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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 piracyâ€. 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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Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (June 1, 2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.
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Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.
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Yadati, Karthik, Martha Larson, Cynthia C. S. Liem, and Alan Hanjalic. "Detecting Socially Significant Music Events Using Temporally Noisy Labels." IEEE Transactions on Multimedia 20, no. 9 (September 2018): 2526–40. http://dx.doi.org/10.1109/tmm.2018.2801719.
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Saxena, Anjana. "MUSIC MANAGEMENT- NEW OPPORTUNITIES NEW CHALLENGES." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3394.
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The transition to digital is changing the music industry. As technology has advanced over recent years, the music industry has consequently undergone a drastic change in the way it operates. This industry-wide shift has its pros and its cons: On one hand, the internet serves as an incredible platform on which anyone can exhibit their talent and potentially build a fan base. On the other hand, the presence of millions of people attempting to do so make it more and more difficult for any one person to stand out, and the reality of file sharing and illegal downloading makes the financial aspect of music much more complex. Regardless of one`s opinion about the road that the music industry has traveled down, a music manager must be flexible enough to keep up with the changes that the industry undergoes. The meaning and role of a “manager” has changed drastically over the last decade as the traditional business model has given way to the “new” music business Traditionally a manager managed an artist’s efforts to get signed to a label and once signed, he/she managed the relationship between the artist and the label. But given the state of labels today the unsigned artist must assume that he/she will never be signed and build a career accordingly. A traditional manager is often unable and ill – equipped to successfully manage and develop an artist’s career in the new environment.
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Howes, Seth. "DIY, im Eigenverlag: East German Tamizdat LPs." German Politics and Society 35, no. 2 (June 1, 2017): 26–47. http://dx.doi.org/10.3167/gps.2017.350203.
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Between 1983 and 1989, as the two German pop music industries continued to license one another’s properties, and Amiga continued releasing American and British records, five long-playing records were released by independent labels based in Western Europe that contained music recorded in the German Democratic Republic. They were then smuggled out of the country rather than formally licensed for release abroad. Existing outside the legal framework underlying the East German record industry, and appearing in small pressings with independent labels in West Germany and England, these five tamizdat LPs represent intriguing reports from the margins on the mutual entanglement of the two Germanies’ pop music industries. Closely examining these LPs’ genesis and formal aspects, this article explores how independent East German musicians framed their own artistic itineraries with respect to (or in opposition to) the commercial pop circuit, as they worked across borders to self-release their music.
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Gridley, Mark C. "Clarifying Labels: Cool Jazz, West Coast and Hard Bop." Journal of Popular Music Studies 2, no. 2 (August 26, 2006): 8–16. http://dx.doi.org/10.1111/j.1533-1598.1990.tb00061.x.
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Hearn, Greg, Abraham Ninan, Ian Rogers, Stuart Cunningham, and Susan Luckman. "From the Margins to the Mainstream: Creating Value in Queensland's Music Industry." Media International Australia 112, no. 1 (August 2004): 101–14. http://dx.doi.org/10.1177/1329878x0411200109.
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As elsewhere, the music industry in Queensland comprises two tiers. The first tier is composed of products and services engaged by major music labels and commercially successful artists who at times attract significant sales. The second tier — or what is sometimes referred to as the ‘grassroots’ (Gibson, 2002) — largely consists of independent musicians, production personnel and producers attracting both niche and at times mainstream audiences. Characterised by informally networked micro-economies, independent artists, niche markets and the exploitation of new technologies, the second tier is also of interest to cultural researchers, who have tended to concentrate on subcultural music communities and music produced outside of the mass market first tier. A mapping survey which examined the Queensland music industry in terms of size, location, income and activity is complemented by interviews with musicians, label owners, production personnel and others involved in the music ‘scene’. We explore how second-tier practices (such as a reliance on social networking to achieve recordings and performance opportunities, as well as DIY culture and innovative business approaches) offer alternative methods for ‘doing music’ and generating value in the creative industries.
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Towse, Ruth. "Dealing with digital: the economic organisation of streamed music." Media, Culture & Society 42, no. 7-8 (June 10, 2020): 1461–78. http://dx.doi.org/10.1177/0163443720919376.
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The intervention of digital service providers (DSPs) or platforms, such as Spotify Apple Music and Tidal, that supply streamed music has fundamentally altered the operation of copyright management organisations (CMOs) and the way song-writers and recording artists are paid. Platform economics has emerged from the economic analysis of two- and multi-sided markets, offering new insights into the way business is conducted in the digital sphere and is applied here to music streaming services. The business model for music streaming differs from previous arrangements by which the royalty paid to song-writers and performers was a percentage of sales. In the case of streamed music, payment is based on revenues from both subscriptions and ad-based free services. The DSP agrees a rate per stream with the various rights holders that varies according to the deal made with each of the major record labels, with CMOs, with representatives of independent labels and with unsigned artists and song-writers with consequences for artists’ earnings. The article discusses these various strands with a view to understanding royalty payments for streamed music in terms of platform economics, offering some data and information from the Norwegian music industry to give empirical support to the analysis.
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Long, Stephen. "JAPANESE COMPOSERS OF THE POST-TAKEMITSU GENERATION." Tempo 58, no. 228 (April 2004): 14–22. http://dx.doi.org/10.1017/s0040298204000105.
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The towering international reputation of Toru Takemitsu has dominated the West's perceptions of contemporary Japanese music, a situation resulting in the relative neglect of other worthy composers. This phenomenon has parallels in other countries, such as France, where Boulez's and Messiaen's overshadowing reputations were factors in the delayed international recognition of Barraqué and Ohana. Accordingly, various important composers who have established significant profiles within Japan during the last 40 years have struggled to achieve attention beyond Asian borders. Some have established cult reputations within contemporary music circles, but more widespread recognition through recordings has been compromised by limited Western distribution of the two Japanese labels that have promoted the post-Takemitsu generations: Camerata and Fontec. Fortunately, the websites for these labels have provided an opportunity for curious Westerners to directly purchase much important music that is ripe for discovery in Western concert halls. Another positive development is the recent release of European recordings of important new Japanese works.
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Gałuszka, Patryk. "Attitudes of Polish Record Labels Towards the Digital Music Market." Economics and Organization of Enterprise 4, no. 2 (January 1, 2009): 37–51. http://dx.doi.org/10.2478/v10061-009-0019-0.
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Christenson, Peter. "The Effects of Parental Advisory Labels on Adolescent Music Preferences." Journal of Communication 42, no. 1 (March 1, 1992): 106–13. http://dx.doi.org/10.1111/j.1460-2466.1992.tb00772.x.
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Caston, Emily. "Music videos in the British screen industries and screen heritage: From innovation to curation. Introduction." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 154–59. http://dx.doi.org/10.33178/alpha.19.13.
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In December 2019, Rolling Stone magazine ran a piece on the best videos of the year which began by asking, “What even counts as a music video now?” (Shaffer). Vevo, Tiktok and Instagram TV have blurred the lines. Videos can be an hour long. They can be events on YouTube Premiere. They can be virtual reality. The idea that the world of the earliest creators of pop promos was simple in comparison to today subtends this dossier. In 2015, I was awarded an Arts and Humanities Research Council (AHRC) grant to investigate the history of music videos in Britain since 1966. At the end of the grant, I curated a collection of the most significant of those videos into a limited-edition box set (Power). Selecting them involved very detailed discussions with our interviewees and industry consultants about just what a “music video”—known as a “promo” until the mid 1980s—is. The term “music video” arose in the 1980s. It was used in record labels to describe visual products mastered on physical videotapes for television broadcast. In fact, almost all of those products were shot on celluloid (16mm or 35mm) until digital technologies allowed HD to become the norm in the 2000s. For the purposes of this dossier, I define music videos and pop promos as a type of musical short film for mass audiences commissioned and released by record labels (usually) at the same time as the release of a synchronised audio “single”; the shorts comprise a copyrighted synchronised picture and audio track in which a percentage of the royalties accrue to the recording artist and/or record label. This dossier is a collection of core materials emerging from the AHRC project.
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Frishkopf, Michael. "Inshad Dini and Aghani Diniyya in Twentieth Century Egypt: A Review of Styles, Genres, and Available Recordings." Middle East Studies Association Bulletin 34, no. 2 (2000): 167–83. http://dx.doi.org/10.1017/s0026318400040396.
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It is often assumed that as ‘orthodox’ Islam rejects music, Qur’anic recitation (tilawa) and the Call to Prayer (adhan) are its only acceptable melodic practices. By the same logic, the special music of Sufism is bracketed under the labels ‘heterodox,’ or else ‘popular,’ Islam. Both ‘orthodox’ and ‘Sufi’ practices are then categorically distinguished from the ‘secular’ world and its music. This erroneous ‘tripolar’ view of music and religion in Egypt can be ameliorated by considering the rich range of Islamic melodic practices performed there.
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O’Connor, Alan. "Habitus and field: Punk record labels in Spain." Punk & Post Punk 10, no. 2 (June 1, 2021): 265–89. http://dx.doi.org/10.1386/punk_00071_1.
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Following the method of Bourdieu’s Distinction (1984) and especially The Weight of the World (1999), this article presents interviews with four Spanish record labels, which provide case studies of the workings of the field. Distinction shows that uses of culture are affected by social class. The Weight of the World presents lightly edited interviews with marginalized groups in France. The interviews presented in this article attempt to relate the lifestyle or class habitus of the person interviewed to their strategies of operating a punk record label. The recorded interviews also provide a great deal of concrete information on independent punk labels in Spain.
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KASSABIAN, ANAHID. "Would You Like Some World Music with your Latte? Starbucks, Putumayo, and Distributed Tourism." Twentieth-Century Music 1, no. 2 (September 2004): 209–23. http://dx.doi.org/10.1017/s1478572205000125.
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Through an examination of the labels Hear Music and Putumayo and their place in coffee shops and retail stores on the one hand, and of world music scholarship on the other, I argue that listening to world music in public spaces demands new theoretical perspectives. The kinds of tourism that take place in listening to world music inattentively suggest a kind of bi-location. Borrowing from quantum mechanics, I suggest that the term ‘entanglement’ might offer some insight into this bi-location and the ‘distributed tourism’ that I argue is taking place.
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Cooper, B. Lee. "Soul City Detroit: Motor City Labels and the Dawn of Soul Music; Soul City New York: Big Apple Labels and the Dawn of Soul Music." Popular Music and Society 38, no. 1 (October 14, 2013): 112–14. http://dx.doi.org/10.1080/03007766.2013.844577.
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Draper, Ellary A. "Navigating the Labels: Appropriate Terminology for Students with Disabilities." General Music Today 32, no. 1 (August 10, 2018): 30–32. http://dx.doi.org/10.1177/1048371318792230.
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Navigating the acronyms and labels when working in schools can be challenging and overwhelming. But knowing the appropriate terminology when working with students with disabilities is an important part of understanding students’ diagnoses, communicating with parents and other school personnel, and engaging in effective teaching practices to foster a culture of inclusion in music classrooms.
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Piper, Tina. "Putting Copyright in Its Place1." Canadian Journal of Law and Society / Revue Canadienne Droit et Société 29, no. 03 (May 22, 2014): 345–59. http://dx.doi.org/10.1017/cls.2014.7.
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Abstract As copyright is asked to perform a greater role in governing creative activity, its focus on economic values above all others raises concerns. Interviews conducted by the author with Canadian independent music labels suggest that the law and the norms governing labels’ operations are more diverse and include direct subsidies, or grants, from government and the private sector. These grants perform many of the functions expected from copyright. This study concludes that copyright law is often exotic, peripheral, and even irrelevant to those involved in the spheres of remunerative Canadian sound production considered here. This finding suggests a renewed focus on a Canadian narrative of copyright law that puts it in its place alongside other instruments regulating independent music production.
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Lornell, Kip, and Michel Ruppli. "The Aladdin/Imperial Labels: A Discography." Notes 49, no. 3 (March 1993): 1077. http://dx.doi.org/10.2307/898988.
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Haq, M. K. N. "Music Genre Classification Using Deep Learning Techniques." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 4157–60. http://dx.doi.org/10.22214/ijraset.2021.35965.
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Music genre labels are useful to organize various songs, albums, and artists into broader groups that share related musical genres such as similar sound etc. A music genre is a conventional group it helps us to identify some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although this terms can be used as viceversa. Music can be divided into genres in varying ways such as into popular music and art music,hip hop music or religious music and secular music. The artistic nature of music means that these classifications are often biased and notorious and some genres may overlap. We will classify the various music genres by using deep learning algorithm. We will train the model and by using various music genres of test dataset we will predict the specific music genre.
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Burnes, Bernard, and Hwanho Choi. "Future cities and self-organising value chains: the case of the independent music community in Seoul." Supply Chain Management: An International Journal 20, no. 3 (May 11, 2015): 300–312. http://dx.doi.org/10.1108/scm-04-2014-0141.
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Purpose – This article aims to explore the arguments that citizens of future cities will increasingly live in virtual communities as well as bricks and mortar ones, and that some previously physical supply chains will become virtual networks or communities. In examining these arguments, the article investigates the development of the independent music community in Seoul, South Korea. Design/methodology/approach – The research is based on a qualitative case study of music fans and independent record labels in Seoul. Findings – The article shows that independent music fans in Seoul have built a self-organising, fan-dominated, value co-creating community, which has replaced the old, music label-dominated, hierarchical supply chain. The community arose from the passion of fans and their engagement with social media, rather the intentions of city planners and supply-chain architects. Originality/value – The article shows that Seoul may be an exemplar of how future cities can and will develop, particularly in terms of the ability of people to use social media to develop and run their own virtual spaces and communities, which are tailored to the way they want to live their lives.
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Koster, Alexis. "The Emerging Music Business Model: Back to the Future?" Journal of Business Case Studies (JBCS) 4, no. 10 (July 5, 2011): 17. http://dx.doi.org/10.19030/jbcs.v4i10.4812.
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For many years, the music industry has consisted of two main components: the concert industry and the recording music industry. Throughout the 80s and 90s, thanks mostly to CD sales, the recording music industry was dominant in terms of revenue and visibility. It reached record US sales in 1999 and 2000 (over $14.3 billion in 2000, $13.2 billion of which for CD albums), and between the years 2000 and 2007, the industry has seen a decline of 44% in its sales of physical records. Reluctantly, the recording industry has joined the digital world by signing agreements with a variety of organizations providing music downloading, in particular with Apple and its iTunes downloading service. It earned 1.4 billion dollars from music downloading in 2007 (with another billion from other digital sales such a cellular phone ringtones). Obviously, digital sales have fallen short of compensating the industry for its losses of physical record sales. The concert industry is re-emerging as the potential dominant component of the music industry. In contrast to the recording industry, its revenues have not been affected by illegal Internet downloading. On the contrary, it is making use of the Internet to increase them. Recording artists are taking advantage of the weakening of the recording labels and of the opportunities offered by the Internet to loosen their dependence on the labels. Finally, the once well-defined separation between the concert industry and the recording industry may be disappearing: concert organizers are getting into the recording business and majors are getting into the concert business.
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Kaitajärvi-Tiekso, Juho Tuomas. "Monetizing Amateurs. Artistic Critique, New Online Record Production and Neoliberal Conjuncture." Culture Unbound 12, no. 2 (November 6, 2020): 412–35. http://dx.doi.org/10.3384/cu.v12i2.894.
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This article examines the “new amateur music economy” as an emerging academic discourse. This represents amateur musicians and producers—with access to new digital production and communication tools—as entrepreneurial, aspiring professionals. The article then connects the discourse with its political, economic, and social context—or the neoliberal conjuncture. From the critical standpoint of conjunctural analysis it takes note of the albeit uneven nature of this neoliberalisation when it comes to the case of “independent micro-labels” in Finland who are seen to be maintaining the artistic critique of capitalism, as outlined by Luc Boltanski and Eve Chiapello. While the latter suggest that this critique has been, for all intents and purposes, assimilated into capitalism; the case of Finnish micro-labels would seem to repudiate the prevailing neoliberal notions of utilitarian music-making in the new amateur music economy discourse. This being said, the article does consider that it might be necessary for them to revise aspects of their critique if they want it to remain relevant in the new digital communication environment.
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Pekacz, Jolanta. "On some dilemmas of Polish post-communist rock culture." Popular Music 11, no. 2 (May 1992): 205–8. http://dx.doi.org/10.1017/s0261143000005006.
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Until the late 1970s rock music in Poland was hidden behind many different labels, such as ‘music of a young generation’, ‘youth music’ or ‘big beat’, usually meaning something, if not pejorative, at least suspicious. Having the flavour of a forbidden fruit, genuine rock functioned quite successfully, mostly through independent circulation, not only as a specific form of art, but, first of all, as a symbol of protest against an existing political and social order (it does not matter if we call it ‘communistic’ or ‘capitalistic’); it was a symbol of independence and freedom.
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Banks, Jack. "Video in the machine: the incorporation of music video into the recording industry." Popular Music 16, no. 3 (October 1997): 293–309. http://dx.doi.org/10.1017/s0261143000008424.
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Music video has become an increasingly integral component of the music recording business over the past three decades. Major US record companies with international divisions have made music clips since the 1970s to promote their acts in the UK and continental Europe where television shows were a more important form of promotion for recording artists. However, record labels did not make a full commitment to music clips until after the premiere of MTV in August 1981 as a 24-hour US cable programme service presenting an endless stream of music videos. As MTV's popularity blossomed in the early 1980s, music video revitalised a troubled record industry suffering a prolonged recession by prompting renewed consumer interest in pop music and successfully developing several new recording acts like Madonna, Cyndi Lauper and Boy George with provocative visual images.
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Gamble, Jordan Robert. "Marketing madness or financial folly?" European Journal of Marketing 53, no. 3 (April 4, 2019): 412–41. http://dx.doi.org/10.1108/ejm-11-2017-0830.
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Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. Findings The loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. Research limitations/implications The implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. Practical implications The insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics. Originality/value This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.
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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.
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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.
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Leaver, Amber M., and Andrea R. Halpern. "Effects of Training and Melodic Features on Mode Perception." Music Perception 22, no. 1 (2004): 117–43. http://dx.doi.org/10.1525/mp.2004.22.1.117.
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The two modes most widely used in Western music today convey opposite moods——a distinction that nonmusicians and even young children are able to make. However, the current studies provide evidence that, despite a strong link between mode and affect, mode perception is problematic. Nonmusicians found mode discrimination to be harder than discrimination of other melodic features, and they were not able to accurately classify major and minor melodies with these labels. Although nonmusicians were able to classify major and minor melodies using affective labels, they performed at chance in mode discrimination. Training, in the form of short lessons given to nonmusicians and the natural musical experience of musicians, improved performance, but not to ceiling levels. Tunes with high note density were classified as major, and tunes with low note density as minor, even though these features were actually unrelated in the experimental material. Although these findings provide support for the importance of mode in the perception of emotion, they clearly indicate that these mode perceptions are inaccurate, even in trained individuals, without the assistance of affective labeling.
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Mitchell, Tony. "The Diy Habitus of Australian Hip Hop." Media International Australia 123, no. 1 (May 2007): 109–22. http://dx.doi.org/10.1177/1329878x0712300111.
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Since its origins in the late 1980s, Australian hip hop continues to be fundamentally a do-it-yourself (DIY) subcultural field which has little or no music industry input or support. This paper profiles some of the small labels and producers in Australian hip hop (Obese, Elefant Traks, Nuff Said, Crookneck, Invada, etc.) and examines how they have formed from the ground up, using community radio stations such as 2SER, PBS and 3ZZZ, and websites such as Ozhiphop.com , to promote their music, as well as organising their own gigs and tours. It also examines Aboriginal practitioners of hip hop, who have even less infrastructure than the DIY network of independent producers and labels. Drawing on Holly Kruse's writing about ‘situated practices’ in independent rock music, which refers to Bourdieu's ‘fields of practice’ and ‘habitus’, I examine the subcultural networks and associations that have emerged in Australian hip hop, mediated through a nexus of genre, gender, space, location, race and ethnicity. The concept of habitus is arguably a useful way of referring to hip hop practices like MCing, DJing, breakdancing and graffiti, as well as the social behaviour associated with the hip hop subculture.
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Cooper, Lee B. "Record Labels as Gateways to Popular Music Teaching: A Bibliography and Discography." Popular Music and Society 29, no. 5 (December 2006): 583–615. http://dx.doi.org/10.1080/03007760500142720.
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Grenier, Line. "The aftermath of a crisis: Quebec music industries in the 1980s." Popular Music 12, no. 3 (October 1993): 209–27. http://dx.doi.org/10.1017/s0261143000005687.
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Increased market concentration of multinational record companies, greater integration of major labels with international multi-media and entertainment conglomerates, as well as long economic recession were among the most striking developments of the 1980s to impact upon music-related industries. In the French-speaking province of Quebec (Canada), these developments, combined with local socio-political turmoil, left popular music in the throes of crisis and further jeopardised an indigenous music industry still in the making. The purpose of this paper is to examine the ways in which a local industry, by coming to terms with the aforementioned international developments, overcame what could well have spelled its doom.
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Bowsher, Andrew. "Legitimising Strategies in the Field of Independent Cultural Production: the Case of Reissue Record Labels in the USA." International Review of Social Research 5, no. 2 (October 1, 2015): 102–12. http://dx.doi.org/10.1515/irsr-2015-0009.
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Abstract This article examines the cultural practice of effecting an independent marketplace for reissued music in the United States, based on ethnographic fieldwork in Austin, Texas with independent record labels and consumers. As the music industry is not a homogenous entity (Williamson and Cloonan, 2007), I argue that the practice of legitimising an independent marketplace requires the formulation of a ‘mainstream’ market to which the independent is opposed, and the erecting of marketplace myths (Arsel and Thompson, 2010) to substantiate the independent marketplace’s claims to differ from the mainstream. Legitimising strategies (Strachan, 2007) protect the investments made by producers and consumers of goods in their marketplace. To overcome the anxiety that commodified culture is inauthentic culture, the independent marketplace for reissued music is idealised as a realm of soft capitalism that enables the commodification of cultural goods without the stigmatisation of profiteering, exploitation and ‘inorganic’ music associated with the mainstream (Negus, 1992).
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Rasmussen, Anne K. "Made in America: Historical and Contemporary Recordings of Middle Eastern Music in the United States." Middle East Studies Association Bulletin 31, no. 2 (December 1997): 158–62. http://dx.doi.org/10.1017/s002631840003563x.
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Although Americans of Middle Eastern origin—be they of Arab, Turkish, Armenian, Sephardic Jewish, Assyrian, Greek, or Central Asian heritage—comprise one of the fastest growing groups in the United States, their music may seem invisible to the American musical connoisseur. Many of the recordings of Middle Eastern American musicians are produced and distributed within community networks. Walk into an Armenian grocer in Watertown, Massachusetts or into a Lebanese audio-video store in Dearborn, Michigan, and you will find hundreds of hours of music by Middle Eastern Americans for your listening pleasure. Walk into your public library and you may not find a thing. Middle Eastern music made in America is simply not widely available on the major or alternative recording labels to which we habitually turn for our fare of world music.
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Hodgson, Thomas. "Spotify and the democratisation of music." Popular Music 40, no. 1 (February 2021): 1–17. http://dx.doi.org/10.1017/s0261143021000064.
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AbstractThe corporate rhetoric of streaming platforms often assumes a tight link between their scale-making ambitions on the one hand and the creative interests of musicians on the other. In practice, most musicians recognise that claims of musical ‘democratisation’ are deeply flawed. The creative ambivalence this produces is an understudied pillar in scholarship on digital music platforms and suggests that these systems can be more creatively constrictive than empowering. Based on ethnographic research among Spotify engineers, record labels and musicians, this article explores how music recommendation systems become inculcated with a corporate rhetoric of ‘scalability’ and considers, following Anna Tsing, how this impacts musical creativity further down the value chain. I argue that the ‘creative ambivalence’ that these technologies produce should be more fully understood as woven into a complex web of social relations and corporate interests than prevailing claims of technological objectivity and ‘democratisation’ suggest.
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Ismanto, Brizky Ramadhani, Tubagus Maulana Kusuma, and Dina Anggraini. "Indonesian Music Classification on Folk and Dangdut Genre Based on Rolloff Spectral Feature Using Support Vector Machine (SVM) Algorithm." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 15, no. 1 (January 31, 2021): 11. http://dx.doi.org/10.22146/ijccs.54646.
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Music Genre Classification is one of the interesting digital music processing topics. Genre is a category of artistry, in this case, especially music, to characterize and categorize music is now available in various forms and sources. One of the applications is in determining the music genre classification on folk songs and dangdut songs.The main problem in the classification music genre is to find a combination of features and classifiers that can provide the best result in classifying music files into music genres. So we need to develop methods and algorithms that can classify genres appropriately. This problem can be solved by using the Support Vector Machine (SVM). The genre classification process begins by selecting the song file that will be classified by the genre, then the preprocessing process, the collection features by utilizing feature extraction, and the last process is Support Vector Machine (SVM) classification process to produce genre types from selected song files. The final result of this research is to classify Indonesian folk music genre and dangdut music genre along with the 83.3% accuracy values that indicate the level of system relevance to the results of music genre classification and to provide genre labels on music files as to facilitate the management and search of music files.
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Choi, Keunwoo, Gyorgy Fazekas, Kyunghyun Cho, and Mark Sandler. "The Effects of Noisy Labels on Deep Convolutional Neural Networks for Music Tagging." IEEE Transactions on Emerging Topics in Computational Intelligence 2, no. 2 (April 2018): 139–49. http://dx.doi.org/10.1109/tetci.2017.2771298.
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Zemke-White, Kirsten, and Su-eina Sharon Televave. "Selling Beats and Pacifications: Pacific music labels in Aotearoa/New Zealand/ Niu sila." MEDIANZ: Media Studies Journal of Aotearoa New Zealand 10, no. 2 (2007): 107–29. http://dx.doi.org/10.11157/medianz-vol10iss2id68.
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Hollander, Sam. "Listen to the Music: Lessons for Publishers from Record Labels’ Digital Debut Decade." Publishing Research Quarterly 27, no. 1 (January 4, 2011): 26–35. http://dx.doi.org/10.1007/s12109-010-9192-1.
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Tang, Ya Fei, Yun Yong Zhang, Jin Wu Wei, and Xiao Ming Chen. "Music Recommendation with Collaborative Filtering for Mobile Services." Applied Mechanics and Materials 519-520 (February 2014): 510–15. http://dx.doi.org/10.4028/www.scientific.net/amm.519-520.510.
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As the development of the mobile communication and the computational capability of the mobile terminals, more users use their mobile devices to play music. In this work, an online music recommendation system is designed for mobile services, which consists of two modules: offline processing and online recommendation. The offline module labels all the music into different categories, by which the music items libraries corresponding to the tags are constructed and the rating matrixs are consequently built. The online module integrates the context information, by which the matched rating matrix is retrieved. By using the collaborative filtering model with matrix completion algorithm, the music recommendations that suit the user and the situation are offered. The proposed recommendation system improves the precision of the recommendation by integration the context information of the users, and augments the online computational capability because the matrix scale is reduced by constructing the rating matrices for the music in the different tag libraries. A large number of experiments demonstrate that the proposed system is designed to be robust and effective to the music recommendation and efficient to the online recommendation for the mobile services.
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Alfaro-Contreras, María, and Jose J. Valero-Mas. "Exploiting the Two-Dimensional Nature of Agnostic Music Notation for Neural Optical Music Recognition." Applied Sciences 11, no. 8 (April 17, 2021): 3621. http://dx.doi.org/10.3390/app11083621.
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State-of-the-art Optical Music Recognition (OMR) techniques follow an end-to-end or holistic approach, i.e., a sole stage for completely processing a single-staff section image and for retrieving the symbols that appear therein. Such recognition systems are characterized by not requiring an exact alignment between each staff and their corresponding labels, hence facilitating the creation and retrieval of labeled corpora. Most commonly, these approaches consider an agnostic music representation, which characterizes music symbols by their shape and height (vertical position in the staff). However, this double nature is ignored since, in the learning process, these two features are treated as a single symbol. This work aims to exploit this trademark that differentiates music notation from other similar domains, such as text, by introducing a novel end-to-end approach to solve the OMR task at a staff-line level. We consider two Convolutional Recurrent Neural Network (CRNN) schemes trained to simultaneously extract the shape and height information and to propose different policies for eventually merging them at the actual neural level. The results obtained for two corpora of monophonic early music manuscripts prove that our proposal significantly decreases the recognition error in figures ranging between 14.4% and 25.6% in the best-case scenarios when compared to the baseline considered.
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Song, Yading, Simon Dixon, Marcus T. Pearce, and Andrea R. Halpern. "Perceived and Induced Emotion Responses to Popular Music." Music Perception 33, no. 4 (April 1, 2016): 472–92. http://dx.doi.org/10.1525/mp.2016.33.4.472.
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Music both conveys and evokes emotions, and although both phenomena are widely studied, the difference between them is often neglected. The purpose of this study is to examine the difference between perceived and induced emotion for Western popular music using both categorical and dimensional models of emotion, and to examine the influence of individual listener differences on their emotion judgment. A total of 80 musical excerpts were randomly selected from an established dataset of 2,904 popular songs tagged with one of the four words “happy,” “sad,” “angry,” or “relaxed” on the Last.FM web site. Participants listened to the excerpts and rated perceived and induced emotion on the categorical model and dimensional model, and the reliability of emotion tags was evaluated according to participants’ agreement with corresponding labels. In addition, the Goldsmiths Musical Sophistication Index (Gold-MSI) was used to assess participants’ musical expertise and engagement. As expected, regardless of the emotion model used, music evokes emotions similar to the emotional quality perceived in music. Moreover, emotion tags predict music emotion judgments. However, age, gender and three factors from Gold-MSI, importance, emotion, and music training were found not to predict listeners’ responses, nor the agreement with tags.