Thesis (MPhil)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Creative people and the products they create play a fundamental role in the music industry. They form the core around which the rest of the industry revolves. Without musical and lyrical compositions and talented people able to perform them, there would be no music industry. Pressure mounts on creative people to keep on creating and producing music that will satisfy both industry and consumer demand. This leads to various personal and professional issues the creative person is faced with when pursuing a career in the music industry. This study explored how coaching supports creative people with their personal and professional issues, within the South African music industry. The research design was an exploratory, qualitative study. A purposive sampling technique (Babbie & Mouton, 2009) was used to select the six research participants. The research participants selected were at various stages of entering the music industry professionally. Multiple data collection methods were utilised for this qualitative study, namely solicited essays, researcher reflections and semi-structured interviews. The findings presented in this study showed how coaching can be effective in helping creative people deal with their personal and career issues.

Tens of thousands of music students enroll in group piano classes each year in colleges and conservatories in the United States. Degree programs related to Music Industry are attracting increasingly diverse student populations and in turn are requiring curricular and instructional modifications that better accommodate the needs of these students. The basis of this dissertation is the development of a series of contemporary class piano workbooks that focus on contemporary popular music and jazz in ways that optimize student learning, combining wide-ranging repertoire with assignments that encourage independent application of knowledge and skills. The workbooks illuminate how the piano is used in professional performance and recording; develop skills that can translate directly into professional music settings; and afford students opportunities to understand, learn, and play music that friends, family, and students themselves know and enjoy. / text

<p>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.</p>

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.

The recorded music industry experienced declining revenue from 1998 to 2014, but it saw a return to growth in 2015. This thesis uses a sample of 17 countries to explore the determinants behind this revenue expansion, and to assess whether this sales growth can be sustained. I examine the impact of eight factors on the overall, physical, digital, and streaming music revenue and revenue per capita, as well as the digital and streaming revenue share. The eight independent variables include the GNI per capita, the total population, the percentage of the young people, the percentage of the young females, the gross enrollment rate in secondary education, the percentage of Internet users, the percentage of mobile cellular subscriptions, and the percentage of fixed broadband subscriptions. Based on my study, the fixed broadband subscription rate has an impact that is both statistically significant and economically important on the streaming revenue share, which makes it the most important indicator for the industry’s potential sustainable development. The percentage of the young population also shows statistical significance and economic importance for explaining the overall and physical revenue per capita, but it has no effect on the digital and streaming revenue share. Also, although the Internet penetration rate and the mobile cellular subscription rate are statistically insignificant for the digital or streaming revenue share, point estimates suggest that these factors have important economic impacts.

Med teknologins ständiga framsteg har det uppkommit nya distributions- och produktionsmöjligheter vilket resulterat i en förändring i strukturen inom musikindustrin. Nya inkomstkällor har identifierats, och musikskapare kan agera mer självständigt än tidigare tack vare portabla inspelningsprogram och digitala plattformar såsom Spotify och Soundcloud. Den förändrade strukturen har fått som följd att relationen mellan musikskapare och musikbolag har förändrats.   Syftet med denna studie är att granska hur oetablerade musikskapares relation till musikbolag har förändrats, sett till den teknologiska förändringsprocess som skett. Detta för att skapa en djupare förståelse för fenomenet såväl som det musikindustriella landskapet. För att uppnå detta syfte har vi arbetat utifrån följande forskningsfråga: Hur har oetablerade musikskapares relation till musikbolag förändrats, sett till den teknologiska utveckling som skett? Studien bygger på en induktiv ansats där vi utgår från den insamlade empirin för att bilda oss en uppfattning om det studerade fenomenet och utifrån detta skapa en teoretisk förankring. Empirin består till stor del av sju semistrukturerade intervjuer med såväl musikskapare i den inledande fasen av sin karriär som en aktör aktiv inom musikbolag. För att styrka denna empiri har vi valt att komplettera med sekundärdata, både kvalitativ i form av artiklar och akademiska studier, men även kvantitativ i form av statistiskt underlag från branschorganisationer, såsom IFPI och Musiksverige. Denna studies slutsats tyder på ett begynnande mönster kring hur relationen mellan musikskapare och musikbolag har förändrats. Studien ämnar inte att generalisera eller konkretisera fenomenet utan att, genom materialet vi samlat in, diskutera fenomenet utifrån flertalet faktorer. Vi har i arbetet bland annat tagit upp entreprenörskap, ökad individuell kunskap, samt en ökad mängd musikskapare som bidragit till större konkurrens. Den ökade konkurrensen har bidragit till ett svårläst industriellt landskap där det nu finns en mängd verktyg att använda, men det garanterar inte en ökad chans till att ta sig igenom “bruset”. / The constant progress of technology, along with the new distribution and production opportunities that has appeared, has resulted in a structural change in the music industry. New sources of income has been identified to allow music creators to act more independent than before, as a result of portable recording software and digital platforms, such as Spotify and Soundcloud. Thus, the structural changes has led to modifications in the relationship between music creators and music companies. The intention of this study is to examine how music creators relationship to music companies have changed, during the initial phase of the music creators career, in terms of the technological transformation that has occurred. This is to create a deeper understanding of the music industrial landscape. To achieve this purpose, we have been working with the research question stated below: How has music creators relationship to music companies changed, in the initial phase of the music creators career and in terms of the technological transformation that has occurred? The study is based on an inductive approach, as our starting point is in the empirical field, in order to create a perception of the studied phenomenon and establish it theoretically. The empirical data largely consist of seven semi-structured interviews with music creators in the initial phase of their career, as well as an representative of the music companies. To further strengthen the data, we have chosen to complement it with secondary data. These come in the forms of qualitative data, such as articles and academic studies, as well as quantitative data, such as statistics from industry associations as IFPI and Musiksverige. The results of this study indicates an incipient pattern regarding the changed relationship between music creators and music companies. The aim of this study is not to generalize or concretize the phenomenon, but to, through the gathered material, discuss the phenomenon based on a plurality of factors. In the study, we have addressed topics such as entrepreneurship, an increase in individual knowledge as well as an increase in music creators, which has contributed to a growing competitive market. The increase in competition has resulted in a landscape that is more difficult to read, where there’s now an immense amount of tools to use, but no guarantee for breaking through the spectrum.

Bibliografický záznam KOUNOVSKÝ, Josef. Crowdfunding v českém prostředí a jeho využití v proměňujícím se hudebním průmyslu. Praha, 2014. 94 s. Diplomová práce (Mgr.) Univerzita Karlova, Fakulta sociálních věd, Institut komunikačních studií a žurnalistiky. Katedra mediálních studií. Vedoucí diplomové práce Mgr. Jaroslav Švelch, Ph.D. Abstract This thesis addresses the issue of crowdfunding in the Czech Republic and its utilization in the changing music industry. It focuses on the specifics that the local version of crowdfunding brings with itself and the motivation of musicians to use this not very familiar method of financing. At the same time, the thesis also puts crowdfunding in the context of today's music culture and points out the mechanics behind crowdfunding that make it successful abroad. The thesis briefly outlines the changes in the music industry, which occur with the development of new media. The research part of the thesis provides a qualitative analysis of five crowdfunding campaigns that took place since autumn 2013 to the present day. The analysis is based on in-depth interviews with project creators. The analysis shows that the Czech crowdfunding is still in its infancy and can not yet be seen as a full-fledged local version of crowdfunding as we know from abroad. The major differences can...

Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux. / Since the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up.

Submitted by Mariana Dornelles Vargas (marianadv) on 2015-03-18T18:26:26Z No. of bitstreams: 1 design_cultura.pdf: 1524902 bytes, checksum: 06fd9df481865d25e43009577077568b (MD5) / Made available in DSpace on 2015-03-18T18:26:26Z (GMT). No. of bitstreams: 1 design_cultura.pdf: 1524902 bytes, checksum: 06fd9df481865d25e43009577077568b (MD5) Previous issue date: 2010 / UNISINOS - Universidade do Vale do Rio dos Sinos / O consumo de música digital na Internet tem sido um dos temas dominantes para a indústria fonográfica, e para estudiosos de áreas de inovação e cultura. Essa pesquisa tem como objetivo elucidar a complexa relação entre o setor fonográfico e o consumidor, no contexto da Internet, analisando aspectos culturais dos posicionamentos de cada agente. Utiliza-se o Design Estratégico para avaliar a evolução do processo de consumo de música. Durante o trabalho, buscou-se inicialmente compreender a natureza da inovação no setor; os contextos históricos que causam essa inovação; a cultura de consumo de música digital e a pirataria; e o papel do artista musical na cadeia produtiva desse segmento. Através do método qualitativo, utilizando entrevistas e a técnica focus group, foram identificados os diferentes discursos que sustentam as atividades de consumo, e o posicionamento dos diferentes atores deste processo. A partir dos resultados desse trabalho foram propostas melhorias para o setor. / Digital music consumption on the Internet has been a dominating theme for the recording industry, as well as for scholars within the areas of innovation and culture. The aim of this research is to elucidate the complex relations between recording industry and consumer in the context of the Internet, analyzing the cultural aspects of each agent's position. Subjects which have been examined include the nature of innovation in the industry; the historical contexts which have led to this innovation; digital music consumption culture and piracy; and the role of the recording artist in the production chain. By means of qualitative methods, using interviews and the focus group technique, different discourses have been identified which sustain the activities of consumption, as well as the positions of different actors which participate in this process. Through the perspective of the discipline of strategic design, this study concludes with an evaluation of the evolution of the music consumption process, and improvement proposals for the recording industry.

Made available in DSpace on 2016-04-25T20:20:38Z (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