Musikk

(Virke)apparatet bak musikken

Rykkja, A.
Kunnskapsverket
02/2017

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.

2017
Norge
Rapport
Musikk

Blues i det blå?

Heian, M. T.,
Åslund, A.
Telemarksforskning
TF-rapport 388

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

2016
Norge
Rapport
Musikk

Danseglede og hverdagsliv: Etikk, estetikk og politikk i det norske dansebandfeltet

Stavrum, H.
Universitetet i Bergen, Bergen

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.

2014
Norge
Doktoravhandling
Musikk

Hvor mange gullplater henger på veggen? Om danseband og kvalitet

Stavrum, H.
Sosiologi i dag
44 (1) (s. 90-116)

Kvalitet er et sentralt begrep i norsk kulturpolitikk. I kulturpolitiske dokumenter betones nødvendigheten av at kvalitet må ligge til grunn for kulturpolitiske ordninger og tiltak, og kvalitet er i de fleste tilfeller et avgjørende kriterium for å motta offentlig støtte til kunst og kultur (jf. for eksempel St.meld. nr. 21 (2007â2008); St.meld. nr. 48 (2002â2003)). Men samtidig som kvalitet er et grunnleggende premiss i kulturpolitikken, er det også et paradoksalt begrep (Hylland 2012; Hylland m.fl. 2011). Selv om kvalitet kontinuerlig benyttes som argument i kulturpolitisk praksis, er det ofte uklart hvordan kvalitet skal defineres. For hvilken type kvalitet er det man snakker om, hva slags kvalitetsbegrep ligger til grunn for vurderingene som blir gjort og sist, men ikke minst, fra hvilket ståsted eller perspektiv er det kvaliteten defineres?

2014
Norge
Artikkel
Musikk

Eksportundersøkelsen 2015

Gran, A.,
Torp, Ø.
1

 På oppdrag fra Music Norway har BI Centre for Creative Industries høsten 2015 gjennomført en webundersøkelse om musikkeksport blant 962 musikere.

2015
Norge
Rapport
Musikk

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

Gamble, Jordan Robert,
Brennan, Michael,
McAdam, Rodney
Journal of Business Research
Volume 70, pages 25-36

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.

2017
Vitenskapelig artikkel
Musikk

The music industry in the dawn of the 21st century

Álvarez Vázquez, R. R.
Kunnskapsverket
Rapport 02-2017

The music business, as any other business with a strong online presence or that relies on digital technologies for its advancement, has become much more complex and intricate in recent years and there are now many more stakeholders in the music “ecosystem” than 20 or 30 years ago.
Who are these stakeholders, how do they relate to each other and how do they influence the music network? With these questions in mind this working paper aims to review the current state-of-the-art on new business models in the music industry by carrying out a structural analysis. It looks into diverse examples to illustrate how the value chain of the music business has been transforming in recent years to accommodate for (mostly technological) innovations in terms of music creation, production, distribution and market development. This leads me to propose a model of a value network for the music industry that reflects all this. A model that aims to add to the ongoing discussion regarding the reshaping of the music industry and its understanding, serving as the basis for future development of more useful models and tools for the industry and the research community.
Lastly, I also analyze the Norwegian market in its current state to try to reveal opportunities and vulnerabilities in order to suggest key areas of development for the future, including the kind of government action possible and desirable in the musical arena.

2017
Rapport
Musikk

The Production and Consumption of Music in the Digital Age

Hracs, B. J.,
Seman, M.,
Virani, T. E.
New York: Routledge

The economic geography of music is evolving as new digital technologies, organizational forms, market dynamics and consumer behavior continue to restructure the industry. This book is an international collection of case studies examining the spatial dynamics of today’s music industry. Drawing on research from a diverse range of cities such as Santiago, Toronto, Paris, New York, Amsterdam, London, and Berlin, this volume helps readers understand how the production and consumption of music is changing at multiple scales – from global firms to local entrepreneurs; and, in multiple settings – from established clusters to burgeoning scenes. The volume is divided into interrelated sections and offers an engaging and immersive look at today’s central players, processes, and spaces of music production and consumption. Academic students and researchers across the social sciences, including human geography, sociology, economics, and cultural studies, will find this volume helpful in answering questions about how and where music is financed, produced, marketed, distributed, curated and consumed in the digital age.

2016
bok
Musikk

Consolidating the music scenes perspective

Bennett, A.
Poetics
32(2004) 223–234

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. 

2004
Artikkel
Musikk

Moneyballing Music - Using big data to give consumers what they really want and enhance A&R practices at major record labels

Mukerji, P.
MusicTank Publishing
ISBN: 978-1-909750-06-7

Prithwijit Mukerji’s MA Music Business Management Project paper is an empirical study of the use of social media Big Data to better anticipate consumers’ tastes and better inform A&R processes and decision-making.

By Spring 2014, this was an extremely current subject, the stature of which developed significantly during the course of his research including Shazam’s link-up with Warner Music Group (Feb 2014) and the purchase of The Echo Nest by Spotify (March 2014).

This paper successfully analysed current business trends incorporating latest research and industry-based interviews and as such offered an overview of an emerging and exciting field of study. 

2015
Working Paper
Antall publikasjoner i denne databasen: 13

Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.