Zugl.: Krems, Universiẗat, Masterarbeit. / Literaturverz.

This study examined promoting recorded country music from Atlanta, Georgia, and explored why Atlanta is important in this field. It was learned, through interviews, that promoters wanted radio airplay and top trade publication chart ratings. Radio station program directors decided upon playlists from reading trade publications, efforts by record promoters, listener requests and focus groups, and from reported sales. Stores used album and poster displays, charts, and played music for promotion. The business is one of personalities and experience, as much as product promoted. Large conglomerates are fast changing it.

Cette recherche porte sur le développement international des tournées musicales entre 1850 et 1930, période caractérisée par l’affirmation de la fonction d’intermédiation et par une approche commerciale de plus en plus assumée du concert. En adoptant la perspective des intermédiaires qui ont porté cette évolution, nous nous proposons d’étudier comment le changement d’échelle de ces échanges culturels et économiques que constituent les tournées musicales a provoqué de profondes mutations. En particulier, la dimension transatlantique qu’acquiert le commerce musical à partir de 1850 a des conséquences décisives sur le concert. En effet, non seulement la structure des échanges doit être adaptée à cette nouvelle échelle, mais les répercussions sont sensibles également sur les objets artistiques et sur les pratiques sociales qui entourent l’activité musicale. Traitant le concert comme un spectacle, les imprésarios américains promeuvent une approche résolument commerciale qui, a priori, s’oppose aux conceptions artistiques européennes. Cependant, par le jeu des concurrences et des coopérations transnationales, les innovations apportées par les intermédiaires américains transforment le commerce musical dans son ensemble. Elles suscitent notamment l’émergence, par réaction mais aussi par réappropriation, de directions de concerts modernes à partir des traditionnelles maisons d’édition musicale européennes. En outre, parce que les œuvres musicales sont aussi des objets symboliquement connotés, socialement et nationalement, leur commerce reflète les tensions entre démocratisation et distinction d’une part, et entre enjeux nationaux et tentation universaliste d’autre part. / This research concerns the international development of musical tours between 1850 and 1930, a period characterized by the affirmation of the intermediation function and by an increasingly commercial approach to concerts. By adopting the perspective of the intermediaries who have brought about this evolution, we propose to study how the change in scale of those cultural and economic exchanges that musical tours are has caused profound changes. In particular, the transatlantic dimension that the music trade acquired from 1850 onwards had decisive consequences for the concert. Indeed, not only the structure of the exchanges had to be adapted to this new scale, but the repercussions were also sensitive on the artistic objects and on the social practices which surround the musical activity. Treating the concert as a show, the American impresarios promoted a resolutely commercial approach which, a priori, was opposed to European artistic conceptions. However, through transnational competition and cooperation, the innovations brought by American intermediaries transformed the music trade as a whole. In particular, they led to the emergence, by reaction but also by reappropriation, of modern concert directions based on traditional European music publishing houses. Moreover, because musical works are also symbolically, socially and nationally connoted objects, their trade reflects the tensions between democratization and distinction on the one hand, and between national issues and universalist temptation on the other.

Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.

Musicians are cultural entrepreneurs, operating as human brands in the South African music industry. The ability to manage their brand effectively may give them an added advantage to compete successfully in this industry. This study sought to explore the integrated marketing communications (IMC) practices of South African musicians in brand promotion. Using a qualitative design, interviews were conducted with practising South African musicians to collect data. The results revealed that South African musicians use multiple marketing communications tools to promote their brands in multimedia campaigns. However, not all the elements required for integrated marketing communications were in evidence. Results from this study may be used by entrepreneurial South African musicians to create a strategy for integrated marketing communications in promoting their brand in the South African music industry and may also contribute towards the practical application of IMC within the broader field of marketing management. / Business Management / M. Com. (Business Management)

The music industry is a market of superstars, that is a market where a relatively small number of people earn enormous amounts of money and dominate the activity in which they engage (Rosen,1981). Theories on the superstars phenomenon suggest that luck (Adler, 1985) or talent (Rosen, 1981) are the driving forces behind success. Thus, the “superstars models” left performers with no “active” role: successful artists are either endowed with an innate talent far above the average or are extremely lucky. However, all musicians (talented or not; lucky or not) take continuously decisions that affect their career. Chapter 1 and 2 of this dissertation analyze in details some of these decisions and their influence on success.<p>Chapter 1, Rock Bands: Matching, Recording & Work Organization,4 investigates the impact of partnerships, matching, and work organization on the success of rock musicians using a unique database of 1,494 albums released between 1970 and 2004. We show that rock bands differ in their work organization because the agreements between the members of band are different. These agreements can be seen as implicit contracts. Drawing on this observation, we develop a model where agents (musicians) with different levels of creativity match (to form a band) and produce a joint output (a song). We show that the way agents match (positively or negatively) is correlated with success and depends on the (in)completeness of contracts. The theoretical results are supported by the data.<p>Chapter 2, Musical Characteristics and Success in Commercial Music, analyzes the relationship between musical characteristics, that can objectively be measured, and different types of success (commercial success, critical success, and success assessed by music lovers). We show that the strength and the direction (positive or negative) of the relationship between success and musical characteristics vary with the measure of success.<p>The third chapter goes in a slightly different direction than the two others as it deals with long term reputation of composers rather than commercial success of pop-rock musicians. Chapter 3, The Formation of the Canons of the Baroque Music, analyzes the reputation of baroque composers over time. The dataset makes it possible to describe the evolution of composers’ reputation and of the baroque canon. The entries in seven important musical dictionaries written between 1790 and 2000 are used to measure reputations. We provide evidence that a consensus exists between musicologists, who often rely on their predecessors’ work.<p><p>References:<p>Adler, M. (1985). Stardom and talent. American Economic Review, 75, 208-211.<p>Rosen, S. (1981). The economics of superstars, American Economic Review, 71, 845–858.<p> / Doctorat en Sciences économiques et de gestion / info:eu-repo/semantics/nonPublished

While the digital market, especially the music streaming market, has rapidly grown in recent years, however the physical music segment still remains relevant in the Thai market. The Thai music market has inimitable characteristics within the market in terms of the physical music record offers, recorded musical works, and a growth trend in physical sales. Moreover, the behaviour in physical music consumption is opposite to that in world markets. Music consumption practices in the Thai market and why physical music, and CDs in particular, remain relevant to the Thai music industry are an enigma. The music industry itself has suggested that the physical music market needs to be revamped and its physical products redeveloped. In addition, the major record companies have also refocused into developing physical markets. However, precisely how this is to be achieved has not been specified. The twin aims of this study are to more fully comprehend Thai music consumption practices in today’s market and to examine how the concepts of product development could be effective in responding to consumer needs and desires. Consumer-led product development is the main concept of this study used to create ideas to enhance music CDs. This study combined many perspectives related to consumer-led product development and then applied them to construct the conceptual framework named “The Seminal Framework for CD Development”. The framework is a roadmap to create a new set of features for a new form of music CD based on the input of the music industry’s representatives and consumers. A new form of music CD which includes a new set of features is named in this study as the “prototype CD”. Also, the framework is used to evaluate the effectiveness of the prototype CD; how the prototype CD is responsive to consumer needs as far as functional and psychological perspectives are concerned. Bearing in mind the aim of this research, the researcher considered the interpretive paradigm to be the most appropriate approach for capturing consumers’ experiences in music consumption practices and for studying the opinions, points of view and ideas derived from the consumers, and the experts in music CD development. In the data collection process, this study employed the technique of purposive sampling for selecting from the population. The purposive sampling technique allows the researcher to judge and select people or prospective participants who: 1) are available to participate I in conducting the research, 2) are knowledgeable about the industry, 3) have experience related to the context of the study, and 4) can provide the reliable and detailed information required to understand the focal themes of the study. This study conducted nine interviews with the music industry’s experts, 60 one-on-one interviews and four group interviews with consumers. For the data analysis, this study adopted the manual coding analysis. The Seminal Framework determined the coding structure, and sets of data could be organised into distinct themes, such as the new features of music CDs or future positive possibilities for music consumption. This enabled, at the end of the process, an easier and more efficient identification of the experiential values derived from prototype music CDs. In addition, in more fully understanding the needs and expectations inherent in music consumption practices, such careful coding analysis helps to re-define the typology of music consumers. The typology and the concepts also facilitated the identification of music consumption behaviour in today’s environment. This study contributes a wider concept in consumer-led product development that has been applied to the context of music consumption practices and music product (CD) development.

This work is concerned with an analysis of the copyright protection of musical works. Musical works form part of the categories of works protected under copyright law. It would be easy to dismiss musical works as not warranting a serious study, as would for example, be warranted for “industrial property” rights such as patents and geographical indicators, or more “serious” copyrights such as architectural works and computer software. Such a perspective would however, not be cognisant of the significant contribution that the music industry, as part of the broader cultural and creative industries makes to the global economy. It has, for example, been shown that in 2013, the global cultural and creative industries contributed some US$2,250b, employing some 29,5 million people, with the music industry being one of the top three employers and with its revenues exceeding those of radio.1 A single successful musician can earn in excess of US$100m per annum,2 making the industry ripe for litigious claims. For this reason therefore a consideration of the legal rules that apply to the protection of musical works is crucial. There is currently no clear exposition and systematic analysis of the legal principles applicable to the field of music copyright and no work devoted to the in-depth delineation of the rights and sub-rights relating to musical copyright protection. This study seeks to address this research and knowledge gap by providing a historical and contextual analysis of the protection of musical works. The aim is to provide a complete picture of the milieu of music copyright protection to enable the reader to feel empowered in dealing with the subject-matter. This the writer does by mapping the historical development of music copyright protection in particular from eighteenth century England when the first copyright legislation was enacted, until the enactment of the British Copyright Act of 1911, which signalled the emergence of the “common law” copyright system. The writer then shows how this enactment shaped the development of modern music copyright law, and concludes by presenting a contextual consideration of the current South African law of music copyright and highlighting the challenges it is faced with. / Mercantile Law / LL. D.

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.