<p>Svensk musikindustri har under de senaste årtiondena åtnjutit stora framgångar på den internationella marknaden. Export Music Sweden grundades för att stötta och marknadsföra svensk populärmusik utomlands. VD Christer Lundblad sade 2003 att intäkter från konserter ökar kraftigt. Anledningar till detta kan vara att den ökande illegala nedladdningen av musik ger ett ökat ekonomiskt utrymme för konserter, samt att människor idag värderar upplevelser högre än tidigare. Eftersom mer pengar spenderas på konserter blir prissättningen mer betydelsefull. Ur ett rent ekonomiskt perspektiv borde konsertbiljetter prissättas för att maximera vinsten. Ett sätt att göra detta är att prisdiskriminera. Vi har funnit att detta inte görs i så stor utsträckning inom kon-sertindustrin, vilket har lett oss till att ta reda på varför så inte är fallet.</p><p>För att ta reda på varför inte prisdiskriminering sker i större utsträckning har vi intervjuat sju personer inom de grupper, i konsertindustrin, som påverkar prissättningen. Dessa grupper är artister, management, turnéproduktionsbolag och skivbolag. Vi har även studerat litteratur rörande prisdiskriminering och konsertindustrin, i form av ve-tenskapliga artiklar, böcker och rapporter.</p><p>Uppsatsen diskuterar hur prisdiskriminering av konserter går till, vilka som är inblandade i prissättningsbeslutet, samt deras syn på prisdiskriminering. Den tar även upp andra faktorer som påverkar prissättningen av konserter.</p><p>I uppsatsen kommer vi fram till att det finns två anledningar till att konserter inte prisdiskrimineras i större utsträckning. En anledning är praktisk och innebär att konsertplatsens attribut inte tillåter platsindelning och således prisdiskriminering. Den andra anledningen bygger på konsertarrangörers lättja samt artisters invändningar mot pris-diskriminering. Vi redogör även, utifrån undersökningens resultat, för att utvecklingen pekar på att konserter kommer att prisdiskrimineras i större utsträckning i framtiden.</p> / <p>Swedish music industry has, during the latest decades, been highly successful interna-tionally. Export Music Sweden, ExMS was founded to support and market Swedish music abroad. ExMS Managing Director Christer Lundblad said in 2003 that the income made from concerts is growing rapidly. The reason for that development might be that the illegal downloading of music leave people more money left to spend on concerts. Furthermore, the development might spawn from the fact that people value experiences higher than before. Moreover, when more money is spent on concerts the pricing becomes more important than ever. Concert tickets should, if seen in an economical perspective, be priced to maximize revenue. One way of doing that is to price discriminate. We have, through a pre-study on the subject, established that concerts are not price discriminated as extensively as they could. That fact has made us curious as to why that is.</p><p>In order to find out why concerts are not price discriminated more extensively we have interviewed seven people belonging to groups involved in the pricing process of concerts. These groups are artists, managers, concert arrangement agencies and record labels. Furthermore, we have studied literature on price discrimination and the concert industry.</p><p>The thesis discusses the pricing of concerts; which people who is involved in the decisions concerning the pricing of concerts and their views on the subject. In addition, the thesis also contains other factors influencing the pricing of concerts.</p><p>In conclusion, we find that there are two reasons explaining why concerts are not price discriminated more extensively. One is practical and involves the fact that some concert venue attributes does not allow price discrimination, since the crowd cannot be divided into different sections. The other reason is the fact that concert arrangement agencies are to comfortable to price discriminate, and that artists are unwilling to price discriminate for different reasons. Furthermore, the thesis’s results indicate that concerts will be price discriminated more extensively in the future.</p>

Svensk musikindustri har under de senaste årtiondena åtnjutit stora framgångar på den internationella marknaden. Export Music Sweden grundades för att stötta och marknadsföra svensk populärmusik utomlands. VD Christer Lundblad sade 2003 att intäkter från konserter ökar kraftigt. Anledningar till detta kan vara att den ökande illegala nedladdningen av musik ger ett ökat ekonomiskt utrymme för konserter, samt att människor idag värderar upplevelser högre än tidigare. Eftersom mer pengar spenderas på konserter blir prissättningen mer betydelsefull. Ur ett rent ekonomiskt perspektiv borde konsertbiljetter prissättas för att maximera vinsten. Ett sätt att göra detta är att prisdiskriminera. Vi har funnit att detta inte görs i så stor utsträckning inom kon-sertindustrin, vilket har lett oss till att ta reda på varför så inte är fallet. För att ta reda på varför inte prisdiskriminering sker i större utsträckning har vi intervjuat sju personer inom de grupper, i konsertindustrin, som påverkar prissättningen. Dessa grupper är artister, management, turnéproduktionsbolag och skivbolag. Vi har även studerat litteratur rörande prisdiskriminering och konsertindustrin, i form av ve-tenskapliga artiklar, böcker och rapporter. Uppsatsen diskuterar hur prisdiskriminering av konserter går till, vilka som är inblandade i prissättningsbeslutet, samt deras syn på prisdiskriminering. Den tar även upp andra faktorer som påverkar prissättningen av konserter. I uppsatsen kommer vi fram till att det finns två anledningar till att konserter inte prisdiskrimineras i större utsträckning. En anledning är praktisk och innebär att konsertplatsens attribut inte tillåter platsindelning och således prisdiskriminering. Den andra anledningen bygger på konsertarrangörers lättja samt artisters invändningar mot pris-diskriminering. Vi redogör även, utifrån undersökningens resultat, för att utvecklingen pekar på att konserter kommer att prisdiskrimineras i större utsträckning i framtiden. / Swedish music industry has, during the latest decades, been highly successful interna-tionally. Export Music Sweden, ExMS was founded to support and market Swedish music abroad. ExMS Managing Director Christer Lundblad said in 2003 that the income made from concerts is growing rapidly. The reason for that development might be that the illegal downloading of music leave people more money left to spend on concerts. Furthermore, the development might spawn from the fact that people value experiences higher than before. Moreover, when more money is spent on concerts the pricing becomes more important than ever. Concert tickets should, if seen in an economical perspective, be priced to maximize revenue. One way of doing that is to price discriminate. We have, through a pre-study on the subject, established that concerts are not price discriminated as extensively as they could. That fact has made us curious as to why that is. In order to find out why concerts are not price discriminated more extensively we have interviewed seven people belonging to groups involved in the pricing process of concerts. These groups are artists, managers, concert arrangement agencies and record labels. Furthermore, we have studied literature on price discrimination and the concert industry. The thesis discusses the pricing of concerts; which people who is involved in the decisions concerning the pricing of concerts and their views on the subject. In addition, the thesis also contains other factors influencing the pricing of concerts. In conclusion, we find that there are two reasons explaining why concerts are not price discriminated more extensively. One is practical and involves the fact that some concert venue attributes does not allow price discrimination, since the crowd cannot be divided into different sections. The other reason is the fact that concert arrangement agencies are to comfortable to price discriminate, and that artists are unwilling to price discriminate for different reasons. Furthermore, the thesis’s results indicate that concerts will be price discriminated more extensively in the future.

The marketing and distribution of pre-recorded music for sale and public consumption is a cultural development as profound as any in the twentieth-century musical world. It is especially relevant to late-1950s American rock and roll, in terms of the music's capture in the rapidly-evolving environment of the recording studio, its release into the marketplace via independent record labels, and its enthusiastic embrace by the burgeoning youth culture of the era. Within this multi-dimensional context, Zoom Records, a tiny, independent record label, was born in Tucson, Arizona. A unique convergence of technological, artistic, and commercial developments and historical events gives special import to the Zoom Records story, as a lesson in entrepreneurship, artistic expression and personal transformation.

Do you know that feeling? That feeling when the music you are listening to a concert or a new record and it just seems right? When you think, that’s it! That’s what music should sound like! When the music seems to touch your soul or mirror it, or…. something. And when you feel that, nothing else seems to exist and you are purely experiencing the music. My thesis work explores the way in which we try to capture this ephemeral moment of pure experience in order to keep it with us to revisit at our leisure. This, however, is a futile endeavor. No matter how many photos you take, records you collect, or days of music on your iPod, that initial feeling, that visceral experience, cannot be replicated. In this work I use both materials that evoke this idea of the ephemeral (transparent plastic and glass) and materials are ephemeral themselves (water and wax) to convey the inability to capture music and the feelings it evokes in us. I have also chosen to add elements to the space, such as a wooden floor, stage lights, and fabric panels, to suggest a performance stage or sound studio and to further this connection to the music which the work was inspired by.

My study seeks to fill a void in Cold War historiography by situating the emergence of 1950s youth culture in the context of containment culture, evaluating the form and extent of youth's cultural 'rebellion'. The pervasive cultural discourse of 'containment', which operated as both a foreign policy to restrict the Soviet Union's sphere of influence and a domestic policy to stifle political dissent, mandated that America propagate an image of social harmony and political plurality during the early years of the Cold War. Yet the emergence of a rebellious youth culture in the middle of the 1950s challenges the notion that America was a 'consensus society' and exposes the limitations and fissures of the white middle class hegemony that the containment narrative worked to legitimate. In examining the rise of rock n roll, the emergence of the drive-in theatre as a "teen space," and the significance of "style" to the galvanization of 1950s youth culture, this study examines the ways in which youth culture of the period variously negotiated, resisted, and accommodated containment culture.

The music history that is generally presented to students in Queensland secondary schools as the history of music is underpinned by traditions associated with the social and cultural elite of colonialist Europe. On the other hand, contemporary popular music is the style with which most in this community identify and its mass consumption by teenagers in Brisbane was heralded with the arrival of rock 'n' roll in the mid-1950s. This project proposes that the involvement of the music education system in, and the application of digital technology to, the collection and storage of musical memories and memorabilia with historical potential is an important first step on the journey to a music history that is built on the democratic principles of twenty-first century, culturally and socially diverse Australia rather than on the autocratic principles of colonialist Europe. In taking a first step, this project focused on collecting memories and memorabilia from people who were involved in an aspect of the coming of rock 'n' roll to Brisbane. Memories were collected in the form of recorded conversations and these recordings, along with other audio and visual material were transferred to digital format for distribution. As an oral history focusing its attention on those who were involved with the coming of rock 'n' roll to Brisbane in the mid to late 1950s and the early 1960s, this project is intended as a starting point for that journey. Even as a starting point however, some interesting findings emerged. For example: * Early Brisbane rock 'n' roll was a suburban affair. * Dancers were just as important in bringing rock 'n' roll to Brisbane as were the musicians. * Musicians not only had to learn new music on new instruments, they had to, in many cases, make their own instruments. * The rock 'n' roll story as promoted by the newspapers of the day was very different to how it is remembered by the participants. * Community institutions such as family, school and church played a vital support role in the lives of young rock 'n' roll musicians. * Brisbane's rock 'n' roll musicians generally reflected the conservative nature of their community. * Brisbane's very early rock 'n' roll musicians were strongly influenced by country and western music. * Once the commercial viability of rock 'n' roll became evident, it became more accepted as an entertainment format. Of the many thousands of people who lived in Brisbane during the 1950s and who had an interest in or were affected by the coming of rock 'n' roll, only a very small percentage were involved in this project. This would indicate that there is a significant body of untold memories and stories waiting to respond to the interest of Queensland music students.

Orientador: Alexandre Bérgamo Idargo / Banca: José Adriano Fenerick / Banca: Dmitri Cerboncini Fernandes / Resumo: É consenso nos trabalhos acadêmicos e jornalísticos que o rock brasileiro conquistou seus espaços nos meios de comunicação e reconhecimento da música brasileira apenas com a emergência das bandas dos anos 1980. Sendo assim, esta pesquisa se propôs a compreender, por meio da trajetória da Legião Urbana, as interferências dos múltiplos agentes sociais envolvidos e mobilizados na consolidação de um campo específico de música no Brasil: o campo do rock. A partir da análise de matérias publicadas em jornais, na revista Bizz e das entrevistas que fiz com alguns jornalistas e com o ex-produtor da Legião, pode-se concluir que as tomadas de posição e as disposições desses agentes construíram os critérios de avaliação do gênero, dos artistas e de produção dos discos, consolidando um espaço e definindo as marcas expressivas para o rock brasileiro e de uma geração de profissionais. / Abstract: There is consensus in the academic and journalistic works that rock and roll earned their places in the media and recognition of Brazilian music only with the emergence of national bands of the 80s. Thus, this research aims to understand the interference of multiple social agents involved and mobilized in the consolidation of a specific field of music in Brazil, the field of rock: music producers, journalists and bands, in this case "Legião Urbana". From the analysis of articles published in newspapers, on magazine Bizz and interviews I did with some journalists and the former producer of the Legion, I learned that the positions and the provisions of these agents have built the evaluation judgement of the genre, the artists and production of discs, consolidating spaces for Brazilian rock in the majors and the press. / Mestre

Space as a expression.

Title: Impact of rules in category ladies formation on choreography in acrobatic rock'n'roll Obejctive: The aim of this work is to compare content changes of final choreographies in acrobatic rock'n'roll in category ladies formation from World Championships held in 2016 and 2017. Furthermore it analyses whole situation in terms of next development and evaluation in the world. Method: Research was accomplished by surveying and content analyse. Research was made with the aid of videos of ladies formations in acrobatic rock'n'roll from World Championships held in 2016 and 2017. Results: Based on read literature and received information from videos I decided that new rules from 2017 had not had main influence on choreographies on World Championship in ladies formations in the same year. Keywords: Acrobatic rock and roll, choreography, evaluation

Space as a expression.