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Journal articles on the topic 'Recorded music industry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Marshall, Lee. "Do People Value Recorded Music?" Cultural Sociology 13, no. 2 (2019): 141–58. http://dx.doi.org/10.1177/1749975519839524.

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How much do the majority of people value music, and can or should that level of value be reflected in music’s economic value? The dramatic decline in the economic value of recorded popular music in the 21st century has prompted much debate about music being ‘devalued’ and the perceived ‘value gap’ between music’s socio-cultural and economic values. Using the economic decline of recorded music as a springboard, this article takes a different approach, however. It offers a theoretical analysis of popular music consumption practices organised thematically in terms of ‘music as object’ (focusing on the social values generated and perceived by recorded music artefacts) and ‘music as sound’ (focusing on the way that most contemporary musical experiences are characterised by music being background sound or accompaniment). Overall, the argument is that ‘music’ may not be as culturally valued by people as is commonly assumed. The way that music operates as a low-value entity to many people is perhaps reflected in the cultural and economic contours of the digital music industry, though they are not caused by digitisation per se.
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Watson, Allan. "Global music city: knowledge and geographical proximity in London's recorded music industry." Area 40, no. 1 (2008): 12–23. http://dx.doi.org/10.1111/j.1475-4762.2008.00793.x.

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3

Roy, Elodie A. "‘Total trash’. Recorded music and the logic of waste." Popular Music 39, no. 1 (2020): 88–107. http://dx.doi.org/10.1017/s0261143019000576.

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AbstractThis article introduces three situated moments – or plateaux – in order to partially uncover the particular affinities between popular music and the ‘logic of waste’ in the Anthropocene Era, from early phonography to the present digital realm (with a focus on the UK, United States, and British India). The article starts with a ‘partial inventory’ of the Anthropocene, outlining the heuristic values of waste studies for research in popular music. The first plateau retraces the more historical links between popular music and waste, showing how waste (and the positive discourses surrounding it) became a defining element of the discourse and practices of early phonography. It aims to show how recorded sound participated in (and helped define, in an emblematic manner) a rapidly expanding ‘throwaway culture’ at the turn of the 20th century. The second plateau presents a more global panorama of the recording industry through a focus on shellac (a core, reversible substance of the early recording industry). Finally, the third plateau presents some insights into the ways in which popular music may ‘play’ and incorporate residual materialities in the contemporary ‘digital age’. I argue that the logic of waste defined both the space and pace of the early record industry, and continued to inform musical consumption across the 20th century – notably when toxic, non-recyclable synthetic materials (especially polyvinyl) were introduced.
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Gander, Jonathan, and Alison Rieple. "Inter-organisational Relationships in the Worldwide Popular Recorded Music Industry." Creativity and Innovation Management 11, no. 4 (2002): 248–54. http://dx.doi.org/10.1111/1467-8691.00256.

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5

Bacache-Beauvallet, Maya, Marc Bourreau, and François Moreau. "Information asymmetry and 360-Degree Contracts in the Recorded Music Industry." Revue d'économie industrielle, no. 156 (December 31, 2016): 57–90. http://dx.doi.org/10.4000/rei.6446.

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6

Turner, Graeme. "Copyright, Regulation and Power in the Recorded Music Industry: A Model." Popular Music 13, no. 3 (1994): 339–42. http://dx.doi.org/10.1017/s0261143000007248.

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7

Konsor, Kellie. "Intrafirm competition and release dates: evidence from the recorded music industry." Journal of Media Economics 30, no. 4 (2017): 215–31. http://dx.doi.org/10.1080/08997764.2018.1515768.

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8

Bourreau, Marc, Romain Lestage, and François Moreau. "E-commerce and the market structure of the recorded music industry." Applied Economics Letters 24, no. 9 (2016): 598–601. http://dx.doi.org/10.1080/13504851.2016.1217298.

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9

Klein, Christopher C., and Shea W. Slonaker. "Chart Turnover and Sales in the Recorded Music Industry: 1990–2005." Review of Industrial Organization 36, no. 4 (2010): 351–72. http://dx.doi.org/10.1007/s11151-010-9250-z.

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10

Papies, Dominik, and Harald J. van Heerde. "The Dynamic Interplay between Recorded Music and Live Concerts: The Role of Piracy, Unbundling, and Artist Characteristics." Journal of Marketing 81, no. 4 (2017): 67–87. http://dx.doi.org/10.1509/jm.14.0473.

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The business model for musicians relies on selling recorded music and selling concert tickets. Traditionally, demand for one format (e.g., concerts) would stimulate demand for the other format (e.g., recorded music) and vice versa, leading to an upward demand spiral. However, the market for recorded music is under pressure due to piracy and the unbundling of albums, which also entail threats for the traditional demand spiral. Despite the fundamental importance of recorded music and live concerts for the multibillion-dollar music industry, no prior research has studied their dynamic interplay. This study fills this void by developing new theory on how piracy, unbundling, artist fame, and music quality affect dynamic cross-format elasticities between record demand and concert demand. The theory is tested with a unique data set covering weekly concert and recorded music revenues for close to 400 artists across more than six years in the world's third-largest music market, Germany. The cross-format elasticity of record on concert revenue is much stronger than the reverse elasticity of concert on record revenue. The results show the key role of piracy, unbundling, and artist characteristics on these cross-format elasticities, which have implications for the business model of the music industry.
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Bennett, Toby. "Towards ‘Embedded Non-creative Work’? Administration, digitisation and the recorded music industry." International Journal of Cultural Policy 26, no. 2 (2018): 223–38. http://dx.doi.org/10.1080/10286632.2018.1479399.

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12

Gander, Jonathan, Adrian Haberberg, and Alison Rieple. "A paradox of alliance management: resource contamination in the recorded music industry." Journal of Organizational Behavior 28, no. 5 (2007): 607–24. http://dx.doi.org/10.1002/job.463.

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13

Blanc, Antoine, and Isabelle Huault. "The maintenance of macro-vocabularies in an industry: The case of the France's recorded music industry." Industrial Marketing Management 80 (July 2019): 280–95. http://dx.doi.org/10.1016/j.indmarman.2018.06.004.

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14

Negus, Keith. "From creator to data: the post-record music industry and the digital conglomerates." Media, Culture & Society 41, no. 3 (2018): 367–84. http://dx.doi.org/10.1177/0163443718799395.

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This article contributes to research on the changing music industries by identifying three dynamics that underpin the shift towards a post-record music industry. First, it examines how musicians have found themselves redefined as content providers rather than creative producers; a historical change from recorded music as product to content. Second, it focuses on tensions between YouTube and recording artists as symptomatic of disputes about the changing artistic and economic value of recorded music. Third, it extends this debate about the market and moral worth of music by exploring how digital recordings have acquired value as data, rather than as a commercial form of artistic expression. The article explores how digital conglomerates have become ever-more significant in shaping the circulation of recordings and profiting from the work of musicians, and highlights emergent dynamics, structures and patterns of conflict shaping the recording sector specifically, and music industries more generally.
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15

Babich, Babette. "Musical “Covers” and the Culture Industry." Research in Phenomenology 48, no. 3 (2018): 385–407. http://dx.doi.org/10.1163/15691640-12341403.

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Abstract This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”
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16

Tang, Diming, and Robert Lyons. "An ecosystem lens: Putting China’s digital music industry into focus." Global Media and China 1, no. 4 (2016): 350–71. http://dx.doi.org/10.1177/2059436416685101.

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The digital disruption of the global music industry hits the value chain for recorded music hard. In China, new digital service providers began to amass large user bases, offering a variety of services based on e-commerce and social messaging applications. In a low-intellectual property environment, these services have become the primary sources of digital music streaming via the Internet and increasingly through mobile telephony. This article reviews the literature on the value chains within the Chinese music industry, compares a classic business ecosystem model with a more recent model, and examines available user data on current Chinese music streaming services. We then suggest an ecosystem framework toward understanding the digital music industry in China and discuss how this framework maps to recent developments in China’s digital music industry.
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17

Zhang, Laurina. "Intellectual Property Strategy and the Long Tail: Evidence from the Recorded Music Industry." Management Science 64, no. 1 (2018): 24–42. http://dx.doi.org/10.1287/mnsc.2016.2562.

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18

Jain, Sanjay. "Fumbling to the future? Socio-technical regime change in the recorded music industry." Technological Forecasting and Social Change 158 (September 2020): 120168. http://dx.doi.org/10.1016/j.techfore.2020.120168.

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19

Pattillo, Gary. "Fast Facts." College & Research Libraries News 78, no. 6 (2017): 344. http://dx.doi.org/10.5860/crln.78.6.344.

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20

Blanc, Antoine, and Isabelle Huault. "Against the digital revolution? Institutional maintenance and artefacts within the French recorded music industry." Technological Forecasting and Social Change 83 (March 2014): 10–23. http://dx.doi.org/10.1016/j.techfore.2013.03.009.

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21

Benner, Mary J., and Joel Waldfogel. "The Song Remains the Same? Technological Change and Positioning in the Recorded Music Industry." Strategy Science 1, no. 3 (2016): 129–47. http://dx.doi.org/10.1287/stsc.2016.0012.

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22

Chang, Sungyong. "Two Faces of Decomposability in Search: Evidence from the Recorded Music Industry 1995-2015." Academy of Management Proceedings 2021, no. 1 (2021): 13914. http://dx.doi.org/10.5465/ambpp.2021.13914abstract.

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23

Messenger, Cory. "Record Collectors: Hollywood Record Labels in the 1950s and 1960s." Media International Australia 148, no. 1 (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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24

Jansson, Johan, and Brian J. Hracs. "Conceptualizing curation in the age of abundance: The case of recorded music." Environment and Planning A: Economy and Space 50, no. 8 (2018): 1602–25. http://dx.doi.org/10.1177/0308518x18777497.

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The contemporary marketplace for cultural products, such as music, fashion and film, features an abundance of goods, services and experiences. While producers struggle to differentiate and monetize their offerings, some consumers are overwhelmed by the amount of choice and information available to them. As a result, many consumers are turning to a range of intermediaries who help them make sense of the marketplace. While intermediation is nothing new, its value is increasing and there has been a shift in relative importance from those who create products to those who curate products. As curation remains a ‘fuzzy concept’ – with definitions and connotations that vary by industry and occupation – this paper aims to contribute to existing conceptualizations by focusing on the case of recorded music. Based on interviews and observation with a subset of curators, including record shops and music writers, the paper provides a typology of curation-related activities and highlights the range of economic and non-economic rewards that motivate different actors to perform curation. It also interrogates the importance and role of space by identifying physical, temporary and virtual spaces where curation is performed and relationships between specific spatial dynamics and curation-related processes.
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25

Croghan, Naomi B. H., Anne M. Swanberg, Melinda C. Anderson, and Kathryn H. Arehart. "Chosen Listening Levels for Music With and Without the Use of Hearing Aids." American Journal of Audiology 25, no. 3 (2016): 161–66. http://dx.doi.org/10.1044/2016_aja-15-0078.

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Purpose The objective of this study was to describe chosen listening levels (CLLs) for recorded music for listeners with hearing loss in aided and unaided conditions. Method The study used a within-subject, repeated-measures design with 13 adult hearing-aid users. The music included rock and classical samples with different amounts of audio-industry compression limiting. CLL measurements were taken at ear level (i.e., at input to the hearing aid) and at the tympanic membrane. Results For aided listening, average CLLs were 69.3 dBA at the input to the hearing aid and 80.3 dBA at the tympanic membrane. For unaided listening, average CLLs were 76.9 dBA at the entrance to the ear canal and 77.1 dBA at the tympanic membrane. Although wide intersubject variability was observed, CLLs were not associated with audiometric thresholds. CLLs for rock music were higher than for classical music at the tympanic membrane, but no differences were observed between genres for ear-level CLLs. The amount of audio-industry compression had no significant effect on CLLs. Conclusion By describing the levels of recorded music chosen by hearing-aid users, this study provides a basis for ecologically valid testing conditions in clinical and laboratory settings.
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26

Nogueira, de. "The First World War and the ascension of the phonographic industry in the New World." New Sound, no. 44-2 (2014): 53–67. http://dx.doi.org/10.5937/newso1444053n.

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The First World War years witnessed a radical and important change in the history of both music and the phonographic industry, gradually putting popular rather than classical music under the spotlight and moving the axis of entertainment music production across the Atlantic into the New World. It is no coincidence that the first jazz, the first samba and also the first tango-canciôn were all recorded and released in the same year, 1917 - in the twilight of the Great War. This article intends to shed light on this process, discussing the cultural and socioeconomic factors that determined it.
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27

Tôyô, Nakamura. "Early pop song writers and their backgrounds." Popular Music 10, no. 3 (1991): 263–82. http://dx.doi.org/10.1017/s0261143000004645.

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What was the first Japanese pop hit? The answer will vary according to definition, but undoubtedly come from one of the following five songs:(1) ‘Kachûsha no Uta’ (Kachusha's Song): first sung on stage by Matsui Sumako in March 1914; words by Shimamura Hôgetsu and Sôma Gyofû, music by Nakayama Shimpei; recorded by Matsui for Orient Records under the title of ‘Fukkatsu Shôka.(2) ‘Sendô Kouta’ (A Boatman's Ditty): released in sheet music form in March 1921; words by Noguchi Ujō, music by Nakayama Shimpei.(3) ‘Habu no Minato’ (The Harbour of Habu): written in 1923; words by Noguchi Ujô, music by Nakayama Shimpei; originally recorded by Satô Chiyako for Victor Records in April 1928.(4) ‘Kimi Koishi’ (You, Sweetheart): written in 1928; words by Shiguré Otowa, music by Sasa Kôka; originally recorded by Futamura Tei'ichi for Victor Records in December 1928.(5) ‘Tokyo Kôshin-kyoku’ (Tokyo March): written in 1929; words by Saijô Yaso, music by Nakayama Shimpei; originally sung by Satô Chiyako for Victor Records in June 1929.By looking at how these five songs were put together and became hits, we may be able to understand the origins of the professional song writer in Japan and the early growth of the domestic recording industry.
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Brennan, Matt, and Kyle Devine. "The cost of music." Popular Music 39, no. 1 (2020): 43–65. http://dx.doi.org/10.1017/s0261143019000552.

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AbstractWhat is the cost of music in the so-called Anthropocene? We approach this question by focusing on the case of sound-recording formats. We consider the cost of recorded music through two overlapping lenses: economic cost, on the one hand, and environmental cost, on the other. The article begins by discussing how the price of records has changed from the late 19th to the 21st century and across the seven most economically significant playback formats: phonograph cylinder, gramophone disc, vinyl LP, cassette tape, compact disc, digital audio files on hard drive, and streaming from the cloud. Our case study territory is the United States, and we chart the gradual decline in the price of recorded music up to the present. We then examine the environmental and human costs of music by looking at what recordings are made out of, where those materials come from, and what happens to them when they are disposed of. Despite what rhetorics of digital dematerialisation tell us, we show that the labour conditions in the digital electronics and IT industries are as inhumane as ever, while the amount of greenhouse gases released by the US recording industry could actually be higher today than at the height of any previous format. We conclude by asking the obvious (but by no means straightforward) question: what are musicians and fans to do?
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Lestari, Ningrum Dwi. "Proses Produksi dalam Industri Musik Independen di Indonesia." Jurnal Komunikasi 10, no. 2 (2019): 161–68. http://dx.doi.org/10.31294/jkom.v10i2.6207.

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This research focused on production process in the music recording industry independently by musician, Andien Aisyah. Previously Andien Aisyah worked with Major Label. The concept used in this research is concept of production, and associated with the production process on the recorded music by Andien. The research method used in this research is descriptive qualitative research. The results of the analysis of the production process recording music album by Andien independently has several similar stages to the production process previously with Major Label. In the production process between Major Label and Indie Label there is a difference that is in the pre-production stage, the difference is from the freedom of creativity to create music that will be produced. The freedom is a reason for Andien to move from Major Label to Indie Label. The freedom of creativity on the music recording independently is a form musician resistance against the Major Label which restrict the creativity of their musical works.
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30

Scott, A. J. "The US Recorded Music Industry: On the Relations between Organization, Location, and Creativity in the Cultural Economy." Environment and Planning A: Economy and Space 31, no. 11 (1999): 1965–84. http://dx.doi.org/10.1068/a311965.

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31

Essling, Christian, Johannes Koenen, and Christian Peukert. "Competition for attention in the digital age: The case of single releases in the recorded music industry." Information Economics and Policy 40 (September 2017): 26–40. http://dx.doi.org/10.1016/j.infoecopol.2017.05.002.

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32

Qureshi, Regula Burckhardt. "His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia." Popular Music 18, no. 1 (1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.

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‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this musical reality after years of live study has prompted me first to situate the study of recorded qawwali vis-à-vis my own scholarly conventions and vis-à-vis the pioneering work on sound recording done in the very region of my own study. The aim is to address the problematic of an ethnographic approach to recorded qawwali, and to present preliminary findings, including some culturally meaningful examples from the repertoire.
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33

Wallis, Roger, and Krister Malm. "Push-pull for the video clip: a systems approach to the relationship between the phonogram/videogram industry and music television." Popular Music 7, no. 3 (1988): 267–84. http://dx.doi.org/10.1017/s0261143000002944.

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Using pictures to sell music is hardly a new concept. Examples of pictures being set to pre-recorded music with the aim of producing a piece of audio-visual entertainment can be found as early as the first decade of this century. At the Paris World Fair in 1900, stars of the theatre appeared in short film sketches with synchronised gramophone sound (Olsson 1986). From 1905 through to about 1914 in Sweden, a number of commercially available music recordings were used as the basis of short films which were shown in cinemas with various types of mechanical inventions and much human ingenuity being applied to ensure, though not always achieving, synchronisation. Those portrayed in the films were often actors who mimed the songs (Furhammar 1985, 1988).
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34

Avenell, Simon, and Herb Thompson. "Commodity Relations and the Forces of Production: The Theft and Defence of Intellectual Property." Journal of Interdisciplinary Economics 5, no. 1 (1994): 23–35. http://dx.doi.org/10.1177/02601079x9400500104.

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In 1993, the info-media companies, Philips and Sony brought their new digital audio recording systems (Digital Compact Cassette and the Mini Disc respectively) onto the market. Since both systems can make perfect digital copies of Compact Discs, this will dramatically affect the profitability of the pre-recorded music industry, which is a repeat of what occurred when audio cassettes were first introduced in the 1960s. The inability to enforce restrictions on copyright or patent infringement is considered a global problem by many firms in the so-called “sunrise industries”. This article situates the problem by presenting and analysing the commodity relations of the pre-recorded music industry within the framework of Marxist methodology. The methodology provides for unique insights into this problem for the capitalist mode of production and points to the possibilities for further research. A secondary, but methodologically important purpose of the article is to widen the potential for Marxist analysis itself by extending attention on the commodity relations-consumption component of the circuit of capital, an area given meager attention by Marxists in the past.
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Wang, Xueqi, and Zhichong Zou. "Open Data Based Urban For-Profit Music Venues Spatial Layout Pattern Discovery." Sustainability 13, no. 11 (2021): 6226. http://dx.doi.org/10.3390/su13116226.

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The spatial pattern of music venues is one of the key decision-making factors for urban planning and development strategies. Understanding the current configurations and future demands of music venues is fundamental to scholars, planners, and designers. There is an urgent need to discover the spatial pattern of music venues nationwide with high precision. This paper aims at an open data solution to discover the hidden hierarchical structure of the for-profit music venues and their dynamic relationship with urban economies. Data collected from the largest two public ticketing websites are used for clustering-based ranking modeling and spatial pattern discovery of music venues in 28 cities as recorded. The model is based on a multi-stage hierarchical clustering algorithm to level those cities into four groups according to the website records which can be used to describe the total music industry scale and activity vitality of cities. Data collected from the 2018 China City Statistical Year Book, including the GDP per capita, disposable income per capita, the permanent population, and the number of patent applications, are used as socio-economic indicators for the city-level potential capability of music industry development ranking. The Spearman’s rank correlation coefficient and the Kendall rank correlation coefficient are applied to test the consistency of the above city-level rankings. The results are 0.782 and 0.744 respectively, which means there is a relatively significant correlation between the scale level of current music venue configuration and the potential to develop the music industry. Average nearest neighbor index (ANNI), quadrate analysis, and Moran’s I are used to identify the spatial patterns of music venues of individual cities. The results indicate that music venues in urban centers show more spatial aggregation, where the spatial accessibility of music activity services takes the lead significantly, while a certain amount of venues with high service capacity distribute in suburban areas. The findings can provide decision support for urban planners to formulate effective policies and rational site-selection schemes on urban cultural facilities, leading to smart city rational construction and sustainable economic benefit.
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Levinthal, Daniel. "Ralph Gomory Best Industry Studies Paper Award First Runner-up: The Song Remains the Same? Technological Change and Strategic Positioning in the Recorded Music Industry." Strategy Science 2, no. 3 (2017): ii. http://dx.doi.org/10.1287/stsc.2017.0034.

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37

Frith, Simon. "Copyright and the music business." Popular Music 7, no. 1 (1988): 57–75. http://dx.doi.org/10.1017/s0261143000002531.

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For the music industry the age of manufacture is now over. Companies (and company profits) are no longer organised around making things but depend on the creation of rights. In the industry's own jargon, each piece of music represents ‘a basket of rights’; the company task is to exploit as many of these rights as possible, not just those realised when it is sold in recorded form to the public, but also those realised when it is broadcast on radio or television, used on a film, commercial or video soundtrack, and so on. Musical rights (copyrights, performing rights) are the basic pop commodity and to understand the music business in the 1980s we have to understand how these rights work. In this article, then, I begin and end with record companies' uses of copyright law and ideology to defend themselves against current technological and political threats to income, but I also want to ask questions about how the law itself defines music and determines the possibilities of musical ‘exploitation’. And this means putting contemporary arguments (for and against the blank tape levy, for example) in historical perspective.
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38

Howes, Seth. "DIY, im Eigenverlag: East German Tamizdat LPs." German Politics and Society 35, no. 2 (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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39

Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.

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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.   
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HITCHNER, EARLE. "No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America." Journal of the Society for American Music 4, no. 4 (2010): 509–20. http://dx.doi.org/10.1017/s1752196310000416.

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AbstractThe emergence of the compact disc in 1979 was regarded as the likely sales salvation of recorded music, and for many years the CD reigned supreme, generating steady, often substantial, company profits. More recently, however, the music industry has painfully slipped a disc. The CD has been in sharp decline, propelled mainly by young consumer ire over price and format inflexibility and by Internet technology available to skirt or subvert both. Irish American traditional music has not been impervious to this downward trend in sales and to other challenging trends and paradigm shifts in recording and performing. Amid the tumult, Irish American traditional music has nevertheless shown a new resilience and fresh vitality through a greater do-it-yourself, do-more-with-less spirit of recording, even for established small labels. The five recent albums of Irish American traditional music reviewed here—three of which were released by the artists themselves—exemplify a trend of their own, preserving the best of the past without slavishly replicating it. If the new mantra of music making is adapt or disappear, then Irish American traditional music, in adapting to change free of any impulse to dumb down, is assured of robustly enduring.
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Owen, Robyn, and Marcus O'Dair. "How blockchain technology can monetize new music ventures: an examination of new business models." Journal of Risk Finance 21, no. 4 (2020): 333–53. http://dx.doi.org/10.1108/jrf-03-2020-0053.

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Purpose This paper aims to examine how blockchain technology is disrupting business models for new venture finance. Design/methodology/approach The role of blockchain technology in the evolution of new business models to monetize the creative economy is explored by means of a case study approach. The focus is on the recorded music industry, which is in the vanguard of new forms of intermediation and financialization. There is a particular focus on emerging artists. Findings This paper provides novel case study insights and concludes by considering how further research can contribute to building a theory of technology-driven business models which apply to the development, on the one hand, of new forms of financial intermediaries, more correctly referred to as “infomediaries,” and on the other hand, to new forms of direct monetization by artists. Originality/value This paper provides early insight into the emerging potential applications of blockchain technologies to streamline music industry business service models and improve finance streams for new artists. The findings have far-reaching implications across the creative sector.
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42

Jhingan, Shikha. "Backpacking Sounds." Feminist Media Histories 1, no. 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.

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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with the material she has collected. Khanwalkar's collaborative approach to musical sound has challenged genre boundaries between film music and folk music on the one hand and the oral and the recorded on the other. Her radical intervention in sound and music brings together unexplored spatialities, voices, bodies, and machines by foregrounding the process of citation, recording, and digital reworking. Through an exploration of Khanwalkar's work, involving travel, mobility, and a prosthetic extension of the body through the microphone, the author brings into discussion emerging practices that have expanded the aural boundaries of the Bombay film song.
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HESS, CAROL A. "Competing Utopias? Musical Ideologies in the 1930s and Two Spanish Civil War Films." Journal of the Society for American Music 2, no. 3 (2008): 319–54. http://dx.doi.org/10.1017/s1752196308080103.

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AbstractAlthough literature inspired by the Spanish Civil War has been widely studied, music so inspired has received far less scholarly attention, and film music even less so. Musical ideologies of the 1930s, including the utopian thinking of many artists and intellectuals, emerge in some surprising ways when we consider two films of the era. Both The Spanish Earth (1937), an independent documentary, and Blockade (1938), produced in Hollywood, were intended to awaken Loyalist sympathies. The music for the former, consisting of recorded excerpts chosen by Marc Blitzstein and Virgil Thomson and widely understood as folkloric, embodies leftist composers' idealization of folk music. Werner Janssen's score for Blockade relies on many stock Hollywood gestures, granting it the status of a commodity. This article explores both films in light of Michael Denning's reflections of the relationship between the “cultural front” and the “culture industry,” along with Fredric Jameson's advocacy of the Utopian principle as a hermeneutic tool. It argues that the music for The Spanish Earth unwittingly subverts the Loyalist cause, whereas the score of Blockade, with its manipulation of Hollywood codes, is far more persuasive than the political whitewashing of its plot would seem to suggest.
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O’Dair, Marcus, and Robyn Owen. "Monetizing new music ventures through blockchain: Four possible futures?" International Journal of Entrepreneurship and Innovation 20, no. 4 (2019): 263–76. http://dx.doi.org/10.1177/1465750319829731.

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The article examines the rapidly developing area of blockchain finance as a potential opportunity for new creative ventures to obtain external investment funding and generate revenues. We focus on the music industry, as an example of how alternative Internet-based finance utilizing blockchain could provide opportunities for start-up funding and ongoing revenue streams. Our pioneering pilot research findings are drawn from literature review and emerging case studies, and are grounded in the academic literature of start-up funding gaps. Although some expect blockchain technology to remove intermediaries, facilitating a direct relationship between artist and fan, initial findings are that intermediation in some form will remain. The article’s central focus is the crucial emerging role of these facilitator organizations – the new breed of financial intermediaries or ‘infomediaries’. We examine this evolving process through adoption and development of financial intermediation theory, exploring the wider financial intermediary concept of incubators and accelerators as expert investors and promoters of new and very early-stage ventures – including artists. The article poses the question of whether blockchain technology offers a new, more cooperative approach for creative ventures, or merely the reinvention of existing corporate structures, for instance, the three major record labels that currently dominate recorded music. The article identifies four possible paths for the adoption of blockchain technology within the music industry, ranging from the anarcho-libertarian to the corporate and from the ‘utopian’ to the ‘dystopian’.
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45

Fournet, Adele. "Bit Rosie: A Case Study in Transforming Web-Based Multimedia Research into Digital Archives." American Archivist 84, no. 1 (2021): 119–38. http://dx.doi.org/10.17723/0360-9081-84.1.119.

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ABSTRACT This article is a case study in transforming web-based multimedia research initiatives into digital institutional archives to safeguard against the unstable nature of the Internet as a long-term historical medium. The study examines the Bit Rosie digital archives at the New York University Fales Library, which was created as a collaboration between a doctoral researcher in ethnomusicology and the head music librarian at the Avery Fisher Center for Music and Media. The article analyzes how the Bit Rosie archives implements elements of both feminist and activist archival practice in a born-digital context to integrate overlooked women music producers into the archives of the recorded music industry. The case study illustrates how collaboration between cultural creators, researchers, and archivists can give legitimacy and longevity to projects and voices of cultural resistance in the internet era. To conclude, the article suggests that more researchers and university libraries can use this case study as a model in setting up institutional archival homes for the increasing number of multimedia initiatives and projects blossoming throughout the humanities and social sciences.
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Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences." Art Libraries Journal 34, no. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.

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‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.
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47

Irfani, Suroosh. "New Discourses and Modernity in Postrevolutionary Iran." American Journal of Islam and Society 13, no. 1 (1996): 13–27. http://dx.doi.org/10.35632/ajis.v13i1.2348.

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Iran’s social and cultural climates seem to have undergone a relativerelaxation in recent years. The end of the Iran-Iraq war (1988), the deathof Ayatollah Khomeini (1989), and the emergence of Ali Akbar HashemiRafsanjani as president are some of the factors affecting this development.A cursory analysis of the level of literate intellectual culture-print media, film industry, literature, and music-reveals the range andnature of some cultural activities in post-1979 Iran. For example, between1981-91, the number of book titles published annually increased from3,500 to 8,600, periodicals from 100 to 501, and public libraries from 415to 550 units, while the number of people using libraries rose from 4 million(1981) to 14 million (1991). In the film industry, despite a vigilantcensor, Iranian cinema matured and acquired a new character, a developmentdescribed as “the most stimulating event in arts” over the lastdecade. More films were made by the local film industry and screened ininternational film festivals in 1990-91 than during any single year prior tothe 1979 revolution.A paradoxical linkage between constraints on cultural activities andthe flowering of creative potential also applies to music. DespiteKhomeini’s fatwa banishing music from the national radio and TV for atime,’ it is now claimed that the creative range of modem Persian musicis unmatched in the sixty years of its recorded history. In literature, theemergence of new writers, new experiments in form and technique, aswell as a phenomenal growth in the readership, sale, and publication ofworks by contemporary Iranian authors have enriched the cultural sceneconsiderably? With sales of each best-selling title running between15,000 to 35,000, together with the impressive quality of the works produced,the literary arena appears to be more buoyant than at any otherperiod of recent Iranian history.” ...
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48

Meyer, Stephen C. "Parsifal's Aura." 19th-Century Music 33, no. 2 (2009): 151–72. http://dx.doi.org/10.1525/ncm.2009.33.2.151.

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Abstract ““Aura””——configured as an interplay of preservation and loss or——to quote the first version of Walter Benjamin's famous artwork essay——as an ““interweaving of space and time””——is central not only to sound recording, but also to the musical dramaturgy of Wagner's final work. This article examines ways in which this unusual alignment affected early (pre-1948) recordings of Parsifal. The potential contradictions implicit in the concept of aura are nowhere more strikingly revealed than in these early recordings. On one hand, they foreground the problems of reducing complex and lengthy works to easily recorded excerpts or arrangements. In this quasi-Adornian reading, early sound recordings of Parsifal manifest the inexorable power of the culture industry to undermine the authentic work of art. And yet sound recording can also be seen as the fruit of a different impulse, the impulse toward a fully transcendent work of art, the realization of the ““invisible theater”” for which Wagner himself supposedly yearned. Indeed, Parsifal (even more than Wagner's other works) was recorded primarily as a symphonic work, divested of what Adorno so tellingly called the ““phony hoopla”” of operatic production. Early sound recording of Parsifal thus amplifies the conflict between materialism and transcendence that forms the ideological substratum of the plot. This conflict manifests itself in the ““resistance”” that Parsifal offers up to the process of recording, a resistance that is ironically most audible precisely during the age in which the recordings themselves are most ““imperfect.”” It is in these traces of resistance, I will argue, that we may imagine the aura of Wagner's final work.
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Fleischer, Rasmus. "If the Song has No Price, is it Still a Commodity? : Rethinking the Commodification of Digital Music." Culture Unbound 9, no. 2 (2017): 146–62. http://dx.doi.org/10.3384/cu.2000.1525.1792146.

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In music streaming services like Spotify, discrete pieces of music no longer has a price, as has traditionally been the case in music retailing, both analog and digital. This article discusses the theoretical and practical implications of this shift towards subscriptions, starting from a critical review of recent literature dealing with the commodification of music. The findings have a relevance that is not limited to music or digital media, but also apply more broadly on the study of commodification. At the theoretical level, the article compares two ways of defining the commodity, one structural (Marx), one situational (Appadurai, Kopytoff), arguing for the necessity of a theory that can distinguish commodities from all that which is not (yet) commodified. This is demonstrated by taking Spotify as a case, arguing that it does not sell millions of different commodities to its users, but only one: the subscription itself. This has broad economic and cultural implications, of which four are highlighted: (1) The user of Spotify has no economic incentive to limit music listening, because the price of a subscription is the same regardless of the quantity of music consumed. (2) For the same reason, Spotify as a company cannot raise its revenues by making existing customers consume more of the product, but only by raising the number of subscribers, or by raising the price of a subscription. (3) Within platforms like Spotify, it is not possible to use differential pricing of musical recordings, as has traditionally been the case in music retail. Accordingly, record companies or independent artists hence can no longer compete for listeners by offering their music at a discount. (4) Within the circuit of capital. Spotify may actually be better understood as a commodity producer than as a distributor, implying a less symbiotic relationship to the recorded music industry.
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Szabo, Victor. "Pacifica Radio’s Music from the Hearts of Space and the Ambient Sound of California’s New Age." Journal of the American Musicological Society 74, no. 1 (2021): 43–90. http://dx.doi.org/10.1525/jams.2021.74.1.43.

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Abstract Music from the Hearts of Space, a freeform music program that aired across Northern California on KPFA-FM Pacifica Radio from 1973, set forth an expansive transgeneric vision of contemplative atmospheric “space music” whose properties, in the following decades, would become more popularly codified as either “new age” or “ambient.” Histories of these latter genres typically separate out ambient’s avant-garde lineage and secular functionalism from new age’s therapeutic and spiritual concerns; but an examination of Hearts’s first decade on the air, leading up to its 1983 syndication via National Public Radio’s satellite network, reveals a sonic and cultural milieu that belies this eventual generic split. Through investigation of Hearts’s private archive and interviews with the program’s host Stephen Hill, as well as industry research, cultural-historical study, and style analysis, I situate the genesis of Hearts’s proto-ambient sound within the Bay Area’s new age movement of the 1970s and early 1980s. Informed by the metaphor of the global media environment established in systems theory and popularized by Marshall McLuhan and Stewart Brand, artists and media producers within this grassroots technoculture designed and spread “alternative” personal media for the development of holistic awareness. These media included slow, reverberant, hypnotic recorded music, as curated by Hill and his cohost Anna Turner under the guiding concept of “space music.” This early history and analysis of Hearts’s space music as an atmospheric medium for attuning the listening self to a worldwide media ecology deepens and complicates genealogies that isolate the formation of ambient music from that of new age, revealing a cross-pollination of highbrow and countercultural ideals that led many musicians associated with the new age movement to similar sonic conclusions to those of ambient music architect Brian Eno.
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