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 ...
More
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.
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.
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/9780195327632.003.0001
- 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.
Gregory D. Booth and Bradley Shope (eds)
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199928835
- eISBN:
- 9780199369751
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199928835.001.0001
- Subject:
- Music, Ethnomusicology, World Music, Popular
More than Bollywood: Studies in Indian Popular Music includes many of the leading scholars currently working on Indian popular music and culture. The volume offers a wide perspective on contemporary ...
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More than Bollywood: Studies in Indian Popular Music includes many of the leading scholars currently working on Indian popular music and culture. The volume offers a wide perspective on contemporary and historical popular musics in India, and confronts the inescapable importance of Indian film song; but it also offers the largest collection to date of research on “non-film” popular music in India. It is the most comprehensive single volume on a subject that is of growing interest to scholars and students in music, ethnomusicology, film studies, popular music studies, and South Asian studies. It is intended to stand on its own as a work of scholarship, but it is also simultaneously intended as a fundamental resource for courses on popular music and music in India.Less
More than Bollywood: Studies in Indian Popular Music includes many of the leading scholars currently working on Indian popular music and culture. The volume offers a wide perspective on contemporary and historical popular musics in India, and confronts the inescapable importance of Indian film song; but it also offers the largest collection to date of research on “non-film” popular music in India. It is the most comprehensive single volume on a subject that is of growing interest to scholars and students in music, ethnomusicology, film studies, popular music studies, and South Asian studies. It is intended to stand on its own as a work of scholarship, but it is also simultaneously intended as a fundamental resource for courses on popular music and music in India.
Yiu-Wai Chu
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9789888390571
- eISBN:
- 9789888390298
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390571.003.0001
- Subject:
- Music, Popular
Despite its immense popularity in Chinese communities across the globe, Cantopop has been receiving far less attention than that of Chinese film and other genres of popular culture in the academy. ...
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Despite its immense popularity in Chinese communities across the globe, Cantopop has been receiving far less attention than that of Chinese film and other genres of popular culture in the academy. Introducing the origin of Cantopop and its related studies, this chapter underscore the significance of the topic by positioning it in the context of the field of Chinese popular music studies. This chapter positions the book in the wider field of popular music studies, a field that is heavily slanted toward Western popular music. The study of Cantopop has the potential for better projecting Hong Kong’s culture to a wide international audience, which would prove to be very important for Hong Kong Studies.Less
Despite its immense popularity in Chinese communities across the globe, Cantopop has been receiving far less attention than that of Chinese film and other genres of popular culture in the academy. Introducing the origin of Cantopop and its related studies, this chapter underscore the significance of the topic by positioning it in the context of the field of Chinese popular music studies. This chapter positions the book in the wider field of popular music studies, a field that is heavily slanted toward Western popular music. The study of Cantopop has the potential for better projecting Hong Kong’s culture to a wide international audience, which would prove to be very important for Hong Kong Studies.
Travis D. Stimeling
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780199747474
- eISBN:
- 9780199896981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199747474.003.0002
- Subject:
- Music, Popular, History, American
This chapter details the musical, social, ideological, and industrial roots of the Austin music scene through the lens of the emergence of folksinging as a distinctly countercultural act at venues ...
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This chapter details the musical, social, ideological, and industrial roots of the Austin music scene through the lens of the emergence of folksinging as a distinctly countercultural act at venues such as Threadgill's restaurant in the 1960s, the construction of Kenneth Threadgill as a folk artist and touchstone of an idealized Texan past, the development of the “progressive country” radio format at Austin radio station KOKE-FM in the early 1970s, and the grassroots entrepreneurship of the Armadillo World Headquarters. Through these case studies, the chapter explores how participants in Austin's progressive country music scene negotiated a fine line between its public rhetoric of resistance to the corporate music industry and unchecked economic growth and its own actions to develop the scene into a vehicle for economic and cultural development in the city.Less
This chapter details the musical, social, ideological, and industrial roots of the Austin music scene through the lens of the emergence of folksinging as a distinctly countercultural act at venues such as Threadgill's restaurant in the 1960s, the construction of Kenneth Threadgill as a folk artist and touchstone of an idealized Texan past, the development of the “progressive country” radio format at Austin radio station KOKE-FM in the early 1970s, and the grassroots entrepreneurship of the Armadillo World Headquarters. Through these case studies, the chapter explores how participants in Austin's progressive country music scene negotiated a fine line between its public rhetoric of resistance to the corporate music industry and unchecked economic growth and its own actions to develop the scene into a vehicle for economic and cultural development in the city.
Andrew Leyshon
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199572410
- eISBN:
- 9780191783180
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199572410.001.0001
- Subject:
- Business and Management, Information Technology
The impact of digital technology on the musical economy has been profound. The advent of MP3 and the use of the internet as a medium of distribution has brought about a significant transformation in ...
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The impact of digital technology on the musical economy has been profound. The advent of MP3 and the use of the internet as a medium of distribution has brought about a significant transformation in the way that music is made, how it is acquired and listened to, and, significantly, how the musical economy itself is able to reproduce itself. This book provides a theoretically grounded account of the implications of digital technology on the musical economy, and develops the concept of the musical network to understand the transformation of this economy over space and through time. In the late 1990s the obscure practice of ‘ripping’ tracks from CDs through the use of compression programs was transformed from the illegal hobby of a few thousand computer ‘geeks’ to a practice available to millions worldwide through the development of peer-to-peer computer networks. This continues to have important implications for the viability of the musical economy. At the same time, the production of music has become more accessible and the role of key gatekeepers in the industry—such as record companies and recording studios—has been undermined. Meanwhile, the increased accessibility of music at reduced cost via the internet has revalorizsed live performance, and in the UK now generates revenues higher than recorded music. The early twenty-first century has provided an extraordinary case study of an industry in flux, and one that throws light on the relationship between culture and economy, between passion and calculation.Less
The impact of digital technology on the musical economy has been profound. The advent of MP3 and the use of the internet as a medium of distribution has brought about a significant transformation in the way that music is made, how it is acquired and listened to, and, significantly, how the musical economy itself is able to reproduce itself. This book provides a theoretically grounded account of the implications of digital technology on the musical economy, and develops the concept of the musical network to understand the transformation of this economy over space and through time. In the late 1990s the obscure practice of ‘ripping’ tracks from CDs through the use of compression programs was transformed from the illegal hobby of a few thousand computer ‘geeks’ to a practice available to millions worldwide through the development of peer-to-peer computer networks. This continues to have important implications for the viability of the musical economy. At the same time, the production of music has become more accessible and the role of key gatekeepers in the industry—such as record companies and recording studios—has been undermined. Meanwhile, the increased accessibility of music at reduced cost via the internet has revalorizsed live performance, and in the UK now generates revenues higher than recorded music. The early twenty-first century has provided an extraordinary case study of an industry in flux, and one that throws light on the relationship between culture and economy, between passion and calculation.
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/9780195327632.003.0006
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians ...
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This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians in the film-music industry in Mumbai, India. It explores the workshops, professional roles and the organization of the processes involved in the local musicians' composition of about nineteen songs a week during the last years of the British rule through the early years of the 21st century. It suggests that sitting musicians were the main source of the songs for the Hindi cinema.Less
This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians in the film-music industry in Mumbai, India. It explores the workshops, professional roles and the organization of the processes involved in the local musicians' composition of about nineteen songs a week during the last years of the British rule through the early years of the 21st century. It suggests that sitting musicians were the main source of the songs for the Hindi cinema.
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/9780195327632.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the conversion of a composed song into a recorded song, the second stage of the song production process in the film-music industry in Mumbai, India. It explores the public side ...
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This chapter examines the conversion of a composed song into a recorded song, the second stage of the song production process in the film-music industry in Mumbai, India. It explores the public side of song production from rehearsal to recording and analyzes the issues of economics and musicians' livelihoods. It evaluates the roles of a number other professionals in this stage of song production, including messengers and song violin.Less
This chapter examines the conversion of a composed song into a recorded song, the second stage of the song production process in the film-music industry in Mumbai, India. It explores the public side of song production from rehearsal to recording and analyzes the issues of economics and musicians' livelihoods. It evaluates the roles of a number other professionals in this stage of song production, including messengers and song violin.
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/9780195327632.003.0009
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the issues on value, genre and style in the film-music industry in Mumbai, India. It considers the distinctive notions and patterns of style and genre construction in film music ...
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This chapter examines the issues on value, genre and style in the film-music industry in Mumbai, India. It considers the distinctive notions and patterns of style and genre construction in film music and explores film musicians' representations of and relationships with musical style. It suggests that the cultural dominance of film music in India may have produced a similar form of conceptual myopia among its listeners and practitioners.Less
This chapter examines the issues on value, genre and style in the film-music industry in Mumbai, India. It considers the distinctive notions and patterns of style and genre construction in film music and explores film musicians' representations of and relationships with musical style. It suggests that the cultural dominance of film music in India may have produced a similar form of conceptual myopia among its listeners and practitioners.
Rob Strachan and Marion Leonard
- Published in print:
- 2002
- Published Online:
- June 2013
- ISBN:
- 9780853235286
- eISBN:
- 9781846312717
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853235286.003.0010
- Subject:
- Society and Culture, Media Studies
This chapter discusses the results of a study of the music industry in Dublin to highlight the social value of ‘grassroots’ music-making. It considers how various forms and practices of popular music ...
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This chapter discusses the results of a study of the music industry in Dublin to highlight the social value of ‘grassroots’ music-making. It considers how various forms and practices of popular music are addressed and represented within agendas for the arts and in the development of cultural policy. It looks at the Arts Council of Ireland's funding policies, how popular music is valued and supported by funding bodies and how views of the music industry are integrated into institutional understandings of popular music practice. The chapter also explores how the music industry is popularly characterised as a self-sustaining economy, the debates between different arts organisations over the ‘use value’ of the arts, and the ‘fine arts’, ‘cultural industries’ and ‘community arts’ models in relation to cultural policy in the latter part of the twentieth century.Less
This chapter discusses the results of a study of the music industry in Dublin to highlight the social value of ‘grassroots’ music-making. It considers how various forms and practices of popular music are addressed and represented within agendas for the arts and in the development of cultural policy. It looks at the Arts Council of Ireland's funding policies, how popular music is valued and supported by funding bodies and how views of the music industry are integrated into institutional understandings of popular music practice. The chapter also explores how the music industry is popularly characterised as a self-sustaining economy, the debates between different arts organisations over the ‘use value’ of the arts, and the ‘fine arts’, ‘cultural industries’ and ‘community arts’ models in relation to cultural policy in the latter part of the twentieth century.
Mike Jones
- Published in print:
- 2002
- Published Online:
- June 2013
- ISBN:
- 9780853235286
- eISBN:
- 9781846312717
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853235286.003.0012
- Subject:
- Society and Culture, Media Studies
This chapter examines academic courses in music industry education and the character they should take. It examines the views of the government and the industry itself and compares them with those of ...
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This chapter examines academic courses in music industry education and the character they should take. It examines the views of the government and the industry itself and compares them with those of higher education institutions. Drawing on George Michael's unsuccessful lawsuit brought against Sony Music as a cautionary tale, it argues that skills alone are not enough to become successful in the music industry. Students also need to approach the industry and its workings critically and clearly understand its multi-faceted complexity and contradictions. New Labour's enthusiasm for the music industry have had direct and indirect consequences for the rise of music industry education in Britain. In particular, the government has launched a national framework for instruction in music-industrial practices in the form of the ‘New Deal for Musicians’ (NDfM). This chapter also explores the tension between the methods and perspectives of Popular Music Studies and those of ‘Management Science’.Less
This chapter examines academic courses in music industry education and the character they should take. It examines the views of the government and the industry itself and compares them with those of higher education institutions. Drawing on George Michael's unsuccessful lawsuit brought against Sony Music as a cautionary tale, it argues that skills alone are not enough to become successful in the music industry. Students also need to approach the industry and its workings critically and clearly understand its multi-faceted complexity and contradictions. New Labour's enthusiasm for the music industry have had direct and indirect consequences for the rise of music industry education in Britain. In particular, the government has launched a national framework for instruction in music-industrial practices in the form of the ‘New Deal for Musicians’ (NDfM). This chapter also explores the tension between the methods and perspectives of Popular Music Studies and those of ‘Management Science’.
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/9780195327632.003.0003
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the technologies and the changing “limits of the possible” under which film musicians, recording engineers, music directors and film producers in Mumbai, India operated. It ...
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This chapter examines the technologies and the changing “limits of the possible” under which film musicians, recording engineers, music directors and film producers in Mumbai, India operated. It suggests that despite the limitations of technology there were instances when Mumbai musicians and engineers exceeded the technological limitations of their environment. In this way, technology has been the ground on which the professional and social structures of daily life were constructed and the primary determinant in a determinist history of this music culture.Less
This chapter examines the technologies and the changing “limits of the possible” under which film musicians, recording engineers, music directors and film producers in Mumbai, India operated. It suggests that despite the limitations of technology there were instances when Mumbai musicians and engineers exceeded the technological limitations of their environment. In this way, technology has been the ground on which the professional and social structures of daily life were constructed and the primary determinant in a determinist history of this music culture.
