Myspace var under många år den primära webbplatsen för att exempelvis skriva meddelanden till vänner, upptäcka ny musik samt dela med sig av den. Den mest populära föregångaren till dagens sociala medier som under många år uppmuntrade artister att använda webbplatsen för att nå ut till en bredare publik. Webbplatsens funktioner ansågs under tiden för webbplatsens storhet som någonting nytt och relativt ovanligt men sociala medier har under de senaste åren tagit över MySpace som det primära kommunikationsverktyget där webbplatsens funktioner idag anses vara en självklar del av alla sociala medier överlag. Detta har i sin tur har lett till att artister har börjat utforska diverse möjligheter för att kunna integrera in marknadsföring i deras kanaler på sociala medier. Eftersom sociala medier lockar med kostnadseffektiva lösningar har nu alltfler mindre etablerade artister också börjat använda sociala medier i hopp om att kunna sprida sin musik på diverse vis. Artister använder de olika sociala medierna för att nå ut till så mycket konsumenter som möjligt där denna användning tillämpar olika metoder beroende på vilken plattform de publicerar innehåll på. Det som tidigare främst gick att hitta i en webbläsare på sin dator i form av Myspace går nu att hitta som appar i sina telefoner och läsplattor vilket har gjort att en stor mängd artister med varierande grad av etablering nu måste samsas om alltfler konsumenter och tillika fans. Tack vare den stora mängden användare på sociala medier så uppstod det ett behov av att kategorisera inlägg för att enklare kunna hitta det innehåll man söker, där hashtags skapades för att bistå med detta. Funktionen består av att man skriver ett eller flera ord ihopsatt med ett #-tecken i början. Mindre etablerade artister använder denna funktion för att nå ut till en större publik men på grund av att ett stort antal inlägg, av varierande innehåll, använder samma hashtag blir detta svårare och de mindre etablerade artisterna får därför svårare att sprida sin musik.

I mitt examensarbete 2023 på 15hp för programmet Medie- och kommunikationsvetenskap: Medieaktivism, strategi och entreprenörskap analyserade jag kopplingarna mellan unga aspirerande musikskapares syn på artificiell intelligens (AI) och musikindustrin och deras estetiska upplevelser. Detta utfördes genom att hålla en fokusgrupp där deltagarna blev introducerade till AI-generad musik och AI-programmet Soundraw samt fick diskutera om deras åsikter om AI, estetiska upplevelser och musikindustrin. Materialet från studien analyserades sedan utifrån Actor Network teorin. Utifrån min studie uttryckte deltagarna att de hade svårare att skapa estetiska upplevelser av den AI-generade musiken. Det fanns tecken på att detta kan kopplas till att musiken enligt dem hade en låg estetisk och emotionell kvalitet, men även att detta kan vara kopplat till den erkända partiskheten emot AI inom industrin. Studien visade också på att ingen av deltagarna var mot AI:s utveckling inom industrin, något som blev intressant då AI var kritiserat under studien. Däremot är detta något som kommer behöva fortsättas studeras för att få en djupare förståelse över hur dessa aktörer är kopplade till varandra, samt vilka andra aktörer och egenskaper som går att koppla. / In my final exam project 2023 for 15hp in the Media and Communication Studies I studied the connections between young aspiring music creators’ view of artificial intelligence (AI) and the music industry and their aesthetic experience. This study was based on a focus group where the participants were introduced to AI-generated music and the AI-program Soundraw, along with being able to discuss their opinions of AI, aesthetic experiences, and the music industry. This focus group was later analyzed through the Actor Network Theory. Through my study participants voiced that they have a harder time creating aesthetic experiences through AI-generated music. There were signs that this was connected to what the participants saw as low aesthetic and emotional quality of the music, but it can also be connected to the admitted bias against AI in the music industry. The study also showed that no of the participants had much against AI’s involvement in the industry, which was interesting given that AI was still criticized through out the study. But this is something that still needs to continue to be studied to gain a lager understanding of how these actors are connected to each other and what other actors and factors are connected.

Studiens syfte var att undersöka relationerna kopplade till svenska gangsterrappare och musikindustrin och på så sätt identifiera viktiga aktörer i nätverket. Ytterligare en del av syftet var att studera hur gangsterrapparnas eventuella gängtillhörighet speglades i nätverket. Detta gjordes genom en social nätverksanalys av data från Spotify. Studien utgick från två teoretiska perspektiv, vilka var teorin om differentiella associationer och social nätverksanalys. Resultatet visade att det främst var ursprungsaktörerna som hade högst centralitet, men att även flera skivbolag hade höga värden. Av detta kunde slutsatsen dras att skivbolagen hade en viktig roll i att binda samman nätverket. Angående gängmiljön kunde en viss polarisering ses, där en av de två gängkonflikterna som visade sig i materialet även speglades inom musikindustrin, medan detta inte var lika tydligt i den andra. Av detta kunde slutsatsen dras att gängkonflikterna inte alltid speglas inom musikindustrin. / The purpose of this study was to investigate the relationships linked to Swedish gangster rappers and the music industry, and thus identify important actors in the network. The aim was also to examine how the possible gang connections of the gangster rappers were reflected in the network. The method that was used was social network analysis and the data was collected from Spotify. The study was based on two theoretical perspectives, which were the theory of differential associations and social network analysis. The results showed that it was mainly the original actors that had the highest centrality values, but that several record companies also had high values. From this, the conclusion could be drawn that the record companies had an important role in binding the network together. Regarding the gang environment, polarization could be seen to some extent, where one of the two gang conflicts that appeared in the material was also reflected in the music industry, while this was not as evident in the other. From this, the conclusion could be drawn that the gang conflicts are not always reflected in the music industry.

The thesis examines how have the habits of music users changed after they had become internet users. The goal of the thesis is to put some light on the relation of part of the generation Y to the new media A method of deduction is used based on the theory of hypothesis which is subsequently evaluated by the audience (generation Y) of alternative music (surveyed years of birth 1984-1991). In the first chapter the generation Y is defined according to some of foreign authors' theories and then put in the context of the Czech environment. A technology background and possible influences on the behaviour of the music users of this generation is described. The second chapter describes transformation of the music industry from the late 90's till now which has been happening thanks to the new possibility to distribute various content on the Internet. I focus in particular on the peer-to-peer networks. By explaining the development of this matter I prepare a basis for a better understanding to both respondents' behaviour and their attitudes to illegal music downloads. I also touch upon the new media's role in the taste formation and the change of relationship between a performer and a music fan. The third chapter considers Internet to be the communication platform of the generation Y. It gives such a hypothesis that...

M.A. Faculty of Humanities, University of the Witwatersrand, 2011 / This research report documents diverse impressions and experiences, of and about the South African music industry in general and Moshito Music Conference and Exhibition in particular. Foregrounding the perspectives of black South African entrepreneurs that operate and own small businesses, the research enunciates how Moshito has come to embody an expression of the transition to democracy. Within a broader political, cultural and industrial context, the report captures anecdotes, observations and interviews with key interviewees and decision makers linked to Moshito, in addition to its dialogue with the interconnectedness of various social theories and concepts, and their relationship with industrial and government policy. Necessarily the research also engages literature concerned with cultural industries, music industry and development discourses.

Made available in DSpace on 2016-04-25T20:22:36Z (GMT). No. of bitstreams: 1 Claudio Alessandro Diniz de Sa.pdf: 1051226 bytes, checksum: a112afca1bb3e67f83fa13416ad62c89 (MD5) Previous issue date: 2009-02-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis presents the relevant points concerning the consolidation of the Brazilian music industry and its effect on the music scene between 1998 and 2008 caused by the introduction of new digital technology, music piracy and illegal Internet downloading. This thesis also analyzes the position of music producers towards new digital media in relation to production, distribution, marketing and consumption / O objetivo desta tese é o de apresentar os pontos relevantes no caminho da consolidação da indústria fonográfica, especificamente no Brasil. Mostrar a constituição da cena musical brasileira entre 1998-2008. Período que coincide com novos movimentos dentro mercado fonográfico com o surgimento das novas tecnologias digitais e o crescimento da pirataria dos produtos musicais. Com base nesse cenário, analisar o posicionamento dos agentes produtores do campo fonográfico e as novas dinâmicas inseridas pelos novos meios digitais na relação de produção distribuição consumo

Made available in DSpace on 2016-04-26T14:57:26Z (GMT). No. of bitstreams: 1 Claudio Alessandro Diniz de Sa.pdf: 1051226 bytes, checksum: a112afca1bb3e67f83fa13416ad62c89 (MD5) Previous issue date: 2009-02-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis presents the relevant points concerning the consolidation of the Brazilian music industry and its effect on the music scene between 1998 and 2008 caused by the introduction of new digital technology, music piracy and illegal Internet downloading. This thesis also analyzes the position of music producers towards new digital media in relation to production, distribution, marketing and consumption / O objetivo desta tese é o de apresentar os pontos relevantes no caminho da consolidação da indústria fonográfica, especificamente no Brasil. Mostrar a constituição da cena musical brasileira entre 1998-2008. Período que coincide com novos movimentos dentro mercado fonográfico com o surgimento das novas tecnologias digitais e o crescimento da pirataria dos produtos musicais. Com base nesse cenário, analisar o posicionamento dos agentes produtores do campo fonográfico e as novas dinâmicas inseridas pelos novos meios digitais na relação de produção distribuição consumo

Cette étude a pour l’objectif d’examiner l’industrie musicale et le star-system des années 1930 et 1940. Certaines stars de cette période occupent encore une place considérable dans la mémoire collective ; parmi elles, Édith Piaf est encore régulièrement mentionnée par les médias en 2018. Un public de masse et de nouvelles formes culturelles populaires se forment parallèlement aux transformations politiques et économiques de la période du Front Populaire. Les acteurs musicaux commencent alors à déployer des stratégies de répétition et d’innovation. Ainsi, apparaissent : la réinterprétation de chansons à succès, l’imitation du style d’interprètes célèbres et l’introduction du jazz dans la chanson. À l’aube de l’industrie musicale, la radio prend l’avantage sur le disque dans la fabrication de stars. En effet, les stations radiophoniques privées rivalisent et diffusent la musique gratuitement. Par ailleurs, ces médiateurs font apparaître des chanteurs célèbres pour attirer davantage d’amateurs et de consommateurs. Sous l’Occupation, ce médiateur contribue fortement à la déformation de la réalité. Edith Piaf développe un style propre faisant appel aux émotions et développe ce qu’on appelle aujourd’hui, la « chanson d’amour » française. Sous l’Occupation son traitement médiatique a pour résultat de la re-former en tant que figure représentant « le passé en bonheur » sur lequel est projeté le « je impuissant » des individus, pour reprendre une expression de T.W. Adorno. L’image d’Édith Piaf et ses chansons sont par ailleurs des espaces de médiation de l’individualisme et du féminisme. Ainsi, la star n’est pas simplement fabriquée par les stratégies du star-system : la répétition et l’innovation. Elle découle aussi du fait que son image, son style, ses œuvres musicales et son discours dans les médias imprègnent certaines idéologies dans la réalité sociale. / This study aims to examine the music industry and the star system of the 1930’s and 1940’s. We still talk today about some stars of the 1930s and 1940s. Among them, one French star that is recalled internationally by the media is Edith Piaf; she continues to be regularly mentioned by the media in 2018. A mass audience and new popular cultural forms appear simultaneously to the political and economic evolutions which occurred at the time of the Front populaire in France. From the 1930’s onwards, the French music industry star-system works with the logic of repetition and innovation, for example, release of cover songs, imitation of the style of famous performers and the introduction of jazz into French popular songs. At this dawn of French music industry and star system, radio stations take priority over record companies in the making of stars. In fact, the commercial radio stations are competing among each other and they play popular songs without extra cost for listeners. Furthermore, in the period of Nazi occupation, radio plays a major role in the propagation of the political ideology of the collaborationist Vichy government. Edith Piaf develops her emotional expressions, and creates her own style, what we call today, the `French love song´. During the German occupation of France, she was transformed into a symbolic figure of `the beautiful days of the past´ on which, as Adorno claims, the `lethargic self of individuals´ is projected. The image of Edith Piaf and her songs are also spaces of mediation for individualism and feminism. In short, the star is not simply manufactured by star-system strategies of repetition and innovation. The star is also born when his image, his style, his musical works and his media discourse penetrate certain ideologies in the specific social reality.

Structural changes in the economy, such as new technological developments that create new conditions for the production and consumption of goods and services, have had a particularly strong impact on the popular music industry. This dissertation explores how musicians, record companies and publishers deal with the control dilemmas that the current environment poses for them. Music corporations face increasing financial pressures and struggle to find the right formulas for qualitative, yet commercial, music. Musicians try to create meaningful lives which involve writing and performing music. At the same time they try to make a decent living. Through an ethnographically inspired field study, the author finds that commercial sociability in the shape of phony friend-making practices emerges as an important control mechanism in music production, and an award-and-list culture operates as a classificatory control mechanism in music consumption. It is suggested that the popular music industry can be characterized by pseudo-Gemeinschaft. / Diss. Stockholm : Handelshögskolan, 2008

「知識經濟」時代裡，知識透過流通而生成更多文化資產帶給人類價值。知識，向來就是共有共享的。但起自智慧財產權出現後，開始出現知識私有、知識買賣的情形出現。難道，是著作權(copyright)戰勝了著作義(Copyleft)？近年來全球掀起一片「告！告！告！」的熱潮，無論是美國的Napster訴訟案，還是台灣的「成大MP3」事件；還是微軟在美國的反托拉斯訴訟，或是在台灣面臨合理議價調查，都顯示「著作權」引發的相關問題蔓延全世界。 本研究將知識/文化商品視為資訊資本主義社會的生產工具，並且探討當「智慧」變成「財產」時，資本主義、國家機器爭權奪利的過程中出現的問題與爭議。研究者先就著作權的政治經濟脈絡耙梳出「著作權」不是「道德問題」，而是「經濟問題」，更是國際關係中藉以制衡弱勢小國的利器。 實證部分以1960-2002年間台灣著作權發展過程中三個衝突事件為例，包括1960年代的《大英百科全書》翻印風波、1980年代的「蘋果電腦侵權事件」，及1990年代跨國公司進入後的台灣流行音樂產業作為個案，具體驗證台灣著作權發展過程中，的確受到資本主義與國家機器及國際依賴關係的影響。最終以近年來網際網路發展蓬勃，連帶引出的著作權爭議作結，本研究除了對台灣著作權的政治經濟發展提出看法外，亦在結論中對知識/文化產業，及著作權規範的未來發展提出意見。 / Under knowledge-based economy, knowledge brings more value to human beings by spreading and then generating cultural properties. Although sharing is the essential characteristic of knowledge, there have been some arguments that knowledge is private and knowledge can be traded after the idea of intellectual property rights emerged. Does it mean Copyrights overtops “Copyleft”? In recent years, there have been more and more lawsuits related to copyrights such as Napster vs. RIAA in 1999 in the US, and IFPI vs. NCKU MP3 lawsuit in 2001 in Taiwan. Moreover, Microsoft, the worldwide leading software company, also faced US federal government’s antitrust violations prosecution, and rational price investigation by Taiwan government. All these cases indicate that copyright has caused problems all over the world. This thesis regards both the knowledge and cultural products as the producing tools of information capitalism society. It also discussed the conflicts between Capitalism and state apparatuses when “knowledge” became “property.” By examining the context of political economy in intellectual property, the author achieved two conclusions. First of all, the copyright is not a moral issue but an economic one. Secondly, in international society, copyrights have been the weapon for powerful nations to control the powerless ones. We cited three copyright conflicts in Taiwan from 1960-2002, including the reprint issue of Encyclopaedia Britannica in the 1960s, copyright violation case of Apple Computer in the 1980s, and the international pop music piracy disputes in the 1990s, the author made an empirical research to conclude that the development of copyright in Taiwan indeed was affected by the capitalism, the state apparatuses, and the international interdependency. This thesis ended with the prospective copyright issues originated from the burgeoning Internet industry. Not only did the research indicate some suggestions regard to the development of political economy in copyright, also made comments about the future development of knowledge/culture industry’s copyright regulation.