Downloading vs Purchase: Music Industry vs Consumers

2006 ◽  
pp. 52-65 ◽  
Author(s):  
Supriya Singh ◽  
Margaret Jackson ◽  
Jenny Waycott ◽  
Jenine Beekhuyzen
Keyword(s):  
Music Industry

KOMIK DI LINGKARAN INDUSTRI MUSIK

DeKaVe ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Terra Bajraghosa
Keyword(s):  
Comic Books ◽  
Music Industry ◽  
Comic Book ◽  
Narrative Approach ◽  
Visual Narrative ◽  
Common Practices ◽  
Visual Style ◽  
Song Lyrics ◽  
The Common

Comic ges. Based on comprehention as a narrative media, comics in Indonesia are oftenly compared to bas-reliefs on Borobudur temple and Wayang Beber.. From many kind of stories Indonesian comic books recently offered, with the developed visual wrapping, some comics steal attentions by its unique themes. These comic books are created because of the inspiration and relation to music industry. These comic books couldn't be seen from the visual style alone, as they were created in many visual genres, but they could be seen from their relations to music industry, whether the mainstream or indie ones. These comic books are published together with the music CDs, telling fictional stories from factual bands or musicians, telling a band's factual stories, or created by one of the band members. To understand modes of creation of these music industry-related-comic books, visual narrative approach will be applied. Through visual narrative approach, the band members' or musician's necessity for telling stories via comics, beside the common practices via music and song lyrics, will be observed.Keywords : Comic book, music industry, visual narrative

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Ranti - Rachmawanti
Keyword(s):  
Popular Culture ◽  
Qualitative Method ◽  
Music Industry ◽  
Main Idea ◽  
String Orchestra ◽  
Characteristic Func ◽  
Orchestra Music ◽  
Research Show ◽  
Func Tion

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture. 

The Jewish Population of Tennessee

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Jewish Population ◽  
Music Industry ◽  
Major Power ◽  
Sheet Music ◽  
Early Music ◽  
Music Publishers ◽  
Popular Music Industry

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

“FX, Drugs, and Rock ’n’ Roll”

2017 ◽  
Author(s):  
Jenna Ward ◽  
Allan Watson
Keyword(s):  
Qualitative Study ◽  
Working Conditions ◽  
Emotional Labor ◽  
Music Industry ◽  
Physical Space ◽  
Musical Performances ◽  
Work Spaces ◽  
Rock N Roll ◽  
Creative Artists ◽  
A Site

The music industry is characterized by stereotypical images of excess, pleasure, intensity, and play that have given rise to folklore of “sex, drugs, and rock ’n’ roll.” Through a qualitative study of sound engineers this chapter explores two main questions: To what extent is the lived reality of working in studio contexts with creative artists reflected in the stereotypical representations of “rock ’n’ roll”? To what extent is the “rock ’n’ roll vibe” an organic, voluntary state of creativity or facilitated “emotional FX” elicited by studio staff to enhance particular musical performances? The chapter demonstrates ways in which engineers and producers manage their emotions to influence and support performances from artists. These emotional labor performances aim to recast the technological, and often stark, physical space of the recording studio as a site of autonomy and play, turning work spaces into sites of pleasure and excess in sometimes uncomfortable working conditions.

Growing the Grassroots: Reforming Talent Agent Legislation to Promote the Rights and Interests of Grassroots Artists

2020 ◽  
Author(s):  
Bradfield E. A. Biggers
Keyword(s):  
Contemporary Music ◽  
Music Industry ◽  
State Level ◽  
Late Night ◽  
College Radio ◽  
Rights And Interests ◽  
Modern Technologies

The music of grassroots artists is no longer confined to dive bars and late-night rotations on college radio. Today, the digitalization of the contemporary music industry provides grassroots artists with unprecedented access to a global music ecosystem. Nevertheless, talent agency statutes drafted in a pre-Internet music industry impede grassroots artists from reaping the benefits of modern technologies. Due to the inflexibility of these statutes, grassroots artists become lost in a music industry oversaturated with content because their advisors are prohibited from providing meaningful support. This chapter proposes legislators include “grassroots exceptions” in state-level talent agency statutes that would conditionally allow advisors of grassroots artists to procure certain types of employment. These exceptions would allow grassroots artists to efficiently participate in emerging music markets, as well as ensure that these statutes purporting to protect artists are equally promoting the interests of all artists.

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