xvi, 436 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This study examined the cultural political economic significance of the physical "brick and mortar" independent record store in the digital era. The research was built upon two critical frameworks -- the political economy of communication and critical cultural studies. The political economy of communication situated the independent record store within the dominant music industry, and was concerned with the corporate structuring and standardization of music culture. The study analyzed the extreme market concentration involving the "big four" major record labels (in terms of vertical and horizontal integration, diversification and product synergy), their interconnectedness to the major corporate music retailers, and the implications for the manufacturing of popular musical artists. The independent record store (to varying degrees) counters these tendencies by offering greater cultural diversity in terms of "independent," local, used and obscure music. However, the independent record store is influenced by the policies and practices of the major label system, distribution channels, big box chain retailers, and on-line commerce. The study examined the dominant industry policies and practices, including buying (centralized versus localized), music as a loss leader, co-op advertising, retail "payola," retail censorship, and the overall range of musical diversity, vis-à-vis the practices and semi-autonomous nature of the independent record store. This project was equally invested in the cultural aspects of the independent record store in terms of communities and scenes. Various subcultures gather and connect with each other at independent record stores, where anti-corporate and counter-hegemonic narratives circulate, and individuals learn about the depths of musical history and culture. This project explored the physical atmosphere and vernacular culture associated with the stores, as well as the cultural significance of vinyl record collecting. However, these cultural attributes are framed in terms of the harvesting of commodification, where the perception of "independence" is rendered problematic in terms of the economic realities associated with the logic of capital. The primary ethnographic field sites for this study included the House of Records in Eugene, Oregon; Music Millennium in Portland, Oregon; and Amoeba Music in San Francisco, California. Numerous specialty independent record stores within these geographic areas were also included in the study. / Committee in charge: Janet Wasko, Chairperson, Journalism and Communication; Carl Bybee, Member, Journalism and Communication; Leslie Steeves, Member, Journalism and Communication; Julianne Newton, Member, Journalism and Communication; Douglas Blandy, Outside Member, Arts and Administration

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Seguindo uma perspectiva analítica que visa compreender o fenômeno a partir de suas dinâmicas internas, nesta tese focalizo o sentido de missão religiosa que tem impulsionado as recentes transformações na organização da produção musical evangélica, bem com as negociações realizadas pelos diferentes atores sociais religiosos e não religiosos envolvidos no processo. Argumento que esse nicho do mercado possui uma estrutura organizacional similar a de outras empresas estabelecidas no mercado - pois conta, como as demais, com um rol de cantores, capacidade de formação de celebridades, empresas produtoras e distribuidoras -, mas que por estar freqüentemente associada às congregações e igrejas evangélicas, estabelece um modo de auto-regulação estreita mente vinculado a um projeto proselitista que visa a ampliação da audiência do Espírito do Santo e do resgate do mundo. / Following an analytic perspective that intends to understand the phenomenon from its inside dynamics, in this thesis I focus the meaning of religious mission that has been stimulating the recent transformation in the gospel music production organization, as well with the businesses made by the different social factors religious and non-religious involved in the process. I argue that this part of business owns an organizational structure similar to other companies established on the market for it counts, as the others, with a roll of singers, celebrities formation capability, producing companies and deliverers , but for being usually associated to congregations and churches, establishes a way of self-regulation closely joined to a proselytism project that looks for the ampliation of the Holly Ghosts audience and of the rescue of the world.

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Seguindo uma perspectiva analítica que visa compreender o fenômeno a partir de suas dinâmicas internas, nesta tese focalizo o sentido de missão religiosa que tem impulsionado as recentes transformações na organização da produção musical evangélica, bem com as negociações realizadas pelos diferentes atores sociais religiosos e não religiosos envolvidos no processo. Argumento que esse nicho do mercado possui uma estrutura organizacional similar a de outras empresas estabelecidas no mercado - pois conta, como as demais, com um rol de cantores, capacidade de formação de celebridades, empresas produtoras e distribuidoras -, mas que por estar freqüentemente associada às congregações e igrejas evangélicas, estabelece um modo de auto-regulação estreita mente vinculado a um projeto proselitista que visa a ampliação da audiência do Espírito do Santo e do resgate do mundo. / Following an analytic perspective that intends to understand the phenomenon from its inside dynamics, in this thesis I focus the meaning of religious mission that has been stimulating the recent transformation in the gospel music production organization, as well with the businesses made by the different social factors religious and non-religious involved in the process. I argue that this part of business owns an organizational structure similar to other companies established on the market for it counts, as the others, with a roll of singers, celebrities formation capability, producing companies and deliverers , but for being usually associated to congregations and churches, establishes a way of self-regulation closely joined to a proselytism project that looks for the ampliation of the Holly Ghosts audience and of the rescue of the world.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this study is to analyze the effect of changes occurring in the music industry in recent decades on the market shows in the state of Sergipe, from the analysis of the strategic realignment of the major labels and the performance of key players operating in this market the state and local entertainment companies. The central issue is to resume their theoretical and conceptual elements order developed under the Political Economy of Communication and Culture (EPC) to propose an abstract analytical model that allows to describe the structure of the music of Sergipe market from its multiplicity of elements determinants, hierarchical and conflict between its main agents relationships. The results show how the state and capital work in strengthening the market shows in Sergipe, seeking to ensure the conditions for accumulation and maintenance of political and ideological domination. In this sense, represented an improvement on the model of |supply chain| approach that has had some prominence in developing analyzes of the music market, which, however, faces the shortcomings of a topical, partial analysis. / O objetivo deste trabalho consiste em analisar o efeito das transformações ocorridas na indústria da música nas últimas décadas sobre o mercado de shows no estado de Sergipe, a partir da análise da readequação estratégica das grandes gravadoras e da atuação dos principais agentes que atuam no neste mercado, o Estado e empresas locais de entretenimento. A questão central é retomar elementos de ordem teórico-conceitual desenvolvidas no âmbito da Economia Política da Comunicação e da Cultura (EPC) para propor um modelo analítico abstrato, que possibilite descrever a estrutura do mercado da música de Sergipe a partir da sua multiplicidade de elementos determinantes, relações hierárquicas e de contradição entre os seus principais agentes. Os resultados evidenciam como o Estado e o capital atuam no fortalecimento do mercado de shows em Sergipe, buscando assegurar as condições para acumulação e manutenção da dominação político-ideológica. Nesse sentido, representou um avanço em relação ao modelo da cadeia produtiva , abordagem que tem tido certa proeminência no desenvolvimento de análises do mercado da música, que, no entanto, esbarra nas insuficiências de uma análise tópica, parcial.

This master thesis is written as a part of The Media Technology program at Linköping University in collaboration with the streaming music company Spotify. The thesis investigates how a software company in the modern age effectively and organically can stay innovative through times. The thesis maps out strategies, models and methods currently known, analyses Spotify’s innovative efforts over the past year and suggests a framework tailored to the needs of the company.

This diploma thesis Interaction of media and marketing discourse on the media image of musician Tomáš Klus examines the influence of the corporate agenda through the marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. on the agenda of the media, which represent the work of three full-scale Czech newspaper MF Dnes, Právo a Blesk. The theoretical approach is being built on the basic theses of media construction of reality and construction of media image, the concept of agenda setting and issue of the music industry. Thus, areas involved and influence the marketing and media world and form the basic framework of the theoretical structure of media reality. The empirical part is devoted to a particular process of agenda setting on an example of the media image of a Czech musician Tomáš Klus over three years through marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. sampled for analysis of print media - newspapers MF Dnes, Law and Flash. The goal is to trace how and to what extent the marketing discourse influences the media discourse and how does this interaction influence the musician's final media image.

This master thesis deals with various tools of digital marketing and their usage in the music industry. The aim of my master thesis is an analysis of available tools and then the demarcation extent of use. The main research question is What tools of digital marketing are currently most used in the music industry? I chose research methods such as observation, study documents and written questionnaire for answering this issue applied to the Czech Republic. The contribution of this work is how to make particular tools of digital marketing more effective for musicians of the Czech Republic.

El libro, dividido en dos tomos, tiene como objetivo principal abordar el tema de los negocios musicales desde una perspectiva poco narrada en el Perú. El tomo I introduce la administración, organización de los negocios y narra los casos de artistas y empresarios exitosos del quehacer musical. El tomo II presenta más casos de negocios musicales de compositores, orquestas, emprendedores, directivos de grupos radiales y un análisis sobre el entorno legal, financiero y de las nuevas tendencias en marketing. / The publication’s main objective is to address the subject of the musical business with a new little perspective treated in Perú. The book is divided in two volumes. Volume I introduces the management, organization of business and chronicles the cases of artists and successful entrepreneurs in the musical environment. Volumen II presents more cases of business related to composers, orchestas, entrepreneurs, managers of radio, groups and an analysis of the legal, financial and new trends in marketing.

Digitaliseringen har revolutionerat musikindustrin, alla delar av marknaden har utvecklats, marknadsföring är ett av dem. Sociala medier har blivit centrum för marknadsföringen och konsumenten begär mer relaterbara varumärken och image som ett krav för att konsumera produkter. Syftet med vår studie har varit att undersöka hur dagens artist utvecklar och hanterar sitt varumärke och image genom sociala medier. Vi ville sondera hur detta påverkar artistens karriär. Studien syftar till att tillhandahålla kunskap om hur artister och personer som verkar inom musikbranschen definierar varumärke och image i dagens musikbransch samt hur digitaliseringen har påverkat marknadsföringen av artister. Dessutom ville vi undersöka vilken effekt sociala medier kan ha på byggandet av en artists varumärke. Studien genomsyras av en hermeneutisk forskningsfilosofi som påverkade valet att tillämpa en kvalitativ forskningsmetod och därmed en semistrukturerad intervjumetodologi. Intervjuerna genomfördes med både artister och personer som arbetar med artister och marknadsföring i musikbranschen för att ge synlighet och djup i flera perspektiv. Studien resulterade i en slutsats som visar hur artister saknar engagemang och kunskap kring utvecklingen av deras varumärke. Den genomgående röda tråden studien syftar till att det idag finns ett mediebrus som gör det svårt för artister att nå ut med sin musik till konsumenter. För att lyckas med detta krävs det att artister jobbar aktivt med att skapa ett starkt varumärke och image, något som denna studie visar inte går att åstadkomma genom endast sina sociala medier. Däremot påvisas det att sociala medier är ett av de mest inflytelserika verktygen inom marknadsföring för en lyckad artistkarriär. / The music industry has been revolutionized through digitalisation, almost every corner of the industry has been relocated, marketing is one them. The focal point has moved to social media and the consumer requests more relatable brands and images as a demand to consume products. The purpose of our study has been to investigate how today's artist develops and manage his/hers brand and image through social media. We wanted to explore how this affects the artist's career. The study aims to provide knowledge for how artists’ and industry people define brand and image in today’s music industry and how the digitalisation have affected the marketing of artists. Furthermore, what effect social media can have on an artist’s brand. The study is permeated with a hermeneutic research philosophy which influenced the choice to apply a qualitative research method and accordingly a semi-structured interview guide methodology. The interviews were conducted with both artists and music industry people working with artists and marketing to provide visibility and depth in both perspectives. The result of the study shows a lacking engagement from artists in their practical effort to develop, maintain and present a brand and image through social media. The constant red thread through the study aims to present a media noise that makes it difficult for artists to reach the consumer with their music. To succeed in this, it is required that artists work actively to create a strong brand and image. All though the artists do mention practical factors that imply that they subconsciously labor their brand and image through social media it is not enough to be successful in the theories of brand and image. However, it is proven that social media is one of the most influential tools in marketing for a successful artist career.

Is Czech Spotify gender-biased? Alžběta Křížková Abstract This thesis analyses the gender inequality of music streaming platform Spotify. It focuses on Czech Spotify, ergo, on the Czech music industry between May 2020 and March 2021. The interdisciplinary study covers crucial theoretical concepts from the theory of platforms, popular music, and gender studies. It verifies whether the theory built on Anglo-Saxon tradition can be applied to the local setting. The dataset comprises of songs placed in the "TOP 200" chart and select editorial playlists. The chart illustrates song popularity based on listeners (organic listening), and chosen editorial playlists indicate the platform's promotion of songs (suggested listening). The gender gap analysis is based on a comparison of three gender ratios of songs entering the platform in total, in the playlists, and songs that make it to the chart. The empirical research utilises fundamental statistics and presents various song aspects (genre, record label, band formation, and others) in relation to artists' gender on Spotify, but also in the Czech music industry. The results show a low representation of female artists in the whole industry, while the platform actively promotes female artists via suggested listening. Organic listening endorses gender stereotypes and...