Thesis (M.A.)--Miami University, Dept. of Communication, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 97-105).

Abstract This study addresses the justifications of the duration of copyright, the revenue-generating models in the music business, and the availability of digital music in Finland. The first goal was to understand how different stakeholders in the music industry relate to copyright and how they justify what they consider the optimal duration. The second goal was to map out the revenue-generating models in the music industry at a time when the consumption of music has changed from analogue to digital formats, from physical products to streaming services. The third goal was to find out the different ways in which digital music is available on the internet in Finland. The research material consists of survey research, half-structured theme interviews and documentary material. The applied research methods are theory- and material-based content analysis. The theoretical approaches utilized are the theory of justice by John Rawls, the theory of hegemony by Antonio Gramsci, the classical communication model by Roman Jakobson, and power theory by Lawrence Lessig. It uses as its interpretational theory the model of justification of copyright by Laura Leppämäki. The results state the following: The most common justification provided for the optimal duration of copyright is utilitarianism – advantage to society as a whole. The same justification is given by stakeholders who want to keep the duration as it stands, and also by those who wish to shorten it. Another common justification is to see copyright as a natural item of ownership, claimed by work, and especially as a subject of inheritance, preferably for two subsequent generations. The problems concerning the revenue-generating models in the digital world tend to focus on distribution of income on three different levels: record contracts; the distribution models of the streaming companies; and contracts between content sharing companies, record companies and rights organizations. The authors and artists have the weakest bargaining position in the negotiations. The results on availability of digital music show that digital music can be discovered via public services (music libraries), commercial services (streaming companies), and ad hoc societal services (peer-to-peer networks). The role of music libraries as a content provider has decreased since the majority of music consumption has altered to digital services. / Tiivistelmä Tutkimus käsittelee musiikin tekijänoikeuden keston perusteluja, musiikkialan ansaintalogiikoita ja digitaalisten musiikkiaineistojen saatavuutta Suomessa. Tarkoituksena oli hahmottaa, miten musiikkiteollisuuden eri osapuolet suhtautuvat tekijänoikeuteen ja miten ne perustelevat tekijänoikeuksien optimaalista kestoa. Tavoitteena oli myös kartoittaa musiikkialan ansaintalogiikat, jotka ovat muuttuneet siirryttäessä analogisesta musiikin kulutuksesta digitaaliseen musiikin kulutukseen, ennen kaikkea suoratoistopalveluihin. Kolmantena tehtävänä oli selvittää, millä tavoilla digitaalista musiikkia on saatavilla internetin välityksellä Suomessa. Tutkimusaineisto koostuu kyselytutkimuksesta, puolistrukturoiduista teemahaastatteluista sekä dokumenttiaineistosta. Tutkimusmenetelmänä käytettiin sekä teoria- että aineistolähtöistä sisällönanalyysia. Tutkimuksessa sovellettuja teorioita ovat John Rawlsin oikeudenmukaisuusteoria, Antonio Gramscin hegemoniateoria, Roman Jakobsonin klassinen kommunikaatiomalli ja Lawrence Lessigin valtateoria. Tutkimus käyttää tekijänoikeuksia koskevan tutkimuskysymyksen kohdalla tulkintateoriana Laura Leppämäen esittämää mallia oikeuksien perusteluista. Tutkimuksen tuloksena on, että sekä tekijänoikeuden nykyistä kestoa että sen lyhentämistä perustellaan ennen kaikkea utilitarismilla. Toinen keskeinen perustelukeino oli työn kautta teoksiin saatava omistusoikeus ja tämän omistusoikeuden kautta tarjoutuva mahdollisuus oikeuksien jättämiseen perintönä tekijän jälkipolville. Ansaintalogiikoiden kohdalla esiin nousi digitaalisesta myynnistä generoituvien tulojen jakamiseen liittyvät ongelmat, joita esiintyy niin musiikintekijöiden ja levy-yhtiöiden välisissä sopimuksissa, suoratoistopalvelujen sisäisissä maksumalleissa kuin internetin alustapalveluiden ja oikeudenhaltijoiden sekä heitä edustavien järjestöjen välisissä sopimuksissa. Heikoimmassa asemassa sopimuksia koskevissa neuvotteluissa ovat musiikintekijät ja artistit. Digitaalisen musiikkiaineiston saatavuuden kohdalla keskeisenä tuloksena on, että aineistoa on saatavilla julkisen palvelun eli yleisten musiikkikirjastojen, kaupallisten palveluiden eli suoratoistopalveluiden ja yhteisöllisten palveluiden eli vertaisverkkojen välityksellä. Musiikkikirjastojen rooli aineistojen tarjoajana on pienentynyt siirryttäessä analogisen musiikin kulutuksesta digitaalisen musiikin kulutukseen.

This dissertation seeks to explore how the exercise of political power and the music industry impacted each other in South Africa under apartheid during the 1980s. It does so by looking firstly at the ways in which the South African government used music to promote apartheid. Secondly, it looks at the role of South African popular musicians in the struggle against apartheid in the country, specifically their role in civil society and the methods they employed to fight apartheid while avoiding censorship. It looks at key musical developments of the decade and explores their political implications, focusing on three popular genres: bubblegum (or disco), crossover and reggae. Thirdly, it explores the role of South African music and musicians in the struggle against apartheid outside South Africa. Finally, it looks at the role of music in the international anti-apartheid movement and the contribution of the international music community to the struggle. / Political Sciences / M.A. (African Politics)

PhD (African Studies) / Department of African Studies / In the 1980s South Africa was subjected to cultural embargo. However, at the height of the embargo, Paul Simon went against the political climate of the day and mounted a cross-cultural, multinational music project called Graceland. Although South African popular music can facilitate the prosperity of musicians, only few musicians have succeeded in fostering this aspect. Using popular music and pop culture Afrocentrism as frameworks, this study analyses the Graceland project in the context of the South African popular music of the 1980s. The empirical research approach leaning towards the qualitative method was used. Interviews and literature review were the main modes of data gathering. Owing to the sensitivity of the subject, ethical considerations were adhered to. The cultural embargo, as well as other political interventions aiming at pressurising the South African government to abandon its apartheid policies, were well-meaning, but at the same time, the cultural embargo had a negative impact in that the popular culture of the country went unrecognised by global players. It was envisaged that this study would help in understanding the motivations and intentions of the planners of the Graceland project, and how these were to benefit the South African music sector. / NRF

Bakgrund och problem: Det har riktats kritik mot den traditionella ekonomistyrningen vilket har gjort att moderna styrmetoder och verktyg växt fram för att komplettera ekonomistyrningen. De faktorer som tvingat fram den moderna styrningen går även att se i musikbranschen. Detta, tillsammans med att ekonomistyrning i musikbranschen generellt sett är outforskat, gör att det blir intressant att undersöka hur skivbolag i musikbranschen använder sig av en traditionell ekonomistyrning eller modern verksamhetsstyrning. Syfte: Syftet med denna uppsats är att genom att undersöka två skivbolags ekonomistyrning kartlägga hur ekonomistyrningen karaktäriseras utifrån traditionell ekonomistyrning och modern verksamhetsstyrning. Metod: Metoden som använts vid denna studie är kvalitativ. Vi har genom fallstudier hos två skivbolag undersökt och skapat oss en förståelse av ekonomistyrningen i bolagen med hjälp av semi-strukturerade intervjuer och kompletterande frågor via mail.   Slutsats: Det går att se att skivbolagen övergått delvis till en modern verksamhetsstyrning men att det alltså finns en blandning mellan användandet av traditionella och moderna styrmetoder och verktyg. / Background and problem: Criticism has been raised towards the traditional management control which pushed forward modern management methods and tools to complement management accounting. The factors that pushed out this modern management control are possible to see in the music industry aswell. This, together with the fact that management control in the music industry has a research gap, makes it interesting to examine how record labels in the swedish music industry are using traditional or modern management control. Purpose: The purpose of this thesis is to through the examination of two record labels create an understanding of how the management control is characterized through traditional or modern management control. Method: The method used in this study is qualitative. We have through a multiple-case study at two record labels examined and created an understanding of the management control in the companies with the help of semi-structured interviews and complementary questions through mail. Conclusion: It is possible to see that the record labels has partly moved to modern management control but also that you can see a mix between the usage of traditional and modern control methods and tools.

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Text in Afrikaans / Die doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is. / The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians. / Afrikaans & Theory of Literature / M.A. (Afrikaans)

Text in Afrikaans / Die doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is. / The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians. / Afrikaans and Theory of Literature / M.A. (Afrikaans)