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Relevant bibliographies by topics / Sound recording industry – History / Dissertations / Theses

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Dissertations / Theses on the topic 'Sound recording industry – History'

Author: Grafiati

Published: 10 March 2023

Last updated: 19 July 2025

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1

Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.

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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Bri

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2

Arvidsson, Kjell. "Skivbolag i Sverige." Doctoral thesis, Göteborg Handelshögskolan vid Göteborgs Univ, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=016515417&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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3

Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.

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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the sa

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4

Papizzo, Brian O'Shea (Brian Thomas O'Shea). "Towards a political economy of the Canadian recording industry." Ottawa, 1993.

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5

Genevro, Brad. "The art of recording the American wind band." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).

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6

Goh, Man-fat Joseph. "Music retailing in Hong Kong /." [Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13731105.

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7

Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.

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8

Choi, Ka-fai. "Some economics of the classical music record industry." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31938073.

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9

Western, Thomas James. "National phonography : field recording and sound archiving in Postwar Britain." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/33113.

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Vast numbers of historical field recordings are currently being digitised and disseminated online; but what are these field recordings-and how do they resonate today? This thesis addresses these questions by listening to the digitisation of recordings made for a number of ethnographic projects that took place in Britain in the early 1950s. Each project shared a set of logics and practices I call national phonography. Recording technologies were invested with the ability to sound and salvage the nation, but this first involved deciding what the nation was, and what it was supposed to sound like

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10

Choi, Ka-fai, and 蔡家輝. "Some economics of the classical music record industry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31938073.

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11

Howlett, Michael John Gilmour. "The record producer as nexus : creative inspiration, technology and the recording industry." Thesis, University of South Wales, 2009. https://pure.southwales.ac.uk/en/studentthesis/the-record-producer-as-nexus(b829aaf3-8ca1-4e8c-ab6e-f4f731644a47).html.

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What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least

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12

Stephens, Alexa Renee-Marie. "Atlanta's Digital Music Industry: Implications for Workforce and Economic Development." Thesis, Available online, Georgia Institute of Technology, 2007, 2007. http://etd.gatech.edu/theses/available/etd-07092007-093611/.

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13

Steyn, Martha Magdalena. "A supply chain model for the South African recording industry." Thesis, Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-09272005-100520.

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14

Bronskill, Jim (James Arnold) Carleton University Dissertation Journalism. "Sound barriers; the Canada-U.S. Free-Trade Agreement and the recording industry in Canada." Ottawa, 1992.

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15

Genevro, Bradley James. "The Art of Recording the American Wind Band." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.

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Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally,

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16

Thorley, Mark. "The unexplored impact of emergent technologies on music industry stakeholders : aspirants, producers and consumers." Thesis, Coventry University, 2016. http://curve.coventry.ac.uk/open/items/42e3ee1b-3756-494c-9f5d-adec1b485be2/1.

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This critical overview draws upon a portfolio consisting of two book chapters, three journal articles and one conference paper all published in international publications between 2011 and the present. The papers have been underpinned, supported and disseminated through 18 conference presentations and a variety of interventions with the commercial environment, all undertaken during the same period. The outputs are crossdisciplinary encompassing technology, acoustics, psychoacoustics, business, music, psychology, physiology, cultural studies etc. The work is tied into two sets of funding from th

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17

Lapp-Szymanski, Jean-Paul. "Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.

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This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on tech

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18

Mehnert, Alyssa. "Reconsidering McKinney's Cotton Pickers, 1927–34: Performing Contexts, Radio Broadcasts, and Sound Recordings." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535373003017244.

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19

Babb, G. Kyle Boyd Jean Ann. ""Roll over Beethoven" the reaction of classical music recording divisions to the continuing emergence of a consumer culture in America between 1956 and 1982 /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5043.

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20

Goh, Man-fat Joseph, and 吳文發. "Music retailing in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31265650.

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21

Hill, Christopher. "The anarchist's jukebox? a historical account of the file sharing conflict : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2005." Full thesis. Abstract, 2005.

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Thesis (MA--Communication Studies) -- Auckland University of Technology, 2005.<br>Chapter 5 not included in e-thesis. Also held in print (viii, 177 leaves, 30 cm.) in Wellesley Theses Collection. (T 338.4778149 HIL)

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22

Lobley, Noel James. "The social biography of ethnomusicological field recordings : eliciting responses to Hugh Tracey's 'The Sound of Africa' series." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:42da8899-6f92-4d65-9756-5c2be9656cad.

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This thesis is an ethnographic analysis of a collection of field recordings of music from sub-Saharan Africa: The Sound of Africa series made and published by Hugh Tracey between 1933 and 1973. I analyse the aims, methods, value and potential use of this collection, now held at the International Library of African Music (ILAM), in order to address a gap in the ethnomusicological literature and to begin to develop a critical framework for an evaluation of field recording and aural ethnography. An archival analysis of the collection enables me to trace the scope and intended uses of Tracey’s rec

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23

Klypchak, Bradley C. "Performed Identities: Heavy Metal Musicians Between 1984 and 1991." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1167924395.

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24

González, Juliana Pérez. "A indústria fonográfica e a música caipira gravada: uma experiência paulista (1878-1930)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06092018-125317/.

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A presente pesquisa investiga o surgimento da música caipira gravada na fonografia brasileira durante a instauração do mercado do disco em São Paulo, entre 1878 e o começo da década de 1930. Observa-se um crescente mercado de música gravada e certo abandono das preferências musicais da cidade por parte das gravadoras ativas durante a fase mecânica do disco. Tal espaço foi preenchido pelos selos internacionais que chegaram no final dos anos 1920 e gravaram música de legítimos caipira paulistas, visando conquistar o mercado do Estado. O sucesso em vendas das primeiras gravações de música caipira

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25

Burchfield, Rebekah Lynn. "Pressed between the Pages of My Mind: Tangibility, Performance, and Technology in Archival Popular Music Research." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277073992.

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26

Archer, Russell W. "If these walls could jump 'n' jive : a study of buildings and sites associated with jazz music in Indianapolis and Richmond, Indiana (c. 1910-1960)." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1260487.

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Indiana is a state rich in musical history. Two cities, in particular-Indianapolis and Richmond-have played significant roles in the evolution and dissemination of jazz music. There have been modest attempts to acknowledge and/or educate Hoosiers about the state's role in the development of ja7.z. However, a level of apathy remains with regard to this aspect of Indiana's cultural heritage. These factors, in conjunction with new development, socioeconomic hardship, and demolition by neglect, have resulted in the loss of countless buildings and sites associated with jazz, music in Indianapolis a

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27

Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.

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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independe

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28

Percival, James Mark. "Making music radio : the record industry and popular music production in the UK." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/362.

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Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio program

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29

Kazadi, Kanyabu Solomon. "A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018933.

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The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes w

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30

Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.

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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are prod

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31

Diniz, Sheyla Castro 1985. ""Nuvem cigana" : a trajetória do Clube de Esquina no campo da MPB." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278903.

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Orientador: Marcelo Siqueira Ridenti<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-20T12:27:22Z (GMT). No. of bitstreams: 1 Diniz_SheylaCastro_M.pdf: 2144482 bytes, checksum: b20237514ea06429f762092c3fa85675 (MD5) Previous issue date: 2012<br>Resumo: O trabalho aborda uma parcela da vasta e heterogênea trajetória do Clube da Esquina no campo da MPB (Música Popular Brasileira). Esse grupo de músicos, letristas e amigos, inicialmente gestado em Belo Horizonte/MG em meados dos anos 1960, atingiu o

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32

Latson, Christopher Craig. "Contemporary Pirates: An Examination of the Perceptions and Attitudes Toward the Technology, Progression, and Battles that Surround Modern Day Music Piracy in Colleges and Universities." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4595/.

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The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.

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33

Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.

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While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insi

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34

MAISONNEUVE, Sophie. "Le disque et la musique classique en Europe, 1877-1949 : l'invention d'un médium musical, entre mutations de l'écoute et formation d'un patrimoine." Doctoral thesis, 2002. http://hdl.handle.net/1814/5889.

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Defence date: 16 December 2002<br>Examining board: Prof. John Brewer, supervisor ; Prof. Laurence Fontaine, co-supervisor ; Prof. Jean-Louis Fabiani, external supervisor ; Prof. Dominique Poulot ; Prof. William Weber<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017<br>Ce thèse reconstitue les différentes étapes de la transformation d'une invention technique en médium musical. De l'étonnante " machine parlante " au système audio en passant par 1'" instrument de musique ", il reconstitue la genèse d'un objet et, avec lui, d'un système

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35

Filzen, Sarah. "The history of Cuca Records, 1959-1973 a case study of an independent record company /." 1998. http://digital.library.wisc.edu/1711.dl/FilznHCuca.

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Thesis (M.A.)--University of Wisconsin--Milwaukee, 1998.<br>Online version produced by the University of Wisconsin-Madison Libraries. Title from title screen (viewed Nov. 8, 2001). Includes bibliographical references (leaves 178-183). Online version of the print edition.

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36

"A Study of the variety of Cantonese popular songs in Hong Kong." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5886976.

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by Wong Siu Ling, Gabriella.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.<br>Includes bibliographical references (leaves 64-69).<br>Chapter CHAPTER ONE --- INTRODUCTION --- p.1<br>Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6<br>Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15<br>Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23<br>Chapter CHAPTER FIVE --- METHODOLOGY --- p.37<br>Chapter CHAPTER SIX --- FINDINGS --- p.44<br>Chapter CHAPTER SEVEN --- DISCUSSION --- p.52<br>BIBLIOGRAPHY --- p.64<br>Chapter APPENDIX 1 --- List of Big Corporat

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37

"The soundscape of China: the role of HUGO CDs in Chinese cultural memory." 2005. http://library.cuhk.edu.hk/record=b5896411.

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Wong King-chung.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references (leaves 66-78).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Abstract (Chinese) --- p.ii<br>Acknowledgement --- p.iii<br>Table of Contents --- p.v<br>List of Figures and Tables --- p.vii<br>Chapter Chapter 1´ؤ --- Introduction<br>A New Age of Sound --- p.1<br>Academic Background and Related Studies --- p.2<br>Chinese Music and the Media --- p.4<br>The Present Study and Methodology --- p.5<br>Chapter Chapter 2´ؤ --- SoundScape of China: The Influence of Eth

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38

Caxeiro, Susana Cristina Belchior. "Immaterial in the Material: A study on 78rpm audio carriers in Portuguese collections." Doctoral thesis, 2021. http://hdl.handle.net/10362/133066.

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In 1887, Emile Berliner patented the gramophone and its flat lateral-cut records, a format that was the basis of the birth of the music recording industry. The aim of this study is to contribute to the history of sound recording and to the preservation of shellac discs through a better knowledge of the material and immaterial aspects of industrial record manufacture during the acoustic period, ca. 1898-1925, through a multidisciplinary approach, combining research methods from ethnomusicology, history of technology and conservation sciences. The first part of this study is dedicated to

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39

Jackson, Melveen Beth. "Indian South African popular music, the broadcast media, and the record industry, 1920-1983." Thesis, 1999. http://hdl.handle.net/10413/8883.

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This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify

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40

Scully, Michael F. "American folk music revivalism, 1965-2005." Thesis, 2005. http://hdl.handle.net/2152/3522.

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41

Lubin, Tom, University of Western Sydney, and Faculty of Humanities and Social Sciences. "An historical survey of technology used in the production and presentation of music in the 20th Century." 1997. http://handle.uws.edu.au:8081/1959.7/24903.

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This paper explores the historical progression of the technological development of records and radio and its impact on popular music. It also includes the production technologies that create recorded music, the development of records, cassettes and CDs, and areas of reproduction that have an association with popular music including the sound technologies of radio, film, television, background music, and the juke-box. This paper is not a cultural or social study, but is primarily an historical account of media technology in music production and delivery. Certain social and cultural consequences

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42

Karel, Ernst Kirchner Long. "Kerala sound electricals : amplified sound and cultural meaning in South India /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3097125.

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43

"跨國唱片公司壟斷下之香港粤語流行樂壇". 1991. http://library.cuhk.edu.hk/record=b5895402.

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黃志偉.<br>手稿本影印本.<br>Thesis (M.A.)--香港中文大學傳播學部, 1991.<br>Shou gao ben ying yin ben.<br>Includes bibliographical references (leaves i-iv).<br>Huang Zhiwei.<br>Thesis (M.A.)--Xianggang Zhong wen da xue Chuan bo xue bu, 1991.<br>Chapter 壹 --- 導　論 --- p.1<br>Chapter 貳 --- 文獻參閱 --- p.11<br>Chapter (一) --- MISC´ؤ小國音樂工業研究計劃 --- p.11<br>Chapter (二) --- 媒介帝國主義 --- p.33<br>Chapter (三) --- 跨國公司 --- p.41<br>Chapter (四) --- 其他有關文獻 --- p.54<br>Chapter 参 --- 研究方法 --- p.66<br>Chapter (一) --- 研究目的 --- p.66<br>Chapter (二) --- 基本概念 --- p.73<br>Chapter (三) --- 研究方法 --- p.80<br>Chapter 肆 --- 歐美流行音樂與五大國際唱片集

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44

Lubin, Tom. "An historical survey of technology used in the production and presentation of music in the 20th Century." Thesis, 1997. http://handle.uws.edu.au:8081/1959.7/24903.

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This paper explores the historical progression of the technological development of records and radio and its impact on popular music. It also includes the production technologies that create recorded music, the development of records, cassettes and CDs, and areas of reproduction that have an association with popular music including the sound technologies of radio, film, television, background music, and the juke-box. This paper is not a cultural or social study, but is primarily an historical account of media technology in music production and delivery. Certain social and cultural consequences

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45

Papadopoulos, Theo. "The economics of copyright, parallel imports and piracy in the music recording industry." Thesis, 2002. https://vuir.vu.edu.au/15661/.

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Australia has been at the forefront of trade-related copyright reform having, after almost a decade of debate and controversy, amended the import provisions of the Copyright Act 1968 to allow parallel imports of sound recordings. This thesis begins with an investigation of the economics of the music recording industry, encompassing the nature of demand and supply of sound recordings, profit maximising price strategies for a multi-product firm, and an investigation into the market structure and international distribution of sound recordings. This is followed by an investigation of the economi

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46

Mueller, Darren. "At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz." Diss., 2015. http://hdl.handle.net/10161/9969.

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<p>At the Vanguard of Vinyl investigates the jazz industry's adoption of the long-playing record (LP), 1948-1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians' voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation sh

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47

Allen, Lucy Hawthorne. "Vernacular music brokers and mediators in the South 1900-1932 /." 2001.

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48

"Hong Kong classical compact disc market." Chinese University of Hong Kong, 1997. http://library.cuhk.edu.hk/record=b5888994.

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by Tsai Yee-Ah, Eva.<br>Thesis (M.B.A.)--Chinese University of Hong Kong, 1997.<br>Incldues bibliographical references (leaves 108-112).<br>ABSTRACT --- p.iii<br>ACKNOWLEDGEMENTS --- p.vi<br>TABLE OF CONTENTS --- p.vii<br>LIST OF TABLES --- p.ix<br>LIST OF FIGURES --- p.x<br>CHAPTER<br>Chapter I. --- INTRODUCTION --- p.1<br>Objectives --- p.2<br>Chapter II. --- MARKET ANALYSIS --- p.4<br>Overview of the Music Industry in Hong Kong --- p.4<br>Hong Kong Classical Music Market and the Trends --- p.6<br>Definition of Classical Music --- p.6<br>Classical Music Becomes More Popular --- p

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49

Breen, Marcus. "The popular music industry in Australia : a study of policy reform and retreat, 1982-1996." Thesis, 1996. https://vuir.vu.edu.au/15443/.

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This study examines the political economy of popular music policy initiatives during 1982-1996, when the Australian Labor Party was in government Federally and in the State of Victoria. Building on the cultural studies concept of articulation, the popular music formulation theory is proposed as the basis for examining the alignment of the fields of social and industry policy with the existing popular music industry. A series of case studies examine the ALP'S interest in popular music policy, the influence of Australian popular music achievements on the policy formation, the role of a

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50

Kielman, Adam Joseph. "Zou Qilai!: Musical Subjectivity, Mobility, and Sonic Infrastructures in Postsocialist China." Thesis, 2016. https://doi.org/10.7916/D8TT4RGN.

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This dissertation is an ethnography centered around two bands based in Guangzhou and their relationships with one of China’s largest record companies. Bridging ethnomusicology, popular music studies, cultural geography, media studies, vocal anthropology, and the anthropology of infrastructure, it examines emergent forms of musical creativity and modes of circulation as they relate to shifts in concepts of self, space, publics, and state instigated by China’s political and economic reforms. Chapter One discusses a long history of state-sponsored cartographic musical anthologies, as well as Conf

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