Relevant bibliographies by topics / Music labels

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music labels'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Music labels"

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M Fadil Ramadhan and M. Subur Drajat. "Kegiatan Marketing Pr Label Musik Digital Audio Tape Bandung." Jurnal Riset Public Relations 1, no. 1 (July 6, 2021): 33–38. http://dx.doi.org/10.29313/jrpr.v1i1.80.

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Abstract. Music labels Digital Audio Tape having the marketing public relations that his services can be used by audience. The marketing public relations label was set up by Trizha Harun as public relations at the music labels Digital Audio Tape. ( ruslan 2008: 249 ), Public relations serves to communicate both sides between the company with public internal and external relationships and mutual with the audience be considered important by label. Activity public relations is held mutual communication between institution with public intended to create mutual understanding and support for the achievement of a a particular purpose, policy, production activities the progress of institution or a positive image of institutions concerned. The public function of relations at the labels music Digital Audio Tape to increase the consumers which will perform recording on music label Digital Audio Tape. The purpose of this research that is to know the marketing public relations done by music labels Digital Audio Tape. The methodology qualitative perspective case study by Robert K. Yin more trying to map technique single case analysis in the analysis the marketing public relations done by music labels Digital Audio Tape. The research music label the concept of representatives using three with the creation event showcase cover tune in instagram, created an impromptu event or shocking venues, combining vocal technique of various genre of music becomes hip hop. Abstrak. Label music Digital Audio Tape memiliki kegiatan marketing Public Relations agar jasanya dapat digunakan oleh khalayak. Kegiatan marketing Public Relations label tersebut dibuat oleh Trizha Harun selaku Public Relations pada label musik Digital Audio Tape. (Ruslan 2008 :249), Public Relations berfungsi untuk menjalin komunikasi dua arah antara perusahaan dengan publik internal dan eksternal serta membina hubungan yang saling menguntungkan dengan khalayak atau pihak yang dianggap penting oleh label. Aktivitas Public Relations adalah menyelenggarakan komunikasi timbal balik antara lembaga dengan publik yang bertujuan untuk menciptakan saling pengertian dan dukungan bagi tercapainya suatu tujuan tertentu, kebijakan, kegiatan produksi demi kemajuan lembaga atau citra positif lembaga bersangkutan. Fungsi Public Relations pada label musik Digital Audio Tape untuk meningkatkan pelaku konsumen yang akan melakukan rekaman di label musik Digital Audio Tape. Tujuan penelitian ini yaitu untuk mengetahui kegiatan marketing public relations yang dilakukan oleh label musik Digital Audio Tape. Metode penelitian kualitatif dengan perspektif studi kasus Robert K. Yin yang lebih berupaya memetakan teknik single case analysis pada analisis kegiatan marketing public relations yang dilakukan oleh label musik Digital Audio Tape. Dari hasil penelitian label musik menggunakan tiga konsep MPR dengan cara menciptakan event showcase cover lagu di instagram, menciptakan mengadakan event dadakan atau (shocking venue), menggabungkan teknik vocal dari berbagai genre musik menjadi hip hop.
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Hu, Xiao, Christy W. L. Cheong, Siwei Zhang, and J. Stephen Downie. "Mood metadata on Chinese music websites: an exploratory study with user feedback." Online Information Review 42, no. 6 (October 8, 2018): 864–79. http://dx.doi.org/10.1108/oir-01-2017-0023.

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Purpose Music mood is an important metadata type on online music repositories and stream music services worldwide. Many existing studies on mood metadata have focused on music websites and services in the Western world to the exclusion of those serving users in other cultures. The purpose of this paper is to bridge this gap by exploring mood labels on influential Chinese music websites. Design/methodology/approach Mood labels and the associated song titles were collected from six Chinese music websites, and analyzed in relation to mood models and findings in the literature. An online music listening test was conducted to solicit users’ feedback on the mood labels on two popular Chinese music websites. Mood label selections on 30 songs from 64 Chinese listeners were collected and compared to those given by the two websites. Findings Mood labels, although extensively employed on Chinese music websites, may be insufficient in meeting listeners’ needs. More mood labels of high arousal semantics are needed. Song languages and user familiarity to the songs show influence on users’ selection of mood labels given by the websites. Practical implications Suggestions are proposed for future development of mood metadata and mood-enabled user interfaces in the context of global online music access. Originality/value This paper provides insights on understanding the mood metadata on Chinese music websites and uniquely contributes to existing knowledge of culturally diversified music access.
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Susino, Marco, and Emery Schubert. "Musical emotions in the absence of music: A cross-cultural investigation of emotion communication in music by extra-musical cues." PLOS ONE 15, no. 11 (November 18, 2020): e0241196. http://dx.doi.org/10.1371/journal.pone.0241196.

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Research in music and emotion has long acknowledged the importance of extra-musical cues, yet has been unable to measure their effect on emotion communication in music. The aim of this research was to understand how extra-musical cues affect emotion responses to music in two distinguishable cultures. Australian and Cuban participants (N = 276) were instructed to name an emotion in response to written lyric excerpts from eight distinct music genres, using genre labels as cues. Lyrics were presented primed with genre labels (original priming and a false, lured genre label) or unprimed. For some genres, emotion responses to the same lyrics changed based on the primed genre label. We explain these results as emotion expectations induced by extra-musical cues. This suggests that prior knowledge elicited by lyrics and music genre labels are able to affect the musical emotion responses that music can communicate, independent of the emotion contribution made by psychoacoustic features. For example, the results show a lyric excerpt that is believed to belong to the Heavy Metal genre triggers high valence/high arousal emotions compared to the same excerpt primed as Japanese Gagaku, without the need of playing any music. The present study provides novel empirical evidence of extra-musical effects on emotion and music, and supports this interpretation from a multi-genre, cross-cultural perspective. Further findings were noted in relation to fandom that also supported the emotion expectation account. Participants with high levels of fandom for a genre reported a wider range of emotions in response to the lyrics labelled as being a song from that same specific genre, compared to lower levels of fandom. Both within and across culture differences were observed, and the importance of a culture effect discussed.
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Galuszka, Patryk, and Blanka Brzozowska. "Crowdfunding and the democratization of the music market." Media, Culture & Society 39, no. 6 (October 20, 2016): 833–49. http://dx.doi.org/10.1177/0163443716674364.

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The article analyzes the phenomenon of crowdfunding from the perspective of its democratizing influence on the music market. Crowdfunding enables artists to finance the release of their records, which theoretically allows them to enter the music market without the intermediation of traditional record labels. By using empirical data, the article shows that the democratizing influence of crowdfunding is limited. This results partially from the difficulties of dealing with promotional activities traditionally conducted by record labels. In other words, neither crowdfunding platforms nor contributors have the power, connections, or know-how of traditional record labels.
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Mall, Andrew. "Concentration, diversity, and consequences: Privileging independent over major record labels." Popular Music 37, no. 3 (September 12, 2018): 444–65. http://dx.doi.org/10.1017/s0261143018000375.

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AbstractThe field of popular music studies has long been interested in the relationships between record labels and the music they make available to consumers. At the micro level, research on record labels provides insight into the tensions between art and commerce and those between individuals and institutions. At the macro level, this research illuminates changes in socio-economic trends, music industry structures and structural inequalities. A meta-analysis of this literature reveals an ‘indie prejudice’: a preference for (and even a bias in favour of) independent labels coupled with a dismissive approach to the study of major labels and musical mainstreams that impacts our ability, as a scholarly field, to speak with authority about the largest segments of the commercial record industries. What larger implications for our scholarship might confronting this prejudice reveal? What master narratives have structured popular music studies’ preference of independent over major record labels? In this article, I argue that the art/commerce dichotomy has remained influential, although it can have unintended and dangerous side effects if it becomes a guiding assumption.
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Boeckman, Jeffrey. "Labels, Inequity, and Advocacy: The “Woman Composer” in the Wind Band World." Music Educators Journal 106, no. 2 (November 26, 2019): 45–50. http://dx.doi.org/10.1177/0027432119870572.

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Is it time to retire the “female composer” label? While music educators would perhaps like to think society is beyond the need for such labels, gender inequity exists in programming, publisher’s offerings, and college programs. This article considers some of the arguments advanced to explain these inequities and the social/systemic biases that consideration of this topic necessarily involves. Finally, the author suggests paths and some resources for those interested in seeking out and advocating for excellent music that happens to be composed by women.
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Lussier, Martin. "The labelling process in popular music: Being-called “musiques émergentes” in Montréal." MedieKultur: Journal of media and communication research 27, no. 51 (August 23, 2011): 17. http://dx.doi.org/10.7146/mediekultur.v27i51.4080.

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<p>The words used to discuss genres matter. The multiplication of genres and subgenres is accompanied by a growing number of corresponding labels, which are consequently debated and disputed. Using the case of the label “musiques émergentes” (“emerging musics”), which has spread rapidly during the last decade in the cultural landscape of Montréal, Canada, this article examines one debate surrounding this label, focusing on discussions between artists and industry workers and their understanding of the usefulness of such a name/label in today’s popular music milieu. This discussion presents the labelling process as something that constitutes a group rather than capturing the likeness of its members. Drawing on the writings of Giorgio Agamben, the second part of this article examines labelling as a practice that exposes and renders possible the relation of something to something else – a cultural text to a genre – contributing to the production of “musiques émergentes” as a “being-called.”</p>
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Elahifar, Kobra. "The Managing of Peer-to-Peer File Sharing Technologies’ Network Effect: An Adaptation of Actor-Network Theory." Stream: Interdisciplinary Journal of Communication 5, no. 1 (January 13, 2014): 37–44. http://dx.doi.org/10.21810/strm.v5i1.79.

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Peer-to-peer (P2P) file-sharing technologies have impacted the music industry, including its strategies for the distribution of the musical products, for more than a decade now. As a result, music labels have delayed full digitization of their industry in fear of “online music piracy”. The present paper reviews the historical context of the evolution of the music industry from 1999 to 2012. Using Actor-Network theory, the paper examines the strategies that helped the music industry to translate new actors’ effect in order to sustain music labels’ business on their path to digitize music distribution. I will discuss the impact of new digital policies and methods of governing online behavior including the business concept of “entrepreneurship” as they may potentially affect the future of public domain within the framework of consumer rights.
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Gan, Jie. "Music Feature Classification Based on Recurrent Neural Networks with Channel Attention Mechanism." Mobile Information Systems 2021 (June 10, 2021): 1–10. http://dx.doi.org/10.1155/2021/7629994.

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With the advancement of multimedia and digital technologies, music resources are rapidly increasing over the Internet, which changed listeners’ habits from hard drives to online music platforms. It has allowed the researchers to use classification technologies for efficient storage, organization, retrieval, and recommendation of music resources. The traditional music classification methods use many artificially designed acoustic features, which require knowledge in the music field. The features of different classification tasks are often not universal. This paper provides a solution to this problem by proposing a novel recurrent neural network method with a channel attention mechanism for music feature classification. The music classification method based on a convolutional neural network ignores the timing characteristics of the audio itself. Therefore, this paper combines convolution structure with the bidirectional recurrent neural network and uses the attention mechanism to assign different attention weights to the output of the recurrent neural network at different times; the weights are assigned for getting a better representation of the overall characteristics of the music. The classification accuracy of the model on the GTZAN data set has increased to 93.1%. The AUC on the multilabel labeling data set MagnaTagATune has reached 92.3%, surpassing other comparison methods. The labeling of different music labels has been analyzed. This method has good labeling ability for most of the labels of music genres. Also, it has good performance on some labels of musical instruments, singing, and emotion categories.
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Messenger, Cory. "Record Collectors: Hollywood Record Labels in the 1950s and 1960s." Media International Australia 148, no. 1 (August 2013): 118–26. http://dx.doi.org/10.1177/1329878x1314800113.

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The affiliation between film and music is the cornerstone of modern entertainment industry synergy. This article examines one of the key chapters in that relationship: the period in the 1950s during which the major studios entered the record business. Ostensibly designed to capitalise on the emerging film soundtrack market, the flurry of mergers, acquisitions and the establishment of new record labels coincided with the rise of rock‘n’ roll and the explosion of the market for recorded popular music. The studios quickly found that in order to keep their record labels afloat, they needed to establish a foothold in popular music. The processes by which they achieved this transformed the marketing of recorded music, sparking a period of unprecedented commercial success for the record industry in the late 1960s. Simultaneously, from these record subsidiaries Hollywood learned how to market cinema to a youth audience, heralding the arrival of ‘New Hollywood’.
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Dissertations / Theses on the topic "Music labels"

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Bielas, Ilan. "The Rise and Fall of Record Labels." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/703.

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This thesis studies the music industry as a whole, and delves more specifically into how new technologies have disrupted the old business model. Advances in technology such as the Internet, MP3s, and file-sharing software have made it possible to bypass the traditional role of record labels, thus creating a closer link between artists and consumers. As the music industry transformed over time, the role of record labels became less defined. This has left once behemoth labels struggling to find a competitive advantage in a rapidly devolving industry. Record labels are no longer the most relevant segment of the music industry, and this work provides an in-depth analysis of the processes that destroyed their relevance. This thesis begins by examining the music industry at a macro level, before tracking record labels from their prominence to their current marginalized role. Advancements in MP3, P2P networks, and other consumer-enabling technologies have transformed the music industry. The lack of a significant response to this shifting landscape within the industry has left record labels on a slippery slope towards extinction. As record labels failed to adapt to shifting demand and changing methods of consumption, private entrepreneurs have intervened to solve inefficiencies in the market. This thesis will leave the reader with an expansive knowledge of how the music industry has transformed, as well as its future trajectory without record labels.
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Brodin, Johan. "Working with emotions : Recommending subjective labels to music tracks using machine learning." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-199278.

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Curated music collection is a growing field as a result of the freedom and supply that streaming music services like Spotify provide us with. To be able to categorize music tracks based on subjective core values in a scalable manner, this thesis has explored if recommending such labels are possible through machine learning. When analysing 2464 tracks with one or more of the 22 different core values a profile was built up for each track by features from three different categories: editorial, cultural and acoustic. When classifying the tracks into core values different methods of multi-label classification were explored. By combining five different transformation approaches with three base classifiers and using two algorithm adaptations a total of 17 different configurations were constructed. The different configu- rations were evaluated with multiple measurements including (but not limited to) Hamming Loss, Ranking Loss, One error, F1 score, exact match and both training and testing time. The results showed that the problem transformation algorithm Label Powerset together with Sequential minimal optimization outper- formed the other configurations. We also found promising results for neural networks, something that should be investigated further in the future.
Kurerade musiksamlingar är ett växande område som en direkt följd av den frihet som strömmande musiktjänster som Spotify ger oss. För att kunna kategorisera låtar baserade på subjektiva värderingar på ett skalbart sätt har denna avhandling undersökt om rekommendationer av sådana etiketter är möjliga genom maskininlärning. När 2464 spår med ett eller flera av 22 olika kärnvärden analyserades byggdes en profil för varje spår upp av attribut från tre olika kategorier: redaktionella, kulturella och akustiska. Vid klassificering av spåren undersöktes flera olika metoder för fleretikettsklassificering. Genom att kombinera fem olika transformationsmetoder med tre bas-klassificerare och använda två algoritm-anpassningar konstruerades totalt 17 olika konfigurationer. De olika konfigurationerna utvärderades med flera olika mätvärden, inkluderat (men inte begränsat till) Hamming Loss, Ranking Loss, One error, F1 score, exakt matchning och både träningstid och testningstid. Resultaten visade att transformationsalgoritmen ”Label Powerset” tillsammans med Sekventiell Minimal Optimering utklassade de andra konfigurationerna. Vi fann också lovande resultat för artificiella neuronnät, något som bör undersökas ytterligare i framtiden.
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Primschitz, Christina. "The effects of digitization on the music industry – From the viewpoint of music creators and independent record labels in Sweden." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20756.

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Digitaliseringen, uppkomsten och den ökade populariteten av on-demand musikstreamingtjänster har förändrat musikbranschen i snabb takt. Tidigare studier visar att digitaliseringen har påverkat sättet hur media skapas, publiceras, distribueras och konsumeras. Studier om digitaliseringens effekter på kreatörer och distributörer inom musikbranschen visade sig däremot vara få. Det ansågs därför som en möjlighet att utforska hur artister och oberoende skivbolag uppfattar digitaliseringens effekter för att minimera den nuvarande kunskapsluckan. Den explorativa sekventiella studien bestod av två faser och baserades på en kombination av olika metoder. Den initiala studien utgjordes av tre kvalitativa intervjuer och resulterande arbetsteorier prövades därefter i en kvantitativ enkätundersökning (n=81). Resultatet indikerar att större andelen av oberoende skivbolag har anpassat sina affärsmodeller och utvecklats till s.k. 360°-musikföretag. Resultatet visar vidare att digitaliseringen har till viss grad påverkat sättet hur musik skapas och produceras, med en tendens mot en mer individualistisk och digital process, och vidare medfört en förenkling för artister att publicera sin musik. Artisternas intäkter har däremot inte förbättrats och många upplever att arbetsklimatet har försämrats. Resultatet visar att digitaliseringen sedan uppkomsten av musikstreamingtjänster har medfört omvälvande förändringar, dock verkar dessa inte ha lett till en demokratisering av musikbranschen utan enbart till en förflyttning av makten från skivbolagen till musikstreamingtjänsterna. Både artister och oberoende skivbolag uppfattar att den nära framtidens främsta utmaningar å ena sidan är att uppnå en skälig betalning för artister, samt å andra sidan att framgångsrikt marknadsföra musiken för att nå igenom bruset. Det indikeras vidare att regler och lagar är nödvändiga för att kunna säkerställa en hållbar utveckling av musikbranschen.
The emergence and continuously growing popularity of on-demand streaming music services has changed the music landscape rapidly and new services are entering the market at a high pace. Prior studies show that digitization has affected the way media is created, published, distributed and consumed. The literature review revealed a knowledge gap regarding the effects on music professionals and provided an opportunity to explore how artists and independent record labels perceive the aspects of digitization. The study followed an exploratory sequential mixed-methods approach and consisted of two phases, an initial study including three qualitative interviews, and a quantitative follow-up study, in which working theories that had resulted from the initial study were tested through an online survey (n=81). The results indicate that many independent record labels have changed and adapted their business models and turned into so called 360° music companies. The results further show that digitization developments have to some degree affected the way music is created and produced, with a tendency towards a more individualistic and digital process, and that it has become easier for artists to publish their music; their incomes have however not improved and for many artists the working climate has become harder. The results show that the emergence of on-demand streaming services has disrupted the music industry, instead of having a democratic impact, the power that record labels used to have appears to have shifted to streaming services. Both artists and independent record labels perceive the achievement of fair payments and successful promotion to be the main future challenges. It is indicated that regulations and laws that prevent exploitation are necessary in order to ensure the music industry to be sustainable in the future.
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Reinke, Bryan E. "Indie Music In The Age Of The Internet." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/634.

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In my paper I explored the success of independent artists on the Internet over the past three to five years while also examining the diminishing need for major record labels with regards to an independent artists success. I chose to examine this trend primarily because we are seeing the success of many artists to varying degrees who use the Internet to promote their music on a scale we’ve never seen before. Because of this, the entire structure of the music industry is beginning to change drastically and people have greatly begun to rethink the way we discover and enjoy music as well as the types of music we like. I wanted to explore the ways in which independent artists are achieving their success, the degree to which this success has been achieved, and why they have chosen to remain independent from major record labels. I began by researching independent artists before the Internet became a marketplace for music and how the Internet has changed the music industry to this day with regards to album sales. I then researched different platforms that have recently emerged on the Internet and how they are allowing artists to market themselves in effective ways and at little to no cost to the artist. I also examined the equipment required to make music in the digital age and how it has become cheaper and more accessible to obtain. Finally I examined specific independent artists who have emerged over the past few years on scales larger than many artists signed by major labels and why they have chosen to remain independent. From the research I did on the rise of independent music, I learned that most of these artists are doing something unique or different from artists signed to major labels. I also found that the message behind their music was sometimes contradictory to what has been accepted in mainstream media in the past. They have remained independent because they do not want to lose creative control of their music while also cutting out the middle man, or record labels, so they may keep a majority of their own profits. Through the artists that were researched, it can be seen that a major label budget or marketing scheme is far from necessary in the age of the Internet and can actually hinder the careers of certain artists. This is important because as major record labels continue to become less important, the structure of the music industry and its economy are changing in a way that is the opposite of what it once was. Music is now beginning to be empowered by the artists and fans rather than by major label corporations.
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Roy, Elodie Amandine. "British independent record labels, memory and mediation : situating music objects in physical and digital contexts." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2778.

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This thesis examines the changing relationship between the material culture of music (in the form of recorded music objects) and memory (as it is sedimented in, and mediated by, the work of a selection of British independent record labels). The principal aim of this work is to explore the significant but often-overlooked material paradigm of recorded music, from Edison’s invention of the phonograph in 1877 up until the early twenty-first century, increasingly characterised by the digital archiving, collecting and consumption of music. Drawing from a broad range of cultural theorists (including Benjamin, Straw, Sterne, Kittler, Gitelman and Huyssen), this research seeks to situate recorded sound within broader discourses on memory and mediation, technology and cultural transmission. The thesis is structured around the analyses of several British independent record labels from the recent past and the present: Sarah Records (1987- 1995), Ghost Box Records (2004-) and reissue record labels, including Finders Keepers (2004-). By focusing on specific record labels and situated configurations of the material culture of music, both physical and digital, I identify and map various aspects of the music object and clarify the particular socio-technological contexts within which such configurations arise.
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Apostolaki, Artemis. "Working memory for music, pitch labels and solfège : a cross-cultural study of university students' aural and cognitive skills." Thesis, University of Hull, 2012. http://hydra.hull.ac.uk/resources/hull:10117.

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Hurst, Magnus, and Niklas Marklund. "Internet, music and communication : How the Internet is affecting communicational efforts of smaller independent record labels." Thesis, Uppsala University, Department of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-127118.

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The purpose of this thesis is, through a case study, to analyse how the Internet is affecting smaller independent record labels' communicational efforts, and if these companies are dealing differently with this technological change. In order to accomplish this, a number of interviews have been conducted with smaller independent record labels. The findings have been analysed using a theoretical frame of reference covering innovation management and communicational methods. Our results show that the Internet has had an effect on these labels’ communicational efforts, either directly through an increased use of online communication or indirectly through the decreasing effectiveness of some traditional channels. However, as many traditional channels are still being used, smaller independent record labels are now managing an increased number of channels simultaneously. Furthermore, the degree of online communicational efforts varies depending on musical genre, being more commonly used in popular music genres. For labels with a high online activity, social networks play a prominent role, with considerable effort and time allocated towards working with these. Also, these companies are very attentive to the rapidly changing online environment with the aim of staying at the forefront of this development.

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Jones, Richard Earl. "Keep it Local: Music Streaming & Local Music Communities." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1512137210213619.

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Mukhedkar, Dhananjay. "Polyphonic Music Instrument Detection on Weakly Labelled Data using Sequence Learning Models." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279060.

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Polyphonic or multiple music instrument detection is a difficult problem compared to detecting single or solo instruments in an audio recording. As music is time series data it be can modelled using sequence learning methods within deep learning. Recently, temporal convolutional networks (TCN) have shown to outperform conventional recurrent neural networks (RNN) on various sequence modelling tasks. Though there have been significant improvements in deep learning methods, data scarcity becomes a problem in training large scale models. Weakly labelled data is an alternative where a clip is annotated for presence or absence of instruments without specifying the times at which an instrument is sounding. This study investigates how TCN model compares to a Long Short-Term Memory (LSTM) model while trained on weakly labelled dataset. The results showed successful training of both models along with generalisation on a separate dataset. The comparison showed that TCN performed better than LSTM, but only marginally. Therefore, from the experiments carried out it could not be explicitly concluded if TCN is convincingly a better choice over LSTM in the context of instrument detection, but definitely a strong alternative.
Polyfonisk eller multipel musikinstrumentdetektering är ett svårt problem jämfört med att detektera enstaka eller soloinstrument i en ljudinspelning. Eftersom musik är tidsseriedata kan den modelleras med hjälp av sekvensinlärningsmetoder inom djup inlärning. Nyligen har ’Temporal Convolutional Network’ (TCN) visat sig överträffa konventionella ’Recurrent Neural Network’ (RNN) på flertalet sekvensmodelleringsuppgifter. Även om det har skett betydande förbättringar i metoder för djup inlärning, blir dataknapphet ett problem vid utbildning av storskaliga modeller. Svagt märkta data är ett alternativ där ett klipp kommenteras för närvaro av frånvaro av instrument utan att ange de tidpunkter då ett instrument låter. Denna studie undersöker hur TCN-modellen jämförs med en ’Long Short-Term Memory’ (LSTM) -modell medan den tränas i svagt märkta datasätt. Resultaten visade framgångsrik utbildning av båda modellerna tillsammans med generalisering i en separat datasats. Jämförelsen visade att TCN presterade bättre än LSTM, men endast marginellt. Därför kan man från de genomförda experimenten inte uttryckligen dra slutsatsen om TCN övertygande är ett bättre val jämfört med LSTM i samband med instrumentdetektering, men definitivt ett starkt alternativ.
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Sousa, Carla Manuela Martins Costa de. "Plano de marketing para a produtora "Music"." Master's thesis, Instituto Superior de Economia e Gestão, 2015. http://hdl.handle.net/10400.5/11684.

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Mestrado em Marketing
O presente trabalho teve como objetivo criar um plano de marketing para a produtora portuguesa ?Music?. Estando o mercado discográfico a atravessar uma fase conturbada, surge a necessidade da empresa em se adaptar a estes novos tempos e rever a sua estratégia de marketing. Analisando as receitas da empresa, concluiu-se que 75% das mesmas derivam do produto físico e apenas 25% do produto digital. Assim, apesar das tendências futuras apontarem o formato digital, para já, as vendas físicas são as geradoras de maior lucro. Com base nesta análise e sabendo que a ?Music? apresenta algumas lacunas como: fraca gestão de logística, inexistência de marketing relacional, deficiente manutenção de política comercial e de prospeção de clientes, e limitada estratégia de comunicação interna e externa; decidiu-se desenvolver um plano de marketing cimentado num trabalho de pesquisa interligado com a realidade empírica da empresa, com recolha de dados primários e secundários, sustentado por estudo de caso. Foram aplicadas entrevistas semi-estruturadas ao CEO e ao diretor de marketing como aos clientes, analisando o seu nível de satisfação, a visão sobre a indústria discográfica e quais as melhorias a implementar. Em suma, este trabalho permitiu inferir que o aumento do IVA, a intensificação da pirataria, a crise económica, as inovações tecnológicas e a mudança de hábitos de consumo deram origem a uma quebra acentuada das vendas e dos lucros. Tornou-se impreterível criar um plano de marketing em que se prevê uma reformulação do seu marketing mix, reposicionando a empresa para aumentar os seus lucros.
This present study had as purpose to create a marketing plan for the record company "Music". Once the music market is going through a troubled phase, there is the company's need to adapt to these new times and revise its marketing strategy. Analyzing the company's revenues, it was concluded that 75% of them derive from the physical product and only 25% of the digital product. Thus, despite the future trends point the digital format, for now the physical sales are generating higher profits. Based on this analysis and knowing that the "Music" has some shortcomings such as weak logistics management, lack of relationship marketing, poor maintenance of commercial policy and prospecting customers, and limited internal and external communication strategy; it was decided to develop a marketing plan based in a research work connected with the empirical reality of the company, with collection of primary and secondary data, sustained by case study research. It has been applied semi-structured interviews both to the CEO and the director of marketing as to customers, analyzing their satisfaction level, the view of industry and what improvements to be implemented. In short, this study had shown that the increase in VAT, the intensification of piracy, the economic crisis, the technological innovations and consumer habits change have led to a sharp decline in sales and profits. It has become imperative to create a marketing plan that provides for an overhaul of its marketing mix, repositioning the company in order to increase their profits.
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Books on the topic "Music labels"

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R, Daniels William, ed. The King labels: A discography. Westport, Conn: Greenwood Press, 1985.

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Ed, Novitsky, ed. The Mercury labels: A discography. Westport, Conn: Greenwood Press, 1993.

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Ed, Novitsky, ed. The MGM labels: A discography. Westport, Conn: Greenwood Press, 1998.

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Ruppli, Michel. The Aladdin/Imperial labels: A discography. New York: Greenwood Press, 1991.

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Ogg, Alex. Independence days: The story of UK independent record labels. London: Cherry Red, 2009.

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Bob, Porter, ed. The Clef/Verve labels: A discography. New York: Greenwood Press, 1986.

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Cerutti, Gustave. Five British independent labels, 1968-1987: A discography. Sierre, Switzerland: Jazz 360,̊, 1988.

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United, States Congress Senate Committee on Commerce Science and Transportation. Labels and lyrics: Do parental advisory labels inform consumers and parents? : hearing before the Committee on Commerce, Science, and Transportation, United States Senate, One Hundred Fifth Congress, second session, June 16, 1998. Washington: U.S. G.P.O., 2000.

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Bolig, John Richard. The Victor discography: Green, blue, and purple labels--1910-1926. Denver, CO: Mainspring Press, 2005.

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Rick, Kennedy. Little labels--big sound: Small record companies and the rise of American music. Bloomington: Indiana University Press, 1999.

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Book chapters on the topic "Music labels"

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Pitt, Ivan L. "Roles of Publishers, Record Labels, and Producers." In Direct Licensing and the Music Industry, 223–42. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17653-6_8.

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Donnelly, K. J. "White Labels and Black Imports: Music, Assimilation and Commerce in Absolute Beginners (1985)." In British Film Music and Film Musicals, 166–78. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230597747_11.

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Vilotijević, Marija Dumnić. "Urban folk music and cultural influences: Labels for narodna muzika (folk music) in Serbia in the twentieth century." In Contemporary Popular Music Studies, 39–50. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_4.

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Jachimiak, Peter Hughes. "‘Curious Roots & Crafts’: Record Shops and Record Labels Amid the British Reggae Diaspora." In Palgrave Studies in the History of Subcultures and Popular Music, 209–32. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55161-2_11.

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Brae, C. Michael. "Record Label Organization." In New Channels of Music Distribution, 117–25. New York ; London : Routledge, 2018 | 2018: Routledge, 2017. http://dx.doi.org/10.4324/9781315648347-13.

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Werner, Frank. "Zur regionalen Szene der Alternativ-Labels." In Handbuch Jugend und Musik, 305–15. Wiesbaden: VS Verlag für Sozialwissenschaften, 1997. http://dx.doi.org/10.1007/978-3-322-97331-3_13.

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Liu, Hequn, Bo Yuan, and Cheng Li. "Music Recommendation Based on Label Correlation." In Springer Proceedings in Complexity, 143–52. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6880-6_12.

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Ashbourn, Julian. "The ‘V’ Record Label for the US Troops." In Audio Technology, Music, and Media, 5–8. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62429-3_2.

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Percival, J. Mark. "The independent record label, ideology and longevity." In DIY Cultures and Underground Music Scenes, 207–18. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-19.

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Tomar, Divya, and Sonali Agarwal. "Multi-label Classifier for Emotion Recognition from Music." In Proceedings of 3rd International Conference on Advanced Computing, Networking and Informatics, 111–23. New Delhi: Springer India, 2015. http://dx.doi.org/10.1007/978-81-322-2538-6_12.

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Conference papers on the topic "Music labels"

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Shinohara, Vítor, Juliano Foleiss, and Tiago Tavares. "Comparing Meta-Classifiers for Automatic Music Genre Classification." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10434.

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Automatic music genre classification is the problem of associating mutually-exclusive labels to audio tracks. This process fosters the organization of collections and facilitates searching and marketing music. One approach for automatic music genre classification is to use diverse vector representations for each track, and then classify them individually. After that, a majority voting system can be used to infer a single label to the whole track. In this work, we evaluated the impact of changing the majority voting system to a meta-classifier. The classification results with the meta-classifier showed statistically significant improvements when related to the majority-voting classifier. This indicates that the higher-level information used by the meta-classifier might be relevant for automatic music genre classification.
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Haraguchi, Makoto, and Yoshiaki Okubo. "Finding Concepts of Music Objects with Unexpected Multi-labels Based on Shared Subspace Method." In 2018 7th International Congress on Advanced Applied Informatics (IIAI-AAI). IEEE, 2018. http://dx.doi.org/10.1109/iiai-aai.2018.00019.

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Ahsan, Hiba, Vijay Kumar, and C. V. Jawahar. "Multi-label annotation of music." In 2015 Eighth International Conference on Advances in Pattern Recognition (ICAPR). IEEE, 2015. http://dx.doi.org/10.1109/icapr.2015.7050685.

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Cai, Jing, Heng Li, and Bo Lang. "A Combined Music Label Propagation Model." In 2011 Seventh International Conference on Computational Intelligence and Security (CIS). IEEE, 2011. http://dx.doi.org/10.1109/cis.2011.277.

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Duan, Yinglin, Tianyang Shi, Zhipeng Hu, Zhengxia Zou, Changjie Fan, Yi Yuan, and Xi Li. "Automatic Translation of Music-to-Dance for In-Game Characters." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/323.

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Music-to-dance translation is an emerging and powerful feature in recent role-playing games. Previous works of this topic consider music-to-dance as a supervised motion generation problem based on time-series data. However, these methods require a large amount of training data pairs and may suffer from the degradation of movements. This paper provides a new solution to this task where we re-formulate the translation as a piece-wise dance phrase retrieval problem based on the choreography theory. With such a design, players are allowed to optionally edit the dance movements on top of our generation while other regression-based methods ignore such user interactivity. Considering that the dance motion capture is expensive that requires the assistance of professional dancers, we train our method under a semi-supervised learning fashion with a large unlabeled music dataset (20x than our labeled one) and also introduce self-supervised pre-training to improve the training stability and generalization performance. Experimental results suggest that our method not only generalizes well over various styles of music but also succeeds in choreography for game players. Our project including the large-scale dataset and supplemental materials is available at https://github.com/FuxiCV/music-to-dance.
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Myint, Ei Ei Pe, and Moe Pwint. "An approach for mulit-label music mood classification." In 2010 2nd International Conference on Signal Processing Systems (ICSPS). IEEE, 2010. http://dx.doi.org/10.1109/icsps.2010.5555619.

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Knox, Dillon, Timothy Greer, Benjamin Ma, Emily Kuo, Krishna Somandepalli, and Shrikanth Narayanan. "Loss Function Approaches for Multi-label Music Tagging." In 2021 International Conference on Content-Based Multimedia Indexing (CBMI). IEEE, 2021. http://dx.doi.org/10.1109/cbmi50038.2021.9461913.

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Wang, Qianqian, Yu Xiong, and Feng Su. "Semantic Music Annotation by Label-Specific Conditional Random Fields." In 2018 24th International Conference on Pattern Recognition (ICPR). IEEE, 2018. http://dx.doi.org/10.1109/icpr.2018.8545335.

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Sanden, Chris, and John Z. Zhang. "Enhancing multi-label music genre classification through ensemble techniques." In the 34th international ACM SIGIR conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2009916.2010011.

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Schindler, Alexander, and Peter Knees. "Multi-Task Music Representation Learning from Multi-Label Embeddings." In 2019 International Conference on Content-Based Multimedia Indexing (CBMI). IEEE, 2019. http://dx.doi.org/10.1109/cbmi.2019.8877462.

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