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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 MarketingO 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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Wechsler, Johannes L. Verfasser], Florian von [Akademischer Betreuer] [Wangenheim, and Joachim [Akademischer Betreuer] Henkel. "Openness in the music business : How record labels and artists may profit from reducing control / Johannes Wechsler. Gutachter: Florian von Wangenheim. Betreuer: Joachim Henkel." München : Universitätsbibliothek der TU München, 2011. http://d-nb.info/1014861357/34.
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Callahan, Lorenzo Lee Jr. "Creating an independent record label." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1977.
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The primary purpose of this thesis was to illustrate the creation of a successful independent record label. The research analyzed current music business trends in addition to general business literature. The guidelines of general business were adapted and transformed to meet the needs of a record label. Interviews with individuals that have expertise in music business were also conducted to accurately assist in the development of a record label. It was determined that several important elements must be addressed when starting a record label, they are: Your Business Description; Marketing Strategies; Analyzing the Competition, and Financial Planning concerns. Although these were the most important topics when creating your label, other sections were added to assist with record label development. With proper research and planning, your record label will have a higher rate of success.
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Wickens, H. E. "Music and music theory in the writings of Notker Labeo." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376009.
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Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.
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Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
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Olson, Ted. "Reassessing a Pioneering 'Bluegrass Label': Tracing the Impacts of Rich-R-Tone Records." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1193.
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Sanden, Christopher, and University of Lethbridge Faculty of Arts and Science. "An empirical evaluation of computational and perceptual multi-label genre classification on music / Christopher Sanden." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Mathematics and Computer Science, c2010, 2010. http://hdl.handle.net/10133/2602.
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Automatic music genre classi cation is a high-level task in the eld of Music Information
Retrieval (MIR). It refers to the process of automatically assigning genre labels to music
for various tasks, including, but not limited to categorization, organization and browsing.
This is a topic which has seen an increase in interest recently as one of the cornerstones of
MIR. However, due to the subjective and ambiguous nature of music, traditional single-label
classi cation is inadequate.
In this thesis, we study multi-label music genre classi cation from perceptual and computational
perspectives. First, we design a set of perceptual experiments to investigate
the genre-labelling behavior of individuals. The results from these experiments lead us to
speculate that multi-label classi cation is more appropriate for classifying music genres.
Second, we design a set of computational experiments to evaluate multi-label classi cation
algorithms on music. These experiments not only support our speculation but also reveal
which algorithms are more suitable for music genre classi cation. Finally, we propose and
examine a group of ensemble approaches for combining multi-label classi cation algorithms
to further improve classi cation performance.
iiviii, 87 leaves ; 29 cm
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Daniel, Boner, and East Tennessee State University Bluegrass Band. "Testing Tradition." Digital Commons @ East Tennessee State University, 2012. https://amzn.com/B0094UOFAI.
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Smithhaven--Still Making Excuses--If Seeing Is Believing--Myth--Your Last Ride--If I Had a Dollar--Tack and Jibe--Stewie Took My Nose--March Home to Me--I Recall--God's Work Is Never Done--Farther Down the Track.https://dc.etsu.edu/etsu_books/1101/thumbnail.jpg
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Sandrock, Trudie. "Multi-label feature selection with application to musical instrument recognition." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019/11071.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: An area of data mining and statistics that is currently receiving considerable attention is the field of multi-label learning. Problems in this field are concerned with scenarios where each data case can be associated with a set of labels instead of only one. In this thesis, we review the field of multi-label learning and discuss the lack of suitable benchmark data available for evaluating multi-label algorithms. We propose a technique for simulating multi-label data, which allows good control over different data characteristics and which could be useful for conducting comparative studies in the multi-label field. We also discuss the explosion in data in recent years, and highlight the need for some form of dimension reduction in order to alleviate some of the challenges presented by working with large datasets. Feature (or variable) selection is one way of achieving dimension reduction, and after a brief discussion of different feature selection techniques, we propose a new technique for feature selection in a multi-label context, based on the concept of independent probes. This technique is empirically evaluated by using simulated multi-label data and it is shown to achieve classification accuracy with a reduced set of features similar to that achieved with a full set of features. The proposed technique for feature selection is then also applied to the field of music information retrieval (MIR), specifically the problem of musical instrument recognition. An overview of the field of MIR is given, with particular emphasis on the instrument recognition problem. The particular goal of (polyphonic) musical instrument recognition is to automatically identify the instruments playing simultaneously in an audio clip, which is not a simple task. We specifically consider the case of duets – in other words, where two instruments are playing simultaneously – and approach the problem as a multi-label classification one. In our empirical study, we illustrate the complexity of musical instrument data and again show that our proposed feature selection technique is effective in identifying relevant features and thereby reducing the complexity of the dataset without negatively impacting on performance.
AFRIKAANSE OPSOMMING: ‘n Area van dataontginning en statistiek wat tans baie aandag ontvang, is die veld van multi-etiket leerteorie. Probleme in hierdie veld beskou scenarios waar elke datageval met ‘n stel etikette geassosieer kan word, instede van slegs een. In hierdie skripsie gee ons ‘n oorsig oor die veld van multi-etiket leerteorie en bespreek die gebrek aan geskikte standaard datastelle beskikbaar vir die evaluering van multi-etiket algoritmes. Ons stel ‘n tegniek vir die simulasie van multi-etiket data voor, wat goeie kontrole oor verskillende data eienskappe bied en wat nuttig kan wees om vergelykende studies in die multi-etiket veld uit te voer. Ons bespreek ook die onlangse ontploffing in data, en beklemtoon die behoefte aan ‘n vorm van dimensie reduksie om sommige van die uitdagings wat deur sulke groot datastelle gestel word die hoof te bied. Veranderlike seleksie is een manier van dimensie reduksie, en na ‘n vlugtige bespreking van verskillende veranderlike seleksie tegnieke, stel ons ‘n nuwe tegniek vir veranderlike seleksie in ‘n multi-etiket konteks voor, gebaseer op die konsep van onafhanklike soek-veranderlikes. Hierdie tegniek word empiries ge-evalueer deur die gebruik van gesimuleerde multi-etiket data en daar word gewys dat dieselfde klassifikasie akkuraatheid behaal kan word met ‘n verminderde stel veranderlikes as met die volle stel veranderlikes. Die voorgestelde tegniek vir veranderlike seleksie word ook toegepas in die veld van musiek dataontginning, spesifiek die probleem van die herkenning van musiekinstrumente. ‘n Oorsig van die musiek dataontginning veld word gegee, met spesifieke klem op die herkenning van musiekinstrumente. Die spesifieke doel van (polifoniese) musiekinstrument-herkenning is om instrumente te identifiseer wat saam in ‘n oudiosnit speel. Ons oorweeg spesifiek die geval van duette – met ander woorde, waar twee instrumente saam speel – en hanteer die probleem as ‘n multi-etiket klassifikasie een. In ons empiriese studie illustreer ons die kompleksiteit van musiekinstrumentdata en wys weereens dat ons voorgestelde veranderlike seleksie tegniek effektief daarin slaag om relevante veranderlikes te identifiseer en sodoende die kompleksiteit van die datastel te verminder sonder ‘n negatiewe impak op klassifikasie akkuraatheid.
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Colbourne, Rick. "Practice, power and learning in UK recorded music companies." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/240608.
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This thesis adopts a practice-based approach to understanding how power, knowledge and knowing intermingle in organizations to facilitate/constrain individual access to opportunities for knowing-in-practice (learning). It explores how organizational mechanisms and technologies of regulation (re)construct and (re)produce organizational dimensions of knowledge as power/knowledge resources by which intermingling modalities of power are enacted to continuously sanction and (re)constitute individual meanings and identities.
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Torres, Fernando Henrique Araujo. "Bossa nova fora do eixo : uma história da Bossa Nova na Capital Pernambucana." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/1556.
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Esta pesquisa tem como tema principal a relação da Bossa Nova com Recife, capital pernambucana, nos anos 1959 a 1969 (período em que a Bossa Nova surgiu e se disseminou de forma mais intensa), sendo Recife o terceiro centro urbano mais populoso do país à época. Tem como objetivos compreender como se deu essa relação, numa cidade tão distante do eixo Rio/São Paulo (onde a Bossa Nova foi propagada como uma revolução jovem e intrinsicamente ligada ao Rio de Janeiro e àquela sociedade da zona sul carioca). Como Recife, tão ligada às tradições do Frevo e do Maracatu absorveu a onda bossanovista e de que forma essa relação se manifestou, inclusive no processo de surgimento do que viria se chamar de música Bossa Nova. Foram consultados os dois principais jornais da cidade (e do estado de Pernambuco) no período acima citado, além de capas e contra capas de discos produzidos na época, principalmente os da extinta gravadora pernambucana de discos: a Rozenblit, que possuía alcance nacional à época. Também são apresentados trechos de entrevistas e depoimentos de músicos, artistas e atores envolvidos no cenário artístico intelectual da cidade à época, com ênfase no fato de que em 1960 eram inauguradas duas emissoras de televisão na cidade, com aparelhagens consideradas ―supermodernas‖ e um alcance interestadual (e até internacional), que transmitiam programação musical com a presença de auditório e de calouros, como por exemplo, um, denominado Clube da Bossa, composto exclusivamente de jovens amadores da Bossa Nova que cantavam exclusivamente ao som de violões. A pesquisa demonstra que houve uma relação: Recife Bossa Nova agentes locais e que essa relação afetou a produção musical local no recorte temporal aqui proposto e trouxe reflexos que podem ser percebidos nos anos subsequentes e ainda nos dias de hoje.
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Lejdeby, Robin, and Gustav Ewerklou. "Ekonomistyrning i svenska skivbolag : en kvalitativ studie om hur svenska skivbolags ekonomistyrning karaktäriseras utifrån ett traditionellt och modernt perspektiv." Thesis, Linnéuniversitetet, Institutionen för ekonomistyrning och logistik (ELO), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-98325.
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Bakgrund och problem: Det har riktats kritik mot den traditionella ekonomistyrningen vilket har gjort att moderna styrmetoder och verktyg växt fram för att komplettera ekonomistyrningen. De faktorer som tvingat fram den moderna styrningen går även att se i musikbranschen. Detta, tillsammans med att ekonomistyrning i musikbranschen generellt sett är outforskat, gör att det blir intressant att undersöka hur skivbolag i musikbranschen använder sig av en traditionell ekonomistyrning eller modern verksamhetsstyrning. Syfte: Syftet med denna uppsats är att genom att undersöka två skivbolags ekonomistyrning kartlägga hur ekonomistyrningen karaktäriseras utifrån traditionell ekonomistyrning och modern verksamhetsstyrning. Metod: Metoden som använts vid denna studie är kvalitativ. Vi har genom fallstudier hos två skivbolag undersökt och skapat oss en förståelse av ekonomistyrningen i bolagen med hjälp av semi-strukturerade intervjuer och kompletterande frågor via mail. Slutsats: Det går att se att skivbolagen övergått delvis till en modern verksamhetsstyrning men att det alltså finns en blandning mellan användandet av traditionella och moderna styrmetoder och verktyg.Background and problem: Criticism has been raised towards the traditional management control which pushed forward modern management methods and tools to complement management accounting. The factors that pushed out this modern management control are possible to see in the music industry aswell. This, together with the fact that management control in the music industry has a research gap, makes it interesting to examine how record labels in the swedish music industry are using traditional or modern management control. Purpose: The purpose of this thesis is to through the examination of two record labels create an understanding of how the management control is characterized through traditional or modern management control. Method: The method used in this study is qualitative. We have through a multiple-case study at two record labels examined and created an understanding of the management control in the companies with the help of semi-structured interviews and complementary questions through mail. Conclusion: It is possible to see that the record labels has partly moved to modern management control but also that you can see a mix between the usage of traditional and modern control methods and tools.
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Jansson, Frida, Max Nilsson, and Felicia Oudin. "Content Marketing i musikbranschen : En kvalitativ studie om hur majorbolag använder sociala medier i marknadsföringen av musik." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101241.
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Digitalization in the music industry and the emergence of social media, has created opportunities to reach more potential music consumers. Companies are increasingly integrating through visual media such as photos and videos into their social media marketing content. The study aims to provide an understanding of the major record labels use of Content Marketing and its role on social media in the marketing of music. To understand how the major record labels work with Content Marketing and marketing music on social media the empirical data and study is based on a qualitative research method with 8 interviews with people working in the Swedish music industry. Based on the empirical material the study found adaptation, interaction, authenticity and relevance were key attributes when publishing content on social media. Segmentation, Influencer Marketing and Electronic Word of Mouth were the most relevant and important strategies used when marketing and launching new music through social media. Finally, we propose that future research should be conducted using a quantitative research method to study music consumer behaviour and attitudes surrounding Content Marketing on social media.
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Nordlund, Johanna, Hallberg Oscar, and David Pettersson. "Skivbolagens ledarskap : Majorbolagens ledarskap i den kreativa processen." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101103.
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Syftet med denna studie är att göra en kartläggning av ledarskapets roll i den kreativaprocessen inom majorbolagens organisationsstrukturer, samt på vilka sätt ledarskapet styr denkreativa processen. Ledarskapets betydelse i den kreativa processen diskuteras kring olikasituationer samt omgivningen och dess krav som styr marknaden och dess förutsättningar.Det dubbla ledarskapets teori får en viktig roll i studiens analys. Tillsammans medentreprenörskapets innovativa ledarskap ger det en koppling till den teknologiska utvecklingsom skett inom musikindustrin, genom framför allt digitaliseringen av industrin.The purpose of the study is to do a mapping over the role of the leadership in the creativeprocess within the major record labels’ organizational structure and in what ways theleadership directs the creative process. The importance of leadership in the creative process isdiscussed in different situations as well as the environment’s demands which controls themarket and its conditions. The theory of the double leadership has a vital role in the study’sanalysis together with the innovative leadership of entrepreneurship and the connection to thetechnological advancements which have occurred in the music industry, mostly through thedigitalization of the industry.
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Ljungqvist, Joni. ""Var och en sin egen lyckas smed" : En undersökning av skivbolagens framtida roll i musikindustrin." Thesis, Linnaeus University, School of Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5928.
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This study has the purpose of looking at the current and future position of record labels from a context involving the technological developments, while the opportunities for the artists are changing. As the actors inside them music industry find themselves in an ever changing climate where traditional supply chains are threatened by new technology, the record labels need to change the way they work in order to maintain their existence in the music industry. The study has been conducted by interviewing a number of people involved in the music industry, by using a qualitative method approach. The conclusion of the study shows that the traditional way of doing business by treating music as a product that makes revenue is gone. Instead the labels have to take on new roles formerly run by third parties in order to survive and be profitable, especially since artists can now in control of activities that used to be controlled by the record label.
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Gendreau, Marc-Antoine. "Le heavy metal érigé en contre-culture dans le cadre du Record Labeling Hearing : une sous-culture en émergence entre stigmatisation et reconnaissance." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30973.
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La thèse analyse un document intitulé Record Labeling Hearing (RLH) (1985), qui reprend dans son intégralité une séance qui s’est tenue au Congrès des États-Unis à propos du contenu jugé problématique de certains albums de musique. Au cœur de cette séance, se retrouve le Parents Music Resource Centre (PMRC), un groupe de pression qui voit le jour en 1984. D’après le PMRC, les albums avec des paroles traitant de sexe, de violence, d’occulte, de drogues et d’alcool méritent l’autocollant du « Parental Advisory : Explicit Lyrics » afin d’avertir les parents des thématiques abordées. La séance réunit des sénateurs du Congrès américain, les membres du PMRC et des alliés de ces derniers, dont la National Parent/Teacher Association (NPTA), ainsi que des représentants de l’industrie de la musique et trois artistes. Nous verrons dans la thèse qu’en fait, c’est le heavy metal que le PMRC et ses alliés visaient lors du RLH et non par exemple certains contenus transversaux à divers types d’albums de musique. A cette époque, la sous-culture du heavy metal était encore en émergence et pour tout dire bien fragile. En 1985, elle était même menacée de fragmentation en raison de la popularité de certains de ses sous-genres. Or, en présentant le heavy metal comme une contre-culture, le RLH a aidé ce genre musical à se constituer en véritable sous-culture.
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Chen, I.-Hsuan, and 陳奕璇. "A Study on the Relationship between Independent Music Labels and Musicians." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/fbbwth.
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碩士國立臺北藝術大學
藝術行政與管理研究所碩士班
99
Indie music in Taiwan has arisen from the rapid innovation of Internet and digital technology, which has violently made over music scenes worldwide in twenty-first century, and also because Cultural and Creative Industry has been highly attention-getting in recent years in Taiwan. Since the special essence of creative industry, the relationship between general labor and employer is not well suited to the relationship between independent music labels and musicians, hence this research aims on the teamwork of independent music labels and musicians, and the effects to musician by collaborating with labels. This research takes qualitative approach with fourteen interviewees, including label managers, label employees and musicians. Following the data analysing, the results present the backgrounds and distinguishing characteristics of independent music labels and musicians, the conditions and interaction of their collaborations, furthermore, the benefits and effects to musicians while collaborating with labels. After the analysis of literary review and the results, this research comes to three conclusions：(1) To team up with labels assists musicians to focus more on their creation. (2) There are still potential risks for musicians when collaborating with labels. (3) The negotiable flexibility of music producing is the key point to achieve collaboration for labels and musicians. (4) Coordinative communication in equal positions leads to the maintenance of the relationship between labels and musicians. The collaboration with independent music labels is proven to be a support for independent musicians, but which also implies that the music works inevitably doesn’t solely depend on musicians anymore. And the various influences caused after signing up with labels show that to team up with labels is not definitely a without-fail option for every musicians. However, once the independent labels and musicians decide to work together, the negotiable flexibility of music producing is a prerequisite to the collaborations, and in order to maintain a positive relationship, it is necessary to keep coordinative communication in equal positions between labels and musicians.
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Jo-TiChen and 陳若悌. "The Study of Synesthesia in Music Style and Color on Indie Labels Album Design." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/86353645528867627838.
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碩士國立成功大學
工業設計學系碩博士班
100
Recent years, because of the development of digital music, sales of music album has decreasing rapidly；On the contrary, Taiwan's independent music market get well expanded with government actively promoting cultural and creative industries by holding concerts and cultural events. This phenomenon facilitating cross - over combination of music and arts, through the mutually collaboration, creators have different medium to present their thoughts and ideas to the public, and give audiences special experience of sensory stimulation. As this starting point, the study wants to explore the interaction of one sensory stimulation called another by understanding the Synesthesia between music and color, and also know that affect of human emotions within Synesthesia. Under the purpose, two objectives were discussed:(1) The correspondence between different styles of music and color. (2) The relationship of human emotions within music and color. According to above two points, following are the arrangements of experiments: First of all, selected four of different types of music from Taiwan's indie rock anchored which with non lyrics as the stimulus of the experiment; Second, in order to avoid the affect of result, produced questionnaire to excluded the subjects whom had already listened the stimulus before; Third, choose Sketchbook pro graphics software as a tool in the experiment; When listening to music, subjects can paint abstract color screen down and modify or adjust it unrestrainedly. In the study, invited 12 boys and 18 girls, 30 subjects as total for experiments; First, introduce the purpose of the study to subjects and let them fill in personal information as well, then describe the operation of Sketchbook pro graphics software, let subjects practice before formal started; Finally, play music stimulus and draw down the color image, then write down comments and feelings vocabulary after the end of the music; So far as the first phase completed. There are four stages of the experiment with four different music stimuli, duration time are 30-40 minutes approximately. This experiment will be measured by using Imgr online image color analysis tools in order to get a color-coded with the color version of the picture, and refer to the PCCS system tone map analysis its color version. Besides, using Analysis of Correlation to see the result of the relationship between music preference and the difficulty of synesthesia. The results four musical style and color are as follows: (1) Light music style: Color distribution - Light colors with Light colored area Hue - Light yellow, Light blue, Green Vocabulary of feeling - Fresh, Light, Sadness, Calm, Stability (2) Rock style: Color distribution - Pure tones, Strong colors and Blunt tone Hue - Red, Pink, Blue, Green Vocabulary of feelings - Strong, Stimulating, Exciting, Lively, Free, Youth, Anger, Anti-Social (3) Light rock style: Color distribution - Dark colors, Bright colors and Light tones Hue - Dark blue, Blue-green, Yellow Vocabulary of feelings - Depression, Low, Open, Calm, Fresh, Light (4) Hard-core and post-rock style: Color distribution - Deep colors and Dark tones Hue - Dark Purple, Pruple, Pink, Dark Blue Vocabulary of feelings - Mysterious, Intense, Depression, Sense of sweet, Heavy, Low The conclusions of the study are: (1) Color image is similar with semantic of music, indicating that the interactive relationship exists between music and color. (2) The result of color version shows hierarchy and refers to music is not only correspond to a single color, but corresponds to the brightness, hue and saturation. (3) Semantic words from subjects contains not only a general statement to distinguish the types of music, but also includes the rhythm of the music, melody and tone, which shows people’s feeling has mutual influence with music factors. (4) Correlation analysis shows mid-positive correlation indicates human’s emotion affects the process of synesthesia. Music is a non-verbal expression for creators to express their inner feelings and ideas. This study hopes giving designers a reference on music album design by understanding the relationships between music and color, makes creators convey their mood and thought on the works and into audience heart. Keywords: Synesthesia, Music Style, Color, Album Design
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TANG, CHI-FONG, and 鄧志峰. "On Macao's Indie: The Case of Music Labels 4daz-le, Day's Eye Records and Warm Wall." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/he3bu4.
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碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
107
This study is based on the study of indie music. The definition of indie music, whether in the industry or academic circles, has its views and interpretations, and the indie music label is an important part of operating indie music. Bridges, among which the problems of ideology, autonomous mode and identity identification derived from indie music are especially reviewed. In addition to borrowing and combing, the researchers review the relevant literatures at the same time, and at the same time From the perspective of exploring the indie label of Macao, and exploring the uniqueness and value and positioning of the music environment in Macau, I hope that this study can clarify the beginning of the relationship. Based on the origin of indie music in the West, which extends to different places and then develops, all of which contain the natural color of Western elements, but with strong local character and consciousness, which also involves information from the past. Developed, and the introduction of indie music also has the fusion and impact of globalization. What appears here is not only the breakthrough in music techniques and the innovation in style. The content of music also leads the masses to think about themselves. Value and a spiritual channel to awaken social issues, young people also gain identity and sensory cultural identity through different types of music exchange. In addition to the local characteristics, music works in addition to the local characteristics of the independent music, part of the expression of the sense of autonomy in the identity of different classes in the current era, but also the accusation of social injustice, music The aesthetic standards of the image also develop different criteria along with the social functions and cultural identity that emerged from it. This article begins with the development background of music such as “underground”, “non-mainstream” or “alternative” in Macao. By grasping more information about the development history and current situation of indie music, it will continue to launch the indie label of Macao. People visit, including "4daz-le", "Day's Eye Records" and "Warm Wall", starting from their team's motives and goals, personal or team music background, and deepening their creation. The relationship between concept and brand positioning gradually explores the context of its music environment and cultural atmosphere, and then combs the development history of Macao's indie music and explores its cultural ecology. This article will also pursue the role played by the indie label in the operation of the Macao music environment through indie label management of indie music, but compare the three brands to each other and then integrate the indie label of Macau. Institutions and structures, thus extending the ideology and identity of the group, and then presenting the artistic value of the indie music culture.
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Magalhães, Ana Raquel Tereso de. "Estratégias de comunicação na indústria da música: os casos Universal Music Portugal vs. Azáfama." Master's thesis, 2014. http://hdl.handle.net/10071/9029.
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Esta dissertação pretende dar pistas para a compreensão dos formatos de comunicação entre
artistas e públicos. O enfoque é dirigido sobretudo à vertente promocional de trabalhos no interior da indústria da música.
A partir dos exemplos de estudo de caso da Universal Music Portugal e da Azáfama,
descreveu-se as estratégias utilizadas por cada uma destas editoras para promoverem os seus produtos. A escolha de uma editora major e de uma editora portuguesa independente permitiu obter uma visão mais alargada do funcionamento da indústria fonográfica em termos de comunicação. Além disso, recorreu-se ainda à análise de um artista de cada editora, com o objetivo de compreender na prática a forma como é feita a comunicação e a promoção por cada uma das empresas em análise.
Através do método de pesquisa escolhido, foi possível descrever, em parte, o estado da arte das estratégias de comunicação e promoção dentro da indústria discográfica e concluir que existem mais diferenças do que semelhanças entre as majors e as independentes, tanto a nível da comunicação e da promoção como da própria estrutura das empresas e dos artistas que representam.This dissertation aims to understand in which ways artists communicate with their publics, with a special focus on the promotion of their work inside the recording industry. Taking as examples the record companies Universal Music Portugal and Azáfama, it describes the methods used by each one to promote their products. Chosing both a major label as well as an independent Portuguese label allowed to give a broader view on how the record industry works in terms of communication. In addition to that, this dissertation analized an artist represented by each of the labels, in order to understand in practice how the communication and promotion is done. Through the chosen method is was possible to describe the state of the art of the communication and promotion strategies in the record industry and conclude that there are more differences than similarities between both types of companies, both in terms of communication and of their structure and the type of artists they represent.
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Terry, Joseph Leigh. "State of independence? a political economic analysis questioning the conceptualization of independent labels in the popular music industry, 1980-2000 /." 2004. http://purl.galileo.usg.edu/uga%5Fetd/terry%5Fjoseph%5Fl%5F200408%5Fma.
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Gaffuri, Flora. "La promotion sur Internet : analyse d’un discours sous l’angle du mythe. Le cas de labels indépendants de rap au Québec." Thèse, 2012. http://hdl.handle.net/1866/8834.
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À l’heure où l’industrie de l’enregistrement sonore connait un certain nombre de bouleversements, Internet apparait à la fois comme un responsable d’une crise du disque et comme une plate-forme de diffusion et de promotion de la musique enregistrée. C’est dans ce contexte de mutations des industries culturelles que sont les industries de la musique que les labels indépendants voient les possibilités liées à la promotion se multiplier. Notamment par le biais des sites internet que j’envisage ici comme discours encodé et diffusé. Ce mémoire explore deux sites internet officiels de labels indépendants de rap québécois à l’aide de la proposition de la présence du mythe dans le discours de promotion. S’appuyant sur la théorie de Barthes, mon analyse s’articule autour de l’étude de la signification afin de mettre en lumière la façon dont le mythe fonctionne dans le discours. En m’intéressant principalement à l’image et au texte, je mets notamment en valeur le traitement de l’artiste, de la création musicale et du label dans le discours.At a time when the music recording industry is going through some shake ups, Internet is seen both as a responsible for a disc crisis and as a plateform for diffusion and promotion of recorded music. This cultural industries' mutations context is now revealing multiple promotion opportunities for independant labels, as part of the music industries. This can be seen through websites which I consider to be a broadcasted, encoded and decoded discourse. This master thesis explore two independant record companys’ websites, both producing rap music in Québec, with the proposal of the presence of the myth in the promotionnal discourse. Based on Barthes' theory, my analysis is built around the study of the signification in order to outline the way the myth works in the discourse. While focusing on images and text, I mainly emphasize the treatment of the artist, the musical creation and the record label in the discourse.
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Drugge, Olle. "Många bäckar små : En undersökning om hur svenska indiemusikbolag genom deras resurstillgångar fortlever inom musikbranschen." Thesis, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100788.
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The main purpose of this study is to find out how Swedish independent music labels survive in the music industry. The study aims to examine the independent music labels based on their resource assets and how they through these assets can compete within the music market for continued survival. The empirical data consists of interviews with 5 informants who all runs an independent music label in Sweden today. The data was analyzed using Pierre Bourdieus capital theory and the related field concept. Based on Bourdieu’s concept of capital, I have introduced the indie capital, which is a capital of information that grows with your time on the music industry field. The results of this study shows that where the indie music labels lack economical capital, they use their cultural capital and convert it into economical capital with the help of super fans. It is also of importance to build a large song catalog from which the labels can receive a stable income. Further the results shows that the indie capital was essential when the labels were founded and remains essential for continued survival within the industry in forms of knowledge and experience. The social capital acts as en exchange of mainly the indie capital between the independent music labels. It turned out that the indie music labels acted as both competitors and colleagues within the field which means that the indie music labels can turn to each other when it is needed.
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Berg, Frederik Alexander van den. "The role of the record label in the digital age." Master's thesis, 2015. http://hdl.handle.net/10071/11495.
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JEL Classification System:
M-30 General
M-31 MarketingThis study explores the role of the record label in the digital age by deconstructing the traditional roles, evaluating the theory of artist empowerment through technology, and by analyzing qualitative data from credible industry representatives. The study aims to specifically address whether a modern musician can create a sustainable career without the support of a label. The empirical data clearly identifies marketing as an area with which musicians need support, and for which a musician would need a label. Further results show that the DIY or DTF model is achievable and sustainable, but it depends on whether the artist has an engaged fanbase, as well as the entrepreneurial attitude and business skills of the artist.
Este estudo explora o papel da gravadora na era digital por desconstruir os papéis tradicionais, avaliando a teoria da capacitação do artista através da tecnologia e da análise de dados qualitativos de representantes da indústria credíveis. O estudo visa abordar especificamente se atualmente um músico pode criar uma carreira sustentável sem o apoio de um label discográfico. Os dados empíricos identificam claramente o marketing como uma área que os músicos precisam de apoio e para o qual um músico precisaria de um label. Outros resultados mostram que o modelo DIY ou DTF é viável e sustentável, mas tal depende se o artista tem uma base de fãs ativos, bem como a atitude de negócios e habilidades empreendedoras do artista.
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Boutin, Frédéric. "Les maisons de disques à l’ère des médias sociaux et des services musicaux en ligne : étude de cas de quatre maisons de disques québécoises." Thèse, 2016. http://hdl.handle.net/1866/18413.
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Au cours de la dernière décennie, les outils d’enregistrement et de production musicale,
les médias sociaux et les plateformes Web de vente et d’écoute de musique en ligne ont
radicalement transformé l’industrie de la musique enregistrée. La baisse significative de vente
d’albums et les nouveaux modèles de production, de diffusion et de promotion de la musique
ont directement affecté les acteurs traditionnels comme les maisons de disques. Pendant que
certains prévoyaient la fin de ces dernières au profit de l’autoproduction et de l’autopromotion,
d’autres ont suggéré que les maisons de disques indépendantes pouvaient devenir des joueurs
incontournables de ce nouvel environnement, pourvu qu’elles s’adaptent et développent une
offre de services et une expertise répondant aux besoins réels des artistes. Ce mémoire
s’intéresse à la façon dont les maisons de disques indépendantes québécoises perçoivent et
utilisent les médias sociaux pour accroitre la visibilité des artistes qu’elles représentent. Dans
cette étude de cas multiples, quatre maisons de disques indépendantes québécoises ont été
sélectionnées. Des entretiens en profondeur ont été réalisés avec les chargés de projet Web de
ces maisons de disques indépendantes afin de connaitre leur perception et leurs usages des
médias sociaux, de même que les stratégies qu’ils emploient pour accroitre la visibilité des
artistes qu’ils représentent sur le Web. Des données tirées d’observation des activités Web des
quatre maisons de disques ont également été collectées.During the last decade, music recording and production tools, social media, and platforms for selling and listening to music in streaming have radically transformed the industry of recorded music. The decline of album sales and new models of music production, distribution, and promotion have directly affected the traditional actors of the music industry such as record labels. While some predicted that these changes would bring an end to the records labels at the benefit of self-production and self-promotion, others suggested that independent record labels could become an essential part of this new environment, provided they adapt to it and develop new services and an expertise that meet the artists’ needs. This master thesis explores the visibility of independent Quebec music artists on the social web and the role record labels plays in it. In this multiple case study, four independent Quebec music labels were selected. In-depht interviews were conducted with the Web project managers of these music labels to discuss their perception and their usage of Web platforms, as well as the strategies they employ to increase the visibility on the Web of the artistes they represent. Observational data of the Web activities of the four music labels were also collected.
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Boussicaut, Claudine Renee Standley Jayne M. "The effects of music therapy and token economy systems versus music therapy on decreasing inappropriate behaviors with students labeled emotionally disturbed." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04142004-222110/.
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Thesis (M.M.) -- Florida State University, 2004.Advisor: Jayne M. Standley, Florida State University, School of Music. Title and description from thesis home page (viewed 9-28-04). Document formatted into pages; contains 36 pages. Includes biographical sketch. Includes bibliographical references.
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Vadassová, Kristýna. "Významné osobnosti a regionální rozvoj hudební výchovy a kultury (Brandýs nad Labem - Stará Boleslav)." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-315835.
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The diploma thesis deals with Music education and culture and with the significant personalities in Brandýs nad Labem - Stará Boleslav. It maps the continuity between the past and the present through scanning bibliographic sources and interviews with nine significant personalities. Actual needs of Music education in the present and future such as the direction of music culture in the local region result from the findings in the practical part of the diploma thesis.
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Paul, Joao Miguel Mota. "Oratio's Classroom." Master's thesis, 2014. http://hdl.handle.net/10316/35660.
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Dissertação de Mestrado em Engenharia Informática apresentada à Faculdade de Ciências e Tecnologia da Universidade de CoimbraWe live in a technological era, an epoch where once fictional ideas are now possible. While some things have changed over the years, the education system still relies on many outdated technologies such as blackboards and repetitive unrewarding exercises. In order to try to gradually improve and change this cycle, Insignio Labs took on the objective of developing "Oratio’s Classroom", a multifaceted platform for teaching which makes full use of the current technologies. The main focus of the software developed during this internship is to become a main part of Insignio Labs "Oratio’s Classroom" full application. During the first semester, a module, similar to Windows paint but working as an overlay of other application, was developed allowing the user to signal, take notes and even draw on top of any of any of the applications developed by Insignio Labs. The capability to add notes is of major importance for the application to have educational uses and value as it creates the possibility to completely replace the blackboard in classes where Oratio’s Classroom is present by creating digital notes which could easily be shared, viewed and changed at will. During the second semester, an application with functionality similar to the known web page "Duolingo" was planned and developed. Using a design directed to children and many pedagogical techniques coupled with a fun game-play, this application has the objective of providing a fun and easier introduction to the world of music, more specifically, to the rhythmic part of it. This report documents all the steps taken when developing this last application, both the ones regarding programming and choices made about the technologies, and the ones which encompass user interaction and design choices.
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Michl, Jakub. "Hudební kultura v konventu alžbětinek na Novém Městě Pražském." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.
Full textAbstract:
Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...