As a case study in cultural production and consumption and of the commodification of culture in late seventeenth- and eighteenth-century England, this study examines how musicians in London began to emerge from their dependence on the patronage of court, aristocracy and church into a more public sphere, moving from positions as salaried employees to a more freelance existence where they contributed to their income by putting on public commercial concerts. Taking as its starting point the almost 50,000 references to music recorded in the Register of Music in London Newspapers 1660–1750, a database has been built to record detailed information extracted from over 12,000 advertisements, puffs and news items related to commercial concert giving in London between 1660 and 1750. Concert advertisements and other material may thus be studied longitudinally in relation to each other, providing a valuable source of data for the growth of concert giving in London over a long and important period of its development. Public commercial concerts emerged in London in the period following the restoration of Charles II in 1660, developing from private music meetings dominated by amateur performers and informal public performances by professionals in taverns via John Banister's first advertised concerts in 1672. By 1750, public commercial concerts in London may not have achieved their final form or the heights of popularity that accompanied the ‘rage for music' of the 1790s, but they were promoted regularly and with a clear sense of programme planning, laying the foundations for later expansion. The possibility for musicians to make a living as freelance professionals without having to rely solely on patronage, their development of commercial skills, their emerging links with music publishers, all this is witness to the birth of music as a business in London in the period between 1660 and 1750.

Music therapy has been an established health profession for over 60 years serving a diverse population in different settings. Researchers studied the effects of burnout, career longevity, job satisfaction, and workforce analysis of clinical music therapy; however, no studies exist on the prevalence of unemployment and underemployment in clinical music therapy. The purpose of this study was to determine the prevalence of unemployment and underemployment in clinical music therapy. Participants who completed an anonymous online survey (n = 1,240) were board-certified music therapists who provided information on their current employment status. Results showed that the prevalence of unemployment among the participants was 5.78%, and prevalence of underemployment was 15.6%. Music therapists with more than 15 years of experience were more likely to work full-time than music therapists with 15 or fewer years of experience. Music therapists over 40 were no more likely to work full-time than music therapists who were 39 or younger. Implications for music therapy practice are discussed.

<p>Aim: The aim for this study of Swedish daily press is to see how the musical reporting is structured for the newspapers I have chosen to analyse. My main purpose is to investigate how the newspapers reporting are distributed between artists who belong to either a major record company or an independent record company. With this research I want to find out if there are any economic backgrounds to the content and if the reporting is equal to the market production.</p><p>Method/Material: For this study I have studied, by quantitative research, every piece of musical reporting in seven daily newspapers for two weeks. Through thorough research I have determined the belonging of every article’s record company. I have compared the newspapers with each other to see how the reporting differs. I have also collected information concerning the economic aspects of the music business to investigate if the reporting is equal to the market production.</p><p>Main results:</p><p>- The representation of major and independent record companies in Swedish press is distributed as the following: 60 % Major and 40 % Independent.</p><p>- The national press and regional press both show a distorted picture of the record company representation while the evening press and free press show a more truthful representation according to the market share holdings.</p><p>- There are signs of a scope economic structure in Bonnier which cannot be fully verified.</p>

Aim: The aim for this study of Swedish daily press is to see how the musical reporting is structured for the newspapers I have chosen to analyse. My main purpose is to investigate how the newspapers reporting are distributed between artists who belong to either a major record company or an independent record company. With this research I want to find out if there are any economic backgrounds to the content and if the reporting is equal to the market production. Method/Material: For this study I have studied, by quantitative research, every piece of musical reporting in seven daily newspapers for two weeks. Through thorough research I have determined the belonging of every article’s record company. I have compared the newspapers with each other to see how the reporting differs. I have also collected information concerning the economic aspects of the music business to investigate if the reporting is equal to the market production. Main results: - The representation of major and independent record companies in Swedish press is distributed as the following: 60 % Major and 40 % Independent. - The national press and regional press both show a distorted picture of the record company representation while the evening press and free press show a more truthful representation according to the market share holdings. - There are signs of a scope economic structure in Bonnier which cannot be fully verified.

This study attempted to determine how tertiary music education programmes are assisting graduates in their quest to enter the plethora of music careers available within the broad music industry. Initial research was conducted into the structure of the music industry and the viability of a career within it. Published research was consulted to determine the tastes of music consumers both locally and internationally. This was done to ascertain what is currently generating the most money through sales of recordings. Various Government policy documents were interrogated to determine their expectations of higher education and of music education within higher education. International studies were also inspected to determine international tertiary music education trends. A sample group, consisting of various members within the broad music industry – ranging from performers to executives to employers and more – was established to determine, through structured interviews, what the music industry needs of graduates articulating into the music industry are. The information gathered was then used to create a set of criteria against which all 4-year, 480-credit BMus degrees currently offered in South Africa were assessed. The results of this assessment were used to determine how well BMus qualifications are preparing graduates for the modern music industry. / Dissertation (MMus)--University of Pretoria, 2015. / Music / Unrestricted

I Sveriges musikbransch råder det idag en skev fördelning mellan kvinnor och män på inflytelserika positioner. Den skeva könsfördelningen, där det på de beslutsfattande positionerna syns en tydlig manlig dominans har blivit starkt uppmärksammad de senaste åren, vilket väckt intresset för föreliggande studie. Studiens fokus ligger på de kvinnliga aktörer som har lyckats inta inflytelserika positioner. Syftet med studien är att få en förståelse för vilka faktorer som legat till grund för det inflytande dessa kvinnor erhållit. Utifrån det har forskningsfrågan: “Går det att se likheter och skillnader i respondenternas bakgrund, samt i den kunskap de har förvärvat som gör att de erhållit inflytande i musikbranschen?” därför formulerats. Studien är av kvalitativ metod och baseras på semi-strukturerade intervjuer med tio kvinnor som erhållit inflytande i musikbranschen. De intervjuade kvinnorna är i alfabetisk ordning: Cecilia Ancker, My Blomgren, Emelie Bååth, Marie Dimberg, Karin Gunnarsson, Helen McLaughlin, Theodora Nordqvist, Hilda Sandgren, Anna Sjölund och Lena Åberg Frisk. Utifrån studiens syfte används Pierre Bourdieus teori om fält, kapital och habitus för att undersöka vilket kapital som är av mest relevans då man intresserar sig för att erövra en inflytelserik position inom musikbranschen. Den empiri som erhållits påvisar att de kapital som anses mest viktiga för att nå en hög position är erfarenhet och sociala relationer. Vad samtliga respondenter har gemensamt, och som onekligen verkat för deras inflytelserika position de idag besitter, är den erfarenhet de ackumulerat. Analysen av empirin har lett till slutsatsen att vikten av erfarenhet och genomförande även är viktigare än en formell utbildning. Vad respondenterna vittnar om talar sitt klara språk: det sociala kapitalet blir en tillgång som förvaltas och omvandlas till en ökad kunskap, likt ett branschspecifikt utbildningskapital och är tillsammans med erfarenhetskapitalet de mest relevanta kapitalen för att erhålla inflytande i musikbranschen. / In today’s Swedish music industry, there is an uneven distribution of women and men among the influential positions. The male dominance in the industry has been highly debated in recent years, which brought the interest for this study. The study is therefore focused on females that have managed to occupy influential positions. The study aims to gain an understanding of the factors that enabled these women to obtain their influence in the music industry. Based on this purpose, our research question is "Is it possible to see similarities and differences among the respondents' backgrounds, and in their acquired knowledge, which has enabled their achieved power in the music industry?” The research takes a qualitative approach, based on semi-structured interviews with ten women who all hold influential positions in the music industry. The women interviewed are, in alphabetical order: Cecilia Ancker, My Blomgren, Emelie Bååth, Marie Dimberg, Karin Gunnarsson, Helen McLaughlin, Theodora Nordqvist, Hilda Sandgren, Anna Sjölund och Lena Åberg Frisk. Based on the study's purpose, Pierre Bourdieu's theory of field, capital and habitus is used as a theoretical framework to explore which capital is of most relevance when one is interested in acquiring an influential position in the music industry. The empirical data obtained shows that the capital considered most important for achieving an influential position is practical experience and social networking. Accumulating practical experience is a common trait among all respondents. The analysis of empirical data has led us to the conclusion that the importance of experience and execution is more important than formal education in the field. The respondents’ testimonials all conclude: The capital of social networking is an asset that is converted into knowledge; knowledge that is particularly important within the music industry, and can be considered an industry specific education. The capital of social networking, combined with practical experience, is the most relevant capital in order to obtain influence in the music industry.

Jämställdhet är ett ämne som frekvent diskuteras inom musikbranschen, men trots det finns det en tydlig manlig dominans på ledande och kreativa poster. Vi har genomfört en kvalitativ studie där vi har undersökt hur organisationer inom musikbranschen arbetar internt och externt med jämställdhet samt hur de avser komma till rätta med problematiken att kreativa och ledande positioner domineras av män. Vi har genomfört semi-strukturerade intervjuer med respondenter för att låta deras röster komma till tals. Slutsatsen visar att jämställdhet är något hela branschen anser viktigt att arbeta med, men det finns olika åsikter hur förändringen konkret ska gå till väga. Organisationerna tycks gå mot en jämn könsfördelning, men problematik med horisontell och vertikal könssegregering är fortfarande högst aktuellt, varför en normkritik på den egna organisationen är viktigt. Ett konkret verktyg för förändring är en medveten rekrytering. Något som efterfrågas är högre krav från samhället på jämställdhetsarbete, då det tvingar organisationer och påskyndar förändringsprocessen. För att vi ska nå ett jämställt samhälle krävs det att alla organisationer i samspel med samhället tillsammans strävar mot samma mål. / Gender equality is a subject that is frequently discussed within the Swedish music business, but there is despite that still an evident male dominance on leading and creative positions. We have done a qualitative research where we studied how organisations within the music business are working internally and externally with gender equality, and how they intend to solve the issue of men and women not having the same possibilities to achieve career. We have done semi-structured interviews with respondents, to let their opinions be heard and make their perspective the main focus of our research. The conclusion of this study is that the Swedish music business believe that gender equality is important to work with, but the opinions on how to do so differs depending on whom you ask. The organisations tend to move towards an even distribution between the sexes, but issues with horizontal and vertical gender segregation is still very current, why it is important to question the existing norms within one’s organisation. A specific tool to achieve a more gender equal organisation, is to be more aware when recruiting. Something that is being requested is that society make higher demands on gender equality work, as that would force organisations to change more rapidly. To reach a gender equal society, all organisations together with the society must have the same goal and collectively work to reach it.

This paper examines data from Spotify’s API for 2017-2018 to determine the effects of song attributes on the success of tracks on Spotify’s Top 200 Chart across five different countries: the U.S., Norway, Taiwan, Ecuador, and Costa Rica. Two dependent variables are used to measure the success of a song – a track’s peak position on the charts and the number of days it survives on a country’s Top 200 Chart. Using ten separate regressions, one for each dependent variable in all five countries, it is concluded that the presence of a featured guest on a track increases a song’s peak position and the number of days it survives on the charts in almost every country. Further, songs that are perceived as “happier” are more successful for both metrics in Norway and Taiwan while those that are louder and more aggressive have a shorter lifespan on the charts in three out of five of the countries studied. The paper concludes that further research should be conducted with a larger, more diverse dataset to see if these findings hold and if they are present in other countries as well.

The purpose of this multiple case study was to explore strategies that well-established home recording studio owners in a city in the southeastern United States have used to compete in the recording industry. Four home recording studio owners served as participants. Each participant owned and operated a home studio business in the target area for longer than 10 years. Porter's 5 competitive forces model and Christensen's disruptive innovation theory were the conceptual lenses for this study. Interviews, direct observations, and website documents were the 3 data collection sources used to achieve methodological triangulation. The data were analyzed using Yin's 5-step thematic approach to qualitative data analysis: compiling, disassembling, reassembling, interpreting, and concluding. Four themes emerged from the analysis of the data: doing business and making money with friends, keeping the family safe and the studio secure, decoupling the clock from the creative process, and linking strategy to personal goals. The findings of this study may contribute to positive social change by economically empowering aspiring entrepreneurs to become small business owners and create new jobs that help strengthen their local economies.

Many classically-trained clarinetists do not know how to use their performance skills and life experiences to create financially sustainable and artistically fulfilling musical opportunities. Music careers have traditionally included teaching positions in academia and performance positions in professional ensembles. Because of the limited number of jobs in these two areas, clarinetists, and classical musicians in general, often turn to work that provides financial security but may lack artistic fulfillment. The proposed solution to this situation is for musicians to create "portfolio careers," which is defined in this document as a combination of multiple part-time jobs to create full-time work. The purpose of this document was to examine best practices in creating and sustaining a portfolio career through the specific lens of seven clarinetists who have shown themselves to be successful performers and entrepreneurs. Results showed that the best practices include: 1) turn ideas into actions, even if the idea is still in the prototype stage, 2) build and utilize a network of successful and supportive people, 3) say "yes" to opportunities, and 4) find creative work outside the field of music that inspires music-related work.