Pamela Burnard
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199583942
- eISBN:
- 9780191740671
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583942.003.0010
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter provides a framework that can help in understanding musical creativities. It emphasizes that musical creativities can take many forms, can play a wide range of functions, and are deeply ...
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This chapter provides a framework that can help in understanding musical creativities. It emphasizes that musical creativities can take many forms, can play a wide range of functions, and are deeply embedded in the dynamic mutation and flux of a musician's personal and sociocultural life. First, it examines the musical creativities found within the music industry, and then studies the social and political relevance and economy of musical creativities. Next, it discusses the concept of the ‘culturally arbitrary’ and its relation to power, as well as the differentiating features between musical creativities. The chapter also discusses the new forms of authorship and the temporal modalities, technological mediations, and the practices of musical creativities.Less
This chapter provides a framework that can help in understanding musical creativities. It emphasizes that musical creativities can take many forms, can play a wide range of functions, and are deeply embedded in the dynamic mutation and flux of a musician's personal and sociocultural life. First, it examines the musical creativities found within the music industry, and then studies the social and political relevance and economy of musical creativities. Next, it discusses the concept of the ‘culturally arbitrary’ and its relation to power, as well as the differentiating features between musical creativities. The chapter also discusses the new forms of authorship and the temporal modalities, technological mediations, and the practices of musical creativities.
Kay Dickinson
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780195326635
- eISBN:
- 9780199851676
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195326635.003.0003
- Subject:
- Music, Popular
This chapter focuses on rock 'n' roll films in the U.S. during the mid-1950s. The story lines of these films, often starring and largely made for teenagers, revolved around the music industry with a ...
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This chapter focuses on rock 'n' roll films in the U.S. during the mid-1950s. The story lines of these films, often starring and largely made for teenagers, revolved around the music industry with a heavy weighting of musical performances in clubs and television studios, particularly toward the films' denouements. It attempts to explain the reasons behind the popularity of these films and analyzes the film cycle amid in the context of contemporary practices of labor, exploitation, consumer citizenship and decentralization. It also discusses the decentralization and diversification of the media industries and the question of teenage leisure expenditure.Less
This chapter focuses on rock 'n' roll films in the U.S. during the mid-1950s. The story lines of these films, often starring and largely made for teenagers, revolved around the music industry with a heavy weighting of musical performances in clubs and television studios, particularly toward the films' denouements. It attempts to explain the reasons behind the popularity of these films and analyzes the film cycle amid in the context of contemporary practices of labor, exploitation, consumer citizenship and decentralization. It also discusses the decentralization and diversification of the media industries and the question of teenage leisure expenditure.
Adrian C. North and David J. Hargreaves
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780198567424
- eISBN:
- 9780191693656
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198567424.003.0005
- Subject:
- Psychology, Music Psychology
This chapter discusses the impact of music to the economy and the music industry itself. The chapter describes research in the line of psychology, economics, and sociology regarding how the music ...
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This chapter discusses the impact of music to the economy and the music industry itself. The chapter describes research in the line of psychology, economics, and sociology regarding how the music business works and how this influences musical behaviour. The chapter discusses the link between musical innovation and music industry concentration, how and why superstardom is important to the music industry, models of music purchasing and attempts to explain piracy, and the process of radio station programming. The chapter also considers the effects that music might have on advertising and in other retail and service-based businesses like shops, restaurants, and the like, particularly in relation to customer patronage, purchasing, and time perception and waiting. Lastly, the chapter considers two indirect economic benefits of music, namely its ability to influence morale and productivity in the workplace and even driving, and its ability to promote physical health.Less
This chapter discusses the impact of music to the economy and the music industry itself. The chapter describes research in the line of psychology, economics, and sociology regarding how the music business works and how this influences musical behaviour. The chapter discusses the link between musical innovation and music industry concentration, how and why superstardom is important to the music industry, models of music purchasing and attempts to explain piracy, and the process of radio station programming. The chapter also considers the effects that music might have on advertising and in other retail and service-based businesses like shops, restaurants, and the like, particularly in relation to customer patronage, purchasing, and time perception and waiting. Lastly, the chapter considers two indirect economic benefits of music, namely its ability to influence morale and productivity in the workplace and even driving, and its ability to promote physical health.
Eli M. Noam
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195188523
- eISBN:
- 9780199852574
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195188523.003.0007
- Subject:
- Business and Management, Information Technology
The music industry in the United States is relatively small in size but large in cultural presence. It consists of those creating music (artists and composers), those creating or enforcing rights in ...
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The music industry in the United States is relatively small in size but large in cultural presence. It consists of those creating music (artists and composers), those creating or enforcing rights in music (publishers and performing rights licensing organizations), those producing recordings (labels), and those in the marketing of music (distributors). Because there are many labels and only a few distributors, the issue of ownership concentration arises primarily on the distribution level, where four companies dominate. Intellectual property rights are a key element in the music business. Music publishers and performance rights licensing organizations deal with those rights. This chapter examines market concentration trends in music publishing, performance rights, distribution, retailing, and music channels.Less
The music industry in the United States is relatively small in size but large in cultural presence. It consists of those creating music (artists and composers), those creating or enforcing rights in music (publishers and performing rights licensing organizations), those producing recordings (labels), and those in the marketing of music (distributors). Because there are many labels and only a few distributors, the issue of ownership concentration arises primarily on the distribution level, where four companies dominate. Intellectual property rights are a key element in the music business. Music publishers and performance rights licensing organizations deal with those rights. This chapter examines market concentration trends in music publishing, performance rights, distribution, retailing, and music channels.
Veit Erlmann
- Published in print:
- 1999
- Published Online:
- May 2008
- ISBN:
- 9780195123678
- eISBN:
- 9780199868797
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195123678.003.0013
- Subject:
- Music, Ethnomusicology, World Music
This chapter discusses the making of Bhekizizwe Joseph Shabalala — founder and lead singer of Ladysmith Black Mambazo — in two works: a biography authored by two black South African journalists and ...
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This chapter discusses the making of Bhekizizwe Joseph Shabalala — founder and lead singer of Ladysmith Black Mambazo — in two works: a biography authored by two black South African journalists and “Journey of Dreams”, a documentary shot in 1988 by David Lister. Both blend discourses of authenticity and international stardom and thus serve as important vehicles of self-fashioning in the interstices of the global music industry.Less
This chapter discusses the making of Bhekizizwe Joseph Shabalala — founder and lead singer of Ladysmith Black Mambazo — in two works: a biography authored by two black South African journalists and “Journey of Dreams”, a documentary shot in 1988 by David Lister. Both blend discourses of authenticity and international stardom and thus serve as important vehicles of self-fashioning in the interstices of the global music industry.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in ...
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Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.Less
Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.
Richard Haynes
- Published in print:
- 2005
- Published Online:
- September 2012
- ISBN:
- 9780748618804
- eISBN:
- 9780748670994
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748618804.003.0004
- Subject:
- Society and Culture, Media Studies
The music industry is often overlooked in the analysis of media industries. Indeed, music is often viewed outside the general pantheon of what is meant by ‘the media’. Upon close inspection, however, ...
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The music industry is often overlooked in the analysis of media industries. Indeed, music is often viewed outside the general pantheon of what is meant by ‘the media’. Upon close inspection, however, it is clear not only that music is a major media industry in and of itself, but furthermore that it weaves itself into the very fabric of all audiovisual media, and even has a significant presence within print-based media in terms of reviews and promotion. The task of licensing the use of music copyright has been passed on to a range of collecting societies who oversee the administration of rights on behalf of rights owners. This chapter explores the main elements of music copyright, focusing on its relationship to the economics of the industry and the mechanics of copyright protection within the business. After discussing the origins of music copyright, the chapter goes on to examine music and copyright infringement, home recording and peer-to-peer downloading of digital music files, and Internet file sharing.Less
The music industry is often overlooked in the analysis of media industries. Indeed, music is often viewed outside the general pantheon of what is meant by ‘the media’. Upon close inspection, however, it is clear not only that music is a major media industry in and of itself, but furthermore that it weaves itself into the very fabric of all audiovisual media, and even has a significant presence within print-based media in terms of reviews and promotion. The task of licensing the use of music copyright has been passed on to a range of collecting societies who oversee the administration of rights on behalf of rights owners. This chapter explores the main elements of music copyright, focusing on its relationship to the economics of the industry and the mechanics of copyright protection within the business. After discussing the origins of music copyright, the chapter goes on to examine music and copyright infringement, home recording and peer-to-peer downloading of digital music files, and Internet file sharing.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.001.0001
- Subject:
- Sociology, Culture
At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based ...
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At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based on interviews with over seventy-five popular-music professionals in Nashville, this book looks at artist activists—those visionaries who create inclusive artist communities in today's individualistic and entrepreneurial art world. Using Nashville as a model, the book develops a theory of artist activism—the ways that artist peers strengthen and build diverse artist communities. The book discusses how genre-diversifying artist activists have arisen throughout the late twentieth-century musician migration to Nashville, a city that boasts the highest concentration of music jobs in the United States. Music City is now home to diverse recording artists—including Jack White, El Movimiento, the Black Keys, and Paramore. The book identifies three types of artist activists: the artist-producer who produces and distributes his or her own and others' work while mentoring early-career artists, the social entrepreneur who maintains social spaces for artist networking, and arts trade union reformers who are revamping collective bargaining and union functions. Throughout, the book examines enterprising musicians both known and less recognized. It links individual and collective actions taken by artist activists to their orientations toward success, audience, and risk and to their original inspirations for embarking on music careers. The book offers a new model of artistic success based on innovating creative institutions to benefit the society at large.Less
At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based on interviews with over seventy-five popular-music professionals in Nashville, this book looks at artist activists—those visionaries who create inclusive artist communities in today's individualistic and entrepreneurial art world. Using Nashville as a model, the book develops a theory of artist activism—the ways that artist peers strengthen and build diverse artist communities. The book discusses how genre-diversifying artist activists have arisen throughout the late twentieth-century musician migration to Nashville, a city that boasts the highest concentration of music jobs in the United States. Music City is now home to diverse recording artists—including Jack White, El Movimiento, the Black Keys, and Paramore. The book identifies three types of artist activists: the artist-producer who produces and distributes his or her own and others' work while mentoring early-career artists, the social entrepreneur who maintains social spaces for artist networking, and arts trade union reformers who are revamping collective bargaining and union functions. Throughout, the book examines enterprising musicians both known and less recognized. It links individual and collective actions taken by artist activists to their orientations toward success, audience, and risk and to their original inspirations for embarking on music careers. The book offers a new model of artistic success based on innovating creative institutions to benefit the society at large.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0005
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the social identities of the musicians in the film industry in Mumbai, India and the pathways by which they came to be part of this musical-professional group. It analyzes the ...
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This chapter examines the social identities of the musicians in the film industry in Mumbai, India and the pathways by which they came to be part of this musical-professional group. It analyzes the sources, natures, and processes of musical training of those who joined the film-music industry. It suggests that the backgrounds of musicians who joined the film sector reflect the film industry's place within the broader national context and the different representations of cultural identity in the industry reflect the variability of representation in the two different levels of music production in Mumbai.Less
This chapter examines the social identities of the musicians in the film industry in Mumbai, India and the pathways by which they came to be part of this musical-professional group. It analyzes the sources, natures, and processes of musical training of those who joined the film-music industry. It suggests that the backgrounds of musicians who joined the film sector reflect the film industry's place within the broader national context and the different representations of cultural identity in the industry reflect the variability of representation in the two different levels of music production in Mumbai.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0001
- Subject:
- Music, Ethnomusicology, World Music
This chapter presents a profile of Anthony Gonsalves, an Indian composer and music teacher. Gonsalves was born in 1927 in the Goan village of Majorda and he was the son of a choirmaster attached to ...
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This chapter presents a profile of Anthony Gonsalves, an Indian composer and music teacher. Gonsalves was born in 1927 in the Goan village of Majorda and he was the son of a choirmaster attached to the local Roman Catholic church, Mäe de Deus. His father trained him in European classical music and he worked in the film-music industry from 1943 to 1965. He has arranged and composed for a long and distinguished list of music directors including Shyam Sunder, S. D. Burman and Madan Mohan.Less
This chapter presents a profile of Anthony Gonsalves, an Indian composer and music teacher. Gonsalves was born in 1927 in the Goan village of Majorda and he was the son of a choirmaster attached to the local Roman Catholic church, Mäe de Deus. His father trained him in European classical music and he worked in the film-music industry from 1943 to 1965. He has arranged and composed for a long and distinguished list of music directors including Shyam Sunder, S. D. Burman and Madan Mohan.
