In recent years, the cyberspace had led to significant evolution of information transmission. Indie musician upload their music to StreetVoice and Youtube to display themselves. They also keep good connections with other musicians and fans through Social Network. Consequently, network has been one of the most important environment for musician to create. Whether network is well creativity space for indie musician involves conflicts between its enhancing and inhibiting factors. We use Csikszentmihalyi¡¦s three-pronged systems model and four major regulators:Law, Norms, Market, Architecture in the book of ¡§Code and Other Laws of Cyberspace¡¨ by Lawrence Lessig as the study framework. This research takes qualitative approach with twelve interviewees. All of them are indie musician. Following the data analysing, the results present the life of creativity can been divided into three stage: copy, shadow and create. When people go through the three stages, their knowledge of music will become more rich. Musician can write or sing a song to express what they want and who they are. The results of this analysing, network could bring several enhancing factors Including promotion, grouping, sharing, encouragement and expanding fans. According to the analysis observed that network architecture isn¡¦t robust now. Indie musicians are afraid that law can¡¦t protect their copyright of music on network. In the part of norms, indie musicians want all of their musics on network are perfect. Furthermore, indie musicians don't believe that network could made enough profit to cover their basic expenses.

1 ABSTRAKT HUDZÍKOVÁ, Eliška. Camp Phenomenon and its Manifestation and Forms in Contemporary Popular Music. [Magister thesis]. Charles University on Prague. Faculty of Humanities; Department of Electronic Culture and Semiotics. Supervisor: Mgr. Felix Borecký. Professional qualification level: Master's degree. Prague: FHS UK, 2015. This Magister thesis examines the camp phenomenon. Despite the wide scope of the term I will try to come up with a universal definition or several basic definitions which will after serve as a base for my following conclusions. The main source of my thesis is an essay Notes On a Camp written by Susan Sontag. This essay I will apply to contemporary (20th and 21st century) popular music in which I will search for camp signs and campy gestures in the work of independent popular and mainstream artists and performers. The main focus area for this thesis will be primarily visual aspect of their work - costumes, videos, appearance, … The line between campy and not campy is very thin and indefinite, that is why I will try to draw it demonstrating camp signs on chosen samples. I would also try to point out that in contemporary popular culture we consume some forms of camp without being aware that it is actually camp what we consume. KEYWORDS: camp, campy, kitsch, gay culture, popular...

Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.

Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.

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The main purpose of this study is to find out how Swedish independent music labels survive in the music industry. The study aims to examine the independent music labels based on their resource assets and how they through these assets can compete within the music market for continued survival. The empirical data consists of interviews with 5 informants who all runs an independent music label in Sweden today. The data was analyzed using Pierre Bourdieus capital theory and the related field concept. Based on Bourdieu’s concept of capital, I have introduced the indie capital, which is a capital of information that grows with your time on the music industry field.   The results of this study shows that where the indie music labels lack economical capital, they use their cultural capital and convert it into economical capital with the help of super fans. It is also of importance to build a large song catalog from which the labels can receive a stable income. Further the results shows that the indie capital was essential when the labels were founded and remains essential for continued survival within the industry in forms of knowledge and experience. The social capital acts as en exchange of mainly the indie capital between the independent music labels. It turned out that the indie music labels acted as both competitors and colleagues within the field which means that the indie music labels can turn to each other when it is needed.

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台灣唱片工業在1997年達到前所未有的高峰，唱片總銷售金額達新台幣123億元。可是從1998年開始，台灣唱片工業景氣急轉直下，每年的成長率至少都在-10％以上，到了2007年，整體唱片銷售總額已掉到新台幣19億元，幾乎已是十年前的六分之一。很多唱片業界的人士都怪罪數位音樂的流通，導致盜版橫行，沒有消費者願意花錢支持正版專輯，使得主流唱片市場一落千丈，可是反觀國內以獨立音樂為號召的三大音樂祭，每年參與人數皆逐年上升，尤其是野台開唱去年一舉將票價提升近一倍，但人數不減反增，三天的活動累計突破十二萬人次，雖無直接的證據證實以往聆聽主流音樂的消費者漸漸轉向獨立音樂的陣營，可是強調「真誠」與「創新」的獨立音樂，逐漸擄獲消費者的心卻是不爭的事實。 Simon Frith認為：「音樂已經變成一種商品，想要賺錢得不斷適應新的科技，這兩樣事情形塑了通俗音樂產業的面貌。」，此話明確指出，唱片工業除了得面對科技的進步，音樂的本質也相當重要。但台灣主流唱片公司一昧卸責怪罪mp3所造成的衝擊，卻忽略除了科技以外的問題。因此唯有透過完整性的產業分析，將國內主流與獨立音樂分別比較探討，才能真正的釐清國內唱片工業問題之所在。 時至今日，跨國唱片公司以裁員、縮編因應市場的轉變，許多本土中小型的主流唱片公司應運而生紛紛轉向大陸市場，獨立音樂透過網路社群的集結，蓄積龐大的力量，正逐漸解構跨國唱片公司所建構的市場規則。台灣唱片工業將會再起，網路霈然莫之能禦的力量，將使台灣富有生命力的「新音樂」推向市場。 / The Taiwan popular music industry reached the high peak in 1997 without precedent history that the total output value was NT dollar twelve billion. But from 1998, the Taiwan popular music industry had a quick and decisive turn of events for the worse. Until 2007 the total output value was about NT dollar two billion that is almost the one sixth of ten years ago. Many people in this industry have blamed the digital music for the sluggish market. But, by contrast, there are more and more people joining the three most famous indie-music festivals, especially Formoz Festival 2007. Although It raised the ticket price to two times, the total entrance people reached one hundred-twenty thousand. Even though there is no direct evidence that the most of customers listening pop music turn to indie music, in fact, the indie music that highlights “honest” and “innovative” gradually attract many customers. Simon Frith said: “pop music as we know it now has been shaped by the problems of making music a commodity and the challenges of adapting money-making practices to changing technologies.” This paragraph indicates that technology is very important to music industry. Besides, the innate character of music is also more important. Therefore, I think that if we want to understand what the problems with, we must take the macroscopic method to analysis this industry. However, the international recording companies have been in droves to lay off employees in order to the sluggish market coming. There are many small or medium major recording companies being formed and turning to China market. And then, many indie music companies use internet to cluster together for store up strength to deconstruct the rule that the international recording companies formulated. The application of internet will improve the “new music” to the market, and the Taiwan popular music industries will revival.