Log in

Relevant bibliographies by topics / Music Publishing / Journal articles

To see the other types of publications on this topic, follow the link: Music Publishing.

Journal articles on the topic 'Music Publishing'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Music Publishing.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

Rajan, Rekha S. "Publishing in General Music Today." General Music Today 31, no. 3 (April 2018): 55. http://dx.doi.org/10.1177/1048371318772382.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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).

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Istvandity, Lauren Grace. "Grunge: Music and Memory." IASPM Journal 3, no. 2 (October 17, 2012): 123–24. http://dx.doi.org/10.5429/610.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Devroop, Chatradari. "The editing and publishing of music." Ars Nova 28, no. 1 (January 1996): 44–47. http://dx.doi.org/10.1080/03796489608566542.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Johnson, David. "MUSIC PUBLISHING IN EIGHTEENTH-CENTURY EDINBURGH." Journal for Eighteenth-Century Studies 1, no. 1 (October 1, 2008): 51–56. http://dx.doi.org/10.1111/j.1754-0208.1978.tb00567.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Scott, Rachel E., and Anne Shelley. "Music Scholars and Open Access Publishing." Notes 79, no. 2 (December 2022): 149–78. http://dx.doi.org/10.1353/not.2022.0093.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Ferfeli, Pavlina. "Book or Music Video?" Interactive Film and Media Journal 2, no. 1 (January 30, 2022): 187–200. http://dx.doi.org/10.32920/ifmj.v2i1.1510.

Full text

Abstract:

This paper examines the staggering rejuvenation of children’s picture books in the last decade, as a direct result of emerging narratives that celebrate racial identity, underrepresented culture, and heritage at the point of extinction. Awarded works such as The Undefeated, We are Water Protectors, and All Because You Matter, redefine the boundaries of children’s literature by challenging concepts related to appropriacy, narrative structure, subject matter, iconicity, and reception. Simultaneously, this paper examines the influence the pandemic exerted on children’s publishing houses, which dared to explore uncharted copyright territory, and grant permissions to writers, teachers, and librarians to share picture book content through various media platforms. The combination of the momentum of the Own Voices picture book and the newly emerging licensing landscape had amazing repercussions in both storytime reception and children’s publishing dynamics. Apart from an unprecedented boost of sales, rise in readership, and the founding of new imprints, the very fact that in digital read-aloud storytime a staggering amount of artistic media intersect, leads to the birth of a hybrid new genre--that of the picture book video. However, although this uncharted intermedial territory of Own Voices picture book video is one to follow, there are increasing BIPOC voices that speak of publishing cacophony. Has the Own Voices literary edifice painstakingly erected itself into a prison cell with bars of freedom?

APA, Harvard, Vancouver, ISO, and other styles

16

Alvarez-Cueva, Priscila. "‘Shakira: Bzrp Music Sessions, Vol. 53’ (2023)." Catalan Journal of Communication & Cultural Studies 15, no. 1 (April 1, 2023): 155–56. http://dx.doi.org/10.1386/cjcs_00084_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Guidobaldi, Nicoletta. "Music publishing in sixteenth- and seventeenth-century Umbria." Early Music History 8 (October 1988): 1–36. http://dx.doi.org/10.1017/s0261127900000887.

Full text

Abstract:

Only in the last few years has detailed research into Umbrian music, particularly that of the sixteenth and seventeenth centuries, begun to appear, and until now there has been no study devoted entirely to music publishing in the region. At present we know of thirty-two books of music printed at Perugia, Assisi and Orvieto between 1577 and 1650, but there may well have been more. Since some are known only indirectly, from vague references found in intermediate sources, it is reasonable to assume that other books have been lost without trace. Our knowledge of the publishers of this music is fragmentary and incomplete, and the same often applies to the various composers, so that the historian is confronted with a picture rendered unusually indistinct by absences and losses. However, such information as we do possess, together with the surviving printed material, offers valuable evidence for the composition and circulation of music in the towns of Umbria during this period.

APA, Harvard, Vancouver, ISO, and other styles

18

Greschner, Debra. "Bookshelf." Journal of Singing 80, no. 2 (October 25, 2023): 233–35. http://dx.doi.org/10.53830/hnsg3118.

Full text

Abstract:

Debra Greschner reviews four recent publications. In Reimaging Lyric Diction Courses: Leading Change in the Classroom and Beyond (CMS Emerging Fields in Music. New York: Routledge, 2023), vocal coach Timothy Cheek proposes an innovative approach to lyric diction pedagogy. A Young Person’s Guide to Vocal Health by Olivia Sparkhall (Oxford, UK: Compton Publishing, 2023) provides information about vocal health to young singers. The Heart of the Breath by Alison Mary Sutton is the first volume in the Vocal Health and Rehabilitation: Clinical Pathways and Practical Applications Series (Oxford, UK: Compton Publishing, 2022); it chronicles the rehabilitation of a rock singer’s voice. Marisa Lee Naismith, in Singing Contemporary Commercial Music Styles: A Pedagogical Framework (Oxford, UK: Compton Publishing, 2022) presents interviews with nine pedagogues who teach contemporary commercial music, and offers a framework for the discipline.

APA, Harvard, Vancouver, ISO, and other styles

19

Newman, George. "Ernst Roth: A Personal Recollection." Tempo, no. 165 (June 1988): 37–40. http://dx.doi.org/10.1017/s0040298200024086.

Full text

Abstract:

FIFTY YEARS AGO, in March 1938, Hitler invaded Austria. I left Vienna and came to London. Now, half a century later, I look back on forty years of music publishing, first of all in the 1950's in the production department of Boosey & Hawkes, and later setting up my own business for the engraving and copying of orchestral full scores and instrumental parts for international music publishing firms.

APA, Harvard, Vancouver, ISO, and other styles

20

Zychowicz, James L. "Publishing." Notes 80, no. 1 (September 2023): 82–89. http://dx.doi.org/10.1353/not.2023.a905318.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Spencer, Glenn. "Music Publishing and Music Representation in the Technological Age: A Symposium." Computer Music Journal 16, no. 3 (1992): 96. http://dx.doi.org/10.2307/3680854.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Wagstaff, John, and Hans Lenneberg. "The Dissemination of Music: Studies in the History of Music Publishing." Notes 53, no. 2 (December 1996): 444. http://dx.doi.org/10.2307/900118.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Sieradz, Małgorzata. "Polish National Publishing Initiatives after 1918." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 33–53. http://dx.doi.org/10.2478/prm-2021-0005.

Full text

Abstract:

Abstract The revival of an independent Polish state in 1918 was conducive not only to the emergence of a new national administration or a sense of national community, but also to the establishment of new entities in science and culture, and, consequently, actions focused on Polishness and promotion of national values. Such new initiatives were based on the activities of scholars, artists and intellectuals, who had existed as a milieu before, but who either operated on a local scale or were entangled in international structures, usually remaining on their peripheries. Projects carried out in new conditions – in the now free country – often with the support of government institutions could promote the national heritage in various forms and on a large scale. In addition to research-related objectives, young Polish musicology also sought to popularise and disseminate Poland’s musical heritage in a variety of ways: 1) by publishing, as part as of sheet music series, sources for the study of the history of Polish music; 2) new critical editions of well-known oeuvres; 3) supporting the work of young Polish composers by publishing the scores of their compositions through publishing houses set up especially for the purpose; or 4) creating fora for the exchange of scholarly reflections and for presentation of the results of research conducted by a growing number of scholars educated at Polish universities. All this with the slogans of “national pride” and “national duty” the fulfilment of which was to help with catching up and making up for the losses caused by the absence of Poland as a state for over one hundred years. This led to initiatives by the newly emerging milieu of Polish musicologists seeking to promote the historical legacy of Polish music as well as the achievements of contemporary composers: the series “Early Polish Music”, a project to publish a complete critical edition of Fryderyk Chopin’s works, series of the Polish Music Publishing Society intended for young composers, or periodicals promoting articles on Polish subjects (Kwartalnik Muzyczny, Muzyka, Muzyka Polska, Polski Rocznik Muzykologiczny and others).

APA, Harvard, Vancouver, ISO, and other styles

24

ZOHN, STEVEN. "Telemann in the Marketplace: The Composer as Self-Publisher." Journal of the American Musicological Society 58, no. 2 (2005): 275–356. http://dx.doi.org/10.1525/jams.2005.58.2.275.

Full text

Abstract:

Abstract This article tells the story of a self-publishing business maintained by Georg Philipp Telemann in Frankfurt and Hamburg from 1715 through the late 1730s, a remarkable venture that illuminates much about music commerce during the early eighteenth century. At a time in Germany when conditions were generally unfavorable for the publishing of music, Telemann issued forty-six entirely new editions of his own works. Not only did he solicit subscribers to his publications and set up a network of agents across Europe (anticipating the activities of Carl Philipp Emanuel Bach a half century later), but he also did much, if not all, of the engraving himself and pioneered the use of pewter plates and punches in Germany. A recently discovered supplement to the subscriber list printed with the Nouveaux quatuors (Paris, 1738) enriches our knowledge of Telemann's audience, while a close examination of his engraving practices provides evidence for a redating of the well-known Hamburg collection Essercizii musici. Despite the continuing success of his Selbstverlag, Telemann suddenly dissolved the business in 1740 with the sale of his entire stock of engraved plates, a move that seems to have been motivated in part by his aspirations as a music theorist.

APA, Harvard, Vancouver, ISO, and other styles

25

Smith, Benjamin. "Steve Winogradsky. Music Publishing: The Complete Guide." Journal of the Music and Entertainment Industry Educators Association 14, no. 1 (2014): 314–15. http://dx.doi.org/10.25101/14.18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Underwood, Kent. "Archival Guidelines for the Music Publishing Industry." Notes 52, no. 4 (June 1996): 1112. http://dx.doi.org/10.2307/898375.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Sigman, Matthew. "A Serious Look at Serious Music Publishing." Music Educators Journal 74, no. 7 (March 1988): 38–47. http://dx.doi.org/10.2307/3398028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

SCHNOEBELEN, ANNE. "The Relities of the music publishing word." Early Music XXV, no. 2 (May 1997): 349. http://dx.doi.org/10.1093/earlyj/xxv.2.349.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Liu, Xu Hong, Yun Mei Shi, Peng Liu, and Ning Li. "A Method on Single Source Publishing for Music in DITA." Advanced Materials Research 756-759 (September 2013): 2717–23. http://dx.doi.org/10.4028/www.scientific.net/amr.756-759.2717.

Full text

Abstract:

Federated Media Publishing means to distribute the single source content through multimedia after integrating various media manners, which is the trend of digital publishing. DITA is designed to produce multiple deliverable formats from a single set of DITA content, but it cant be directly used in Federated Media Publishing for not coping well with multimedia except for text and image. This paper takes music as an example to discuss the method of integrating multimedia into DITA. The specialization facility is used to integrate MusicXML DTDs into DITA and a solution is putted forward to provide appropriate rendition distinctions according to audio and five-line staff. Experiments show the solution is efficient to extend DITA for dealing with multimedia, which can be used in federated media publishing.

APA, Harvard, Vancouver, ISO, and other styles

30

Geringer, John M. "On Publishing, Pluralism, and Pitching." Journal of Research in Music Education 48, no. 3 (October 2000): 191–205. http://dx.doi.org/10.2307/3345393.

Full text

Abstract:

John M. Geringer is the recipient of the MENC 2000 Senior Researcher Award. The following speech was presented on March 10, 2000, at a special session of the Society for Research in Music Education at MENC's National Biennial In-Service Conference held in Washington, D. C.

APA, Harvard, Vancouver, ISO, and other styles

31

Radzetskaya, Olga V. "Russian Music Publishing Business: From Commerce to Philanthropy." Observatory of Culture 16, no. 1 (March 26, 2019): 40–49. http://dx.doi.org/10.25281/2072-3156-2019-16-1-40-49.

Full text

Abstract:

In the history of Russian music publishing business, there are some areas that require a further study of extensive factual material in terms of succession of times and generations, traditions and experience, individual and common. The process of Russian music publishing formation resulted in a unique thought-creating space, which united in a single whole the spiritual and the material, commerce and philanthropy. The economic side of the issue in this case is the most indicative, demonstrating the various analytical perspectives, which create an idea of the mechanisms of entrepreneurial activity in the market of production and marketing of non-printed products, the problems of innovative approach in the field of improving production capacity, the emergence of a whole galaxy of merchants-patrons-educators.Hence, “homo musicus” and “homo financicus” are outstanding representatives of the Russian music publishing business, which opens the prospect of studying personal profiles in the history of philanthropy and charity and creates prerequisites for understanding the unity of financial, economic and artistic spheres. The article aims to study the professional features that allow to determine the genesis of commercial and creative in the most successful music publishing business projects implemented in the second half of the 19th century. Of particular interest are the famous names, specifically, M.P. Belyaev, who was a symbol of high service to the musical art. Promoting the works of young Russian composers, providing them with all-round assistance and support, M.P. Belyaev became the first “musical missionary” and educator. His financial activity was deeply patriotic and connected with high spiritual ideals of service to society.These grounds can be used for further study of Russian music publishing business, philanthropy and charity in their inseparable interconnection.

APA, Harvard, Vancouver, ISO, and other styles

32

Garofalo, Reebee. "From Music Publishing to MP3: Music and Industry in the Twentieth Century." American Music 17, no. 3 (1999): 318. http://dx.doi.org/10.2307/3052666.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Tosun Durmuş, Büşra, and Nur Özkaya. "Doksanlar Türkiyesi’nde Altkültür Müzik Yayıncılığı: Fanzinler." Etkileşim 7, no. 13 (April 2024): 250–85. http://dx.doi.org/10.32739/etkilesim.2024.7.13.248.

Full text

Abstract:

Türk basın tarihi içerisinde müzik yayıncılığına odaklanıldığında oldukça sınırlı bir faaliyetten söz edilebilmektedir. Cumhuriyet öncesi ve sonrası sürecin de ele alındığı bu çalışma, doksanlı yıllarda müzik üretimi ile ilgilenen altkültür gruplarına ve bu grupların fanzin yayıncılığı faaliyetlerine odaklanmıştır. Zira dönem 1980’leri takip eden ekonomik gelişmelerin de etkisiyle toplumsal alanda dönüşümlerin yaşandığı, müzik üretimi hususunda da her alanda çalışmaların arttığı bir zamandır. Dolayısıyla bu çalışmada protest bir duruşun kolektif bir bilinçle şekillenmesinden oluşan altkültür grupları, kendilerini ifade ettikleri müzik tarzıyla bütünleşmeleri üzerinden özellikle rock, heavy metal ve punk müziği kapsamında konu edilmiş, bu bağlamda hem literatür taramaları hem de nitel bir araştırma yöntemi olan doküman analizi metodu kullanılarak fanzin yayıncılığı faaliyetlerine yönelik bir durum tespitinin yapılması hedeflenmiştir. Çalışmanın neticesinde birtakım sosyal, siyasal ve ekonomik sebeplerle doksanlı yıllarda rock, heavy metal ve punk altkültürlerin fanzin yayıncılığıyla ilgilendikleri ancak hip-hop, rap, arabesk ve Roman müzikle ilgilenen altkültür grupların fanzin yayıncılığı konusunda bir etkileşimlerinin olmadığı tespit edilmiş ve bu durumun olası sebeplerine değinilmiştir.

APA, Harvard, Vancouver, ISO, and other styles

34

Munstedt, Peter A. "Kansas City Music Publishing: The First Fifty Years." American Music 9, no. 4 (1991): 353. http://dx.doi.org/10.2307/3051686.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Towse, Ruth. "Economics of music publishing: copyright and the market." Journal of Cultural Economics 41, no. 4 (March 11, 2016): 403–20. http://dx.doi.org/10.1007/s10824-016-9268-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Simlett-Moss, Joyce. "Adolph Hummel: Music Publisher in Eighteenth-Century London." Royal Musical Association Research Chronicle 52 (April 2021): 90–182. http://dx.doi.org/10.1017/rrc.2020.5.

Full text

Abstract:

AbstractAdolph Hummel, from Hesse, established in Soho a music publishing business that lasted 12 years (1760–1772). His publishing strategy differed in several ways from that commonly adopted by London publishers: he published only foreign-born (mostly German or Italian) composers; he did not issue vocal music; and, while taking the common routes of advertising his publications by notices in contemporary newspapers and listing issues in the imprints to title pages, he was highly unusual in that he produced no catalogue. He was also unusual in obtaining a royal licence to protect his copyright. He was the first publisher in London to issue a string quartet, and possibly the first to add violin accompaniments to already-published solo harpsichord sonatas to create accompanied sonatas. He was probably related to the Hummel music publishing brothers of the Netherlands. Personal information about him is hard to come by, but we know that Frau Anna Maria Mozart was godmother to his youngest child; he was a particular friend of J. C. Bach; he was prosecuted, for an undisclosed reason, by the musician Rudolf Straube; and he was the founder of three generations of the musical ‘English Hummells’. The final part of this article comprises a detailed catalogue of Hummel’s publications.

APA, Harvard, Vancouver, ISO, and other styles

37

Ферран, Я. А. "Copyright Issues in the Correspondence Between “P. Jurgenson" and German Music Publishing Houses (1905-1908)." Музыкальная академия, no. 1(769) (March 29, 2020): 148–57. http://dx.doi.org/10.34690/42.

Full text

Abstract:

Статья посвящена проблеме урегулирования вопросов авторского права в издательской деятельности между российской и немецкой сторонами в 1905-1908 годах. Проанализирована корреспонденция московской музыкально-издательской фирмы «П. Юргенсон» и ряда немецких (преимущественно лейпцигских) издательств. Приведены основные законодательные акты Германии и России, регламентирующие данную отрасль права; выявлены ключевые аспекты юридических отношений в издательской сфере. Основным материалом для исследования стали немецкоязычные источники из фондов Российского национального музея музыки и Лейпцигского государственного архива, впервые вводимые в научный оборот. The article is devoted to the problem of copyright in publishing and the settlement of this question between the Russian and German sides in 1905-1908. The work includes an analysis of correspondence between the Moscow publishing house “P. Jurgenson” and many German (predominantly Leipzig) music publishing houses. It presents the main legislative acts of Germany and Russia regulating this branch of law; summarizes the key aspects of legal relations in the publishing field. The main material for the article was German-language sources and literature from the funds of German and Russian archives and libraries, first introduced into scientific use. The article is devoted to the problem of copyright in publishing and the settlement of this question between the Russian and German sides in 1905–1908. The work includes an analysis of correspondence between the Moscow publishing house “P. Jurgenson” and many German (predominantly Leipzig) music publishing houses. It presents the main legislative acts of Germany and Russia regulating this branch of law; summarizes the key aspects of legal relations in the publishing field. The main material for the article was German-language sources and literature from the funds of German and Russian archives and libraries, first introduced into scientific use.

APA, Harvard, Vancouver, ISO, and other styles

38

Bruseker, Nancy. "She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music." IASPM Journal 3, no. 2 (March 2, 2013): 113–14. http://dx.doi.org/10.5429/614.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Stahura, Mark W. "The Publishing Copy Text of Handel's Samson." Journal of Musicology 4, no. 2 (1986): 207–16. http://dx.doi.org/10.2307/763796.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Stahura, Mark W. "The Publishing Copy Text of Handel's Samson." Journal of Musicology 4, no. 2 (April 1985): 207–16. http://dx.doi.org/10.1525/jm.1985.4.2.03a00050.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Bartleet, Brydie-Leigh, Don Coffman, and Roger Mantie. "The ethics of being an editor–researcher." International Journal of Community Music 16, no. 1 (March 1, 2023): 3–7. http://dx.doi.org/10.1386/ijcm_00072_2.

Full text

Abstract:

Although only a few months old at press time, ChatGPT has already established itself as one of the biggest disruptors of historical conceptions of authorship, reality and trust. The research community will no doubt face increasing challenges as it attempts to deal with peer review, conflicts-of-interest and publishing ethics. Readers may know that the International Journal of Community Music is a Committee on Publication Ethics (COPE) member. COPE establishes ethical guidelines for the academic publishing. No doubt these will evolve in the face of emerging artificial intelligence technology. The existing guidelines are helpful but still leave many issues unaddressed, such as what researchers should do when it comes to publishing in a journal they edit. In addition to Kathleen Turner’s autoethnographic reflective essay about the challenges arising from the COVID-19 crisis on a university-based community music training programme and Anna McMichael’s study of composer/musicians involved with the annual classical Tyalgum Music Festival in regional Australia, Issue 16:1 features three articles authored or co-authored by the journal’s editors, who devised an in-house system to ensure the integrity of the double-blind peer review system. The issue concludes with a dedication to Janice Waldron (1957–2022), who passed away suddenly and unexpectedly in November 2022.

APA, Harvard, Vancouver, ISO, and other styles

42

Dansereau, Diana R., Elizabeth A. Andang’o, and Luc Nijs. "Publishing in the International Journal of Music in Early Childhood: Key processes and considerations." International Journal of Music in Early Childhood 18, no. 1 (June 1, 2023): 53–59. http://dx.doi.org/10.1386/ijmec_00057_1.

Full text

Abstract:

Research shows that several factors often impede potential authors from engaging in the publishing process. These include negative emotions stemming from unpleasant reviewer feedback and/or a lack of specific knowledge regarding the various stages of writing and publishing. In this article, based on a session we presented at the 2022 ISME Early Childhood Commission Seminar, we aim to counter such negative emotional responses by providing writing and publishing information for readers who seek to disseminate their work through International Journal of Music in Early Childhood (IJMEC). We draw upon Kwan’s Research Publishing Competence Framework, which consists of five domains related to comprehensively supporting authors: conceiving and designing publishable projects, output planning and management, manuscript writing, thesis–publication conversion and handling reviews.

APA, Harvard, Vancouver, ISO, and other styles

43

Radzetskaya, Olga V. "The Music Publishing Catalogues of Provincial Music Stores in the Second Half of the 19th and the Early 20th Centuries: “M. Bernard” and “Vostochnaya Lira” (from the Collections of the Russian State Library)." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 134–42. http://dx.doi.org/10.33779/2782-3598.2022.1.134-142.

Full text

Abstract:

In the second half of the 19th and the early 20th centuries many music publishing houses and stores appeared in many cities and gubernias of the Russian empire. The cause for this was the intensive development of the Russian art of music, the formation of academic musical traditions and a flourishing of the Russian compositional school. The activities of provincial musical publishing houses and stores, in particular, the “Vostochnaya lira” [“Eastern Lyre”] in Kazan comprises a unique local history, infixed in the catalogues, preserved in the funds of the Russian State Library. They contain valuable material which allows the study of the commercial mechanisms of the present organizations, their repertoire conceptions and structural particularities, to actualize the experience of long-term cooperation with profile organization, and also bring into scholarly use lesser-known facts which serve as testimonies to their high spiritual mission. The chief factor for success was the honorary title of “commissioner of the Imperial Russian Music Society,” which became the sign of quality and the synonym for professionalism. The scale of the organizations’ activities is connected with the support for national art and education involving long-term projects for the development of the musical culture. Elucidation of their work presents the possibility of expanding and supplementing knowledge about the Russian music publishing business and its representatives.

APA, Harvard, Vancouver, ISO, and other styles

44

Acevedo, David. "Celebrating High Art in Postmodern Flatlands." Academic Questions 34, no. 4 (December 20, 2021): 139–45. http://dx.doi.org/10.51845/34.4.28.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Kairaitytė-Užupė, Aušra. "Neformalių XX a. pabaigos – XXI a. pradžios Lietuvos jaunimo leidinių – fanzinų – leidybos tendencijos." Knygotyra 82 (July 16, 2024): 143–69. http://dx.doi.org/10.15388/knygotyra.2024.82.6.

Full text

Abstract:

This article analyzes Lithuanian youth subcultural group publications – fanzines (zines) – which have not yet received broader attention from researchers. Paper fanzines started to be created at the end of the 20th century and became popular in the 1990s, spreading Western culture ideas and changing the political, and socio-cultural environment in Lithuania along with technological copying and reproduction possibilities. Using resources from Lithuania’s Youth Culture Digital Archive “Lithuanian Zine Collection” and additionally collected sources, the article analyzes the trends in the creation and publishing of fanzines. By comparing the publishing similarities and differences of fanzines attributed to different subcultural groups, the aim is to understand the cultural context of these publications, their relationship with readers, and the publishing possibilities of fanzine creators. The study applies descriptive metadata analysis and systematization of fanzines, as well as ethnographic research methods (targeted interview, questionnaire, and qualitative interviews with fanzine authors, publishers, and collectors). The research results showed that in Lithuania, mainly in the 1990s, metal music fanzine authors, unlike punks and science fiction fans, created more publications written in English. Metal music fanzines were characterized by greater volume. Science fiction fans’ publications differed from those of metalheads and punks by a greater number of continuous issues and fewer one-time publications. Authors of fanzines associated with punk ideology mostly chose to independently reproduce publications using a copying machine, while creators of metal music and science fiction fanzines more often used professional printing services. The language used in fanzines and its style helped to form a close relationship with readers, revealed the identity traits of subcultural groups, and helped metal music fanzine authors to integrate into the international fanzine culture context. Seeking independence and individuality, fanzine creators disregarded professional publishing standards. Fanzine publishing depended on individual choice, motivation, creativity, reader interest, and technological possibilities (publication reproduction, layout). Fanzines created in Lithuania became one of the main forms of idea dissemination, creative freedom, and self-expression for alternative youth communication.

APA, Harvard, Vancouver, ISO, and other styles

46

Hytönen-Ng, Elina. "Book review: Perspectives on Anthropology of Music and Dance from the British Isles." Suomen Antropologi: Journal of the Finnish Anthropological Society 47, no. 2 (July 31, 2023): 109–11. http://dx.doi.org/10.30676/jfas.119749.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Coggins, Owen. "Metal Music and the Re-imagining of Masculinity, Place, Race and Nation, Karl Spracklen (2020)." Metal Music Studies 7, no. 1 (March 1, 2021): 179–83. http://dx.doi.org/10.1386/mms_00042_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Shabshaevich, Elena M. "Music Store as a Socio-Cultural Phenomenon." Observatory of Culture 16, no. 2 (July 5, 2019): 214–23. http://dx.doi.org/10.25281/2072-3156-2019-16-2-214-223.

Full text

Abstract:

The subject of this article is the role and place of music store as a phenomenon in cultural history. It is located “at the intersection” of historical and socio-cultural musicology but it has not been previously studied from this perspective. The relevance of the topic is related to the fact that the study of the music store phenomenon in all versatility gives an opportunity to have a new look at different aspects of musical and social life: history of performing art, concert practice, music management, development of music instruments, book and music publishing. It covers the emergence of music stores (based on bookstalls with an expanded product range, publishing houses, factories for production of musical instruments); their locations as well as different aspects of functioning (including in the system of music management, education and enlightenment). On the example of the most famous stores of Moscow and Petersburg of the end of the 18th — beginning of the 20th century, it is shown that music stores played a strongly pronounced culture spreading role in the history of Russian culture. In particular, reading rooms and libraries were organized at music stores; concerts were organized with their mediation; skilled staff of the music industry grew in their depths. There is noted that the cultural function of music store was particularly evident in the provinces where it would become a noticeable cultural and intellectual centre. The article indicates main directions of further research in this and related fields of knowledge; traces the fate of this institution in our days: changing the forms of work, going from offline to online space.

APA, Harvard, Vancouver, ISO, and other styles

49

GETMAN, JESSICA L. "A Series on the Edge: Social Tension in Star Trek's Title Cue—ADDENDUM." Journal of the Society for American Music 9, no. 4 (November 2015): 522. http://dx.doi.org/10.1017/s1752196315000486.

Full text

Abstract:

Permission to use notation for the theme from “Star Trek” was received after the article by Getman in the August 2015 issue of Journal of the Society for American Music was published. The captions for Examples 1, 2, and 4 should carry the following credit:Theme from “Star Trek(R),” words by Gene Roddenberry, music by Alexander Courage. © 1966, 1970 Bruin Music Company. Copyright renewed. This arrangement © 2015 Bruin Music Company. All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation.

APA, Harvard, Vancouver, ISO, and other styles

50

Strielkowski, Wadim. "Will the rise of Sci-Hub pave the road for the subscription-based access to publishing databases?" Information Development 33, no. 5 (October 8, 2017): 540–42. http://dx.doi.org/10.1177/0266666917728674.

Full text

Abstract:

Sci-hub has become the new phenomenon on the academic publishing market. While its popularity is growing worldwide, large academic publishers are losing millions of dollars on paid article downloads. Perhaps the time has come to re-think the rules of the game of the publishing market and to look for novel solutions for monetizing scientific output. Subscription-based access to publishing databases, similar to the model used in online music streaming, might be one of these solutions that could secure the status quo and stabilize the market.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!