Made available in DSpace on 2016-04-26T14:53:35Z (GMT). No. of bitstreams: 1 Edson Alencar Silva.pdf: 703123 bytes, checksum: 83360f2f0e1a88357387dcd90458f538 (MD5) Previous issue date: 2012-05-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This present dissertation proposes to investigate the market of gospel music in Brazil and its relation to the music industry, in order to understand the movement which is today called the Gospel song. The objective of this research focuses, therefore, in the processes which became possible to emerge this phenomenon in Brazil. We start from the hypothesis that the basis of this market are established in the intersection between religious actions, known, as the spread of the "Word" and the proselytism, coupled to the dynamic of the development from Brazilian music industry. The development of the present stdudy is in many ways the realization of this hypothesys / A presente dissertação propõe-se investigar o mercado de música evangélica no Brasil e sua relação com a indústria fonográfica, com vistas a entender o movimento ao qual se apresenta hoje a chamada música Gospel . O objetivo desta pesquisa centra-se, portanto, em entender os processos que possibilitaram emergir tal fenômeno no Brasil. Partimos da hipótese de que as bases deste mercado estejam estabelecidas na intersecção entre as ações religiosas, a saber, a propagação da Palavra e o proselitismo, aliado à dinâmica do desenvolvimento da indústria fonográfica no Brasil. O desenvolvimento do presente estudo apresenta de diversas maneiras a constatação dessa hipótese

This paper attempts to unpack a few of the vast array of assumptions implicit in how "the technology" known as Napster was understood by several of its key constituencies. Our approach examines discourse about Napster in several areas - legal, economic, social, and cultural. This approach enables us to understand "the technology" as an ongoing encounter, rather than the accomplishment of any one inventor, team of inventors, dominant institution, or rule of law. We do not offer proscriptive advice. While there is value in other research that has tried to determine the "impact of Napster on" a particular market or industry, we argue that a multidimensional understanding is necessary both as a foundation for such research as well as in its own right. In only the past four years, dominant interpretations of Napster have not only emerged, but also have been inscribed into laws, business plans, and purchasing decisions, in effect, determining what "tools" - precedents, myths, data sets, prior objects, capabilities - will be available in the future. Our paper tries to show how and why certain (subjective) significations increasingly have taken on the status of truth, while other (equally subjective) discourses have been pushed farther and farther out to the fringes

Sedan 2001 har skivindustrin förlorat en tredjedel av sin totala försäljning och framtiden för musikkonsumering är näst intill dagligen debatterad i media. På ena sidan finner man förespråkare för fri nedladdning och fildelning över Internet, medan den andra sidan består av artister och skivbolag som förklarar att man inte kan klara sig utan intäkter för musiken som produceras. Ett försenat lagförslag, ämnat att träda i kraft i juli 2005, som skulle förbjuda nedladdning av otillåtet material på Internet behandlas just nu av riksdagen. Framtiden är oviss, men det råder inga tvivel om att musikindustrin just nu undergår stora förändringar. Syftet och avsikten med den här uppsatsen är att undersöka hur stora skivbolag i Sverige hanterar de omvärldsförändringar som skett till följd av nedladdning över Internet. Vårt fokus ligger på strategiska val, aktiviteter och organisatoriska förändingar som implementeras av ledningsgrupperna på respektive företag. Vi har använt oss av tidigare studier och teorier inom strategi och change management som en plattform för att analysera företagens aktiviteter och inställning till nedladdningsfeno-menet sedan problemet identifierades. På deras respektive huvudkontor i Stockholm intervjuade vi representanter från de tre största skivbolagen i Sverige; EMI, Universal Music och Sony BMG. Datan som samlades in baserades på de frågor vi formulerat med hänvisningar till olika delar av managementteorin som behandlar diskontinuerlig förändring. En slutsats som vi dragit är att skivbolagen reagerat för sent för att till fullo ta tillvara på möjligheterna som musikdistribution over Internet trots allt besitter. Anledningarna är många, men deras relativt statiska strukturer och det faktum att man varit fast i gamla mönster är en stor del av förklaringen. Trots att man från skivbolagens sida reagerade ganska sent på förändringen så har man nu hunnit i kapp utvecklingen avsevärt och efter att ha tagit många strategiska steg på rätt väg är man nu till en större utsträckning förberedd att möta framtida behov. Den här uppsatsen innehåller mer detaljer och specifika element av deras strategiska respons, bland annat personalbyten, tydligare omvärldsanalyser och strategiförändringar. / Since 2001 the recording industry has lost a third of its total sales and the future of music consumption is almost daily debated in media. On one side there are voices proclaiming free downloading and music sharing over the Internet and on the other side there are artists and record companies explaining that they need the revenues to survive. A currently delayed law proposal to illegalise unauthorized downloading, planned to be implemented from July 2005, is being considered by the Parliament. The future outcome is uncertain, but the music industry is currently and unquestionably experiencing big change. The purpose and intention with this thesis is to examine how major record companies in Sweden are managing the environmental change, imposed by downloading over the Internet, focusing on strategic choices, actions and organizational change implemented by subsidiary level top management. We have used previous research and theories within the area of strategy and change management as a platform for analyzing what approach these companies have to this phenomenon and also what measures have been implemented since the problem was first recognized. In Stockholm we met with representatives from the three largest record companies in Sweden; EMI Sweden, Universal Music and Sony BMG. Our data was collected from these interviews, which were based on our questions referring to different parts of the management process when experiencing big change. One conclusion we have drawn is that the reaction from the recording industry has been too slow in order to fully capitalize on the possibilities in music distribution over the Internet. The reasons for this are many, but their relatively static structure and the fact that they have been caught up in old patterns are certainly part of the explanation. However, even though the record companies were somewhat slow from the beginning, they have now caught up substantially and since many of the measures suggested by previous research have been implemented, they are now to a larger extent equipped to meet the future needs. This thesis contains more specific elements on what responses to downloading the record companies are currently working with, such as restaffing procedures, rethinking the operational environment and reshaping strategies.

Problem: Record companies are facing a downturn in sales of music. This is seen as consequence of the growth of distribution of music through Internet by file sharing networks such as BitTorrent networks. On one side there are record companies who feel threatened of the illegal file sharing, and on the other side file sharing BitTorrent networks has increased dramatically in number of users since they first approached. Some record companies have responded by taking hostile actions towards the BitTorrent networks and their users with lawsuits and penalties for illegal file sharing. Other record companies and artists have joined forces with BitTorrent networks and see them as an advantage. Purpose: The purpose of this paper is to explore and analyze if, and how record companies can collaborate with the BitTorrent networks. Method: A hermeneutic inductive approach is used, in combination with qualitative interviews with both record companies and BitTorrent networks. Conclusions: It is argued that record companies can find a way in communicating and cooperating with BitTorrent networks. Instead of adopting hostile approaches and trying to restrict the technologies adopted by end users, companies should open themselves up and accept the current changes initiated and developed by BitTorrent networks. Thus, it was concluded that companies have to concentrate around collaborating with BitTorrent networks rather than fiercely protecting old business models. By opening up to the users, record companies will adopt open innovations approach that is characterized by combining external and internal ideas, as well internal and external paths to market, thus obtaining future technological developments. As for the BitTorrent networks, by going from outlaw to crowdsourcing mode, the networks’ creative solutions can be further harnessed by record companies. Finally, strengthening relationships between customers and music artists can be considered as beneficial for both record companies and BitTorrent networks. Thus, giving opportunities for customers to win special items, tickets for concerts, watch sound check, eat dinner backstage with the group, take pictures, get autographs, watch the show from the side of the stage, etc. can lead to valuable relationship in a long run.

Denna uppsats syftar till att få en inblick i hur frilansande folkmusiker i Sverige gör för att lansera sig själva som artister, vilka redskap som används samt vilken funktion dessa redskap fyller. Detta har undersökts genom kvalitativa intervjuer med fyra frilansmusiker inom den folkmusikaliska genren. Musikbranschens förändrade förutsättningar, ställda i relation till Lundberg, Malm & Ronströms (2000) begrepp görare, vetare och makare, utgör de teoretiska utgångspunkterna för uppsatsen. Dessa begrepp har i uppsatsen omformats till de tre nya begreppen individen, arenan och branschen. Resultatet visar att respondenternas artistlansering är en medveten process som består av många komponenter. Studien lyfter fram och problematiserar artistens entreprenörskap som utöver det konstnärliga utövandet även innefattar roller såsom exempelvis agent, distributör, marknadsförare och företagare. Musikern som individ använder, med utgångspunkt från drivkraften att musicera, branschen och dess arenor för att framhäva sig själv på marknaden. Undersökningen visar indikationer på att det finns essentiella faktorer när det gäller marknadsföring av artister, där grunderna baseras på att tala om att verksamheten finns, förklara vad som är bra med den, upprepa budskapet och sedan leva upp till det. Respondenternas strategier för att försörja sig som frilansmusiker går ut på att med hjälp av olika redskap hålla verksamheten levande och lönsam. Det gör de genom att exempelvis göra sin musik lättillgänglig och visa en tydlig profil samt genom att bygga ett kontaktnätverk, synas i gynnsamma miljöer och dra nytta av olika bidragsmöjligheter. Det har också framkommit att folkmusikernas marknadsföring och varumärkesbildande utförs till största del över Internet via hemsidor, sökmotorer, e-post och sociala medier. / The paper aims to gain insight into how freelance musicians in Sweden are doing to launch themselves as artists, the resources used and their function. This has been examined through qualitative interviews with four freelance musicians in the genre of folk music. The changing conditions of the music industry, in relation to Lundberg, Malm & Ronström’s concept görare, vetare and makare, are the theoretical basis for the paper. These concepts have in the paper been transformed to the three new concepts of the individual, the arena and the industry. The results show that the respondents' role as an artist is a deliberate process that consists of many components. The study highlights and discusses the artist's entrepreneurship that goes beyond the artistic exercise, and also includes roles such as agent, distributor, marketer etc. The musician as an individual, with the urge to make music as a point of departure, uses the industry and it’s arenas to highlight him or herself in the market. The study indicates that there are essential elements in the marketing of artists which are based on informing people about the activity, explain what is good about it, then repeat the message and live up to it. Respondents' approaches to living as a freelance musician is to keep the business alive and profitable by using various tools. They do this for example by making their music accessible, show a clear profile, build a contact network, be seen in favourable environments and take advantage of various funding possibilities. It has also become apparent that the musicians´marketing and trademark creation is carried out largely over the Internet through websites, search engines, email and social media.

The rise in the prevalence of the Internet has had a wide range of implications in nearly every industry. Within the music business, the turn of the millennium came with a unique, and difficult, set of challenges. While the majority of academic literature in the area focuses specifically on the aspect of file sharing within the Internet as it negatively impacts sales within the recording sector, this study aims to assess the Internet’s wider impacts on the broader music industry. In the same time that record sales have plummeted, the live music sector has thrived, potentially presenting alternative business models and opportunities. This paper will discuss a variety of recent Internet-related developments including the rise of legal digital distribution, key economic implications, general welfare effects, changes in consumer preference and social phenomena as they relate to both the recording and live entertainment sectors. I employ a time series multiple regression model to evaluate the statistical significance of the relationship between the Internet’s rise and the value of record sales. For the concert industry, I will examine recent trends and descriptive data as they relate to the Internet’s prevalence.

<p>Sedan 2001 har skivindustrin förlorat en tredjedel av sin totala försäljning och framtiden för musikkonsumering är näst intill dagligen debatterad i media. På ena sidan finner man förespråkare för fri nedladdning och fildelning över Internet, medan den andra sidan består av artister och skivbolag som förklarar att man inte kan klara sig utan intäkter för musiken som produceras. Ett försenat lagförslag, ämnat att träda i kraft i juli 2005, som skulle förbjuda nedladdning av otillåtet material på Internet behandlas just nu av riksdagen. Framtiden är oviss, men det råder inga tvivel om att musikindustrin just nu undergår stora förändringar.</p><p>Syftet och avsikten med den här uppsatsen är att undersöka hur stora skivbolag i Sverige hanterar de omvärldsförändringar som skett till följd av nedladdning över Internet. Vårt fokus ligger på strategiska val, aktiviteter och organisatoriska förändingar som implementeras av ledningsgrupperna på respektive företag.</p><p>Vi har använt oss av tidigare studier och teorier inom strategi och change management som en plattform för att analysera företagens aktiviteter och inställning till nedladdningsfeno-menet sedan problemet identifierades. På deras respektive huvudkontor i Stockholm intervjuade vi representanter från de tre största skivbolagen i Sverige; EMI, Universal Music och Sony BMG. Datan som samlades in baserades på de frågor vi formulerat med hänvisningar till olika delar av managementteorin som behandlar diskontinuerlig förändring.</p><p>En slutsats som vi dragit är att skivbolagen reagerat för sent för att till fullo ta tillvara på möjligheterna som musikdistribution over Internet trots allt besitter. Anledningarna är många, men deras relativt statiska strukturer och det faktum att man varit fast i gamla mönster är en stor del av förklaringen. Trots att man från skivbolagens sida reagerade ganska sent på förändringen så har man nu hunnit i kapp utvecklingen avsevärt och efter att ha tagit många strategiska steg på rätt väg är man nu till en större utsträckning förberedd att möta framtida behov. Den här uppsatsen innehåller mer detaljer och specifika element av deras strategiska respons, bland annat personalbyten, tydligare omvärldsanalyser och strategiförändringar.</p> / <p>Since 2001 the recording industry has lost a third of its total sales and the future of music consumption is almost daily debated in media. On one side there are voices proclaiming free downloading and music sharing over the Internet and on the other side there are artists and record companies explaining that they need the revenues to survive. A currently delayed law proposal to illegalise unauthorized downloading, planned to be implemented from July 2005, is being considered by the Parliament. The future outcome is uncertain, but the music industry is currently and unquestionably experiencing big change.</p><p>The purpose and intention with this thesis is to examine how major record companies in Sweden are managing the environmental change, imposed by downloading over the Internet, focusing on strategic choices, actions and organizational change implemented by subsidiary level top management.</p><p>We have used previous research and theories within the area of strategy and change management as a platform for analyzing what approach these companies have to this phenomenon and also what measures have been implemented since the problem was first recognized. In Stockholm we met with representatives from the three largest record companies in Sweden; EMI Sweden, Universal Music and Sony BMG. Our data was collected from these interviews, which were based on our questions referring to different parts of the management process when experiencing big change.</p><p>One conclusion we have drawn is that the reaction from the recording industry has been too slow in order to fully capitalize on the possibilities in music distribution over the Internet. The reasons for this are many, but their relatively static structure and the fact that they have been caught up in old patterns are certainly part of the explanation. However, even though the record companies were somewhat slow from the beginning, they have now caught up substantially and since many of the measures suggested by previous research have been implemented, they are now to a larger extent equipped to meet the future needs. This thesis contains more specific elements on what responses to downloading the record companies are currently working with, such as restaffing procedures, rethinking the operational environment and reshaping strategies.</p>

This paper proposes an examination of Creative Commons (CC) licensing and considerations for adoption or non adoption among musicians. According to the Creative Commons Web site, the licenses were created to work alongside current copyright law allowing rights holders a “some rights reserved” copyright (“What is CC?”, Creative Commons, 2010). However, despite its current uptick in adoption, many remain hesitant and refuse to adopt the licenses to protect their work. Moreover, for those who have adopted the licenses, little is known about why they chose to adopt the licenses. Thus, the study answers the need for further research in understanding why musicians choose to use or not to use CC licenses. The study attempts to answer the following question: What considerations determine whether musicians adopt CC licenses for their work? In the pages that follow, I survey the historic and current position of copyright law. Specifically, the paper begins by problematizing current copyright law by demonstrating its economic and social inefficiencies in light of new advancements in technology. In other words, current copyright favors incumbent cultural industries who demand increased economic incentives at the expense of the public’s right to access these works. Moreover, it favors existing content holders who insist on creating laws that retain maximum control over their property. It then questions whether Creative Commons licenses can successfully reconcile these inefficiencies. Moreover, the overarching goal of this research is to examine the perceived viability of these licenses and to consider whether current advocacy efforts adequately address concerns of potential adopters. It analyze information gathered from multiple in-depth interviews of musicians who have and have not adopted the licenses. It will also examine advocacy efforts. The study hopes to contribute qualitative data that will shape future discussions on copyright, culture and new technologies by considering adequacies and or inadequacies of current licenses & advocacy efforts. / text

The impact on the UK recorded music industry of digital music files distributed via the Internet has been studied using Clayton M. Christensen's Disruptive Innovation Theory. The study has identified that the recent innovation of Internet retail and distribution of digital music files was indeed disruptive (rather than sustaining) in nature in its impact on the established UK record manufacturers and retailers. Furthermore, Christensen's theories have been used to investigate the factors (assets, culture and capabilities) that impeded the established UK recorded music manufacturers from adopting and promoting the new technology to create a digital consumer proposition. The reluctance of the established record manufacturers to embrace and therefore control the new technology of digital music files distributed via the Internet allowed new retailers like Apple's iTunes to become the dominant providers to the new digital consumers. The study therefore considers and identifies the organisational assets, culture and capabilities that created the most successful Internet retailing operation for digital music and in so doing reveals how to incorporate and harness disruptive technology for commercial gain within the established recorded music industry. Finally, the study proposes a strategic framework for UK recorded music companies so that they can respond successfully to disruptive technologies that will in future alter their market sector, including consumer attitudes and music usage. This framework will give the record companies the opportunity to manage the impact of disruptive technologies, enabling them to adapt their business strategies and tactics to provide a service that meets consumer needs the next time an innovative technology impacts the established manufacturing and retailing paradigm.

The research engages the use of social media sites for musicians with a focus on Facebook. It determines which are the advantages the platform makes available for musicians, allowing them to employ Do It Yourself strategies of production, audience relationship management and self-management. The importance of audience response and demographics allow any musician integrate keen insight into the content delivery and thus, optimize their management accordingly. This thesis will establish the affordances that engage what aspects and uses of Facebook are changing the way amateurs operate. The research appropriates the context of professionalism to the variable of knowledgeability, know-how, and Stebbins’ (1977) seven variables (confidence, perseverance, continuation commitment, preparedness and self-conception) in order to note a definition of the modern amateur in contrast to professionals.