Submitted by Eduardo Felipe Cangemi Da Cruz null (eduardofccruz@yahoo.com.br) on 2016-11-15T16:18:08Z No. of bitstreams: 1 _DISSERTACAO_PRONTA_REVISADA.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-11-21T14:30:12Z (GMT) No. of bitstreams: 1 cruz_efc_me_fran.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) / Made available in DSpace on 2016-11-21T14:30:12Z (GMT). No. of bitstreams: 1 cruz_efc_me_fran.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) Previous issue date: 2016-10-11 / Não recebi financiamento / A presente pesquisa tem como foco central de análise a produção fonográfica da gravadora independente Discos Marcus Pereira, entre os anos de 1974 e 1978. Este período foi marcado pelo processo de consolidação do mercado de discos no Brasil e pelas discussões em torno de elementos que viriam redimensionar o campo da música popular brasileira, a partir de valores e comportamentos vinculados a certas categorias de apreciação e consumo. A empresa Discos Marcus Pereira lançaria no mercado fonográfico 142 elepês, todos voltados exclusivamente para o registro e divulgação da “autêntica música popular brasileira”. Deste universo discográfico estão sendo considerados como fontes desta investigação, àqueles dedicados à música popular instrumental, mais especificamente o choro. A década de 1970 demarcaria um importante momento de rearticulação e de revitalização deste gênero musical. Se de um lado ocorre a “redescoberta” do gênero e de seus artífices, por outro, concorre uma nova safra de compositores e instrumentistas que passam a pensar o choro para além dos modelos “tradicionais” de composição e execução. Essa tensão entre “preservação” e “revitalização” dos repertórios do choro é amealhada ao longo do trabalho, compondo parte do cenário em que circulariam os discos da gravadora. Essas discussões tangenciariam toda a década de 1970, marcada pela necessidade da afirmação da identidade nacional brasileira, para a qual colaborou de forma significativa a esfera da música popular. A escolha dos repertórios e artistas realizados pela gravadora iriam dialogar com a construção de uma tradição musical nacional, negociada e elaborada por memorialistas, musicólogos e folcloristas ao longo do século XX, através de práticas sociais que se constituíram, produzindo representações específicas acerca de uma determinada tradição musical a ser salva e preservada das influências deletérias dos gêneros musicais estrangeiros. Essa concepção em torno da cultura popular compõe e identifica a atuação da Discos Marcus Pereira nos anos de 1970. Tais posicionamentos em diálogo com um ideário estético e político onde, povo e nação, seriam tomados como elementos centrais de nossa identidade, são discutidos aqui, a partir da produção fonográfica da gravadora. / This research has the central focus of analysis the record production of the independent record label Discos Marcus Pereira, between the years 1974 and 1978. This period was marked by record market consolidation process in Brazil and the discussions on elements that would resize the field of Brazilian popular music, from values and behaviors related to certain categories of appreciation and consumption. The company Discos Marcus Pereira launch in phonographic 142 LPs market, all geared exclusively for the recording and disclosure of "authentic Brazilian popular music." This discographic universe are being considered as sources of this investigation, those dedicated to the instrumental popular music, specifically crying. The 1970s demarcate an important moment of re-articulation and revitalization of this musical genre. On the one hand there is the "rediscovery" of the genre and its creators, on the other, contributes a new crop of composers and instrumentalists who spend thinking crying beyond the "traditional" models of composition and performance. This tension between "preservation" and "revitalization" of the choro repertoire is accumulated throughout the work, forming part of the scenario in which circulate the recording disks. These discussions They crossed throughout the 1970s, marked by the need for affirmation of Brazilian national identity, which contributed significantly the sphere of popular music. The choice of repertoire and artists performed by the label would dialogue with the construction of a national musical tradition, negotiated and drafted by witnesses, musicologists and folklorists throughout the twentieth century, through social practices that constitute, producing specific representations about a particular musical tradition to be saved and preserved from harmful influences of foreign musical genres. This conception around the popular culture composes and identifies the role of Marcus Pereira discs in the 1970s Such positions in dialogue with an aesthetic and political ideas where people and nation, would be taken as central elements of our identity are discussed here, from the record production label.

Made available in DSpace on 2017-07-10T17:55:38Z (GMT). No. of bitstreams: 1 Deivid_Fernando_Franco.pdf: 3208393 bytes, checksum: 1a8a7db81460ccb7639ec2cd2c8e8817 (MD5) Previous issue date: 2015-08-31 / The research starts from the premise that the Rock music of the 1980s served as a cultural practice, as a critical tool, nonconformity and reflection on the political, social and economic situation of Brazil. The work takes as a research subject the Rock music of that time, considering the many rock bands that emerged in the period, but restricting analysis to the songs composed by Renato Russo, a musician who has appeared both in solo and in the bands Aborto Eletrico and Legião Urbana. So, the analysis was performed on some compositions focusing on the speech diffused by the musician, in order to realize his political positioning. The period which is being covered in the research takes as its starting point the year 1978, when the first compositions from the musician aroused, until 1990, when was released the album called "As Quarto Estações". Our sources are the songs and speech found in Renato Russo s compositions and the interviews he granted to the music press / A pesquisa parte da premissa de que o rock da década de 1980 serviu, enquanto prática cultural, como instrumento de crítica, inconformismo e reflexão acerca da situação política, social e econômica do Brasil. O trabalho toma como objeto de pesquisa o rock daquela época, considerando as inúmeras bandas de rock que surgiram no período, mas restringe as suas análises às canções compostas por Renato Russo, músico que atuou em carreira solo e nas bandas Aborto Elétrico e Legião Urbana. Para tanto foram realizadas análises de algumas composições com foco no discurso propalado pelo músico, procurando perceber o seu posicionamento político. O período que a pesquisa abrange toma como ponto de partida o ano de 1978, data em que surgem as primeiras composições do músico, depois indo até 1990, quando do lançamento do disco As Quatro Estações . As nossas fontes são as canções e o discurso de Renato Russo, encontrados em suas composições e entrevistas cedidas à imprensa especializada em música

The diploma thesis deals with the marketing communication of Czech musicians, concretely how musicians should effectively communicate with their audience. The aim is to analyse and to create the optimal way to develop the communication of musicians within the Czech music sphere. The theoretic part aims to define the fundamental terms of this thesis. It explains terms relating to the marketing communication, communication mix, communication and media channels used in the music industry and it also defines the Czech music industry. The practical part consists of two qualitative researches regarding the communication of musicians and the audience in the Czech music industry. The results are used for creation the methodology of marketing communication including the advices and recommendations for beginning musicians. The benefit of this thesis is the application of the methodology as the reference how to communicate with the audience for a purpose of gaining and building up the audience of the musicians.

This thesis investigates the production and consumption of the independent music sector in South Korea in the digital age. It examines the value of music and how it is created in the digital age. Thus, it suggests the impacts of the Internet for consumers and producers. The investigation is based on the view that there has been a transition to value co-creation by consumers and producers, away from the traditional view of value being produced by firms alone, and that this value can be symbolic, emotional and experiential. The thesis shows that this transition has indeed occurred in the music industry. To investigate value and value creation in popular music in the digital age, an in-depth single case study of the independent music industry in South Korea is conducted. Qualitative data was collected, using semi-structured interviews, from independent music consumers and independent record labels. This research reveals that consumers’ music consumption is made up of both information-processing and experiential behaviours. Their desire to minimize the inappropriateness and maximize the appropriateness of independent music and its culture contributes to its sustainment and expansion. This research also reveals the online practices of consumers, categorized into three themes: acquisition, relationship and engagement. In addition, the examination of music communities in South Korea shows that consumers are resource integrators. It reveals that the consumption communities are organized and maintained through various operant resources of the participants. The data from the independent record labels reveals that they are trying hard to interact with consumers and benefit from the new media. They are found to conduct four value (co)creation strategies: contacting, bonding, spreading and managing. Finally, this research shows that difficulties in utilizing social media can be categorized into the following: adaptability, uncontrollability, representability and applicability. The key contributions of this research are as follows: Firstly, it extends our understanding of the symbolic consumption of music. Secondly, it identifies a form of consumption community, which can be termed a ‘co-creative consumption community’. Lastly, it demonstrates the value (co)creation practices used by consumers and the strategies used by producers. These findings extend the existing knowledge and suggest new evidence that contributes to an increased understanding of the concept of value co-creation, and to consumer research in general. In addition, the findings will benefit marketers and producers, especially in cultural industries such as the music industry.

The purpose of this thesis is to describe, analyze and compare traditional and new marketing tools of music industry, focusing on distribution and promotion, and demonstrate through an example of succes of electronic dance music in recent years that digital era and internet development have significant influence on mujsic marketing. Based on analysis and primary research reveal basic segments of listeners and recommend a mix of tools for a starting artist.

This thesis deals with positive and negative effects of technological progress on the music industry. The first part presents important changes during the evolution of the music industry to its current status. Other chapters are trying to analyze current trends and their specific features in the field of production, distribution and promotion of music in the world and the Czech Republic. Special chapter is devoted to new forms of financing music project. The work also deals with the analysis of the current music consumption habits of music consumers in the Czech Republic and Slovakia. The last chapter deals with the approach of Czech and Slovak musicians to new possibilities in production, distribution, promotion and fundraising for the functioning of their musical projects. Key words:

This master thesis analyzes activities of South Korean companies from music industry in the markets in Europe and this analysis is based on a questionnaire survey. The first part focuses on the theory and describes the Korean popular music, cross its history, major companies in the sector and their activity in foreign markets. In following theoretical chapters there is the definition of basic marketing terms, the theory of marketing research, its methods and evaluation and use of marketing research in culture, a summary of the economic situation in South Korea and differences in business negotiations between Koreans and Europeans. The practical part of the thesis describes in detail the selected companies, their products and activities in Europe. Furthermore there is an introduction to research and information about the survey. The final part deals with the evaluation and interpretation of the findings, conclusions drawn from the information obtained and the proposed solutions.

This thesis explores history and development of music industry including tools of monetization, from the beginning of music publishing, inventions of various sound recording methods and related birth of recording industry, to various forms of internet-based distribution of recorded music. It especially focuses on digital means of music distribution and their influence on artists, recording companies as well as consumers -- listeners. It maps connections and consequences resulting from over one hundred old paradigm shift caused by rapid evolution of mobile technology and Internet. Especially the last chapter attempts to anticipate future of this market segment, based on the examples of particular artists, even though it is still in a process of on-going changes.

No abstract available / Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

The purpose of this study was to identify potential threshold concepts in the music industry as perceived by expert music industry professionals; the data collected may possibly inform postsecondary music industry degree program curriculum design. Threshold concept theory emerged in the early 2000s largely due to the research of Meyer & Land (2003, 2005) as a means to illuminate discipline-specific criteria that irreversibly transform a learner’s positionality within a professional discipline. Through the mastery of a threshold concept, a learner becomes aware of discipline specific norms, and may experience a reconstitution of their own identity as a professional. This is the first study to explore threshold concepts within the music industry. This study is also aimed to contribute to a growing body of research at the intersection of threshold concepts and business education. Utilizing qualitative research informed by phenomenology, semi-structured interviews based on the primary tenets of the threshold concept theory framework were conducted. “Expert” music industry professionals were asked to reflect upon their lived experiences regarding their assimilation into the music industry and maintenance of a sustainable career in the discipline. The data collected were aligned with the threshold concept theory framework in order to illuminate potential threshold concepts specific to the music industry. Results indicate that there exist possible dispositional and disciplinary threshold concepts relative to becoming a music industry professional. The identification, prioritization, and utilization of threshold concepts are applicable to curriculum planning at both the macro- (program creation, execution, and evaluation) and micro- (course creation, planning, instruction, and evaluation) levels for post-secondary music industry education.