With the rise of digital technologies, consumers can stream music content, which has made it more difficult for music companies to be profitable. Small business owners in the music recording industry in the West Indies have found this trend particularly challenging, affecting their profitability. This multiple case study explored the adoption of disruptive technologies by small business owners in the music recording industry to increase profitability. The research population included 5 small business owners in the music recording industry in the West Indies who successfully adapted to the changes in the industry's business model and whose businesses are profitable. Christensen's theory of disruptive innovation served as the conceptual framework for this study. Data from face-to-face, semistructured, in-depth interviews, observations, and analysis of internal company documents were collected and triangulated. Within-case analysis was used to understand the general meaning of the participants' responses. Each case was described and themes were identified. Cross-case analysis was used to compare the 5 case descriptions and identify 5 cross-cutting themes. These 5 themes included focus on live performances, focus on marketing and building a brand, adopt innovations in all functions of the business, diversify income streams, and adopt vertical integration strategies. The implications for positive social change include the potential to increase the profitability of small businesses in the recording industry in the West Indies by sharing the strategies emerging from the study. Profitable businesses can lead to improved livelihoods of the small business owners and their families.

Digitaliseringen har förändrat stora delar av musikbranschen med nya programvaror, tjänster och hjälpmedel för att skapa och släppa musik själv. Detta har fått mig att vilja undersöka hur och i vilken utsträckning gymnasieskolan tagit hänsyn till digitaliseringens utveckling och anpassar undervisningen efter dagens kunskapsläge kring musikbransch och det som kallas independent. Independent betyder i musiksammanhang att yrkesmusiker och upphovspersoner självständigt har ansvar över samtliga delar i sin musikkarriär. Tre verksamma gymnasielärare i Stockholms län har intervjuats och resultatet i detta arbete visar deras förhållningssätt till independent i gymnasieskolan. Arbetet har använt en kvalitativ metodologi och insamlat material har analyserats utifrån ett fenomenologiskt perspektiv. Resultatet redogör lärarnas åtskilda förhållningssätt till gymnasiets kursplaner och dess centrala innehåll med hänsyn till independent. I och med digitaliseringen och internets utveckling är independent redan förankrat hos gymnasieeleverna enligt intervjuade lärare. Resultatet visar även att det kollaborativa är essensen av independent där samarbetsmöjligheterna utgör det största syftet. Att verklighetsförankra undervisningen gör att elever begriper kontentan av musikbranschens krav och är förberedda när de väl ger sig ut i sina musikkarriärer. Med verklighetsbaserade uppgifter, samarbeten och det kollaborativa skapas verktyg för att vara independent. / Digitization has changed large parts of the music industry by enabling music creators to make and release music independently with new software, services, and tools. This has made me interested in how upper secondary schools have kept up with the digitization and knowledge of today’s music industry. Independent in a musical context means that you are responsible for all parts of your music career. Three working teachers in Stockholm County have been interviewed and the result shows their perspective on independent in upper secondary school. The work has used a qualitative methodology, and collected material has been analysed based on a phenomenological perspective. The result describes the teachers' divided approach to the high school curriculum and its central subject concerning independent. According to the interviewed teachers, the development of the internet and digitization independent already is embedded in high school students. The result also shows that collaboration is the essence of independent where the opportunity for collaboration is the purpose. Reality-based teaching means that the students understand the content of the music industry's demands and are prepared when they embark on their music careers. Reality-based tasks and collaboration creates tools to be independent.

[pt] Frente à acirrada competição entre cidades, é tarefa dos gestores proporcionar um ambiente de atração para visitantes e investimentos, além de manter os residentes satisfeitos. Portanto, o desenvolvimento local vai além das políticas públicas e se torna um desafio de mercado. Ademais, há um reconhecimento crescente por parte dos gestores e outros agentes de que uma cena musical dinâmica impulsiona a economia ao criar empregos, atrair turistas e fortalecer a marca da cidade. Diante desse contexto, este estudo investiga como a indústria da música ao vivo afeta o processo de construção da marca de uma cidade, analisa os componentes e dimensões dessa indústria e também mostra como uma cidade pode articulá-los para fomentar o desenvolvimento e fortalecer sua marca. A pesquisa foi realizada através de um estudo de caso múltiplo realizado no Rio de Janeiro e em Montreal, cidades com forte tradição de música ao vivo. Como resultado, foi desenvolvido um modelo teórico que propõe a divisão da infraestrutura de música ao vivo em duas partes: uma voltada para grandes eventos e outra voltada para o que acontece durante todo o ano, fora dos grandes eventos. A pesquisa aponta que os grandes eventos têm uma forte influência na marca da cidade. No entanto, é o que acontece ao longo do ano que nutre a identidade cultural de uma cidade, que por sua vez tem uma forte influência na marca da cidade. Os resultados destacam que: (a) as cenas musicais de uma cidade podem ser um argumento turístico porque são um elemento de diferenciação; (b) as cidades devem proteger seus espaços de pequeno e médio porte, pois eles tornam os eventos musicais mais acessíveis e relevantes para a população de diferentes territórios; (c) a proteção da indústria de música ao vivo de uma cidade está conectada com a preservação de seu patrimônio musical. A herança musical influencia a composição, produção, consumo e outros aspectos envolvidos nas cenas musicais de uma cidade; (d) é fundamental garantir a continuidade das políticas públicas de cultura e estabelecer um processo mais inclusivo que considere a diversidade do público; e (e) considerando a escassez de recursos, o financiamento público deve priorizar o apoio à educação musical, aos eventos musicais ao longo do ano e à preservação do patrimônio da cidade. O estudo também mostra que as Secretarias de Turismo e Cultura devem trabalhar juntas para manter a autenticidade da marca da cidade, pois o que não está exclusivamente ligado a um lugar pode ser replicado por outra cidade e, portanto, não pode ser considerado um elemento de diferenciação. Este estudo pretende fornecer informações para acadêmicos, profissionais da indústria musical, gestores públicos envolvidos no desenvolvimento econômico e cultural, e profissionais de turismo que procuram maneiras de impulsionar as economias locais por meio da cultura. / [en] With the increasingly fierce competition among cities, place managers must provide an environment capable of not only attracting visitors and investments but also keeping residents satisfied. Therefore, local development goes beyond public policy and becomes a market challenge. Furthermore, there is a growing recognition among governments and other stakeholders that a dynamic music scene boosts a city s economy by creating jobs, attracting tourists, and strengthening the city s brand. Within this context, the present study investigates how the live music industry affects the process of building a city s brand. The project analyzes the components and dimensions of the live music industry and also shows how a city can articulate them in order to foster the development of its live music industry and strengthen its brand. This analysis was based on a multiple-case study conducted in Rio de Janeiro and in Montreal, cities with strong and long-standing traditions of live music. A theoretical model was developed as a result of this inquiry. It proposes the breakdown of the city cultural infrastructure into two parts: a live music infrastructure geared towards major events, and a live music infrastructure geared towards what happens year-round, outside of major events. The findings show that major events have a strong influence on city branding. Yet the research also shows that it is what happens throughout the year that nourishes a city s cultural identity, which in turn has a strong influence on the city s brand. The results highlight that: (a) strong music scenes can be a tourism argument because they are an element of differentiation; (b) cities must protect their small and medium-sized venues because these spaces can make music events more accessible and relevant to the population of different territories; (c) the protection of the live music industry of a city and the preservation of its musical heritage go hand in hand. Musical heritage influences music composition, consumption and other aspects involved in a city s music scenes; (d) ensuring the continuity of public policies for culture and establishing a more inclusive process that considers the diversity of the audience is key; and (e) considering the scarcity of resources, public funding should prioritize support for music education, year-round live music events, and the preservation of the city s heritage. The study also emphasizes that the Tourism Office and Bureau of Cultural Affairs should work together to keep city branding authentic, since what is not uniquely linked to a place can easily replicated, and therefore can t be considered an element of differentiation. This study intends to provide information for academics, music industry professionals, political leaders and government officials involved in economic and/or cultural development, and tourism and business leaders looking for ways to boost local economies through culture.

Магистерская диссертация посвящена сложной и пока мало разработанной теме, связанной с историей и современным развитием звукозаписи как уникального явления культуры России ХХ-ХХI вв., которое требует серьезного культурологического осмысления. Теоретико-методологическая база диссертации содержит широкий круг научных трудов, охватывающих различные области гуманитарного знания (философия, социология, культурология, искусствознание, музыковедение и др.) и создает социокультурный контекст развития звукозаписи как в России, так и в странах Запада, а также выявляет специфику бытования звукозаписи в современной российской культуре. В работе представлен большой эмпирический материал, сделана его систематизация и научная обработка. Новизна диссертации состоит также и в анализе издательского дела, который решается в русле проблем лицензирования, "самиздата" и пиратства, которые характеризуют современное состояние музыкальной индустрии, особенно в сфере массовой культуры. Представленный в диссертации проект "Рекорд-лейбл GATEMOUTH" предлагает пути решения вопросов звукоиздательства в России и в Интернет-пространстве. / The master's thesis is devoted to a complex and so far little developed topic related to the history and modern development of sound recording as a unique phenomenon of Russian culture in the XX-XXI centuries, which requires serious cultural understanding. The theoretical and methodological base of the dissertation contains a wide range of scientific works covering various areas of humanitarian knowledge (philosophy, sociology, cultural studies, art studies, musicology, etc.) and creates a socio-cultural context for the development of sound recording both in Russia and in Western countries, and also reveals the specifics the existence of sound recording in modern Russian culture. The work presents a large empirical material, made its systematization and scientific processing. The novelty of the dissertation also lies in the analysis of publishing, which is solved in line with the problems of licensing, "samizdat" and piracy, which characterize the current state of the music industry, especially in the field of mass culture. The project "GATEMOUTH Record-Label" presented in the dissertation proposes ways of solving the problems of sound production in Russia and in the Internet space.

Myspace var under många år den primära webbplatsen för att exempelvis skriva meddelanden till vänner, upptäcka ny musik samt dela med sig av den. Den mest populära föregångaren till dagens sociala medier som under många år uppmuntrade artister att använda webbplatsen för att nå ut till en bredare publik. Webbplatsens funktioner ansågs under tiden för webbplatsens storhet som någonting nytt och relativt ovanligt men sociala medier har under de senaste åren tagit över MySpace som det primära kommunikationsverktyget där webbplatsens funktioner idag anses vara en självklar del av alla sociala medier överlag. Detta har i sin tur har lett till att artister har börjat utforska diverse möjligheter för att kunna integrera in marknadsföring i deras kanaler på sociala medier. Eftersom sociala medier lockar med kostnadseffektiva lösningar har nu alltfler mindre etablerade artister också börjat använda sociala medier i hopp om att kunna sprida sin musik på diverse vis. Artister använder de olika sociala medierna för att nå ut till så mycket konsumenter som möjligt där denna användning tillämpar olika metoder beroende på vilken plattform de publicerar innehåll på. Det som tidigare främst gick att hitta i en webbläsare på sin dator i form av Myspace går nu att hitta som appar i sina telefoner och läsplattor vilket har gjort att en stor mängd artister med varierande grad av etablering nu måste samsas om alltfler konsumenter och tillika fans. Tack vare den stora mängden användare på sociala medier så uppstod det ett behov av att kategorisera inlägg för att enklare kunna hitta det innehåll man söker, där hashtags skapades för att bistå med detta. Funktionen består av att man skriver ett eller flera ord ihopsatt med ett #-tecken i början. Mindre etablerade artister använder denna funktion för att nå ut till en större publik men på grund av att ett stort antal inlägg, av varierande innehåll, använder samma hashtag blir detta svårare och de mindre etablerade artisterna får därför svårare att sprida sin musik.

I mitt examensarbete 2023 på 15hp för programmet Medie- och kommunikationsvetenskap: Medieaktivism, strategi och entreprenörskap analyserade jag kopplingarna mellan unga aspirerande musikskapares syn på artificiell intelligens (AI) och musikindustrin och deras estetiska upplevelser. Detta utfördes genom att hålla en fokusgrupp där deltagarna blev introducerade till AI-generad musik och AI-programmet Soundraw samt fick diskutera om deras åsikter om AI, estetiska upplevelser och musikindustrin. Materialet från studien analyserades sedan utifrån Actor Network teorin. Utifrån min studie uttryckte deltagarna att de hade svårare att skapa estetiska upplevelser av den AI-generade musiken. Det fanns tecken på att detta kan kopplas till att musiken enligt dem hade en låg estetisk och emotionell kvalitet, men även att detta kan vara kopplat till den erkända partiskheten emot AI inom industrin. Studien visade också på att ingen av deltagarna var mot AI:s utveckling inom industrin, något som blev intressant då AI var kritiserat under studien. Däremot är detta något som kommer behöva fortsättas studeras för att få en djupare förståelse över hur dessa aktörer är kopplade till varandra, samt vilka andra aktörer och egenskaper som går att koppla. / In my final exam project 2023 for 15hp in the Media and Communication Studies I studied the connections between young aspiring music creators’ view of artificial intelligence (AI) and the music industry and their aesthetic experience. This study was based on a focus group where the participants were introduced to AI-generated music and the AI-program Soundraw, along with being able to discuss their opinions of AI, aesthetic experiences, and the music industry. This focus group was later analyzed through the Actor Network Theory. Through my study participants voiced that they have a harder time creating aesthetic experiences through AI-generated music. There were signs that this was connected to what the participants saw as low aesthetic and emotional quality of the music, but it can also be connected to the admitted bias against AI in the music industry. The study also showed that no of the participants had much against AI’s involvement in the industry, which was interesting given that AI was still criticized through out the study. But this is something that still needs to continue to be studied to gain a lager understanding of how these actors are connected to each other and what other actors and factors are connected.

Studiens syfte var att undersöka relationerna kopplade till svenska gangsterrappare och musikindustrin och på så sätt identifiera viktiga aktörer i nätverket. Ytterligare en del av syftet var att studera hur gangsterrapparnas eventuella gängtillhörighet speglades i nätverket. Detta gjordes genom en social nätverksanalys av data från Spotify. Studien utgick från två teoretiska perspektiv, vilka var teorin om differentiella associationer och social nätverksanalys. Resultatet visade att det främst var ursprungsaktörerna som hade högst centralitet, men att även flera skivbolag hade höga värden. Av detta kunde slutsatsen dras att skivbolagen hade en viktig roll i att binda samman nätverket. Angående gängmiljön kunde en viss polarisering ses, där en av de två gängkonflikterna som visade sig i materialet även speglades inom musikindustrin, medan detta inte var lika tydligt i den andra. Av detta kunde slutsatsen dras att gängkonflikterna inte alltid speglas inom musikindustrin. / The purpose of this study was to investigate the relationships linked to Swedish gangster rappers and the music industry, and thus identify important actors in the network. The aim was also to examine how the possible gang connections of the gangster rappers were reflected in the network. The method that was used was social network analysis and the data was collected from Spotify. The study was based on two theoretical perspectives, which were the theory of differential associations and social network analysis. The results showed that it was mainly the original actors that had the highest centrality values, but that several record companies also had high values. From this, the conclusion could be drawn that the record companies had an important role in binding the network together. Regarding the gang environment, polarization could be seen to some extent, where one of the two gang conflicts that appeared in the material was also reflected in the music industry, while this was not as evident in the other. From this, the conclusion could be drawn that the gang conflicts are not always reflected in the music industry.

The thesis examines how have the habits of music users changed after they had become internet users. The goal of the thesis is to put some light on the relation of part of the generation Y to the new media A method of deduction is used based on the theory of hypothesis which is subsequently evaluated by the audience (generation Y) of alternative music (surveyed years of birth 1984-1991). In the first chapter the generation Y is defined according to some of foreign authors' theories and then put in the context of the Czech environment. A technology background and possible influences on the behaviour of the music users of this generation is described. The second chapter describes transformation of the music industry from the late 90's till now which has been happening thanks to the new possibility to distribute various content on the Internet. I focus in particular on the peer-to-peer networks. By explaining the development of this matter I prepare a basis for a better understanding to both respondents' behaviour and their attitudes to illegal music downloads. I also touch upon the new media's role in the taste formation and the change of relationship between a performer and a music fan. The third chapter considers Internet to be the communication platform of the generation Y. It gives such a hypothesis that...

M.A. Faculty of Humanities, University of the Witwatersrand, 2011 / This research report documents diverse impressions and experiences, of and about the South African music industry in general and Moshito Music Conference and Exhibition in particular. Foregrounding the perspectives of black South African entrepreneurs that operate and own small businesses, the research enunciates how Moshito has come to embody an expression of the transition to democracy. Within a broader political, cultural and industrial context, the report captures anecdotes, observations and interviews with key interviewees and decision makers linked to Moshito, in addition to its dialogue with the interconnectedness of various social theories and concepts, and their relationship with industrial and government policy. Necessarily the research also engages literature concerned with cultural industries, music industry and development discourses.

Made available in DSpace on 2016-04-25T20:22:36Z (GMT). No. of bitstreams: 1 Claudio Alessandro Diniz de Sa.pdf: 1051226 bytes, checksum: a112afca1bb3e67f83fa13416ad62c89 (MD5) Previous issue date: 2009-02-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis presents the relevant points concerning the consolidation of the Brazilian music industry and its effect on the music scene between 1998 and 2008 caused by the introduction of new digital technology, music piracy and illegal Internet downloading. This thesis also analyzes the position of music producers towards new digital media in relation to production, distribution, marketing and consumption / O objetivo desta tese é o de apresentar os pontos relevantes no caminho da consolidação da indústria fonográfica, especificamente no Brasil. Mostrar a constituição da cena musical brasileira entre 1998-2008. Período que coincide com novos movimentos dentro mercado fonográfico com o surgimento das novas tecnologias digitais e o crescimento da pirataria dos produtos musicais. Com base nesse cenário, analisar o posicionamento dos agentes produtores do campo fonográfico e as novas dinâmicas inseridas pelos novos meios digitais na relação de produção distribuição consumo