Orientador: Mauro de Souza Ventura / Banca: Adenil Alfeu Domingos / Banca: José Eugenio de Oliveira Menezes / Resumo: Com as novas tecnologias, surgem campos inéditos de consagração artística. Na Internet, o site MySpace é utilizado como uma rede social cujo diferencial está na interatividade proporcionada entre artistas (consagrados e independentes) e usuários não artistas. O site, que é objeto de estudo desta pesquisa, tem revelado novos talentos a partir da popularidade obtida por eles junto aos internautas. Utilizando como base metodológica os estudos de Featherstone (1995), Jenkins (2008) e Hardt e Negri (2010) em torno de conceitos como novo papel dos intermediários culturais, cultura de convergência, trabalho imaterial e afetivo, e complementando-os com estudos situados no âmbito da etnografia virtual, são apresentados dados que identificam como os usuários do MySpace se utilizam de ferramentas disponíveis para se transformarem em verdadeiros agentes culturais. Para observar como acontece a comunicação dentro desse novo campo, o da música digital na Internet, mais especificamente dentro do site MySpace, foram escolhidos os perfis da cantora Mallu Magalhães e da banda Restart, dois casos emblemáticos de artistas que conseguiram alcançar visibilidade não só na rede mundial de computadores, mas também fora dela / Abstract: With new technologies, there are fields of unprecedented artistic consagration. On the Internet, MySpace is used as a social network whose differential is the interactivity between artists-users (established and independent) and non-artists-users. The site, Which is the subject of this research, has revealed new talents from the popularity obtained by them from the Internet. Using the studies as a methodological basis of Featherstone (1195), Jenkis (2008) and Hardt and Negri (2010) about concepts such the new role of cultural intermediaries, converge culture, affective and immaterial labor, and complemented with studies located within the virtual ethnography, data are presented that identify how the MySpace users use available tools to turn themselves into cultural agents. To see how the communication takes place within this new field, the digital music on the Internet, more specifically within the MySpace site, were chosen the profiles of the singer Mallu Magalhães and the band Restart, two emblematic cases of artistis who have achieved visibility not only in World Wide Web, but also beyond it / Mestre

Made available in DSpace on 2014-06-11T19:24:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-10-14Bitstream added on 2014-06-13T20:51:22Z : No. of bitstreams: 1 ito_ll_me_bauru.pdf: 979328 bytes, checksum: 574a9759342e099159cd98fe578079a0 (MD5) / Universidade Estadual Paulista (UNESP) / Com as novas tecnologias, surgem campos inéditos de consagração artística. Na Internet, o site MySpace é utilizado como uma rede social cujo diferencial está na interatividade proporcionada entre artistas (consagrados e independentes) e usuários não artistas. O site, que é objeto de estudo desta pesquisa, tem revelado novos talentos a partir da popularidade obtida por eles junto aos internautas. Utilizando como base metodológica os estudos de Featherstone (1995), Jenkins (2008) e Hardt e Negri (2010) em torno de conceitos como novo papel dos intermediários culturais, cultura de convergência, trabalho imaterial e afetivo, e complementando-os com estudos situados no âmbito da etnografia virtual, são apresentados dados que identificam como os usuários do MySpace se utilizam de ferramentas disponíveis para se transformarem em verdadeiros agentes culturais. Para observar como acontece a comunicação dentro desse novo campo, o da música digital na Internet, mais especificamente dentro do site MySpace, foram escolhidos os perfis da cantora Mallu Magalhães e da banda Restart, dois casos emblemáticos de artistas que conseguiram alcançar visibilidade não só na rede mundial de computadores, mas também fora dela / With new technologies, there are fields of unprecedented artistic consagration. On the Internet, MySpace is used as a social network whose differential is the interactivity between artists-users (established and independent) and non-artists-users. The site, Which is the subject of this research, has revealed new talents from the popularity obtained by them from the Internet. Using the studies as a methodological basis of Featherstone (1195), Jenkis (2008) and Hardt and Negri (2010) about concepts such the new role of cultural intermediaries, converge culture, affective and immaterial labor, and complemented with studies located within the virtual ethnography, data are presented that identify how the MySpace users use available tools to turn themselves into cultural agents. To see how the communication takes place within this new field, the digital music on the Internet, more specifically within the MySpace site, were chosen the profiles of the singer Mallu Magalhães and the band Restart, two emblematic cases of artistis who have achieved visibility not only in World Wide Web, but also beyond it

Thesis (D.M.A.)--University of California, San Diego, 2007. / Title from 1st page of PDF file (viewed Mar. 5, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 50-55.

Thesis (M.S.)--Rutgers University, 2008. / "Graduate Program in Electrical and Computer Engineering." Includes bibliographical references (p. 63).

As the record industry’s fortunes decline, consumers experience increasing access to the world’s recorded music, legally and otherwise, through digital technologies. At the same time, recordings not only take up less physical space (on hard drives and MP3 players), they are compressed — not just as data, but in terms of dynamic range. While it allows for constant audibility in noisy environments like cars and offices, dynamic range compression has frustrated many listeners for limiting the impact of the music and causing “ear fatigue.” These listeners long for access to the purity of the original recording before it was “squashed,” but the problem is that the original recording does not, in a sense, exist. Producers and mastering engineers assemble the tracks recorded and create a particular sonic product that can later be revisited and “remastered.” Ostensibly this process is meant to get closer to the original sound, but in reality it simply comprises a different manner of interpreting the existing recording. Theodor Adorno had written of surprisingly similar phenomena more than half a century ago in essays like “The Radio Symphony” and the notes collected in Towards a Theory of Musical Reproduction. Though infamous for his hostility toward popular music and its “infantile” listeners, Adorno’s writings on music contain much that is valuable for an understanding of how pop works in the digital age. Combined with a consideration of works on music and postmodernity by Fredric Jameson, Jacques Attali, François Lyotard and others, Adorno’s work helps one to consider how reification continues to work in an era where music is seemingly no longer a “thing.”

In the wake of the digital revolution, the Musicians' Union of Ghana has begun a massive campaign to re-establish its membership base, advocate for enforceable copyright policy changes, and introduce the technology necessary to make its members' music available for sale to digital consumers. However, despite the excitement behind this project, the vision of a professional class of musicians, enabled by the digitization and digital sale of Ghana's new and existing music, is problematic. Recent revenue reports collected from musicians based in the United States suggest that revenue collected from digital sales may not be the silver bullet Ghanaian musicians hope it will be. Analyzing corporate, government, development, and news documents, this study examines the history and the political economy of the current digitization efforts in Ghana to determine who claims to benefit from the project and who stands to bear the costs. Overall, this study recommends the introduction of new forms of cultural protectionism alongside existing copyright protections to avoid the potential exploitation associated with musical success. The empowering and imperial effects of the project are also debated.

Ontologies provide an explicit conceptualisation of a domain and a uniform framework that represents domain knowledge in a machine interpretable format. The Semantic Web heavily relies on ontologies to provide well-defined meaning and support for automated services based on the description of semantics. However, considering the open, evolving and decentralised nature of the SemanticWeb – though many ontology engineering tools have been developed over the last decade – it can be a laborious and challenging task to deal with manual annotation, hierarchical structuring and organisation of data as well as maintenance of previously designed ontology structures. For these reasons, we investigate how to facilitate the process of ontology construction using semantic audio analysis. The work presented in this thesis contributes to solving the problems of knowledge acquisition and manual construction of ontologies. We develop a hybrid system that involves a formal method of automatic ontology generation for web-based audio signal processing applications. The proposed system uses timbre features extracted from audio recordings of various musical instruments. The proposed system is evaluated using a database of isolated notes and melodic phrases recorded in neutral conditions, and we make a detailed comparison between musical instrument recognition models to investigate their effects on the automatic ontology generation system. Finally, the automatically-generated musical instrument ontologies are evaluated in comparison with the terminology and hierarchical structure of the Hornbostel and Sachs organology system. We show that the proposed system is applicable in multi-disciplinary fields that deal with knowledge management and knowledge representation issues.

While physics-based synthesis offers a wide range of benefits in the real-time generation of sound for interactive environments, it is difficult to incorporate nuanced and complex behaviour that enhances the sound in a narrative or aesthetic context. The work presented in this thesis explores real-time human performance as a means of stylistically augmenting computational sound models. Transdisciplinary in nature, this thesis builds upon previous work in sound synthesis, film sound theory and physical sound interaction. Two levels on which human performance can enhance the aesthetic value of computational models are investigated: first, in the real-time manipulation of an idiosyncratic parameter space to generate unique sound effects, and second, in the performance of physical source models in synchrony with moving images. In the former, various mapping techniques were evaluated to control a model of a creaking door based on a proposed extension of practical synthesis techniques. In the latter, audio post-production professionals with extensive experience in performing Foley were asked to perform the soundtrack to a physics-based animation using bespoke physical interfaces and synthesis engines. The generated dataset was used to gain insights into stylistic features afforded by performed sound synchronisation, and potential ways of integrating them into an interactive environment such as a game engine. Interacting with practical synthesis models that have extended to incorporate performability enables rapid generation of unique and expressive sound effects, while maintaining a believable source-sound relationship. Performatively authoring behaviours of sound models makes it possible to enhance the relationship between sound and image (both stylistically and perceptually) in ways precluded by one-to-one mappings between physics-based parameters. Mediation layers are required in order to facilitate performed behaviour: in the design of the model on one hand, and in the integration of such behaviours into interactive environments on the other. This thesis provides some examples of how such a system could be implemented. Furthermore, some interesting observations are made regarding the design of physical interfaces for performing environmental sound, and the creative exploitation of model constraints.

Purpose:The purpose of this study is to investigate the most important factors for creating customer loyalty, which contribute to competitive advantage in the DMP industry.   Background: The emergence of the digital music industry in recent years has resulted in a competitive situation with new digital music portals (DMPs) entering the market. A DMP can be defined as ‘an e-business whose core service is to legally offer digital music by means of stream and/or download’. The industry has experienced rapid developmental changes on the online platform with an outcome of a steady growth in online sales. Customers can choose from a large music assortment and DMPs function as intermediaries between right holders and end-consumers, and customers can easily switch between rivals at low costs. Method: The research strategy used in this thesis was a qualitative research strategy. Data was collected from eleven interviews, from people working within the DMP industry, using semi-structured questions. The sample was selected through a combination of convenience and snowball sampling. The collected data was later interpreted and analysed. Coding was used as an analysis method, where the authors selected relevant data and created groups of themes related to the purpose and the research questions. Conclusion: The analysis results show that DMPs have to focus on performance, explicitly performance competing strategies for creation of customer loyalty, which overlaps value and trust creation activities. The most important factors for creating customer loyalty contributing to competitive advantage in this industry are gathered under three concepts: developing innovative new transaction structures, increasing customer affiliation through usability and editorials and to engage the customer in the portal’s service.

The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. Digital technologies are overhauling the way in which musicians, record labels, and other industry professionals make a living, and my goal is to decipher what these changes mean in the long term. In light of this transformation, my research investigates whether musicians still need record labels in the digital era, and what role copyright law will continue to have in this new model.<p> The method of research for my thesis was slightly atypical. While I utilized any textbook and scholarly journal that was available on the topic, much of my most valuable research came in the form of personal interviews with some of the biggest players in the music industry, as well as various articles and studies found online.<p> My thesis argues that the roles played by artists and record labels have completely changed in the last five years, and the parties that will find success on either side of the bargaining table will be those most appreciative of and adaptive to this change. Directly related to this is the changing face of copyright in the music industry. My thesis argues that while copyright used to provide massive value from a single source in the short term, it now generates smaller amounts of value from an infinite array of sources, in the long term. The significance of this finding cannot be understated, for both artists and their investors. In this way, my research aims to be equally significant and accessible to musicians, industry professionals, and academics.