Relevant bibliographies by topics / Music Publishing

Contents

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

Academic literature on the topic 'Music Publishing'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Music Publishing"

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Dzyuba, Oleg. "Evolution of music publishing." Вісник Книжкової палати, no. 3 (March 17, 2021): 19–23. http://dx.doi.org/10.36273/2076-9555.2021.3(296).19-23.

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The article proves that the printing of music, which appeared almost at the same time as the first printed book, had a similar effect to the printed word: the information was spread faster, at a lower cost and among more people. This has greatly affected the entire music industry. Composers could now write more music for amateur performers, knowing that it could be distributed and sold to the middle class. Professional musicians could have more music in their repertoire and perform music from different countries. This increased the number of amateurs in whom professional musicians could make money by teaching them. However, according to intelligence, in the early years, the cost of printed notes limited its distribution. The article examines how changes in printing methods have affected the music industry in general. Unlike the printing of literary works, which mainly contains printed words, the printing of music must simultaneously convey several different types of information. In order for musicians to understand, it is absolutely necessary that the printing technique ensure absolute accuracy. Chord notes, dynamic marks and other symbols must be reproduced with jewel-like precision. Because in musical notation everything makes sense, even the distance between musical notation. It is proved that the complexity of printing notes directly influenced the application of the latest technological achievements of the music industry. Unlike the printed word, music is easier and faster to move to the electronic sphere. Nowadays, music publishing is not the printing of music, but completely different ways of reproducing and distributing music. The article states that music publishing is a general term for the creation, production and distribution of musical compositions — it has existed for several hundred years, although it has recently acquired its current form. But the latest technology and changes in publishing legislation continue to reshape the music publishing landscape. The music industry continues to evolve and change dramatically to keep pace with the times and pace of development of the electronic age.
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Field, Corey, D. W. Krummel, and Stanley Sadie. "Music Printing and Publishing." Notes 47, no. 3 (March 1991): 725. http://dx.doi.org/10.2307/941861.

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Abdul Rahman, Nurulhamimi, and Alis Suraya Shaharim. "Digitization Impact and Challenges on the Music Publishing Practices of the Malaysian Music." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 517–21. http://dx.doi.org/10.21834/ebpj.v7isi9.4301.

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The purpose of this study is to investigate the digitization impacts and challenges on the music publishing practices of the Malaysian music industry. This research analyzes how music publishers adapt to the changes in music publishing practices due to digitization. It focuses on the factors that changed the roles of music publishers in the digital era, the impacts and challenges brought by the technological innovation in the Malaysian music industry, and the consequences of the effects and challenges. Keywords: Music Business; Music Industry; Music Publishing; Music Digitization eISSN: 2398-4287© 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI
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Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.

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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific purposes. Three self-published books stand out as the only operatic scores published in seventeenth-century England: Locke's The English Opera (1675), Grabu's Albion and Albanius (1687), and Purcell's The Vocal and Instrumental Musick of the Prophetess (1691). These substantial volumes had no obvious practical use and all sold poorly; put into political context, however, they reveal how printed music in England was developing from a purely practical performance tool into a medium through which statements could be made and musical works given monumental status. Yet Purcell's own management of the printing of The Vocal and Instrumental Musick of the Prophetess suggests that he was confused about the distinct and mutually exclusive functions of music printing in the period, which led him to misunderstand the nature of the market and how he might appropriate the medium for his own benefit.
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Rajan, Rekha S. "Publishing in General Music Today." General Music Today 31, no. 3 (April 2018): 55. http://dx.doi.org/10.1177/1048371318772382.

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King, Alec Hyatt, and James Coover. "Victorian Publishing." Musical Times 127, no. 1718 (May 1986): 279. http://dx.doi.org/10.2307/965463.

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Yang, Le, Kenny Ketner, Scott Luker, and Matthew Patterson. "A complete system for publishing music-related ETDs." Library Hi Tech 34, no. 1 (March 21, 2016): 151–63. http://dx.doi.org/10.1108/lht-10-2015-0096.

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Purpose – There is no proposed solution to address the unresolved issues of publishing music-related electronic theses and dissertations (ETDs) pertaining to technology availability, copyright, and preservation. The purpose of this paper is to propose a complete system, including technology development and publishing model, which addresses the existing issues of publishing music-related ETDs. The paper shares the practice of utilizing the system developed by Texas Tech University Libraries known as Streaming Audio and Video Experience (SAVE), and proposes it as a solution for other multimedia collections. Design/methodology/approach – The proposed system includes a technology solution and a publishing model. The technology solution, SAVE, contains an authenticated streaming multimedia player, a responsive-design user interface, and a web-based submission and management system. The publishing model combines a DSpace-based institutional repository (IR) with SAVE and preservation strategies. Findings – The integrated system of SAVE and DSpace-based IR expands the access of music-related ETDs and other multimedia collections to patrons, benefits the distance education students as well as the local students, facilitates professors’ classroom teaching, and helps to preserve physical multimedia items by avoiding check-outs. Originality/value – The SAVE solution resolves issues of publishing music-related ETDs, fulfills the local needs of publishing hundreds of music-related ETDs from the College of Visual and Performing Arts, and supports the publishing of other multimedia collections. The software will be released open source to the public for other universities’ use. The publishing model is also useful for those universities that intend to integrate an IR with the streaming player platform.
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Łubocki, Jakub Maciej. "Musical sources – meaning of the term in bibliology and museology." Z Badań nad Książką i Księgozbiorami Historycznymi 17, no. 1 (July 27, 2023): 103–25. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.759.

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Although it may seem improbable, various types of musical sources can also be found in the collection of the Publishing Art Department of the National Museum in Wrocław. They are not only music sheets and songbooks, but also written documents related to musical works or people of music, and in the future, they could be even printed elements of sound documents or ephemeras related to music life. This was the reason for the general reflection on the understanding of the term “musical sources” (“musicals”) and its meaning in relation to the universes of music and publishing art. Then, basic categories of museum objects that are simultaneously from both universes – music and publishing art – were presented (with examples).
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Kosaniak, Nataliia. "“Memories of the Idzykowski” as a source in the study of the publishing house “Leon Idzykowski”." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 335–49. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-19.

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A description of the document of the memoir genre “Pamiętniki Idzikowskich” (Memoirs of the Idzikowskis) as a source for the history of book and music publishing in Ukraine in the second half of the XIX – first quarter of the XX century, dedicated to the history of the publishing company and the activities of four generations of members of the Idzykowski family in this matter is characterized. The text of the document combines genre features of memoirs and historical research. The compiler Yuriy Idzykovsky syste¬matized the materials by sections, factual material — by chronological principle on the basis of his own memoirs, materials of the family archive. Leon Idzikovsky Publishing House is the most famous and powerful institution, which for almost a century played a major role in the cultural life of both Kyiv and the entire Russian Empire, as well as interwar Poland. The firm included a publishing house, a bookstore, a finished goods warehouse, a library, a concert office, a book publishing school, a bookbinding house, a printing house, and was one of the leading cultural centers, covering a wide range of cultural and educational services. Keywords:Idzikowski, memoirs, Polish nobility, music publishing activity, publishing trade enterprise, music shops, music publications.
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Johansen, Guro Gravem, Anna Houmann, and Danielle Treacy. "Introduction: Nordic Research in Music Education Volume 1." Nordic Research in Music Education 1, no. 1 (November 17, 2020): 1–3. http://dx.doi.org/10.23865/nrme.v1.2674.

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Volume 20 of the Nordic Research in Music Education Yearbook marks the yearbook’s transition from printed physical book to open access publishing under the name Nordic Research in Music Education (NRME), as part of a newly established collaboration between the Norwegian Academy of Music and the Norwegian publishing house Cappelen Damm Akademisk. As editors, we endorse this development towards improved visibility, a better profile, and the widening of access to research in music education to the public.
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Dissertations / Theses on the topic "Music Publishing"

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Olson, Ted. "Publishing Appalachian Writing." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1119.

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An, Yu Lee. "Music Publishing in London From 1780 to 1837 as Reflected in Music Publishers' Catalogues of Music for Sale: A Bibliography and Commentary." Thesis, University of Canterbury. Music, 2008. http://hdl.handle.net/10092/4197.

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This study documents and analyses the music-selling and publishing industry in London from 1780 to the end of the Georgian period as reflected in publishers' catalogues of music for sale. It assembles the histories and activities of these music publishers in relation to the society they served. Catalogues inform us quite precisely not only of the activities of music publishers, but also the role they played in accommodating, influencing, expanding and educating the contemporary musical taste. In addition, catalogues provide documentary evidence of compositions in issues no longer extant, and even of some works themselves at least by the lesser-known composers. Nearly 600 catalogues in over 1100 states, issued by over 100 London music-publishing firms from 1780 to 1837 have been gathered from the British Library, London; the Bodleian Library, Oxford, and Cambridge University Library, Cambridge. Arguably, publishers' catalogues are among the sharpest yet least appreciated mirrors of changes in musical taste. This study attempts to bring them into the foreground, place them in their proper historical perspective and establish their role in musicological research.
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Carter, Stephanie. "Music publishing and compositional activity in England, 1650-1700." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/music-publishing-and-compositional-activity-in-england-16501700(14b13888-a2be-44d4-9e14-66b0980b3fec).html.

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This thesis focuses on the flourishing music-publishing industry in England in the second half of the seventeenth century, and examines its relationship to and influence on the activities of professional musicians. Music publishing as a commercial entity developed in England during this period, particularly, but not exclusively, through the endeavours of the Playford family. By placing the printed music books within the social and cultural contexts in which they were produced, this thesis explores the consequences of printing on the musical text, understanding the purposes for which the printed book was created and how different functions of print affected the musical texts that they contained. A detailed examination of the printed music sources sheds light on how publication (including posthumous publication) related to the image and status of the composer, and draws attention to the interaction between public music-making, compositional activity and music publishing during this period. Through an investigation of the contemporary printed outputs of five case-study composers - William Lawes, Henry Lawes, Matthew Locke, Henry Purcell and John Blow - this thesis explores the individual nature of the composers' relationships with the printed music book trade and how their contemporary printed outputs relate to their overall compositional output. This is followed by a detailed analytical study of specific compositions by the five case-study composers, examining both contemporary manuscript and printed sources, in order to determine to what extent the commercial print market influenced professional musical creativity. Different versions of compositions of certain genres, particularly secular vocal works, were disseminated via print as opposed to manuscript, and these alternative versions appear to have been instigated by both composers and stationers. This approach to examination of contemporary sources calls for the contextual consideration of sources and the musical texts within them.
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Carter, Nicholas Paul. "Automatic recognition of printed music in the context of electronic publishing." Thesis, University of Surrey, 1989. http://epubs.surrey.ac.uk/843542/.

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Computers are used to manipulate music in various forms, for example digital sound recordings, digitized images of printed scores and music representational language (M.R.L.) encodings. This work is concerned with producing M.R.L. data automatically from existing printed music scores. A review of work undertaken in the field of manipulating printed music by computer is provided. This shows that software which permits production of high-quality scores is commercially available, but the necessary data has to be entered using some form of keyboard, possibly in conjunction with a pointing device. It is desirable, for reasons detailed in this work, to be able to convert the musical information contained in the enormous quantity of existing music into computer-readable form. The only practical method for achieving this is via an automatic system. Such an automatic system must cope with the variations in format, content and print-quality of existing scores. Background material relating to previous work on pattern recognition of various types of binary image is included, with a section covering the subject of automatic recognition of printed music. An original system for automatic recognition of printed music developed by the author is described. This is designed to be widely applicable and hence is, in effect, omnifont and size-independent, with significant tolerance of noise, limited rotation, broken print and distortion. Numerous illustrations showing the application of the system are included, together with proposals for future areas of development.
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Paulů, Lukáš. "Mezinárodní obchod hudebního vydavatelství Supraphon a hudebního nakladatelství ProVox music publishing." Master's thesis, Vysoká škola ekonomická v Praze, 2007. http://www.nusl.cz/ntk/nusl-2400.

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Přes popis vývoje hudebního průmyslu, jak na domácí scéně, tak v zahraničí, se práce dostává k historii společnosti Supraphon, a. s. a k jejímu současnému působení v rámci České republiky i v mezinárodním obchodě. Charakterizuje současný trend v oblasti mezinárodního obchodu s hudebními nahrávkami a způsob jejich prodeje do zahraničí. Dále pak líčí vznik a vývoj hudebního nakladatelství ProVox music publishing, s. r. o., věnuje se hlavní nakladatelské činnosti, objasňuje terminologii a charakterizuje domácí a zahraniční činnost tohoto nakladatelství.
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Ballantyne, Abigail L. "Writing and publishing music theory in early seventeenth-century Italy : Adriano Banchieri and his contemporaries." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5567c6ab-360c-47da-8b82-d7f1d4a4d4d7.

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Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary theoretical innovations. In Chapter 1, after considering the meaning of 'music theory' and how it is typically classified, I discuss the process of and purposes for writing and publishing music theory. In Chapter 2 I explore Banchieri's practical and philosophical motives for writing music theory, and thus introduce the reader to his music-theoretical corpus. The focus of the thesis then broadens: in Chapter 3 I survey the typical authors, publishing houses, content, material form, function and readers of the various kinds of theoretical texts printed in Italy between 1600 and 1630. In Chapter 4 I examine the widespread practice of publishing second and revised editions of music-theory books in order to establish the extent to which a new edition corresponds to a seeming demand for a particular text. The case study of the paratext of Banchieri's Conclusiones de musica (Bologna, 1627) in Chapter 5 demonstrates the great extent to which the preliminary matter of an early Seicento music-theory book is embedded in its socio-cultural context and how a paratext projects ideas contained in the text proper. Lastly, in Chapter 6 I explore to whom and in which particular forums theoretical writings circulated. Here I focus principally on Banchieri's printed letters, which provide evidence of how an author circulated his music books.
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Punkt, Anita. "Der Friedrich Hofmeister Musikverlag : sein Profil in Geschichte und Gegenwart /." Berlin dissertation.de, 2006. http://d-nb.info/986613649/04.

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Brown, Hugh. "It’s not me, it’s you : a participant observation case study of the self-publishing musician in the 21st century." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/47034/1/Hugh_Brown_Thesis.pdf.

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This thesis explores the business environment for self-publishing musicians at the end of the 20th century and the start of the 21st century from theoretical and empirical standpoints. The exploration begins by asking three research questions: what are the factors affecting the sustainability of an Independent music business; how many of those factors can be directly influenced by an Independent musician in the day-to-day operations of their musical enterprise; and how can those factors be best manipulated to maximise the benefit generated from digital music assets? It answers these questions by considering the nature of value in the music business in light of theories of political economy, then quantitative and qualitative examinations of the nature of participation in the music business, and then auto-ethnographic approaches to the application of two technologically enabled tools available to Independent musicians. By analyzing the results of five different examinations of the topic it answers each research question with reference to four sets of recurring issues that affect the operations of a 21st century music business: the musicians’ personal characteristics, their ability to address their business’s informational needs; their ability to manage the relationships upon which their business depends; and their ability to resolve the remaining technological problems that confront them. It discusses ways in which Independent self-publishing musicians can and cannot deal with these four issues on a day-to-day basis and highlights aspects for which technological solutions do not exist as well as ways in which technology is not as effective as has been claimed. It then presents a self-critique and proposes some directions for further study before concluding by suggesting some common features of 21st century Independent music businesses. This thesis makes three contributions to knowledge. First, it provides a new understanding of the sources of musical value, shows how this explains changes in the music industries over the past 30 years, and provides a framework for predicting future developments in those industries. Second, it shows how the technological discontinuity that has occurred around the start of the 21st century has and has not affected the production and distribution of digital cultural artefacts and thus the attitudes, approaches, and business prospects of Independent musicians. Third, it argues for new understandings of two methods by which self-publishing musicians can grow a business using production methods that are only beginning to be more broadly understood: home studio recording and fan-sourced production. Developed from the perspective of working musicians themselves, this thesis identifies four sets of issues that determine the probable success of musicians’ efforts to adopt new technologies to capture the value of the musicians’ creativity and thereby foster growth that will sustain an Independent music business in the 21st century.
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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.

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Finley, Nathan. "MANAGING CREATIVE INTELLECTUAL PROPERTY IN DISRUPTEDINDUSTRIES: A BUSINESS PLAN FOR ATHENA PUBLISHING LLC." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619186560810578.

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Books on the topic "Music Publishing"

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Corp, Music Sales. Music publishing highlights. New York: Music Sales Corp., 1993.

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Sellars, Paul. Publishing music online. Bremen, Germany: Exclusive distributors, Music Sales, 2001.

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1929-, Krummel D. W., and Sadie Stanley 1930-, eds. Music printing and publishing. London: Macmillan, 1990.

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1929-, Krummel Donald William, and Sadie Stanley, eds. Music printing and publishing. New York: W.W. Norton, 1990.

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1947-, Enders Bernd, and Gieseking Martin, eds. Digital & Multimedia Music Publishing. Osnabrück: Electronic Publishing, 2006.

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Poe, Randy. Music publishing: A songwriter's guide. Cincinnati, Ohio: Writer's Digest Books, 1990.

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Poe, Randy. Music publishing: A songwriter's guide. Cincinnati, Ohio: Writer's Digest Books, 1990.

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Caroline, Heslop, ed. A Guide to music publishing. London: Rhinegold, 1995.

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Hafez, Salam. Investigation into internet music publishing. London: LCP, 2003.

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Bunker, Clark J., ed. Music publishing in St. Louis. Warren, Mich: Harmonie Park Press, 1988.

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Book chapters on the topic "Music Publishing"

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Weissman, Dick. "Music Publishing." In Understanding the Music Business, 133–57. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315558769-7.

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Snoman, Rick. "Publishing and promotion." In Dance Music Manual, 471–92. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830-37.

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Amos, Jonny. "What Is Music Publishing?" In The Music Business for Music Creators, 25–36. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003452119-6.

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Brae, C. Michael. "Music Copyright, Publishing and Licensing." In New Channels of Music Distribution, 20–36. New York ; London : Routledge, 2018 | 2018: Routledge, 2017. http://dx.doi.org/10.4324/9781315648347-3.

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Fleming, Simon D. I. "Publishing music by subscription in eighteenth-century Edinburgh." In Music by Subscription, 73–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003163558-5.

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Towse, Ruth. "Copyright and Music Publishing in the UK." In The Artful Economist, 133–51. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40637-4_8.

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Levi, Erik. "Responding to the Market: Music Publishing in the Third Reich." In Music in the Third Reich, 147–65. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-24582-6_6.

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Weissman, Dick. "Copyright, Performing Rights, Summary of Music Publishing Income Streams, and Songwriters’ Organizations." In Understanding the Music Business, 117–32. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315558769-6.

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Hamilton, Elina G. "Louise Hanson-Dyer (1884–1962): patroness of music publishing." In The Routledge Handbook of Women's Work in Music, 397–406. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-40.

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Rutter, Paul. "Music publishing." In The Music Industry Handbook, 99–119. Routledge, 2016. http://dx.doi.org/10.4324/9781315692876-5.

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Conference papers on the topic "Music Publishing"

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Dubnjakovic, Ana. "From Monks to Mutopia: Changing Landscape in Sheet Music Publishing." In Charleston Conference. Against the Grain Press, 2012. http://dx.doi.org/10.5703/1288284314824.

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Liu, Xuhong, Yunmei Shi, Peng Liu, and Ning Li. "A Method on Single Source Publishing for Music in DITA." In 2nd International Conference on Computer and Information Applications (ICCIA 2012). Paris, France: Atlantis Press, 2012. http://dx.doi.org/10.2991/iccia.2012.76.

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Kružíková, Lenka. "Muzikofiletické přístupy v hudební výchově." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-8.

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The subject of the paper is an insight into the music philetic practice with theoretical and practical grounding. The theoretical part informs about research and publishing activities, innovative principles and presents foreign music-expressive concepts and methods applicable in the Czech music education environment. The practical part conceives the musical techniques of music philetic work with clear descriptions and case studies. The author focuses on individual music-interaction areas. Since we should be based on the needs and individuality of the student in the educational and formative process, the author perceives the importance of musical and non-musical goals as equal partners in music education.
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Etinger, Darko. "A Task-Technology Fit Model for Digital Audio Workstations Evaluation." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.

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Music industry changes in the last decade largely shifted the music production tasks from big established studios to music artists. With the addition of online music streaming platforms, an end-to-end process of music creation, publishing, delivery, and consummation is achieved. This phenomenon emphasizes music artists as content creators to handle music production. Digital audio workstation systems enabled end users to compose, record, mix and master music. This research focuses on identifying the fit between various tasks music artists must perform during music creation and the technical characteristic of the tools used, particularly modern digital audio workstations. Ultimately, it is tested whether the task- technology fit (TTF), a well-established information systems theory model is a good predictor of the intention to use digital audio workstation systems by music artists. By applying the PLS-SEM method, results show that TTF positively influences music artists' intention to use DAWs.
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Grünbacher, Paul. "A Study on Variability for Multi-Device Rendering in Digital Music Publishing." In VaMoS '22: 16th International Working Conference on Variability Modelling of Software-Intensive Systems. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3510466.3510482.

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Reports on the topic "Music Publishing"

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Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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Abstract:
" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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