In 1930s and 1940s Shanghai, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular song which suggests the beginnings of Chinese popular music in modern times. However, Shanghai popular song has long been neglected in most works about the modern history of Chinese music and remains an unexplored area in Shanghai studies. This study aims to reconstruct a historical view of the Shanghai popular music industry and make a stylistic analysis of its musical products. The research is undertaken at two levels: first, understanding the operating mechanism of the ‘platform’ and second, investigating the components of the ‘products’. By contrasting the hypothetical flowchart of the Shanghai popular music industry, details of the producing, selling and consuming processes are retrieved from various historical sources to reconstruct the industry platform. Through the first level of research, it is found that the rising new media and the flourishing entertainment industry profoundly influenced the development of Shanghai popular song. In addition, social and political changes and changes in business practices and the organisational structure of foreign record companies also contributed to the vast production, popularity and commercial success of Shanghai popular song. From the composition-performance view of song creation, the second level of research reveals that Chinese and Western musical elements both existed in the musical products. The Chinese vocal technique, Western bel canto and instruments from both musical traditions were all found in historical recordings. When ignoring the distinctive nature of pentatonicism but treating Chinese melodies as those on Western scales, Chinese-style tunes could be easily accompanied by chordal harmony. However, the Chinese heterophonic feature was lost in the Western accompaniment texture. Moreover, it is also found that the traditional rules governing the relationship between words and the melody was dismissed in Shanghai popular songwriting. The findings of this study fill in the neglected part in modern history of Chinese music and add to the literature on the under-explored musical area in Shanghai studies. Moreover, this study also demonstrates that against a map illustrating how musical products moved from record companies to consumers along with all other involved participants, the history of popular music can be rediscovered systematically by using songs as evidence, treating media material carefully and tracking down archives and surviving participants.

This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.

Esta tese trata da produção em disco e teatro de revista do cantor carioca Francisco Alves entre 1920 e 1932, período que marcou sua consagração como intérprete. Procura mapear através de sua carreira, a trajetória e o papel do disco e do teatro de revista enquanto seus mediadores, comparando-os como meio de circulação e fixação das músicas gravadas e interpretadas por Alves. Através de uma pesquisa realizada em jornais e revistas da época, na primeira parte do trabalho foi feito um levantamento das peças em que atuou e nos arquivos da companhia teatral recuperados trechos e falas dos personagens que representou. Essa primeira parte engloba de 1920 e 1926, período que atuou como ator secundário no Teatro São José e gravou sem sucesso alguns discos nas gravadoras Popular e Casa Edison. A maneira como estas canções circularam nas festas populares e no teatro de revista foi abordada assim como uma comparação dos modos de produção do teatro e da indústria fonográfica. A segunda parte engloba de 1927 e 1932 e marca uma inversão quantitativa na produção de peças de teatro e de discos na trajetória de Francisco Alves, quando foi consolidada sua consagração. Foi enfocada a maneira como as músicas gravadas por ele passaram a se redimensionar nos palcos e ele a se definir como cantor, se articulando com a gravadora, compositores e outros cantores através de seu posicionamento enquanto agente nas diferentes instâncias de mediação. Neste período a ascensão de Francisco Alves coincidiu com a de vários gêneros musicais urbanos e a tese mostrará o caminho deles para o disco e o teatro e entre um e outro meio. / This thesis focuses on the artistic record and musical revue production by Rio de Janiro (carioca) singer Francisco Alves between 1920 and 1932. Such period is known for bringing the artist\'s consecration as a performer. By recovering his career we try to map the trajectory and role of record and theater production in Brazil as mediator compared to the means of circulation and establishment of the songs recorded and performed by Alves. Through extensive research recovering newspapers and magazines of the time, the first part of our work brings the history of the plays Francisco Alves participated in, also searching the archives of the theater companies he worked for and the lines of the characters he impersonated. Thus, the first part of the thesis recovers from 1920 to 1926, period in which Alves was still a secondary performing actor working in the Theater São José and would release a few songs trough the recording companies Popular and Casa Edison. The way such songs have circulated in national popular parties and in the musical revue tradition was taken into account, pointing to the specific means of production of the theater and the music industry. The second part of the thesis ranges from 1927 e 1932 and it marks a quantitative turn in the production of songs and plays in the trajectory of Francisco Alves, consolidating his achievements. We are interested in the way the songs he recorded were staged and how the artist started to be defined as a true singer, articulated with recording companies, composers and other singers. We also consider his role as an agent in many instances of cultural mediation during that time. Finally, the emergence of Francisco Alves has coincided with that of many urban musical genres. This work intends to show the path recovered by those genres in order to be recorded and/or gain the theater, caught in the middle of one and other medium.

Music streaming services are increasing, compact discs (CDs) and digital download sales are declining, and many music artists are becoming affected by this positive shift in music technology. Music streaming revenue does not compensate for the decrease in revenue from CDs and paid downloads. Based on organizational configuration theory (OCT), the purpose of this multiple case study was to explore the technology and marketing strategies that small business music artists used to generate sales revenue from the Internet. Six small business music artists who were 18 years or older with different music revenue streams participated in semistructured interviews. These small business music artists provided detailed information on the technology and marketing strategies they used to generate sales revenue from the Internet. The data collection process for this study included semistructured interview data and participant observations. The data analysis process included methodological triangulation of the interview data and participant observation data to identify themes for the study. Seven themes identified were having a marketing budget, social media, recording studio sessions, digital distribution, SoundExchange, music licensing, and corporate sponsorships. These data may contribute to positive social change by helping small business music artists sustain operations in the music industry.

<p>This thesis deals with the causes and effects of spatial clustering of similar and related economic activity. The relationship between spatial clustering and industrial competitive-ness is analysed in a series of empirical studies, revolving around four research questions: How useful is an institutional approach in analyses of spatial clustering? Can the link between spatial clustering and industrial performance be empirically validated and measured by quantitative methods? In what sense does spatial clustering promote localised processes of learning and innovation? What role can industrial and regional policies play in promoting the type of localised processes emphasised in spatial clustering research?</p><p>It proves to be a rather complicated matter to measure the impact of spatial clustering on firm performance. In the case of export-oriented manufacturing firms in Sweden, the co-location of firms in a particular industry appears to have only a modest impact on export performance. However, when a more qualitative approach is applied, there is some evidence that spatial clustering can have a positive impact. A study of the Swedish music industry indicates that there is indeed a link between the concentration of music-related businesses in the Stockholm region and localised processes of learning and innovation. Such localised processes appear, in turn, to be linked to the ability to create and sustain industrial competitiveness. Finally, the thesis examines how the cluster concept has been put into practice in Swedish industrial and regional policies.</p>

This thesis deals with the causes and effects of spatial clustering of similar and related economic activity. The relationship between spatial clustering and industrial competitive-ness is analysed in a series of empirical studies, revolving around four research questions: How useful is an institutional approach in analyses of spatial clustering? Can the link between spatial clustering and industrial performance be empirically validated and measured by quantitative methods? In what sense does spatial clustering promote localised processes of learning and innovation? What role can industrial and regional policies play in promoting the type of localised processes emphasised in spatial clustering research? It proves to be a rather complicated matter to measure the impact of spatial clustering on firm performance. In the case of export-oriented manufacturing firms in Sweden, the co-location of firms in a particular industry appears to have only a modest impact on export performance. However, when a more qualitative approach is applied, there is some evidence that spatial clustering can have a positive impact. A study of the Swedish music industry indicates that there is indeed a link between the concentration of music-related businesses in the Stockholm region and localised processes of learning and innovation. Such localised processes appear, in turn, to be linked to the ability to create and sustain industrial competitiveness. Finally, the thesis examines how the cluster concept has been put into practice in Swedish industrial and regional policies.

Research on workforce development has focused on general employment trends and traditional industry. Few researchers have studied the potential workforce development implications of emerging industries particularly in those that have sprung from the digital economy. This thesis focuses upon the digital music industry in the Atlanta region. An economic impact study was conducted to illustrate and define the digital music industry and understand its implications for workforce and economic development. This research is significant because it will enable Atlanta workforce developers to assist in reducing unemployment and educational attainment gaps particularly in disadvantaged neighborhoods. Implications for the state includes creating a workforce development strategy based upon digital music innovation that increases Atlanta s overall competitiveness and quality of life by increasing the high-technology and Information-technology workforces.

This study looks at alternative models of follow-up album success in order to determine if there is a relationship between the decrease in Metascore ratings (assigned by Metacritic.com) between the first and second album for a musician or band and the 1) music genre or 2) the number of years between the first and second album release. The results support the dominant thought, which suggests that neither belonging to a certain genre of music nor waiting more or less time to drop the second album makes an artist more susceptible to the Sophomore Slump. This finding is important because it forces us to identify other potential causes for the observed disappointing performance of a generally favorable musician’s second album.

The doctoral thesis examines Queensland's music industry in terms of concepts derived from cluster and network theories in the context of literature discussing creative industries. To this end, the thesis is conceived as one case study incorporating quantitative surveys, convergent interviews and document analyses as its units of investigation. This is necessary because it is the industry as a whole that is the object of theorizing (in terms of Porter and network theory). The 357 firms surveyed represent the creative content producers, distributors and suppliers that comprise Queensland's music industry. The sample for the survey was randomly selected from a universe of 10977 individuals and/or organisations involved in the following sectors of Queensland's music business: music publishing, record companies and distributors, recorded music retailing, other performing arts/music and theatre productions, music composition, and music performance. The data was analysed to understand and describe the nature of firms in the industry and investigate cluster and network dynamics in the operation of the industry. Twenty convergent interviews were also undertaken to further elaborate the qualitative dimensions of cluster and network dynamics in the industry, with particular attention to understanding how the factor input conditions of Porter's cluster model work in practice in the industry, as well as elucidating network effects not adequately addressed by Porter's theory. Policy and industry documents relating to Queensland's music industry were used to contextualise the findings. The conclusions articulate how Queensland's music industry operates as a cluster, and how innovation and creativity are facilitated. The thesis finds Porter's model insufficient to describe some key aspects of this industry's operation. Face-to-face communication, trust and informal networks combine explicit and tacit knowledge to bring about innovation. Thus the industry should be conceived of as a cluster of networks. Furthermore, the findings problematise the notion of distance in cluster and network theories. Traditionally, distance has been conceived in geographic terms; the findings suggest that in the music industry, distance must be understood as cognitive and cultural as well as geographic. The findings provide a detailed set of theoretical modifications to cluster and network theories. Implications are discussed for industry development and policy in Queensland's music industry.

Submitted by Bruna Rodrigues (bruna92rodrigues@yahoo.com.br) on 2016-09-23T12:54:21Z No. of bitstreams: 1 TeseMCT.pdf: 3476416 bytes, checksum: 6845703b450e9fbf4fc6b94ebbf91fbe (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:00:39Z (GMT) No. of bitstreams: 1 TeseMCT.pdf: 3476416 bytes, checksum: 6845703b450e9fbf4fc6b94ebbf91fbe (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:00:45Z (GMT) No. of bitstreams: 1 TeseMCT.pdf: 3476416 bytes, checksum: 6845703b450e9fbf4fc6b94ebbf91fbe (MD5) / Made available in DSpace on 2016-10-04T18:00:52Z (GMT). No. of bitstreams: 1 TeseMCT.pdf: 3476416 bytes, checksum: 6845703b450e9fbf4fc6b94ebbf91fbe (MD5) Previous issue date: 2015-08-28 / Não recebi financiamento / This doctoral dissertation seeks to explain the changes in the music market in the last decade using the Field Theory, by Fligstein and McAdam (2012). Thus, we consider the music market a strategic field of action, which, according to the authors is in frequent adjustment and are subject to external shocks. In this way, through events in nearby fields, the development of innovations that allowed the unauthorized sharing and downloading content over the internet has had a profound impact on the music market, and later on other cultural goods markets. Initial reactions of the incumbent actors have been through strategies that had already been used in earlier times: law suits, educational campaigns and pressuring the government in favor of a stronger legislation. Thus, the reactions of incumbent actors were acoording to what explains the theory, the use of strategies known to restore the status quo. However, due to the crisis that shook the ability of incumbent actors to reproduce their advantages, new players entered the market. In addition, incumbent actors gave way and changed their business models, establishing relations with the new entrants, and adopting new business models leveraging the internet as a means of distribution, dissemination and others. Record companies also started expande their activtities, working with artist's career management. Thus, according to the analysis of the work, we concluded that there was a change in the business model, and that in the Brazilian case these changes followed the international trends. Through research field we conclude that Brazilian companies have adopted the distribution of digital music through online stores and through cell phone companies, streaming services as well as the actors have adopted the 360 contracts. / No presente trabalho busca-se explicar as modificações ocorridas no mercado de música de massa na última década utilizando como referencial teórico a Teoria dos Campos de Fligstein e McAdam (2012). Considera-se o mercado de música um campo de ação estratégica que, de acordo com os autores, está em frequente ajuste e sujeito a choques externos. Transformações em campos próximos, como o desenvolvimento de inovações que permitiram o compartilhamento e download não autorizado de conteúdo através da internet, tiveram impacto profundo sobre o mercado de música e, posteriormente, sobre outros mercados de bens culturais. As reações iniciais dos atores incumbentes constituíram estratégias que já haviam utilizado em momentos anteriores: processos, campanhas educativas e pressões sobre o governo. Tais reações são explicadas pela teoria dos campos: a utilização de estratégias conhecidas a fim de restabelecer o status quo. Entretanto, as mudanças abalaram a capacidade dos atores incumbentes de reprodução de suas vantagens quando entraram novos atores no mercado. Além disso, os atores incumbentes cederam e modificaram seus modelos de negócios, estabelecendo relações com os novos entrantes e adotando modelos de negócios que utilizavam a internet como meio de distribuição, divulgação entre outros. As gravadoras também passaram a atuar de forma mais abrangente, trabalhando com a administração da carreira do artista. Desta forma, de acordo com a análise feita neste trabalho, conclui-se que houve mudanças no modelo de negócios e que, no caso brasileiro, essas mudanças seguiram as tendências internacionais. A pesquisa de campo realizada possibilitou mostrar que as empresas brasileiras adotaram a distribuição de música digital através de venda online, através de empresas de telefonia celular e serviços de streaming, assim como parte dos atores adotaram os contratos 360°. O presente trabalho utiliza pesquisa bibliográfica e estudo de caso para analisar o objeto de estudo.