Formålet med denne rapporten er å utrede og kartlegge i hvilken grad det nasjonale virkemiddelapparatet rettet mot musikkindustrien har virkemidler som svarer til virksomheters behov. Virksomhetenes behov for finansiering av drift, kompetanseheving og ulike drivere og barrierer for utvikling, særlig i forhold til internasjonalisering og eksport har blitt vektlagt i analyser. Behov og ønsker er forsøkt avdekket gjennom en kvalitativ studie hvor 18 virksomheter, som har det til felles at de enten har mottatt Music Norways eksportprogram eller vært deltagere i det tilpassede FRAM programmet for musikkindustrien i regi av Innovasjon Norge og Music Norway, har deltatt.
Prosjektet er gjennomført i samarbeid med Music Norway og Buzzfond, som har bidratt med delfinansiering, kontakt med informanter og virksomhetene og personalressurser.
This paper nuances our understanding of the ongoing transition within the North American music industry. It extends the existing analysis of the so-called “MP3 Crisis” by exploring the ways in which digital technologies have challenged the entrenched power of the major record labels. In particular, new insights are offered based on interviews with music industry executives who have been active in shaping the industry's response to illegal file sharing. The paper also uses interview data from musicians to investigate the implications of restructuring at the macroscale on creative talent at the microscale. As such, it documents the structures and spatial dynamics of digitally driven independent music production in Canada for the first time.
This paper provides an exploratory study of how rewards-based crowdfunding affects business model development for music industry artists, labels and live sector companies. The empirical methodology incorporated a qualitative, semi-structured, three-stage interview design with fifty seven senior executives from industry crowdfunding platforms and three stakeholder groups. The results and analysis cover new research ground and provide conceptual models to develop theoretical foundations for further research in this field. The findings indicate that the financial model benefits of crowdfunding for independent artists are dependent on fan base demographic variables relating to age group and genre due to sustained apprehension from younger audiences. Furthermore, major labels are now considering a more user-centric financial model as an innovation strategy, and the impact of crowdfunding on their marketing model may already be initiating its development in terms of creativity, strength and artist relations.
Denne rapporten handler om rekruttering, status og utvikling av blues i Norge. Initiativet for prosjektet er tatt av Europas Bluessenter (EBS), som ønsket å få mer kunnskap om bluesens status for å kunne videreutvikle virksomheten og opprettholde blues som en sterk merkevare på Notodden og i Telemark
The concept of scene has long been used by musicians and music journalists to describe the clusters of musicians, promoters and fans, etc., who grow up around particular genres of music. Typically, this everyday usage of scene has referred to a particular local setting, usually a city or district, where a particular style of music has either originated, or has been appropriated and locally adapted. Examples here would include Chicago blues, New Orleans jazz and Nashville Country music, as well as numerous lesser known instances of local musical innovation and production.
Since the early 1990s, the concept of scene has also begun to acquire currency as an academic model of analysis. Scene’s significance in this respect has resulted partly from the criticism and rejection of prior theoretical frameworks used in research on music, and the local, notably subcultural theory (see, for example, Clarke, 1981; Bennett, 1999), and also due to the influential work on ‘‘art worlds’’ and cultural industries (Becker, 1982). Peterson and Bennett (2004) observe as an academic research model that the concept of scene can usefully be subdivided into three categories: local (Cohen, 1991; Shank, 1994), trans-local (Kruse, 1993; Hodkinson, 2002) and virtual (Kibby, 2000; Bennett, 2002). The purpose of this paper is to assess the different ways that scene has been conceptualised in academic research as a means of understanding music as a ‘resource’ in contemporary everyday life.
The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.
This PhD thesis is an in-depth study on Norwegian dance band music and culture. Dance band can be defined both as a specific music genre with its own songs and lyrics, artists and aesthetic contents, and as a taste culture in a wider sense of the word, which includes festivals and events where the artists and their audience meet to dance, sing and celebrate the social and cultural values they share. Dancing to dance band music is the most central activity at the dance band festivals, but many people also attend the events in order to listen to their favorite bands and/or socialize with other fans and dancers present. Dance band culture also includes magazines and internet communities where the fans and lovers of dance band music read about their favorite artists and discuss their interest. The research object of this thesis is not just the musical genre of dance band; it is dance band culture in a wider sense of the word, as a whole set of social practices and aesthetic expressions. By using Bourdieu’s concept of field, the research object of the thesis is defined as the field of dance band.
Dance band music is a popular cultural expression in Norway, in the sense that a large number of people listen to and dance to the music, buy records and attend events where the music is performed. But dance band music does not enjoy a high status in the field of culture as such: Critics tend to describe it as bad taste, simple, commercial and of poor quality. The artists performing it are not included in any official cultural policy plans or funding systems, as is the case for musicians from almost every other musical genre in Norway. As a consequence of the disparagement of dance band music and culture it has not yet been the object of much research. A few Norwegian and Swedish studies, however, confirm the position of the dance band in the lower part of the cultural hierarchy. According to present cultural statistics, those who listen to dance band music are working class people with low education living in rural areas. Furthermore, the aesthetic content of the dance band music is described as classically lowbrow, in the sense that it is characterised by following strict conventional formulas rather than being artistically experimental, and that the music promotes functional use and involvement rather than distance and critical reflection.
The departure point of this thesis is the people in the field of dance band; those who love to listen to and dance to dance band music, and those who perform and promote this music. The aim of the thesis is to analyze how these people experience being part of a popular and widespread, but devalued part of Norwegian culture.
The main research question of the thesis is: What social and aesthetical values and distinctions are present in the field of dance band in Norway, and how do these values and distinctions contribute to establishing a social community in the field?
The main question is elaborated through four sub questions:
1) What is the meaning and function of dance band festivals in relation to the wider field of dance band?
2) How do the statements and practices of the participants at the dance band festivals and events contribute to establishing certain taste distinctions in the field of dance band?
3) How do the discussions on quality and artistic recognition in dance band music relate to the general social values of the field of dance band?
4) How does the devalued position of the field of dance band in the Norwegian field of culture affect the construction of a community among the participants in the field?
The thesis is based on empirical data from participant observation at events in the field of dance band, such as festival and public dances, through qualitative interviews with central persons in the field (dance band musicians, dancers, fans), and through qualitative analysis of magazine texts about dance band music and culture.
Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.