Thesis (M.A.)--Carleton University, 2003. / Includes bibliographical references (p. 244-254). Also available in electronic format on the Internet.

Thesis (Ph.D.)--Memorial University of Newfoundland, 2001. / Bibliography: leaves 181-208.

Thesis (M.J.)--Carleton University, 1992. / Also available in electronic format on the Internet.

Made available in DSpace on 2009-11-18T19:01:36Z (GMT). No. of bitstreams: 1 wlannes.pdf: 290936 bytes, checksum: 041ca0096f883cb676535602f6172789 (MD5) Previous issue date: 2009 / The world's record industry has been undergoing a deep crisis over the past years, and has been seeking ways to overcome the fall in legal CD and DVD sales. Paradoxally, consumption of music in its varied forms has been increasing over the same period. Within this adverse scenario, record companies have been trying to adjust their business models so as to encompass other products and services bearing a direct relationship with music. This paper aims at identifying the causes as well as assessing opportunities and initiatives within the market aiming at allowing the record industry to overcome the ongoing crisis. The objective of this paper is to provide an assessment of the current situation and propose alternatives to overcome the crisis, including digital music and the market of concerts and events as potential opportunities for the industry. / A indústria fonográfica mundial, vem passando por uma crise profunda nos últimos anos e busca saídas para superar o declínio na venda de CD's e DVD's legalmente fabricados. Paradoxalmente, o consumo de música nas suas mais variadas formas, vem crescendo nos últimos anos. Em função deste ambiente adverso, as gravadoras vêm tentando ajustar seus modelos de negócio de forma a entrarem em outros produtos e serviços diretamente ligados à música. O objetivo desta dissertação é analisar as causas, bem como identificar as oportunidades e iniciativas do mercado para recuperação da indústria fonográfica diante da crise que atravessa. Este trabalho dissertativo pretende diagnosticar a situação atual e propor alternativas para sair da crise, incluindo a música digital e o mercado de shows e eventos como oportunidades potenciais de atuação para a indústria.

Many people might think that downloading music without paying for it is not a big issue. Copyright owners disagree with this kind of reasoning because to them, music is intellectual property with substantial commercial value. Copyright law is the primary form of protection for intellectual property and is based on the fundamental principle that copyright works cannot be reproduced without the express consent of the copyright owner. During the late 90’s however, new technology made it possible for millions of people to download music from the Internet without the express consent of copyright owners. The mere act of downloading songs illegally violates the exclusive right of the copyright owner to reproduce the work. It has also created problems within copyright law that was not foreseeable in the 17th century when the Statute of Anne was enacted. In law, there is always an exception to the rule and it is no different with copyright law. Although copyright owners have the exclusive right to reproduce their work, the general public has been granted exceptions to make fair dealing of copyright works for private or personal use, purposes of research, private study, criticism, review or for reporting current events in a magazine, newspaper or periodical, broadcasting or by using the work in a cinematograph film by virtue of s12 of the Copyright Act 98 of 1978. However, the list of exceptions supra may be changed and/or extended, provided that it remains in line with the international conventions and agreements that South Africa is a member to. The three-step test is inter alia provided for in Art. 9(2) of the Berne Convention1 (Paris Text of 1971) and permit exceptions to the reproduction right of the copyright owner: 1) in certain special cases; 2) that do not conflict with the normal exploitation of the work and; 3) that does not unreasonably prejudice the legitimate interests of the author/rights holder. S17 provides that certain subsections of s12 shall apply mutatis mutandis with reference to sound recordings. However, s12(1)(a) is not one of the subsections mentioned in s17 which means that fair dealing in sound recordings for purposes of research or private study, or for personal or private use is NOT permitted. Fair dealing however, is not absolute nor is it an easy doctrine to interpret. The legal interpretation and application of fair dealing has been fraught with complexity since the English courts first dealt with fair abridgement of literary works between the 17th and 18th century but this complexity has been compounded even more by new technology, especially in relation to music works. The legal uncertainty of fair dealing with regard to music works is the reason why this comparative research has been undertaken in the jurisdictions of South Africa, the United Kingdom, Australia and the United States. Hopefully it will shed more light on the doctrine and lift the veil of confusion. / Jurisprudence / LLM

O objetivo deste trabalho é analisar criticamente as transformações pelas quais o sistema capi-talista vem passando nas relações de produção com a emergência das novas tecnologias de informação e comunicação. A apresentação leva em consideração o fato de que hoje o capital subordina a produção com uma intensidade nova e de um modo novíssimo ligado à emergên-cia do conhecimento-capital. Apoiado na tese da desmedida do valor de Prado (2005), este trabalho retoma as formas de subsunção do trabalho ao capital (formal, material e real) deriva-das d\'O Capital de Karl Marx, procurando delinear uma sequência lógica e histórica para a gênese de uma nova forma, qual seja, a subsunção intelectual do trabalho ao capital, que seria típica de um período de produção pós-grande industrial. Para explicitar mais esses processos de mudança, toma como objeto de estudo a indústria fonográfica. Esta, por depender em última instância do trabalho criativo (uma vez que é intensiva em conhecimento e inovações), vem sofrendo os efeitos da emergência das novas tecnologias de uma forma bastante negativa do ponto de vista do capital e de uma forma, talvez, muito positiva no que tange à produção e à distribuição de mercadorias de forma autônoma e independente do capital. Através de estu-dos de caso e evidências empíricas, procura demonstrar como as descontinuidades que estão presentes na indústria fonográfica, principalmente as que emergiram no século XXI, mudaram de uma vez por todas os modelos de negócios tradicionais desta indústria. Ao final demostra que, apesar de hoje em dia existir cada vez mais a possibilidade da criação de música de forma autônoma e independente, a produção de música ainda é realizada por trabalhadores que, no limite, estão subsumidos intelectualmente à relação de capital. / The aim of this work is to critically analyze the transformations that the capitalist system has experienced in the relations of production with the emergence of the new information and communication technologies. The presentation will take into account the fact that capital now subordinates production with a new intensity and in a brand new way that is linked to the emergence of knowledge-capital. Supported by Prado\'s (2005) thesis of the desmeasure of value, this work reapproaches the forms of subsumption of labor to capital (formal, material and real) derived from Karl Marx\'s Capital, trying to delineate a logical and historical sequence to the genesis of a new form, namely, the intellectual subsumption of labor to capital, which would be typical of a period of post-large-scale industry. Looking to further explain these processes of change, the recording industry is taken as object of study. As it depends mostly on the creative work (because it is knowledge- and innovation-intensive) it has been suffering the effects of the emergence of new technologies in a very negative perspective from capital\'s point of view, and in a way, perhaps, very positive regarding the production and distribution of goods in an autonomous and independent way. Through case studies and empirical evidence, it strives to show how the discontinuities that are present in the music industry, especially those that emerged in the twenty-first century, changed once and for all the recording industry\'s traditional business models. At the end it demonstrates that, although today there is an increasing possibility of creating music in an autonomous and independent way, music production is still undertaken by workers who, ultimately, are intellectually subsumed to the capital\'s relations.

A presente pesquisa investiga o surgimento da música caipira gravada na fonografia brasileira durante a instauração do mercado do disco em São Paulo, entre 1878 e o começo da década de 1930. Observa-se um crescente mercado de música gravada e certo abandono das preferências musicais da cidade por parte das gravadoras ativas durante a fase mecânica do disco. Tal espaço foi preenchido pelos selos internacionais que chegaram no final dos anos 1920 e gravaram música de legítimos caipira paulistas, visando conquistar o mercado do Estado. O sucesso em vendas das primeiras gravações de música caipira paulista relaciona-se com o auge das representações caipiras, provenientes do século XIX, que alimentavam a nascente indústria do entretenimento urbano. Foram também importantes estratégias de propaganda orquestradas inicialmente pela Columbia, vinculando as gravações de músicos caipiras com o folclore, assim como a promoção realizada por intermédio de Cornélio Pires. Ademais, a música caipira gravada ajustou-se à necessidade sentida pelas elites hegemónica, de criar uma identidade cultural paulista que solapasse as tensões e conflitos raciais, culturais e de classe irresolutos durante a Primeira República. / This research investigates the emergence of caipira music recorded in Brazilian phonography during the establishment of the disc market in São Paulo, between 1878 and the beginning of 1930s. From the arrival of the first phonograph until establishment of international record companies in the city, there was a growing market for recorded music. It seems there was a certain abandonment of musical preferences of the city by active recorders during the mechanical phase of disc. This space was filled by the international record companies arriving in the late 1920s and recorded music of legitimate paulista countrymen, aiming to conquer the Brazilian market. The success in sales of the first recordings was explained by the record companies publicity invested, the self-constructed image of Cornélio Pires defender of folklore paulista and above all, by the heyday of a tradition of country representation from the nineteenth century and kept by the nascent urban entertainment industry. In addition, the recorded caipira music was adjusted to the need, feeling the hegemonic elites, to create a cultural identity of São Paulo that would undermine tensions, racial, cultural and class conflicts unresolved during the First Republic.

Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the integrity of the composer's intentions.

Wong King-chung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 66-78). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgement --- p.iii / Table of Contents --- p.v / List of Figures and Tables --- p.vii / Chapter Chapter 1´ؤ --- Introduction / A New Age of Sound --- p.1 / Academic Background and Related Studies --- p.2 / Chinese Music and the Media --- p.4 / The Present Study and Methodology --- p.5 / Chapter Chapter 2´ؤ --- SoundScape of China: The Influence of Ethnomusicology in China in the 1980´ةs / Introduction --- p.8 / From Comparative to Cultural: Chinese Music Scholarship in the Twentieth Century Mainland China --- p.10 / Revealing a Soundscape of Chinese Music´ؤDevelopment of Musical Genre Study --- p.13 / Concluding Remarks --- p.18 / Chapter Chapter 3´ؤ --- Mapping a Soundscape: Analyzing the HUGO CD Catalogue(s) / Introduction --- p.20 / "Classification, Category and Catalogue" --- p.20 / Recording Industry in Hong Kong --- p.22 / Aik Yeh-goh and HUGO Production (HK) Ltd --- p.28 / HUGO'S Label Division --- p.29 / Statistical Analysis of HUGO CD Catalogues --- p.31 / An Aural Map´ؤSoundscape of China --- p.38 / Concluding Remarks --- p.42 / Chapter Chapter 4´ؤ --- Whose Music? The Role of the HUGO CD Catalogue in Chinese Cultural Memory / Introduction --- p.44 / Communication Theory in Studying Recording Industry --- p.46 / Lasswell's 5-W Formula as a System --- p.46 / Lewin's Gatekeeping Theory --- p.50 / The Role of HUGO CD: Imagination of Chinese Music outside Mainland China --- p.52 / Concluding Remarks --- p.54 / Appendix A: Name List of Record Companies in Hong Kong before the 1990's --- p.56 / Appendix B: The Catalogue of the HUGO CDs --- p.58 / Selected Bibliography --- p.66

by Tsai Yee-Ah, Eva. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1997. / Incldues bibliographical references (leaves 108-112). / ABSTRACT --- p.iii / ACKNOWLEDGEMENTS --- p.vi / TABLE OF CONTENTS --- p.vii / LIST OF TABLES --- p.ix / LIST OF FIGURES --- p.x / CHAPTER / Chapter I. --- INTRODUCTION --- p.1 / Objectives --- p.2 / Chapter II. --- MARKET ANALYSIS --- p.4 / Overview of the Music Industry in Hong Kong --- p.4 / Hong Kong Classical Music Market and the Trends --- p.6 / Definition of Classical Music --- p.6 / Classical Music Becomes More Popular --- p.8 / More Record Stores in Hong Kong Selling Classical CDs --- p.10 / New Ways of Promoting Classical Music --- p.13 / New Classical Music Repertoires and the Trends --- p.15 / More Young Classical Performers --- p.16 / Major Classical Companies in Hong Kong --- p.17 / Bertelsmann Group --- p.17 / EMI --- p.19 / HNH Internationa] Ltd --- p.22 / PolyGram --- p.25 / Sony --- p.28 / Warner --- p.32 / Chapter III. --- RESEARCH METHODOLOGY --- p.37 / Secondary Data --- p.37 / Primary Data --- p.38 / Experience Survey --- p.38 / Sample Survey --- p.38 / Limitations of the Research --- p.42 / Research Design --- p.42 / Data Collection --- p.43 / Data Analysis --- p.44 / Chapter IV. --- RESEARCH FINDINGS AND DATA ANALYSIS --- p.48 / Response Rate --- p.48 / Outcome of Self-Administered Questionnaire Survey --- p.48 / Data Analysis --- p.49 / Editing --- p.49 / Coding --- p.50 / RESEARCH FINDINGS --- p.50 / Demographic Information of 200 Successful Respondents --- p.50 / Respondents' Opinions of HMV --- p.53 / Respondents' Usage Patterns of Classical CDs --- p.55 / Brand Name of the Record Company --- p.55 / Price --- p.60 / Selection Criteria in Buying Classical CDs --- p.61 / places for Buying Classical CDs --- p.72 / Reasons for Buying Classical CDs --- p.74 / Opinions of Sony's Classical CDs --- p.77 / Preferred Promotional Methods --- p.81 / Information Channels in Receiving Information about Classical CDs --- p.84 / Maximum Price Willing to Pay --- p.88 / Preferred Tangible Changes or Improvements --- p.89 / Conclusion --- p.91 / Competitive Profile --- p.91 / Market Profile --- p.92 / Customer Profile --- p.93 / Product Profile --- p.94 / Company Profile --- p.95 / Chapter V. --- "MARKETING PLAN FOR SONY'S CLASSICAL DIVISION, 1997-1998" --- p.97 / Target Markets --- p.97 / Marketing Objectives --- p.98 / Product Objectives --- p.98 / Pricing Objectives --- p.99 / Communication Objectives --- p.100 / Distribution Objectives --- p.105 / Monitoring System --- p.107 / Conclusion --- p.108 / APPENDIX --- p.110 / BIBLIOGRAPHY --- p.133