tais estabelecimentos comportam jovens de 18 a 30 anos, com certa incidência de pessoas mais velhas, sem distinção de sexo e que apreciam também música alternativa, que demarca a “cena underground” por estar fora do eixo musical mainstream. Por conseguinte, esta sociabilidade juvenil visa construir um estilo próprio buscando escapar das imposições da indústria da moda e dos rótulos identitários sexuais, o que coaduna com o atual dinamismo dos movimentos sociais relacionados à diversidade sexual e de gênero, que questionam as dicotomias, as dualidades e os binarismos, assim como a naturalização da heterossexualidade compulsória. Desta forma, as redes de sujeitos alternativos mostram que não há atos de gênero verdadeiros ou falsos, levando a indagar se a heterossexualidade é uma ficção reguladora.
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Losso, Fabio Malina. "Os direitos autorais no mercado da música." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/2/2131/tde-28092009-082901/.
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A presente tese parte da constatação de que diversas crises nos direitos autorais impactaram o mercado da música, todas coincidentes com a introdução de novas tecnologias. Com o advento das tecnologias digitais de fixação de obras musicais e da internet, passou-se a questionar se o momento atual permite identificar uma autêntica crise no direito do autor e, a partir disso, como se pode refletir sobre as questões decorrentes das novas tecnologias que, fatalmente, são pensadas com as velhas normas e teorias. São linhas essenciais do trabalho: a) a criatividade musical e o impacto de diferentes tecnologias para sua fixação e distribuição; b) a criatividade musical e o reconhecimento e a proteção de direitos do criador; c) a inflexão entre os interesses do criador e os outros diversos sujeitos envolvidos na fixação e distribuição da obra artística musical ao lado do interesse dos destinatários; d) a pluralidade de soluções para definir os moldes dessa inflexão e as direções tomadas pelo direito brasileiro. Verifica-se, no decorrer do presente estudo, a existência de conflito de interesses entre o investidor cultural, o compositor e o consumidor, que se projeta no conflito entre os direitos autorais e o direito de acesso aos bens culturais. A conformação de ambos constitui um relevante desafio trazido pelos novos tempos da chamada \"sociedade da informação\", na qual a música digital está inserida.The present thesis parts from the affirmative that many crises in copyright impacted the music market, all coincident with the introduction of new technologies. With the advent of digital technologies for the fixation of musical works and of the intemet, it was questioned whether the present moment permits identification of an authentic crisis in copyright, and, from that, how is it possible to reflect about the issues due to the new technologies that, fatally, are thought according to old laws and theories. The essential guidelines of the thesis are: a) musical creativity and the impact of different technologies for its fixation and distribution; b) musical creativity and the acknowledgement and copyrights protection; c) the inflexion between the author\'s and other people\'s, who are involved in the fixation and distribution of artistic musical works, interests contrasted with the interests of the addressees; d) the plurality of solutions to define the molds of this inflexion and the directions taken by Brazilian law. It is verified, throughout the present study, the existence of a conflict of interests between the cultural investor, the composer and the consumer, that projects itself on the conflict between copyrights and the right to access cultural assets. The conformation of both constitutes a relevant challenge brought by the new times of what is called \"information society\", in which digital music is inserted.
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Dolghie, Jacqueline Ziroldo. "Por uma sociologia da produção e reprodução musical do presbiterianismo brasileiro: a tendência gospel e sua influência no culto." Universidade Metodista de São Paulo, 2007. http://tede.metodista.br/jspui/handle/tede/427.
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Previous issue date: 2007-03-09The Brazilian Presbyterian service has assumed a fixed and peculiar form referring to its liturgical style. The exclusion of more ritualistic elements, as well as the conditions for their insertion, gave a very particular outline to the religious service in Brazil. Its shape can be reduced to two pillars: sermon and music. The music has also been developed in a peculiar manner within the denomination. Nevertheless, from the early 1990s, traditional music has been shaken with the fast-growing and consolidation of the gospel music market. Then, a new format of musical production related to congregational praise emerged in Brazil, which counteracting with the traditional productions due to its emotional and performatic aspect. This new model of congregational praise was totally accepted by young people and new converted ones because it was promoted by the specialized media and the gospel market and was in harmony with current cultural trends, somehow complicating the idea of preserving religious tradition. This fact occurred for many reasons, and among them, we can mention the appeal exerted by the musical market upon Presbyterian youth and the liturgica l role music played in this service, which has always created an atmosphere of religious frustration for some laic subgroups. Therefore, musical production and reproduction of Presbyterian service suffered modifications that can contribute directly to one of the biggest modifications which the Presbyterian service has suffered since its insertion in Brazil. This new model of congregational praise facilitated the rupture with the traditional hymnody, which has ever been weakened long ago. The present study deals with the modifications that occurred in Presbyterian liturgical music production and reproduction and the direct results on the religious service profile, as well as the motives that support those modifications on micro and macro social perspectives.(AU)
O culto presbiteriano brasileiro se cristalizou de forma peculiar em relação ao seu estilo litúrgico. A exclusão de elementos mais ritualísticos somados ás condições de inserção deram um contorno bem específico a esse culto no Brasil. A sua forma pode ser reduzida a dois pilares de sustentação: a prédica e a música. A música também se desenvolveu de um modo peculiar dentro da denominação. Porém, desde início dos anos 90 essa musica tradicional tem sido abalada com a consolidação do mercado de música gospel. Surgiu então no Brasil um novo tipo de produção musical, relacionada com o louvor congregacional, que pelo aspecto emocional e performático, contraria a produção tradicional. Esse novo modelo de louvor, fomentado pela mídia especializada, pelo mercado gospel e em acordo com as tendências culturais atuais, tem plena aceitação do público jovem e dos novos conversos, dificultando a manutenção da tradição. Muitos são os motivos para tal fato, entre eles a atração que o mercado exerce sobre o jovem presbiteriano e o papel litúrgico da música nesse culto, que sempre gerou um grande clima de insatisfação religiosa de alguns sub grupos do laicato. Assim, a produção e reprodução musical do culto presbiteriano têm sofrido modificações que podem contribuir diretamente para uma das maiores mutações cúlticas que o presbiterianismo já sofreu desde a sua inserção entre nós. Esse novo modelo de louvor propiciou uma ruptura com a hinódia tradicional, que há muito já estava se enfraquecendo. Esta tese discute as mudanças ocorridas na produção e reprodução da música litúrgica do presbiterianismo e a sua conseqüência direta no perfil desse culto, bem como os motivos que sustentam tais mudanças, tanto em uma perspectiva micro como macro social.(AU)
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Barani, Amanda, and Alexandra Foschi. "Vad händer efter musikhögskolan? En studie om karriärövergång mellan musikhögskolan och musikeryrket." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-27427.
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Syftet med detta examensarbete är att undersöka hur nuvarande och tidigare musikerstudenter på svenska musikhögskolor får ta del av arbetsmarknadsrelaterade kunskaper inom sin utbildning och genom till yrkesverksamma musiker. Vi har utifrån våra frågeställningar fokuserat på vilka kompetenser som informanterna fått ta del av och hur de upplevt att skolan mött dessa kunskaper. Undersökningen är baserad på 6 kvalitativa intervjuer med musikstudenter som nyligen har examinerats eller är under utbildning. Alla har utifrån ett studentperspektiv fått besvara frågor och reflektera själva kring vad de ansett som viktiga kompetenser och tillvägagångssätt för att kunna försörja sig som musiker. Resultatet har visat att samtliga informanter upplever att det inte fått det stöd eller kunskap de anses ha behövt under sin studietid för att möta arbetsmarknadens krav. Det blir tydligt att det finns brister i undervisningens arbetsmarknadsfrågor och bristande stöd i karriärövergången till att bli yrkesverksam musiker. En studerande kan få erfarenhet av arbetsmarknaden som frilansande under studietiden. Ansvaret ligger på individen att göra sig attraktiv och synlig på arbetsmarknaden. Alla 6 informanter menar att ett stort kontaktnät är fördelaktigt för att konkurrera med andra musiker. Resultatet har analyserats utifrån Savickas Career construction theory, CCT, en metateori som baseras på att jobbet ska matchas till individen och nå självförverkligande. Begreppet school-to-work har i studien stått i centrum för att analysera övergången mellan skola till arbetsmarknad för musikstudenterna, där fokuset har legat på att se om de högre utbildningarna möter Savickas kriterier för en lyckad övergång till arbete.This study concerns Swedish music students' experiences on how the music academies prepare them for a career as professional musicians. The 6 participants were either current or former students at the academies and data was drawn from semi-structured interviews. They were interviewed about their experiences of support and counselling from the schools and its employees. During the interview they were asked to reflect and discuss their experiences as students and individuals on their way to becoming working musicians. Questions were asked about competencies and skills required of the students to become a part of the labour market. The answers showed an imbalance between the knowledge they received and what they actually needed to become professional musicians, both according to the interviewees themselves as well as according to previous studies summarized. The music academy's teaching did not depict the reality as a musician according to its students. The interviewees could identify the major competences needed on the labour market, and identified the same ones missing from their curriculum. Through M. Savickas Career Construction Theory and his concept school-to-work transitions the interviewees answers were analyzed to find what was lacking for the students in aid to make a successful transition from higher musical education to work as professional musicians. Light was also shed on what competences and resources the education has given them. Our major finding concluded that there is a lack of occupational information in higher musical education, as well as a lack of real-life experiences that reflect the true labour market according to the students. The students do not get to evolve the skills they need to, but are able to build a network during these years in school that can aid them in these areas all through their careers.
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Silva, Neto João Marcondes da. "Fonograma: transnformações histórico-culturais e tendências tecnológicas no mercado da música popular brasileira (1902-2007)." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2022.
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Previous issue date: 2009-08-14Fundo Mackenzie de Pesquisa
The study notes that line the main Brazilian phonographic market changes, between 1902 and 2007. Classifying primary sources, phonograms, the structuring of knowledge. Includes in its history, the principle of the Brazilian phonographic market. The changes between the XIX and XX century for musicians in general. Illustrates a second time, the profiles of musicians, instruments and their role in the phonogram, the formation of Brazilian popular music. Presents the main changes to the product phonographic. It proposes a way to work artistically with the technologies available in the phonographic market.
Estudo que observa linearmente as principais modificações do mercado fonográfico brasileiro, entre 1902 e 2007. Classificando fontes primárias, fonogramas, na estruturação do conhecimento. Contempla em seu histórico, o princípio do mercado fonográfico brasileiro. As modificações ocorridas entre o século XIX e XX para os musicistas de forma geral. Ilustra num segundo momento, os perfis de musicistas, dos instrumentos e sua função no fonograma, da constituição da música popular brasileira. Apresenta as principais modificações do produto fonográfico. E propõe uma forma para trabalhar artisticamente com as tecnologias disponíveis no mercado fonográfico.
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Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.
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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear.
I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation.
This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music.
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Silva, João Marcos da. "AS FEIAS (E OS FEIOS) QUE ME DESCULPEM, MAS BELEZA É FUNDAMENTAL : O USO CONTEMPORÂNEO DA IMAGEM E SUA INFLUÊNCIA NA MUDANÇA DOS PARADIGMAS ESTÉTICOS UTILIZADOS NA MÚSICA GOSPEL NO BRASIL." Universidade Metodista de São Paulo, 2010. http://tede.metodista.br/jspui/handle/tede/544.
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Previous issue date: 2010-03-04Conselho Nacional de Desenvolvimento Científico e Tecnológico
This paper analyzes sociologically in contemporary times the imagery field in gospel music and how it influences the changes of imagery-esthetic paradigms used by phonogram producers in their religious marketing to the commercialization of gospel music in the Brazilian evangelical music market, making it possible in this current model to enable a qualitative and quantitative increase of products aimed at the evangelical public. The research identifies in the dissemination of visual production and marketing of CDs, DVDs, websites of phonogram producers, fairs and music awards, the mechanisms used for the construction of a new imagery paradigm that provides, in the religious field, the emergence of a new evangelical imaginariness mimetically constructed to feed a gospel market supported by the social triad: spectacle, consumption and entertainment. Thus, the analysis has its cut in the paradigmatic changes that arise from the first singers of the 1950s culminating in the explosion of gospel music in the early 1990s.
Este trabalho analisa sociologicamente na contemporaneidade o campo imagético na música gospel e de que forma, este influencia na mudança dos paradigmas imagético - estéticos utilizados pelas produtoras fonográficas em seu marketing religioso para a comercialização da música gospel no mercado da música evangélica brasileira, proporcionando neste modelo atual um crescimento qualitativo e quantitativo dos produtos destinados ao público evangélico. A pesquisa identifica nas produções visuais de divulgação e comercialização de CDs, DVDs, sites das produtoras fonográficas, feiras e premiações musicais, os mecanismos utilizados para a construção de um novo paradigma imagético que proporciona no campo religioso, o surgimento de um novo imaginário evangélico mimeticamente construído para alimentar um mercado gospel fomentado pela tríade social: espetáculo, consumo e entretenimento. Desta forma, a analise tem o seu recorte nas mudanças paradigmáticas que surgem a partir dos primeiros cantores e cantoras da década de 1950 até culminar na explosão da música gospel no início da década de 1990.(AU)
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Hale, Harris Kimberly Coulter. "Poetry and Patronage: Alessandro Scarlatti, The Accademia Degli Arcadia, and the Development of the Conversazione Cantata in Rome 1700-1710." Thesis, Connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/Open/hale%5Fharris%5Fkimberly/index.htm.
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Damicone, Tiffany N. "“The Singing Style of the Bohemians” – A Study of the Bohemian Contributions to Horn Pedagogy, Western Perspectives on Czech Horn Playing and Analysis of the Teachings of Zdenek Divoky' at the Academy of Performing Arts." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366311585.
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Delattre-Destemberg, Emmanuelle. "Les enfants de Terpsichore : histoire de l'École et des élèves de la danse de l'Académie de musique (1783-1913)." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV056.
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Cette étude entend proposer une histoire des élèves de la danse de l'Académie de musique au XIXe siècle (1783-1913). À travers l’étude des étapes de la mise en place institutionnelle de cette école émerge l'identité des élèves de la danse comme apprentis danseurs. Au-delà d'une histoire administrative, ce sont bien les conditions socioéconomiques de l’enfance au travail que révèle ce travail de thèse. Des questions économiques relatives à leur formation aux pratiques culturelles de la danse, les élèves de l'Académie de musique sont au coeur de la vie urbaine et théâtrale parisienne du XIXe siècle. Enfin, l’examen de la circulation des danseurs et des pédagogies à l'échelle européenne a permis d’identifier les mécanismes d’un discours de domination culturelle, construit et revendiqué par l'Académie de musique, à l’échelle du monde occidentalThis study aims at introducing a story of the Music Academy ballet students in the 19th century (1783-1913). The ballet students’ identities and their positions as apprentices come to light through the different steps of the institutional setting-up of that Academy. This thesis goes beyond administrative history and unveils the genuine socioeconomic conditions of children at work. For many reasons going from economic issues concerning their training to ballet cultural practises, the Music Academy students are at the heart of urban and theatrical life of XIXth century Paris. Eventually, an analysis of the ballet dancers ‘ freedom of movement and of the different teaching methods in Europe allows to pinpoint the mechanisms of a cultural domination speech, built by the music Academy and claimed to come from it too, throughout the Western world
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Lundström, Justus, Jonas Widriksson, and Viktor Zaunders. "Changes in media consumption and file sharing : The impact of legislation and new digital media services." Thesis, Jönköping University, JIBS, Business Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12534.
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In this study we investigate how the attitude and behaviour concerning illegal file shar-ing have changed among the young population in Sweden. The study will analyze the impact of the IPRED law that was introduced in April 2008 and new digital media ser-vices that have emerged in the last couple of years. It is also evaluated which of these have had the most impact on the attitude and behaviour of the selected population.
The main part of our research consists of a quantitative survey handed out to a sample population among high school students (ages 16-20) in Jönköping, Sweden. This pri-mary data is later compared to secondary data from a similar study that was done on the same demographics two years prior to this research in order to measure the change in behaviour and attitude. The previous study was conducted prior to the IPRED law im-plementation by one of the authors. We also used prior research within this subject and related fields to further understand and interpret our data.
What we have discovered through our research is that there has been a decrease in ille-gal file sharing, especially when considering music, however this decrease is much more an effect of the adopting of new media services then it can be attributed to the IPRED law. Furthermore, the attitudes towards file sharing have remained unchanged and a large number of young adults do not feel that file sharing should be illegal.
It is also concluded that good legal alternatives to file sharing have a large market po-tential if these services can fulfil consumers demand on availability and price. Addition-ally we have found that good legal alternatives are important if the public is to refrain from returning to their old file sharing habits once the initial scare from new legislation has worn off.
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Lefebvre, Géraldine. "Le cercle de l'Art Moderne, 1905-1910 : le Havre : place des modernités artistiques et culturelles en France au début du XXe siècle." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100009.
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Le 29 janvier 1906, un groupe d’artistes et de collectionneurs créent au Havre le Cercle de l’art moderne. Parmi eux : les peintres Georges Braque, Raoul Dufy et Émile Othon Friesz, l’architecte Édouard Choupaÿ, le critique littéraire G. Jean-Aubry et quelques-uns des plus importants amateurs d’art de ce début de siècle : Olivier Senn, Charles-Auguste Marande, Pieter van der Velde, Georges Dussueil… L’association se fixe comme objectif de promouvoir l’art moderne dans toute sa diversité, organisant des expositions, des conférences et des concerts de musique. Monet, Renoir, Signac mais surtout les fauves, Matisse, Derain, Manguin, Marquet, Van Dongen, Vlaminck exposent leurs créations les plus récentes tandis que Debussy, Ravel et Roussel interprètent leurs compositions les plus originales. Frantz Jourdain et Guillaume Apollinaire apportent leur parrainage à l’association, qui affiche d’emblée sa filiation avec le Salon des XX à Bruxelles et le jeune Salon d’Automne à Paris. Le succès est retentissant, dépassant largement les frontières de la Ville. Cette thèse se propose de montrer combien ces années ont été cruciales pour Le Havre qui voit se créer un véritable marché de l’art fauve avec ses marchands, ses critiques d’art et ses amateurs. Le Cercle de l’art moderne a définitivement infléchi la politique artistique havraise vers une ouverture à l’art contemporain, plaçant la ville au rang de capitale culturelle de l’art moderne, dans une relation directe avec Paris et BruxellesOn the 29th of January 1906, a group of artists and collectors created the “Circle of Modern Art” in Le Havre. Among them were painters Georges Braque, Raoul Dufy and Émile Othon Friesz, the architect Édouard Choupaÿ, the art critic G. Jean-Aubry and some of the most important collectors of that time: Olivier Senn, Charles -Auguste Marande, Pieter van der Velde, Georges Dussueil and many others. The association's goal was to promote all aspects of Modern Art, organised many activities such as exhibits, conferences, concerts and so on. Monet, Renoir, Signac and especially the French “Fauves”—Matisse, Derain, Manguin, Marquet, Van Dongen, Vlaminck—exhibited their most recent creations while Debussy, Ravel and Roussel performed their most recent original compositions. Frantz Jourdain and Guillaume Apollinaire supported the association, which early on showed its affiliation with the Salon des XX in Brussels and the young Salon d'Automne in Paris. It was a great success in Le Havre and throughout France and Europe, resounding far beyond the city's borders. This study goes back to those crucial years in Le Havre and focuses on that very special time that saw the creation of a real art market devoted to the “Fauve” painters, with its art dealers, critics and collectors. The “Circle of Modern Art” definitely influenced the artistic policy of Le Havre, opening it up to contemporary art and ranking the city as a cultural Capital of Modern Art, directly in conjunction with Paris and Brussels
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Collet, Boris. "Formation et dynamiques d'une catégorie de marché alternatif : une approche sociogénétique et ethnographique des musiques indépendantes." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR026.
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Au cours des dernières décennies, la notion d’indépendance s’est imposée dans un grand nombre de secteurs des industries culturelles et créatives. Dans cette thèse, nous nous intéressons à l’émergence de la catégorie indépendante au sein du marché musical et à ses dynamiques avec la catégorie dominante en mobilisant les apports théorico-méthodologiques de la sociologie pragmatique dans l’articulation de trois concepts interreliés – marché(s), intermédiation et valeurs. À cet effet, nous avons mené une ethnographie multi-située de quatre ans au contact des acteurs de la scène musicale afin de mettre au jour les principes sous-jacents, c’est-à-dire les fondements axiologiques, qui caractérisent l’indépendance en tant que catégorie culturelle, économique et artistique. En parallèle, nous avons procédé à une analyse sociohistorique afin de comprendre l’émergence et le développement de cette catégorie de marché et d’en établir une périodisation. Nos analyses permettent d’établir que l’indépendance est le lieu de tensions entre plusieurs représentations et d’affrontements idéologiques. De plus, elles confirment le rôle des intermédiaires et de leurs dispositifs dans la catégorisation des marchés et la valorisation des biens. En situant cette recherche au croisement des théories culturelles de la consommation (CCT) et du macromarketing, nous concluons en discutant de la marchandisation de la culture et des formes alternatives de marketization. Nous exposons également les implications pour les acteurs du marché et les institutions dans la mise en place de stratégies commerciales et de politiques culturelles en faisant valoir les spécificités de l’indépendance en tant que mode de production et de consommation alternatif. Cette recherche ouvre ainsi la voie à l’étude des perspectives éthiques de la consommation culturelleThe notion of independence has become prominent in cultural and creative industries over the last decades. In this thesis, we study the emergence of the independent category within the music market and its dynamics with the dominant category by using the theoretical and methodological framework of pragmatic sociology in the articulation of three interrelated concepts - market(s), intermediation and values. To this end, we conducted a four-year multi-sited ethnography of the indie music scene in France and Canada in order to uncover the underlying principles, i.e. the axiological foundations, that characterize independence as a cultural, economic and artistic category. Simultaneously, we carried out a socio-historical analysis in order to understand the emergence and development of this market category and to establish a periodization. Our analyses establish that independence is the site of tensions between several representations and of ideological confrontations. Moreover, they confirm the role of intermediaries and their devices in market categorization and the evaluation of goods. Situated at the intersection of consumer culture theory (CCT) and macromarketing, this research discusses the commodification of culture and alternative forms of marketization. We also present the implications of our analysis for market actors and institutions in the implementation of commercial strategies and cultural policies, highlighting the specificities of independence as an alternative mode of production and consumption. Finally, this research paves the way for the study of the ethical perspectives of cultural consumption