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

The Music Industry we knew 20 years ago has evolved into a completely different business. Major labels are scrambling to adapt to a new market created by digital streaming and the heavily dominated mobile environment. The purpose of this study is to explore the choice of remaining independent as a musician, and develop a systematic process that any aspiring artist or band manager can confidently follow to ensure their project has the best chance of success. Most of the published writings on this subject are either too broad, or too business-minded for the typical musician. This thesis provides a creative approach with the organization of the information. I present the process of band management in five chapters named after the five movements of traditional sonata form: The Introduction (Chapter 1) presents the various themes that are covered throughout the study, and describes the reasoning for using sonata form for organization and also elaborates on the author’s background. The Exposition (Chapter 2) describes the beginning stages of creating a band and establishing a creative project in the local music scene. This includes the initial formation of the band and its members, the process of networking within the local music scene, and an in depth explanation of how to effectively utilize all the “Essential Websites.” The Development (Chapter 3) describes the process of developing a band into a consistently gigging1 project. The main topics covered are booking shows, performing shows, recording and releasing an album, and what to focus on after it is released. The Recapitulation (Chapter 4) condenses the main topics of the thesis into a more palatable checklist of essential steps that musicians can easily reference throughout the process of managing their project. The Coda (Chapter 5) looks towards the future of the music industry, and serves as a prediction of how the previously effective methods apply to new technologies and website. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

This dissertation is an ethnography centered around two bands based in Guangzhou and their relationships with one of China’s largest record companies. Bridging ethnomusicology, popular music studies, cultural geography, media studies, vocal anthropology, and the anthropology of infrastructure, it examines emergent forms of musical creativity and modes of circulation as they relate to shifts in concepts of self, space, publics, and state instigated by China’s political and economic reforms. Chapter One discusses a long history of state-sponsored cartographic musical anthologies, as well as Confucian and Maoist ways of understanding the relationships between place, person, and music. These discussions provide a context for understanding contemporary musical cosmopolitanisms that both build upon and disrupt these histories; they also provoke a rethinking of ethnomusicological and related linguistic theorizations about music, place, and subjectivity. Through biographies of seven musicians working in present-day Guangzhou, Chapter Two outlines a concept of “musical subjectivity” that looks to the intersection of personal histories, national histories, and creativity as a means of exploring the role of individual agency and expressive culture in broader cultural shifts. Chapter Three focuses on the intertwining of actual corporeal mobilities and vicarious musical mobilities, and explores relationships between circulations of global popular musics, emergent forms of musical creativity, and an evolving geography of contemporary China. Chapter Four extends these concerns to a discussion of media systems in China, and outlines an approach to “sonic infrastructures” that puts sound studies in dialogue with the anthropology of infrastructure in order to understand how evolving modes of musical circulation and the listening practices associated with them are connected to broader economic, political, and cultural spatialities. Finally, Chapter Five examines the intersecting aesthetic and political implications of popular music sung in local languages (fangyan) by focusing on contemporary forms of articulation between music, language, listening, and place. Taken together, these chapters explore musical cosmopolitanisms as knowledge-making processes that are reconfiguring notions of self, state, publics, and space in contemporary China.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Indiana is a state rich in musical history. Two cities, in particular-Indianapolis and Richmond-have played significant roles in the evolution and dissemination of jazz music. There have been modest attempts to acknowledge and/or educate Hoosiers about the state's role in the development of ja7.z. However, a level of apathy remains with regard to this aspect of Indiana's cultural heritage. These factors, in conjunction with new development, socioeconomic hardship, and demolition by neglect, have resulted in the loss of countless buildings and sites associated with jazz, music in Indianapolis and Richmond.In the Circle City, Indiana Avenue was a hotbed of ja77. for decades, as were many other scattered downtown sites. All but just a few of these venues are extant today. In Richmond, the Gennett recording studio welcomed the greatest of the early jazz pioneers and pressed millions of records of this genre. The Gennett site lies in ruins today, consisting of remnants of only three structures.There is a need to heighten awareness of the buildings and sites that contributed to the thriving jazz scene in these two cities for the purpose of education, preservation, and interpretation. This thesis has attempted to document and inventory the historical resources associated with jazz in Indianapolis and Richmond in order to facilitate these processes. In addition to the inventory, the two cities are examined in the context of jazz history in Indiana, and current building and site conditions are discussed. / Department of Architecture

Thesis (M.J.) - Carleton University, 2006. / Includes bibliographical references (p. 161-175). Also available in electronic format on the Internet.

James Caesar Petrillo, President of the American Federation of Musicians, called a strike effective July 31, 1942, prohibiting union members from making any disc recordings or electrical transcriptions. The present study recounts the history of that strike, including efforts to end it, reactions to it by various government and trade organizations and the circumstances under which it finally did end. The study focuses on the effect of the strike on radio broadcasters, both directly (through recordings they used) and indirectly (through the strike's effects on the recording and related industries), and concludes that it changed the character of radio's music somewhat, but had little detrimental effect on radio's profits.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts(Arts and Culture Management) 2017 / American film producer, Jason Berman reminds us that music is something the rest of the world wants to listen to; our job is to make sure they pay for it (Matzukis, 2013). When a piece of music is written, a legal right to it comes alive and is vested in the songwriter (author), but if that piece of music is later recorded, a totally different copyright vested in the record company comes alive (Matzukis, 2013). Unfortunately, it appears that the majority of local music role players, particularly composers, producers and performers, are not sufficiently equipped with legal knowledge and common understanding of the music trade’s secrets, its ecosystem or the music industry value chain. The lack of knowledge and exposure is attributed to historically manifested control of the music markets by record companies owned by foreign multinational conglomerates. As a result, a large number of famous and popular local musicians have died penniless. This scenario is painted vividly in an online article titled “Why do our artists die poor?”, which cites Brenda Fassie and Simon Mahlathini Nkabinde as examples of artists who died poor because of bad decisions they made in their career, despite their fame and wealth of music compositions. (www.you.co.za/entertainment/why-do-artists-die-poor/#) In South Africa, the major constraints on the launching of a musical career are access to trade knowledge and the means of production, such as recording facilities (Jordan, 2009).The Southern African Music Rights Organization’s empirical research shows that international music still dominates the South African music market, with 74% of music sold and played on broadcasting and public platforms (Samro, Notes, November 2014, p 13). As a result, the majority of local independent music composers, producers and performers are forced to share the remaining 26% of the music market. This situation worsens when widening the scope to include music role players who are located outside of urbanised provinces such as Gauteng and Western Cape, because most of them lack access to adequate and professional recording studios; lack basic knowledge on ownership of compositions and sound recordings rights; lack the skill to interpret the copyright laws; lack understanding of contractual issues between the artist and record company; lack understanding of the exportation trade; lack the means to submit their audiovisual works for airplay and lack adequate resources to build their brands for competitiveness. Since 2006 the South African music industry has seen an increase in government expenditure on and investment in musical institutions, at national and provincial levels, which are defined in this study as “music hubs”. In 2006, the Eastern Cape Audio Visual Centre (ECAVC) was established in East London (Eastern Cape Province); in 2009/2010, the KZN Music House was established in Durban (KwaZulu-Natal) and in 2008, the Downtown Music Hub was established in Johannesburg (Gauteng Province). The rationale to establish these music hubs is to ease access to the means of production for a large number of local music composers, producers and performers. The purpose of this impact analysis study is evaluate to what extent these music hubs are fulfilling their redress and transformation policy mandate to be beacons of hope for the local music industry. The theoretical grounds of this research study are premised on the concepts of transformation to create access for previously marginalized groups and black economic empowerment for local music role players. This research will unpack how these music hubs, in South Africa, can be used as tools for redress and to transform the music industry into an equitable market for all role players. Although government, at national and provincial level, shows commitment to establishing musical institutions that aim to combat the challenges facing the local music role players as outlined above, it is regrettable that the two music hubs (case studies) in the respective provinces are battling to position themselves as provincial music industry center pieces that create a competitive provincial music ecosystem and network to connect and empower local music industry role players. In 2009, the former minister of arts and culture, Pallo Jordan, in his speech at the launch of the Downtown Music Hub, indicated that the purpose of establishing the music hubs was to lower the barrier by making recording facilities, music manufacturing plants, music distribution channels and music stores more accessible to the most qualifying music role players (Jordan, 2009). This means that if these music hubs are understood as the music development trajectory in South Africa and well implemented, they have the potential to help local music industry role players become more competitive and perform on global music market platforms. / XL2018

This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.

The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.