Orientador: Marcelo Siqueira Ridenti / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T12:27:22Z (GMT). No. of bitstreams: 1 Diniz_SheylaCastro_M.pdf: 2144482 bytes, checksum: b20237514ea06429f762092c3fa85675 (MD5) Previous issue date: 2012 / Resumo: O trabalho aborda uma parcela da vasta e heterogênea trajetória do Clube da Esquina no campo da MPB (Música Popular Brasileira). Esse grupo de músicos, letristas e amigos, inicialmente gestado em Belo Horizonte/MG em meados dos anos 1960, atingiu o ápice fonográfico na primeira metade da década seguinte, conjugando um aguçado caráter experimental e coletivo na elaboração de seus discos e canções. Tomando como referência esses dois momentos, as análises almejaram problematizar as particularidades estético-musicais e filosóficas da turma, suas relações com outros artistas e com a gravadora EMI-Odeon e suas variadas respostas culturais ao contexto político-social no qual estava inserida. A pesquisa também pretendeu por em destaque os processos que, na passagem dos anos 1970 a 1980, demarcaram a diluição do Clube da Esquina como uma formação cultural. A observância desse período permitiu estender as investigações para abarcar algumas recentes iniciativas e lutas simbólicas que visam garantir ao Clube da Esquina certo reconhecimento e legitimação no atual rol de debates acerca da MPB / Abstract: The research intends to verify the heterogeneous trajectory of Clube da Esquina in the field of MPB (Brazilian Popular Music). This group of musicians, songwriters and friends, gestated in Belo Horizonte/MG in the mid-1960s, reached the phonograph peak in the first half of next decade, combining a pointed collective and experimentally character in the preparation of their albums and songs. About these two moments, the analyses explored some aesthetic-musical and philosophical aspects of the group, their relationships with others artists and with the label EMIOdeon and their cultural answers to social-political context. This academic work also examined the processes that, in the passage of the years 1970 to 1980, staked the dissolution of Clube da Esquina as a cultural formation. To observe that period allowed extending the investigations for study some recent initiatives and symbolic struggles that have ensured recognition and legitimacy to the Clube da Esquina in the current debates about MPB / Mestrado / Sociologia / Mestre em Sociologia

The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes within the music industry. The concept of ‘fields’ usefully framed an explanation of the struggles and connections within the various fields in the industry and a view of the Zambian music industry in relation to the international industry. To gather the data necessary for this research a qualitative approach was utilised involving semistructured in-depth questionnaires from twenty-three interviewees. These interviewees were selected from various sectors of the music industry in an attempt to gain a holistic perspective of the industry in the 21st century. There were four subgroups: the artists (singers, rappers and instrumentalists), managers, radio DJs, and a miscellaneous group made up of the remaining participants, a Sounds Arcade manager, a music journalist, the National Arts Council Chairperson, a Zambia Music Copyright Protection Society (ZAMCOPS) administrator, and the then President of the Zambia Association of Musicians (ZAM). With the limited exposure to formal musical, instrumental and production training, musicians, instrumentalists, managers and studio production personnel interviewed had had to learn their craft on-the-job. This limited knowledge appears to add to the hindrance of the development of careers and the industry, particularly in terms of how to register and distribute music correctly to earn royalties and protect their intellectual property against piracy. From an institutional level piracy is being addressed more forcefully with the introduction of holograms and the tightening of policies and structures to do with the music industry.

This thesis considers current status of recording industry divided into two parts -- music and audiobooks, either in the whole world and Czech Republic. Used technologies, payment systems and business models are examined alongside with fresh information from recording industry. The models part describes an ideal business model, which incorporates current trends and creates a vision of the business in the future. Applied part adjusts this model according to real world factors into a model usable in the Czech Republic. A final SWOT analysis describes all strengths, weaknesses, opportunities and threats of the given model.

This thesis considers current status of recording industry divided into two parts – music and audiobooks, either in the whole world and Czech Republic. Used technologies, payment systems and business models are examined alongside with fresh information from recording industry. The models part describes an ideal business model, which incorporates current trends and creates a vision of the business in the future. Applied part adjusts this model according to real world factors into a model usable in the Czech Republic. A final SWOT analysis describes all strengths, weaknesses, opportunities and threats of the given model.

No description available.

本論文旨在探討兩種主要的網路資料傳輸技術：主從式傳輸技術與點對點式交換技術對於音樂產業智慧財產權的影響。選定音樂產業作為研究對象，係因音樂產業自從mp3音樂壓縮格式風行以來，其高品質與高壓縮比例的特性，使音樂出版品不斷遭到非法重製，著作權人的權益也因此不斷遭到侵害。檢視此一事件的來龍去脈，並嘗試從中學習教訓，以求一可行的經營模式，是本論文要進一步探討的。 　　本研究主要研究問題如下： 　　一、美國法律增修條文、新增法案、與最新判例對於音樂出版產業智慧財產權的保護方向為何？ 　　二、依據網路傳輸技術與電腦軟體之特性，政府部門應如何對智慧財產權加以保護與管理，以鼓勵學術與藝術創新，並兼顧相關產業與技術發展？ 　　三、新創事業應如何規劃與執行其商業模式中的智慧財產權策略，以避免可能的訴訟風險？ 　　四、傳統音樂出版產業面臨新科技與新商業模式的挑戰，應如何達成互利雙贏的局面？ 　　本研究主要分析對象為美國與國內線上音樂服務廠商：MP3.com、Napster、飛行網、與ezPeer等四家公司，就其對於傳統音樂產業體系的衝擊與影響加以探討，並提出具體策略建議。選擇這些公司的主要原因有以下幾點： 　　一、營模式包含企業對個人(B to C)與個人對個人(C to C)兩種。 　　二、研究對象都是藉由應用網際網路之科技創新而興起。 　　三、音樂下載服務仰賴上游供應商程度極深。 　　四、音樂下載服務對供應商的經營管理造成重大影響。 　　五、研究對象均可能或已經面臨智慧財產侵權訴訟。 　　本研究之研究方法以文獻與個案分析為主。資料來源有三：第一為網站直接觀察，第二為電子郵件來往與直接訪談方式，第三則為次級資料蒐集。依研究過程與研究發現。本研究結論如下： 　　一、政府部門應加緊著作權法修正案立法腳步，以補足目前對輔助侵害與代理侵害規範不足之處。 　　二、智慧財產權法律知識與法律行動準備方面，國外個案公司較國內個案公司相對充分。 　　三、音樂產業可行的經營模式之一，是整合豐富內容、互動交流、與加值服務的數位音樂平台，而最有能力整合的，是既有資源豐富的傳統音樂出版（唱片）業者。 　　本研究以個案探討方式進行，研究方法屬於內容分析。但因為議題新穎、科技演變迅速，探討身賭與廣度難免有所偏頗或不足之處。展望未來，數位內容產業（按經濟部的定義，數位內容產業包含軟體、電子遊戲、媒體、出版、音樂、動畫、網路服務等領域）已成為政府「兩兆雙星」重點發展產業之一，後續研究可廣泛地就數位內容產業智慧財產權保護與管理進一步研究。 / This research is to discover the impacts of the two major internet data communication protocols, which are client-server and peer-to peer technology, on the intellectual property rights (IPR) of the music publication (recording) industry. The purpose of choosing this theme was that the popular audio file compressing technology, ISO-MPEG audio layer-3, mp3, has changed our daily life dramatically. The features of high audio quality and high compressing capability, accompanying with client-server and peer-to-peer technology, are accelerating illegally duplicating of those songs and all the other audio publications, and such abusing of technology has been infringe on copyrighters’ privilege since the debut day of the technology. To review all the related events, to attempt to gather some lessons learned, and to develop a possible business model, are the efforts to which we want to contribute. 　　There are four major issues of this thesis: 　　1.What has been exposed beyond the latest related IPR laws, acts, and cases in the States about the protection on copyrights of the music publication industry? 　　2.Regarding to the characters of internet and information technology, how congress, government, court, and law enforcement agency could do to encourage innovations of technology, industry and economy growth, and protect IPR? 　　3.How should start-ups plan and execute their business model and IPR associated strategy to avoid the risk of possible IPR related lawsuit? 　　4.Facing the challenge of new technology and business model, what can recording industry do to construct a win-win situation? 　　Four online music service providers in the U.S. and Taiwan have been chosen, which are MP3.com, Napster, Fashionow, and ezPeer. We seek to depict the impacts on current recording industry, and attempts to develop a solid strategy. The reasons of choosing these companies are: 　　1.Their business models consist of two typical categories, which are Business to Customer and Customer to Customer, 　　2.All these start-ups applied internet and information technology, and 　　3.They are no doubt a threat to recording and are or are facing going to face IPR lawsuits 　　The methodology of this research is content analysis, and the materials were gathered form: website evaluating, interview with the users, and secondary data collecting. The conclusions are: 　　1.(Taiwanese) Government should accelerate the progress of modifying copyright law to regulate contributory and vicarious infringement. 　　2.The U.S. subjects are better prepared for IPR laws and affairs than Taiwanese ones. 　　One feasible business model for recording industry is a “Digital Music Platform,” combining with a variety of content, interactive communication, and value-added services. Companies in current recording industry, with profuse resources, are certainly the best candidates.

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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.

This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify and Indianise Indian South Africans, preparing them for their role as a middle-class racially defined group, a homelands group without a homeland. South Africanised popular music, and Indian South African Western semi-classical, popular music, or jazz performance was rejected by the SABC. Ambiguous nationalisms shaped Indian South African aesthetics. Global monopoly controlled the music industry. Similarly, disruptions in the global market enabled local musicians and small business groups to challenge the majors. In the late forties and fifties, this resulted in a number of locally manufactured records featuring local and visiting musicians, and special distribution rights under royalty to an independent South Asian company. The local South African records were largely characterised by their syncretic nature, and generated a South African modernism which had the capacity both to draw and repel audiences and officials alike. A glossary of non-English terms and a discography of Indian South African music have been included. / Thesis (Ph.D.)-University of Natal, Durban, 1999.

Made available in DSpace on 2010-04-20T20:48:33Z (GMT). No. of bitstreams: 3 141654.pdf.jpg: 11249 bytes, checksum: 0a349d226896e94a55545e47b9d4c796 (MD5) 141654.pdf: 1835546 bytes, checksum: 990c782eb56bd088f3213d6d8dfb1271 (MD5) 141654.pdf.txt: 507184 bytes, checksum: 1e2ec3d8947b8112f36cea10431505bc (MD5) Previous issue date: 2006-04-20T00:00:00Z / The Neo-Institutional theory defines Organizational Fields as social spaces where actors share rules, interpretative schemata and consent with established institutions. From this perspective, one expects that field’s actors adopt and diffuse social forms. This conception of field has been expanded in order to include the phenomena of conflict and innovation. By exploring the Jazz and the MPB fields, this thesis approaches the transformations in fields of music production. First, it investigates the theoretical relationships between the concept of field and social networks, by exploring the convergence of Bourdieu’s and Harrison White’s theories. Although I don’t propose a synthesis between these two approaches, I advocate that they are complementary. Hence, I suggest that social changes might occur in tandem with the uncoupling between the social network structure and the concentration of opportunities. By reconstructing the social networks among Jazz musicians, from 1930 to 1969, I obtain a topography of band leaders and their respective styles. The findings suggest one might explain the locus of new style emergence by the field’s structure evolution. The internal changes in a field impacted several musicians’ careers. I built a “typical” career-path, which suggests a track to be covered in order to attain success. In contrast, the change in the field’s structure and meta-logics favored several musicians who didn’t follow the typical path. This contrast attempts to shed light on the individual action, which helped in turn to change the field’s logic. A field’s institutionalization allows the identification of those legitimate styles, in contrast with those that are segregated. Thus, a field’s permeability articulates its autonomous generation of norms with external elements. Again, this permeability reflects a field’s structure and logics change. By exploring the penetration of Bossa Nova in the Jazz field, I analyzed how Jazz critics participated in the legitimating and in the translating processes of Bossa Nova. This cross-influence occurred in tandem with a redefinition of both fields’ boundaries. The communication between two different fields turns to be a crucial explanative factor in the emergence of new fields. The communication between the MPB and the pop music groups (mostly Jovem Guarda) was accomplished by Tropicalists. The creation of a new position made possible the articulation of two social spaces that were polarized. It seems evident the role of conflict underlying these dynamics: the conflict within the jazz field allowed the opening and emergence of a plurality of styles that articulated in several ways the Jazz tradition with external influences. The polarization within the MPB field created the possibility of emergence of new positions and external articulation. The change within these logics took place in tandem with the drawing of new boundaries and new career trajectories around and within these fields. In contrast, these conflicts revealed shared elements that became eventually institutionalized and shared by opposing groups. / A teoria Neo-Institucional define Campos Organizacionais como espaços onde atores compartilham regras, esquemas interpretativos e consentem com as instituições estabelecidas. A partir dessa perspectiva, espera-se que as formas sociais sejam adotadas e difundidas pelos membros do campo. Essa visão de campo tem sido expandida para dar conta dos conflitos e inovação. A partir da investigação do campo de Jazz e da MPB, aborda-se a tranformação em campos de produção musical. Em primeiro lugar, investiga-se as relações teóricas entre o conceito de campo e redes sociais, atavés da aproximação das teorias desenvolvidas principalmente por Bourdieu e White. Evitando-se a síntese desses dois corpos teóricos, sugere-se o potencial de complementaridade entre as duas abordagens. Assim, sugere-se que mudanças sociais podem ser acompanhadas pelo descasamento entre a estrutura de redes sociais e a concentração de oportunidades. A partir do mapeamento das redes sociais do campo de Jazz, de 1930 a 1969, obtem-se uma topografia dos líderes de banda e seus respectivos estilos. Verifica-se que o lugar de emersão de novos estilos pode ser explicado pela evolução da estrutura do campo. As tranformações internas a um campo impactam as carreiras dos músicos. Constroi-se uma carreira “típica” de um músico de jazz, que sugere uma trilha a ser percorrida para que se alcance o sucesso. Em contrapartida, a mudança na estrutura e lógica do campo de Jazz levou ao favorecimento de músicos que não seguiram a carreira típica. Essa contraposição é importante para aproximar a análise à ação dos individuos co-responsáveis pela mudança na lógica do campo. A institucionalização de um campo possibilita a definição daqueles estilos que são legítimos, em contraposição com aqueles que são segregados. Dessa forma, a permeabilidade de um campo conjuga a a geração autônoma de normas com elementos externos. Novamente, essa permeabilidade é reflexo da transformação da estrutura e lógica do campo. A partir da penetração da Bossa Nova no campo de Jazz americano, analisou-se a participação dos críticos na avaliação, legitimação e tradução da Bossa Nova. Essa influência cruzada foi acompanhada pela redifinição das fronteiras entre os campos. A comunicação entre campos distintos surge como um fator crucial na explicação da emersão de novos campos. A comunicação entre os campos de Música Popular Brasileira e Música Pop (principalmente Jovem Guarda) foi realizada pelos músicos do movimento Tropicalista. A criação de uma nova posição possibilitou a articulação entre dois espaços sociais que encontravam-se polarizados. Percebe-se o papel do conflito nessas dinâmicas: o conflito dentro do campo do jazz permitiu a sua abertura e emersão de uma pluralidade de estilos que articulavam de formas distintas a tradição do jazz e as influências externas. A polarização dentro do campo da MPB criou a possibilidade de criação de novas posições internas e articulações externas. As mudanças nessas lógicas foram concomitantes com o desenho de novos contornos do campo e novas trajetórias das carreiras. Em contrapartida, esses conflitos revelaram elementos compartilhados que se tornaram institucionalizados e aceitos por grupos opostos.