Esta pesquisa aborda a trajetória da gravadora Festa, criada na década de 1950, no Rio de Janeiro, pelo jornalista paulista Irineu Garcia (1920-1984), que teve como sócio nos dois primeiros anos o livreiro e editor carioca Carlos Ribeiro (1908-1993). A título de recorte, a dissertação trata do período compreendido entre 1955 e 1971, quando o selo fonográfico, sob a coordenação de Garcia, gravou dezenas de discos de literatura (poesia, prosa, teatro), música erudita e popular. A partir de extensa pesquisa em arquivos públicos e particulares, bem como em periódicos publicados entre os anos de 1940 e 1990, além da realização de diversas entrevistas, o trabalho busca organizar a história da gravadora de forma panorâmica, com o intuito, inclusive, de possibilitar outras investigações de aspectos pontuais sobre este objeto. Procurou-se também inserir a narrativa dentro do contexto histórico daquele momento, quando emergia uma indústria cultural no país. Por fim, reuniu-se em um anexo capas, contracapas e/ou informações acerca de 97 produções fonográficas realizadas pela gravadora no período contemplado pelo estudo. / The present research recovers the trajectory of the Festa record company, launched in Rio de Janeiro during the 1950s by São Paulo-born journalist Irineu Garcia (1920-1984) and the editor and bookseller carioca Carlos Ribeiro (1908-1993), his business partner during the first couple of years. It focuses on the period between 1955 and 1971 when the phonographic label, under Garcia\'s leadership, recorded dozens of literature discs (poetry, prose, theater), popular and classical music. After extensive data recollection from public and private archives as well as from publications released from 1940 to 1980 and many interviews, the present work broadly organizes the history of Festa with the intention of providing for other research works that could take on specific aspects of the object. It also places the narrative in the historical context of the emergence of a cultural industry in the country. Finally, the research includes an Annex with covers, back covers and general information on 97 phonographic productions by the record company in the studied time frame.

Esta pesquisa aborda a trajetória da gravadora Festa, criada na década de 1950, no Rio de Janeiro, pelo jornalista paulista Irineu Garcia (1920-1984), que teve como sócio nos dois primeiros anos o livreiro e editor carioca Carlos Ribeiro (1908-1993). A título de recorte, a dissertação trata do período compreendido entre 1955 e 1971, quando o selo fonográfico, sob a coordenação de Garcia, gravou dezenas de discos de literatura (poesia, prosa, teatro), música erudita e popular. A partir de extensa pesquisa em arquivos públicos e particulares, bem como em periódicos publicados entre os anos de 1940 e 1990, além da realização de diversas entrevistas, o trabalho busca organizar a história da gravadora de forma panorâmica, com o intuito, inclusive, de possibilitar outras investigações de aspectos pontuais sobre este objeto. Procurou-se também inserir a narrativa dentro do contexto histórico daquele momento, quando emergia uma indústria cultural no país. Por fim, reuniu-se em um anexo capas, contracapas e/ou informações acerca de 97 produções fonográficas realizadas pela gravadora no período contemplado pelo estudo. / The present research recovers the trajectory of the Festa record company, launched in Rio de Janeiro during the 1950s by São Paulo-born journalist Irineu Garcia (1920-1984) and the editor and bookseller carioca Carlos Ribeiro (1908-1993), his business partner during the first couple of years. It focuses on the period between 1955 and 1971 when the phonographic label, under Garcia\'s leadership, recorded dozens of literature discs (poetry, prose, theater), popular and classical music. After extensive data recollection from public and private archives as well as from publications released from 1940 to 1980 and many interviews, the present work broadly organizes the history of Festa with the intention of providing for other research works that could take on specific aspects of the object. It also places the narrative in the historical context of the emergence of a cultural industry in the country. Finally, the research includes an Annex with covers, back covers and general information on 97 phonographic productions by the record company in the studied time frame.

How the record company EMI records have change thier business model due to technological improvements.

<p>How the record company EMI records have change thier business model due to technological improvements.</p>

Music catalog trading has become something of a trend in recent years, with global stars selling their catalogs for millions of dollars. Industry players such as record labels and music publishers have traded catalogs and their underlying intellectual property rights between themselves for a long time but now resourceful venture capitalists have seen opportunities for returns, and have thus entered the market. This raises questions about the relative power of industry players and their functions as industry institutions, and how these may change as venture capital firms that are not fundamentally anchored in the music industry begin to trade in the music industry's most important resource, the music itself. Previous research has focused on catalog trading from an artist's perspective and how artists can leverage their catalogs and market positions to generate revenue, and what this means for individual artists' cultural autonomy. Furthermore, previous research has also focused on the development of economic models for the valuation of music catalogs. Based on theories of substantive and institutional dimensions of power, this study aims to discuss and analyze how the ongoing catalog trade may lead to a restructuring of current power dynamics in the music industry and the underlying factors behind the emergence of the ongoing catalog trade. We have conducted qualitative semi-structured interviews with stakeholders connected to the music and finance industries, thus shedding light on the catalog trade from different perspectives. The results show that it is not possible to point to any single factor as a catalyst for the currently prevalent catalog trade. Rather, it is an ongoing process in which actors both inside and outside the music industry are navigating a rapidly changing environment and working to maintain their positions of power and industrial relevance.

À l’heure où l’industrie de l’enregistrement sonore connait un certain nombre de bouleversements, Internet apparait à la fois comme un responsable d’une crise du disque et comme une plate-forme de diffusion et de promotion de la musique enregistrée. C’est dans ce contexte de mutations des industries culturelles que sont les industries de la musique que les labels indépendants voient les possibilités liées à la promotion se multiplier. Notamment par le biais des sites internet que j’envisage ici comme discours encodé et diffusé. Ce mémoire explore deux sites internet officiels de labels indépendants de rap québécois à l’aide de la proposition de la présence du mythe dans le discours de promotion. S’appuyant sur la théorie de Barthes, mon analyse s’articule autour de l’étude de la signification afin de mettre en lumière la façon dont le mythe fonctionne dans le discours. En m’intéressant principalement à l’image et au texte, je mets notamment en valeur le traitement de l’artiste, de la création musicale et du label dans le discours. / At a time when the music recording industry is going through some shake ups, Internet is seen both as a responsible for a disc crisis and as a plateform for diffusion and promotion of recorded music. This cultural industries' mutations context is now revealing multiple promotion opportunities for independant labels, as part of the music industries. This can be seen through websites which I consider to be a broadcasted, encoded and decoded discourse. This master thesis explore two independant record companys’ websites, both producing rap music in Québec, with the proposal of the presence of the myth in the promotionnal discourse. Based on Barthes' theory, my analysis is built around the study of the signification in order to outline the way the myth works in the discourse. While focusing on images and text, I mainly emphasize the treatment of the artist, the musical creation and the record label in the discourse.

À l’heure où l’industrie de l’enregistrement sonore connait un certain nombre de bouleversements, Internet apparait à la fois comme un responsable d’une crise du disque et comme une plate-forme de diffusion et de promotion de la musique enregistrée. C’est dans ce contexte de mutations des industries culturelles que sont les industries de la musique que les labels indépendants voient les possibilités liées à la promotion se multiplier. Notamment par le biais des sites internet que j’envisage ici comme discours encodé et diffusé. Ce mémoire explore deux sites internet officiels de labels indépendants de rap québécois à l’aide de la proposition de la présence du mythe dans le discours de promotion. S’appuyant sur la théorie de Barthes, mon analyse s’articule autour de l’étude de la signification afin de mettre en lumière la façon dont le mythe fonctionne dans le discours. En m’intéressant principalement à l’image et au texte, je mets notamment en valeur le traitement de l’artiste, de la création musicale et du label dans le discours. / At a time when the music recording industry is going through some shake ups, Internet is seen both as a responsible for a disc crisis and as a plateform for diffusion and promotion of recorded music. This cultural industries' mutations context is now revealing multiple promotion opportunities for independant labels, as part of the music industries. This can be seen through websites which I consider to be a broadcasted, encoded and decoded discourse. This master thesis explore two independant record companys’ websites, both producing rap music in Québec, with the proposal of the presence of the myth in the promotionnal discourse. Based on Barthes' theory, my analysis is built around the study of the signification in order to outline the way the myth works in the discourse. While focusing on images and text, I mainly emphasize the treatment of the artist, the musical creation and the record label in the discourse.

Uppsatsen undersöker hur könsfördelningen i musikbranschen ser ut. En fallstudie av skivbolaget Sony Music Sweden görs och undersöker hur könsfördelningen i bolaget ser ut och om det finns några specifika avdelningar som sticker ut i den aspekten. Studien undersöker också vad denna könsfördelning men även eventuella strukturer och hierarkier inom bolaget skulle kunna ha för påverkan på musikbranschen i stort. För att kunna genomföra detta görs en analys av materialet från Sony främst utifrån begreppet gatekeeping men även utifrån feministisk teori, genusteori och begreppet jämställdhet. Material från Musikbranschpodden analyseras utifrån samma teorier för att bidra med en bredare överblick av musikbranschen och dess aktörer och för att få en uppfattning om hur dessa aktörer menar att könsfördelning, strukturer och hierarkier eventuellt påverkar branschen. Ett av studiens största fynd är att ett företag kan se jämställt ut i teorin men att det sedan ändå ofta kan vara snedfördelat inom olika yrkesgrupper eller avdelningar.