“Gothic” is a term currently used to describe a considerable variety of high- and popular-cultural phenomena, from ancient architecture to classic and recent novels to hit U.S. science-fiction television series. In referring to “the goth scene,” however, I mean a more small-scale and particular music and fashion grouping, on which I recently conducted extensive ethnographic research.1 Based around a particular blend of “dark” sounds and styles that emerged out of the remnants of punk, the goth scene’s life began in the early 1980s. While diverse in some respects, the stylistic sounds and artifacts around which the scene revolved have been consistently united in their emphasis upon glamorous, and usually feminine, forms of the sombre, the sinister, and the macabre. Most obvious, perhaps, have been the emphases on black in clothing, hair color, album covers, and bedrooms, and the high- lighting of eyes, cheekbones, and lips with dark-colored elaborate makeup, often offset by a light foundation. Such visual references have cohered with a musical emphasis on lyrics, chords, rhythms, and bass lines with sinister or miserable overtones.
Moneyballing Music - Using big data to give consumers what they really want and enhance A&R practices at major record labels
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.
The Evolution of Taipei’s Music Industry: Cluster and Network Dynamics in the Innovation Practices of the Music Industry
This paper aims to explore the spatial and organisational dynamics of innovation activities in the evolution of cultural industry using Taipei’s music industry as a case study. The existing literature has emphasised that innovation and creativity are driving the evolution of the cultural industry as a result of the spatial proximity effect gener- ated by production systems. However, few studies have examined the innovation prac- tices of the cultural industry resulting from interactive relationships between the urban cluster environment and the mobilisation process of project networks. An evo- lutionary perspective is used to illustrate how the cluster and network elements of the music industry are intertwined in innovation practices within the Taipei context. As a contribution to the cluster–network debates, this paper argues that the innovation dynamics of Taipei’s music industry are a hybrid feature of Taipei’s cluster environ- ment and the strategic competencies of music project networks rather than the local cluster effect. In conclusion, a different trajectory for the evolution of Taipei’s music industry is presented. Additionally, this dynamic process between cluster and network makes Taipei a hybrid creative platform that is an active element in the cultivation of the innovative competencies of Taipei’s music producers and related workers.
The Role of Gatekeeping in the Music Industry: Why Intermediaries Remain Essential in the Digital Age
In this article, we study a two-sided market model of the music industry. Artists either self-distribute their music or sell it via online retailers, which act as gatekeepers by filtering bad music. We find good/bad artists and consumers to be equally well or better off by using gatekeepers due to the quality signaling function the intermediaries provide. Further, more good than bad artists choose traditional distribution via retailers because of the bad artists' relatively higher risk of not passing the gatekeeping mechanism. Despite its higher price and lower variety, also consumers generally prefer traditionally distributed music as its quality is assured. The findings may explain why still only few artists choose to bypass gatekeepers, inspite of the ease and low cost of self-distributing digital music.
This book, which has not been yet published, it is a recompilation of different chapters whit article structure. Each one has been written by different authors and explains independent topics from multiple contexts. Authors are academicians with a long experience in the field, so all chapters are outstanding for themselves.
This document, written by IOSCO, presents an exploration of crowdfunded markets, paying special attention to its main characteristics, benefits and risks. It also explains the regulatory regimes for peer-to-peer lending and equity crowdfunding. Finally, it uses all compiled information to recommend future public measures.
Crowdfunding in Mexico: the power of digital technologies to transform innovation, entrepreneurship and economic inclusion
This report is one of the most exhaustive documents available about Mexican crowdfunding numbers and statistics. It shows the situation sorting data by region and by model taking into account the complete environment of the country (cultural, political, regulatory…). In addition, it makes future recommendations.
This annual report is the most exhaustive document available about worldwide crowdfunding numbers and statistics. It shows the present situation sorting data by region and by model. In addition, it predicts the future situation of crowdfunding market.
Innlegg i den årlige konferansen "KultuRikets Tilstand". Det er kanskje litt vel drastisk å slå fast at vi har for mange festivaler, og at ”festivalbransjen” generelt er i krise. Det er jo likevel ikke uten grunn at dette kommer opp som et tema på denne konferansen. I dette innlegget besvares det hva det er som skaper dette inntrykket av krise.
Kunstkonsum i storbyene: En studie av brukerne og ikke-brukerne av det offentlige, finansierte kunsttilbudet i byene Oslo, Bergen, Trondheim, Stavanger og Kristiansand
Dette er et forskningsprosjekt som forsøker å beskrive brukerne og ikke-brukerne av det offentlige finansierte kunsttilbudet i de fem største byene i Norge. Det er fremskaffet data om kjennetegn knyttet til kjønn, alder, inntekt og interesser samt andre kategorier som ansees å gi relevant informasjon.
Prosjektet har bestått av følgende fem komponenter:
En gjennomgang av tidligere publikumsforskning, primært i Norge
En spørreundersøkelse blant publikum ved et utvalg av offentlig finansierte kunstinstitusjoner i de fem storbyene.
En spørreundersøkelse blant et utvalg respondenter som ikke bruker det offentlig finansierte kunsttilbudet.
En presentasjon av et utvalg publikumsutviklingsprosjekter.
En presentasjon av noen konsekvenser av våre funn og til sist noen helt konkrete anbefalinger.
Prosjektet er gjort på oppdrag av Bergen kommune og er finansiert av KS sitt program for storbyforskning.
Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.