Med teknologins ständiga framsteg har det uppkommit nya distributions- och produktionsmöjligheter vilket resulterat i en förändring i strukturen inom musikindustrin. Nya inkomstkällor har identifierats, och musikskapare kan agera mer självständigt än tidigare tack vare portabla inspelningsprogram och digitala plattformar såsom Spotify och Soundcloud. Den förändrade strukturen har fått som följd att relationen mellan musikskapare och musikbolag har förändrats.   Syftet med denna studie är att granska hur oetablerade musikskapares relation till musikbolag har förändrats, sett till den teknologiska förändringsprocess som skett. Detta för att skapa en djupare förståelse för fenomenet såväl som det musikindustriella landskapet. För att uppnå detta syfte har vi arbetat utifrån följande forskningsfråga: Hur har oetablerade musikskapares relation till musikbolag förändrats, sett till den teknologiska utveckling som skett? Studien bygger på en induktiv ansats där vi utgår från den insamlade empirin för att bilda oss en uppfattning om det studerade fenomenet och utifrån detta skapa en teoretisk förankring. Empirin består till stor del av sju semistrukturerade intervjuer med såväl musikskapare i den inledande fasen av sin karriär som en aktör aktiv inom musikbolag. För att styrka denna empiri har vi valt att komplettera med sekundärdata, både kvalitativ i form av artiklar och akademiska studier, men även kvantitativ i form av statistiskt underlag från branschorganisationer, såsom IFPI och Musiksverige. Denna studies slutsats tyder på ett begynnande mönster kring hur relationen mellan musikskapare och musikbolag har förändrats. Studien ämnar inte att generalisera eller konkretisera fenomenet utan att, genom materialet vi samlat in, diskutera fenomenet utifrån flertalet faktorer. Vi har i arbetet bland annat tagit upp entreprenörskap, ökad individuell kunskap, samt en ökad mängd musikskapare som bidragit till större konkurrens. Den ökade konkurrensen har bidragit till ett svårläst industriellt landskap där det nu finns en mängd verktyg att använda, men det garanterar inte en ökad chans till att ta sig igenom “bruset”. / The constant progress of technology, along with the new distribution and production opportunities that has appeared, has resulted in a structural change in the music industry. New sources of income has been identified to allow music creators to act more independent than before, as a result of portable recording software and digital platforms, such as Spotify and Soundcloud. Thus, the structural changes has led to modifications in the relationship between music creators and music companies. The intention of this study is to examine how music creators relationship to music companies have changed, during the initial phase of the music creators career, in terms of the technological transformation that has occurred. This is to create a deeper understanding of the music industrial landscape. To achieve this purpose, we have been working with the research question stated below: How has music creators relationship to music companies changed, in the initial phase of the music creators career and in terms of the technological transformation that has occurred? The study is based on an inductive approach, as our starting point is in the empirical field, in order to create a perception of the studied phenomenon and establish it theoretically. The empirical data largely consist of seven semi-structured interviews with music creators in the initial phase of their career, as well as an representative of the music companies. To further strengthen the data, we have chosen to complement it with secondary data. These come in the forms of qualitative data, such as articles and academic studies, as well as quantitative data, such as statistics from industry associations as IFPI and Musiksverige. The results of this study indicates an incipient pattern regarding the changed relationship between music creators and music companies. The aim of this study is not to generalize or concretize the phenomenon, but to, through the gathered material, discuss the phenomenon based on a plurality of factors. In the study, we have addressed topics such as entrepreneurship, an increase in individual knowledge as well as an increase in music creators, which has contributed to a growing competitive market. The increase in competition has resulted in a landscape that is more difficult to read, where there’s now an immense amount of tools to use, but no guarantee for breaking through the spectrum.

Bibliografický záznam KOUNOVSKÝ, Josef. Crowdfunding v českém prostředí a jeho využití v proměňujícím se hudebním průmyslu. Praha, 2014. 94 s. Diplomová práce (Mgr.) Univerzita Karlova, Fakulta sociálních věd, Institut komunikačních studií a žurnalistiky. Katedra mediálních studií. Vedoucí diplomové práce Mgr. Jaroslav Švelch, Ph.D. Abstract This thesis addresses the issue of crowdfunding in the Czech Republic and its utilization in the changing music industry. It focuses on the specifics that the local version of crowdfunding brings with itself and the motivation of musicians to use this not very familiar method of financing. At the same time, the thesis also puts crowdfunding in the context of today's music culture and points out the mechanics behind crowdfunding that make it successful abroad. The thesis briefly outlines the changes in the music industry, which occur with the development of new media. The research part of the thesis provides a qualitative analysis of five crowdfunding campaigns that took place since autumn 2013 to the present day. The analysis is based on in-depth interviews with project creators. The analysis shows that the Czech crowdfunding is still in its infancy and can not yet be seen as a full-fledged local version of crowdfunding as we know from abroad. The major differences can...

Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux. / Since the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up.

Submitted by Mariana Dornelles Vargas (marianadv) on 2015-03-18T18:26:26Z No. of bitstreams: 1 design_cultura.pdf: 1524902 bytes, checksum: 06fd9df481865d25e43009577077568b (MD5) / Made available in DSpace on 2015-03-18T18:26:26Z (GMT). No. of bitstreams: 1 design_cultura.pdf: 1524902 bytes, checksum: 06fd9df481865d25e43009577077568b (MD5) Previous issue date: 2010 / UNISINOS - Universidade do Vale do Rio dos Sinos / O consumo de música digital na Internet tem sido um dos temas dominantes para a indústria fonográfica, e para estudiosos de áreas de inovação e cultura. Essa pesquisa tem como objetivo elucidar a complexa relação entre o setor fonográfico e o consumidor, no contexto da Internet, analisando aspectos culturais dos posicionamentos de cada agente. Utiliza-se o Design Estratégico para avaliar a evolução do processo de consumo de música. Durante o trabalho, buscou-se inicialmente compreender a natureza da inovação no setor; os contextos históricos que causam essa inovação; a cultura de consumo de música digital e a pirataria; e o papel do artista musical na cadeia produtiva desse segmento. Através do método qualitativo, utilizando entrevistas e a técnica focus group, foram identificados os diferentes discursos que sustentam as atividades de consumo, e o posicionamento dos diferentes atores deste processo. A partir dos resultados desse trabalho foram propostas melhorias para o setor. / Digital music consumption on the Internet has been a dominating theme for the recording industry, as well as for scholars within the areas of innovation and culture. The aim of this research is to elucidate the complex relations between recording industry and consumer in the context of the Internet, analyzing the cultural aspects of each agent's position. Subjects which have been examined include the nature of innovation in the industry; the historical contexts which have led to this innovation; digital music consumption culture and piracy; and the role of the recording artist in the production chain. By means of qualitative methods, using interviews and the focus group technique, different discourses have been identified which sustain the activities of consumption, as well as the positions of different actors which participate in this process. Through the perspective of the discipline of strategic design, this study concludes with an evaluation of the evolution of the music consumption process, and improvement proposals for the recording industry.

Made available in DSpace on 2016-04-25T20:20:38Z (GMT). No. of bitstreams: 1 Edson Alencar Silva.pdf: 703123 bytes, checksum: 83360f2f0e1a88357387dcd90458f538 (MD5) Previous issue date: 2012-05-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This present dissertation proposes to investigate the market of gospel music in Brazil and its relation to the music industry, in order to understand the movement which is today called the Gospel song. The objective of this research focuses, therefore, in the processes which became possible to emerge this phenomenon in Brazil. We start from the hypothesis that the basis of this market are established in the intersection between religious actions, known, as the spread of the "Word" and the proselytism, coupled to the dynamic of the development from Brazilian music industry. The development of the present stdudy is in many ways the realization of this hypothesys / A presente dissertação propõe-se investigar o mercado de música evangélica no Brasil e sua relação com a indústria fonográfica, com vistas a entender o movimento ao qual se apresenta hoje a chamada música Gospel . O objetivo desta pesquisa centra-se, portanto, em entender os processos que possibilitaram emergir tal fenômeno no Brasil. Partimos da hipótese de que as bases deste mercado estejam estabelecidas na intersecção entre as ações religiosas, a saber, a propagação da Palavra e o proselitismo, aliado à dinâmica do desenvolvimento da indústria fonográfica no Brasil. O desenvolvimento do presente estudo apresenta de diversas maneiras a constatação dessa hipótese

Made available in DSpace on 2016-04-26T14:53:35Z (GMT). No. of bitstreams: 1 Edson Alencar Silva.pdf: 703123 bytes, checksum: 83360f2f0e1a88357387dcd90458f538 (MD5) Previous issue date: 2012-05-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This present dissertation proposes to investigate the market of gospel music in Brazil and its relation to the music industry, in order to understand the movement which is today called the Gospel song. The objective of this research focuses, therefore, in the processes which became possible to emerge this phenomenon in Brazil. We start from the hypothesis that the basis of this market are established in the intersection between religious actions, known, as the spread of the "Word" and the proselytism, coupled to the dynamic of the development from Brazilian music industry. The development of the present stdudy is in many ways the realization of this hypothesys / A presente dissertação propõe-se investigar o mercado de música evangélica no Brasil e sua relação com a indústria fonográfica, com vistas a entender o movimento ao qual se apresenta hoje a chamada música Gospel . O objetivo desta pesquisa centra-se, portanto, em entender os processos que possibilitaram emergir tal fenômeno no Brasil. Partimos da hipótese de que as bases deste mercado estejam estabelecidas na intersecção entre as ações religiosas, a saber, a propagação da Palavra e o proselitismo, aliado à dinâmica do desenvolvimento da indústria fonográfica no Brasil. O desenvolvimento do presente estudo apresenta de diversas maneiras a constatação dessa hipótese

This paper attempts to unpack a few of the vast array of assumptions implicit in how "the technology" known as Napster was understood by several of its key constituencies. Our approach examines discourse about Napster in several areas - legal, economic, social, and cultural. This approach enables us to understand "the technology" as an ongoing encounter, rather than the accomplishment of any one inventor, team of inventors, dominant institution, or rule of law. We do not offer proscriptive advice. While there is value in other research that has tried to determine the "impact of Napster on" a particular market or industry, we argue that a multidimensional understanding is necessary both as a foundation for such research as well as in its own right. In only the past four years, dominant interpretations of Napster have not only emerged, but also have been inscribed into laws, business plans, and purchasing decisions, in effect, determining what "tools" - precedents, myths, data sets, prior objects, capabilities - will be available in the future. Our paper tries to show how and why certain (subjective) significations increasingly have taken on the status of truth, while other (equally subjective) discourses have been pushed farther and farther out to the fringes

Sedan 2001 har skivindustrin förlorat en tredjedel av sin totala försäljning och framtiden för musikkonsumering är näst intill dagligen debatterad i media. På ena sidan finner man förespråkare för fri nedladdning och fildelning över Internet, medan den andra sidan består av artister och skivbolag som förklarar att man inte kan klara sig utan intäkter för musiken som produceras. Ett försenat lagförslag, ämnat att träda i kraft i juli 2005, som skulle förbjuda nedladdning av otillåtet material på Internet behandlas just nu av riksdagen. Framtiden är oviss, men det råder inga tvivel om att musikindustrin just nu undergår stora förändringar. Syftet och avsikten med den här uppsatsen är att undersöka hur stora skivbolag i Sverige hanterar de omvärldsförändringar som skett till följd av nedladdning över Internet. Vårt fokus ligger på strategiska val, aktiviteter och organisatoriska förändingar som implementeras av ledningsgrupperna på respektive företag. Vi har använt oss av tidigare studier och teorier inom strategi och change management som en plattform för att analysera företagens aktiviteter och inställning till nedladdningsfeno-menet sedan problemet identifierades. På deras respektive huvudkontor i Stockholm intervjuade vi representanter från de tre största skivbolagen i Sverige; EMI, Universal Music och Sony BMG. Datan som samlades in baserades på de frågor vi formulerat med hänvisningar till olika delar av managementteorin som behandlar diskontinuerlig förändring. En slutsats som vi dragit är att skivbolagen reagerat för sent för att till fullo ta tillvara på möjligheterna som musikdistribution over Internet trots allt besitter. Anledningarna är många, men deras relativt statiska strukturer och det faktum att man varit fast i gamla mönster är en stor del av förklaringen. Trots att man från skivbolagens sida reagerade ganska sent på förändringen så har man nu hunnit i kapp utvecklingen avsevärt och efter att ha tagit många strategiska steg på rätt väg är man nu till en större utsträckning förberedd att möta framtida behov. Den här uppsatsen innehåller mer detaljer och specifika element av deras strategiska respons, bland annat personalbyten, tydligare omvärldsanalyser och strategiförändringar. / Since 2001 the recording industry has lost a third of its total sales and the future of music consumption is almost daily debated in media. On one side there are voices proclaiming free downloading and music sharing over the Internet and on the other side there are artists and record companies explaining that they need the revenues to survive. A currently delayed law proposal to illegalise unauthorized downloading, planned to be implemented from July 2005, is being considered by the Parliament. The future outcome is uncertain, but the music industry is currently and unquestionably experiencing big change. The purpose and intention with this thesis is to examine how major record companies in Sweden are managing the environmental change, imposed by downloading over the Internet, focusing on strategic choices, actions and organizational change implemented by subsidiary level top management. We have used previous research and theories within the area of strategy and change management as a platform for analyzing what approach these companies have to this phenomenon and also what measures have been implemented since the problem was first recognized. In Stockholm we met with representatives from the three largest record companies in Sweden; EMI Sweden, Universal Music and Sony BMG. Our data was collected from these interviews, which were based on our questions referring to different parts of the management process when experiencing big change. One conclusion we have drawn is that the reaction from the recording industry has been too slow in order to fully capitalize on the possibilities in music distribution over the Internet. The reasons for this are many, but their relatively static structure and the fact that they have been caught up in old patterns are certainly part of the explanation. However, even though the record companies were somewhat slow from the beginning, they have now caught up substantially and since many of the measures suggested by previous research have been implemented, they are now to a larger extent equipped to meet the future needs. This thesis contains more specific elements on what responses to downloading the record companies are currently working with, such as restaffing procedures, rethinking the operational environment and reshaping strategies.

Problem: Record companies are facing a downturn in sales of music. This is seen as consequence of the growth of distribution of music through Internet by file sharing networks such as BitTorrent networks. On one side there are record companies who feel threatened of the illegal file sharing, and on the other side file sharing BitTorrent networks has increased dramatically in number of users since they first approached. Some record companies have responded by taking hostile actions towards the BitTorrent networks and their users with lawsuits and penalties for illegal file sharing. Other record companies and artists have joined forces with BitTorrent networks and see them as an advantage. Purpose: The purpose of this paper is to explore and analyze if, and how record companies can collaborate with the BitTorrent networks. Method: A hermeneutic inductive approach is used, in combination with qualitative interviews with both record companies and BitTorrent networks. Conclusions: It is argued that record companies can find a way in communicating and cooperating with BitTorrent networks. Instead of adopting hostile approaches and trying to restrict the technologies adopted by end users, companies should open themselves up and accept the current changes initiated and developed by BitTorrent networks. Thus, it was concluded that companies have to concentrate around collaborating with BitTorrent networks rather than fiercely protecting old business models. By opening up to the users, record companies will adopt open innovations approach that is characterized by combining external and internal ideas, as well internal and external paths to market, thus obtaining future technological developments. As for the BitTorrent networks, by going from outlaw to crowdsourcing mode, the networks’ creative solutions can be further harnessed by record companies. Finally, strengthening relationships between customers and music artists can be considered as beneficial for both record companies and BitTorrent networks. Thus, giving opportunities for customers to win special items, tickets for concerts, watch sound check, eat dinner backstage with the group, take pictures, get autographs, watch the show from the side of the stage, etc. can lead to valuable relationship in a long run.

Denna uppsats syftar till att få en inblick i hur frilansande folkmusiker i Sverige gör för att lansera sig själva som artister, vilka redskap som används samt vilken funktion dessa redskap fyller. Detta har undersökts genom kvalitativa intervjuer med fyra frilansmusiker inom den folkmusikaliska genren. Musikbranschens förändrade förutsättningar, ställda i relation till Lundberg, Malm & Ronströms (2000) begrepp görare, vetare och makare, utgör de teoretiska utgångspunkterna för uppsatsen. Dessa begrepp har i uppsatsen omformats till de tre nya begreppen individen, arenan och branschen. Resultatet visar att respondenternas artistlansering är en medveten process som består av många komponenter. Studien lyfter fram och problematiserar artistens entreprenörskap som utöver det konstnärliga utövandet även innefattar roller såsom exempelvis agent, distributör, marknadsförare och företagare. Musikern som individ använder, med utgångspunkt från drivkraften att musicera, branschen och dess arenor för att framhäva sig själv på marknaden. Undersökningen visar indikationer på att det finns essentiella faktorer när det gäller marknadsföring av artister, där grunderna baseras på att tala om att verksamheten finns, förklara vad som är bra med den, upprepa budskapet och sedan leva upp till det. Respondenternas strategier för att försörja sig som frilansmusiker går ut på att med hjälp av olika redskap hålla verksamheten levande och lönsam. Det gör de genom att exempelvis göra sin musik lättillgänglig och visa en tydlig profil samt genom att bygga ett kontaktnätverk, synas i gynnsamma miljöer och dra nytta av olika bidragsmöjligheter. Det har också framkommit att folkmusikernas marknadsföring och varumärkesbildande utförs till största del över Internet via hemsidor, sökmotorer, e-post och sociala medier. / The paper aims to gain insight into how freelance musicians in Sweden are doing to launch themselves as artists, the resources used and their function. This has been examined through qualitative interviews with four freelance musicians in the genre of folk music. The changing conditions of the music industry, in relation to Lundberg, Malm & Ronström’s concept görare, vetare and makare, are the theoretical basis for the paper. These concepts have in the paper been transformed to the three new concepts of the individual, the arena and the industry. The results show that the respondents' role as an artist is a deliberate process that consists of many components. The study highlights and discusses the artist's entrepreneurship that goes beyond the artistic exercise, and also includes roles such as agent, distributor, marketer etc. The musician as an individual, with the urge to make music as a point of departure, uses the industry and it’s arenas to highlight him or herself in the market. The study indicates that there are essential elements in the marketing of artists which are based on informing people about the activity, explain what is good about it, then repeat the message and live up to it. Respondents' approaches to living as a freelance musician is to keep the business alive and profitable by using various tools. They do this for example by making their music accessible, show a clear profile, build a contact network, be seen in favourable environments and take advantage of various funding possibilities. It has also become apparent that the musicians´marketing and trademark creation is carried out largely over the Internet through websites, search engines, email and social media.