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Popular Music and Society Artists As Entrepreneurs, Fans As Workers
This article was downloaded by: [James Madison University] On: 03 November 2014, At: 16:54 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Popular Music and Society Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rpms20 Artists as Entrepreneurs, Fans as Workers Jeremy Wade Morris Published online: 15 May 2013. To cite this article: Jeremy Wade Morris (2014) Artists as Entrepreneurs, Fans as Workers, Popular Music and Society, 37:3, 273-290, DOI: 10.1080/03007766.2013.778534 To link to this article: http://dx.doi.org/10.1080/03007766.2013.778534 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. -
CV JANUARY 2020 [email protected]
SEAN McGHEE SINGER, SONGWRITER, PROGRAMMER, MUSICAL DIRECTOR, PRODUCER. CV JANUARY 2020 [email protected] LIVE ALISON MOYET MUSICAL DIRECTOR MD / BV / SYNTHS / BASS MODEST! 2018- LIVE BAND MEMBER BV / SYNTHS / BASS MODEST! 2013- LIVE SET ARRANGER & PROGRAMMER ARRANGING / PROGRAMMING / MIX MODEST! 2013- PHILDEL MUSICAL DIRECTOR MD / BV / PROGRAMMING / BASS YEE INVENTIONS 2019 KIESZA PLAYBACK PROGRAMMING & MIX PROGRAMMING / MIX UNIVERSAL 2014 RIZZLE KICKS PLAYBACK PROGRAMMING & MIX PROGRAMMING / MIX ISLAND 2011-2014 BLUEY ROBINSON PLAYBACK PROGRAMMING & MIX PROGRAMMING / MIX LONDON VILLAGE 2013 KATE HAVNEVIK LIVE BAND MEMBER (CHINESE TOUR 2015) BV / BASS CONTINENTICA 2015 FROU FROU PLAYBACK & SYNTH PROGRAMMING PROGRAMMING ISLAND 2003 ANDREW MONTGOMERY MUSICAL DIRECTOR MD / BV / PROGRAMMING / BASS RULED BY DREAMS 2014-2015 TEMPOSHARK MUSICAL DIRECTOR MD / PROGRAMMING PAPER & GLUE 2007-2010 STUDIO BRITNEY SPEARS SINGLE – “EVERYTIME” (UK #1) PROGRAMMING / MIX BMG 2004 EP – CHAOTIC PROGRAMMING / MIX BMG 2005 SUGABABES ALBUM – THREE (UK #3) PROGRAMMING / MIX ISLAND 2003 ALBUM – TALLER IN MORE WAYS (UK #1) PROGRAMMING / MIX ISLAND 2005 FROU FROU ALBUM – SHREK 2 OST (US #8) PROGRAMMING / MIX DREAMWORKS 2004 ALBUM – DETAILS PROGRAMMING / MIX ISLAND 2002 ALISON MOYET ALBUM – THE TURN: DELUXE EDITION MIX COOKING VINYL 2015 ALBUM – MINUTES & SECONDS LIVE BACKING VOCALS / SYNTHS / MIX COOKING VINYL 2014 ALANIS MORISSETTE ALBUM – FLAVORS OF ENTANGLEMENT (US #8) PROGRAMMING / BVs WARNERS 2008 ROBYN ALBUM – DON’T STOP THE MUSIC PROGRAMMING / MIX BMG -
Music, Media and Technological Creativity in the Digital Age
Nordisk musikkpedagogisk forskning. Årbok 18 2017, 9-22 Nordic Research in Music Education. Yearbook Vol. 18 2017, 9–22 Music, media and technological creativity in the digital age Anne Danielsen Keynote on the 20th conference of the Nordic Network for Research in Music Education: “Technology and creativity in music education” March 8–10, 2016, Hedmark University College, Hamar, Norway The creative use of new digital technology has changed how music is produced, distributed, and consumed, as well as how music sounds. In this keynote, I will begin by examining some creative examples of music production in the digital age, focusing on two new sonic expressions within the field of popular music that have been produced through the unorthodox application of the digital audio workstation, or DAW, and more precisely through manipulations of rhythm and manipulations of the voice, respectively. Then I will discuss new patterns of use and personalized music “consumption,” using playlist creation in streaming services as my point of departure. Lastly, I will address how the two spheres of production and consumption meet in the so-called prosumption practices that have arisen in the digital era in the form of remix, sample and mashup music. 9 Anne Danielsen Creating with technology The topic of this conference is technology and creativity, which concerns machines often framed as a tension between human performance (creativity) and automated and humans and their relationship. Within the field of music, this relationship is specialty. Throughout the 1970s and even up to the advent of digital recording in the procedures (technology). This is certainly so within the field of rhythm, which is my dichotomy of human versus machine. -
Twitter Effect:” an Investigation of the Impact of Microblogging Word of Mouth on Consumers’ Early Adoption of New Products
Exploring the “Twitter Effect:” An Investigation of the Impact of Microblogging Word of Mouth on Consumers’ Early Adoption of New Products Thorsten Hennig-Thurau Marketing Center Muenster University of Muenster 48143 Muenster, Germany & Cass Business School, City University London London EC1Y 8TZ, UK Phone (+49) 251 83 29954 Fax (+49) 251 83 22032 Email: [email protected] Caroline Wiertz Cass Business School City University London London EC1Y 8TZ, UK Phone (+44) 20 7040 5183 Fax: (+44) 20 7040 8262 Email: [email protected] Fabian Feldhaus Marketing Center Muenster University of Muenster 48143 Muenster, Germany Phone (+49) 251 83 29954 Email: [email protected] Acknowledgments: The first and second author contributed equally to the project. The authors thank Andre Marchand as well as the participants of research seminars at Cass Business School, the University of Muenster, the University of Hamburg, the Technical University of Munich, HEC Paris, and the 2010 UCLA/Bruce Mallen Scholars and Practitioners Workshop in Motion Picture Industry Studies for their constructive criticism on previous versions of this manuscript. They also thank Benno Stein and Peter Prettenhofer for their help with the WEKA analysis, Mo Musse and Peter Richards for their IT help and Chad Etzel from Twitter for supporting the data collection. Finally, the authors are grateful for research funds provided by Cass Business School and City University London that supported this project. Keywords: Word of mouth communication, microblogging, Twitter, early adoption. Working Paper, March 5, 2012 1 Exploring the “Twitter Effect:” An Investigation of the Impact of Microblogging Word of Mouth on Consumers’ Early Adoption of New Products ABSTRACT Microblogging word of mouth (MWOM) through Twitter and similar services constitutes a new type of word-of-mouth communication that combines the real-time and personal influence of traditional (offline) word of mouth (TWOM) with electronic word of mouth’s (EWOM) ability to reach large audiences. -
Workplace Harassment in the Contemporary Music Industries of Australia and New Zealand
TUNESMITHS AND TOXICITY: WORKPLACE HARASSMENT IN THE CONTEMPORARY MUSIC INDUSTRIES OF AUSTRALIA AND NEW ZEALAND by Jeffrey Robert Crabtree Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy under the supervision of Professor Mark Evans and Doctor Susie Khamis University of Technology Sydney Faculty of Arts and Social Sciences August, 2020 CERTIFICATE OF ORIGINAL AUTHORSHIP I, Jefrey Robert Crabtree, declare that this thesis is submitted in fulfillment of the requirements for the award of Doctor or Philosophy in the School of Communications at the University of Technology Sydney. This thesis is wholly my own work unless otherise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: ii ACKOWLEDGEMENTS I wish to acknowledge the incredible support of my wife, who was not only very encouraging but also incredibly understanding whilst in the throes of completing her own doctorate at the same time as this study. I acknowledge my two highly talented daughters who inspire me with their creativity. Both of them have followed music careers and this research was undertaken in the hope that the working environment of the music industry will become a more welcoming space for women. I also wish to recognise my extraordinary supervisors, Professor Mark Evans and Doctor Susie Khamis, whose wise counsel and steady hands have guided this work. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Led Zeppelin R.E.M. Queen Feist the Cure Coldplay the Beatles The
Jay-Z and Linkin Park System of a Down Guano Apes Godsmack 30 Seconds to Mars My Chemical Romance From First to Last Disturbed Chevelle Ra Fall Out Boy Three Days Grace Sick Puppies Clawfinger 10 Years Seether Breaking Benjamin Hoobastank Lostprophets Funeral for a Friend Staind Trapt Clutch Papa Roach Sevendust Eddie Vedder Limp Bizkit Primus Gavin Rossdale Chris Cornell Soundgarden Blind Melon Linkin Park P.O.D. Thousand Foot Krutch The Afters Casting Crowns The Offspring Serj Tankian Steven Curtis Chapman Michael W. Smith Rage Against the Machine Evanescence Deftones Hawk Nelson Rebecca St. James Faith No More Skunk Anansie In Flames As I Lay Dying Bullet for My Valentine Incubus The Mars Volta Theory of a Deadman Hypocrisy Mr. Bungle The Dillinger Escape Plan Meshuggah Dark Tranquillity Opeth Red Hot Chili Peppers Ohio Players Beastie Boys Cypress Hill Dr. Dre The Haunted Bad Brains Dead Kennedys The Exploited Eminem Pearl Jam Minor Threat Snoop Dogg Makaveli Ja Rule Tool Porcupine Tree Riverside Satyricon Ulver Burzum Darkthrone Monty Python Foo Fighters Tenacious D Flight of the Conchords Amon Amarth Audioslave Raffi Dimmu Borgir Immortal Nickelback Puddle of Mudd Bloodhound Gang Emperor Gamma Ray Demons & Wizards Apocalyptica Velvet Revolver Manowar Slayer Megadeth Avantasia Metallica Paradise Lost Dream Theater Temple of the Dog Nightwish Cradle of Filth Edguy Ayreon Trans-Siberian Orchestra After Forever Edenbridge The Cramps Napalm Death Epica Kamelot Firewind At Vance Misfits Within Temptation The Gathering Danzig Sepultura Kreator -
Imogen Heap As Musical Cyborg: Renegotiations of Power, Gender and Sound
Proceedings of the 4th Art of Record Production Conference 1 University of Massachusetts Lowell. 14th – 16th November 2008 Imogen Heap as Musical Cyborg: Renegotiations of Power, Gender and Sound Alexa Woloshyn Faculty of Music, University of Toronto, Canada [email protected] Abstract instruments, including cello, clarinet (Retka), and a “hilarious keyboard with boss-nova presets” (Gilbey 2005). Imogen Heap, British electronica artist, has had a Her first significant opportunity to experiment with successful solo and collaborative career since her 1998 electronic music technology was at the private boarding release of I Megaphone. She became a widespread name in school she attended as a young teenager. Heap clashed with 2004 after the song ‘Let Go’ from her collaborative album her music teacher, who punished her by sending her alone to with Guy Sigsworth, Details, was used in the film Garden a small room. Left in the room with an Atari computer, State. Following this success, Heap returned to solo work with Mac Classic 2 and Notator, and the large manual, Heap and released Speak for Yourself in 2005. Through an began to experiment and gained an interest in building her analysis of Heap’s musical development from her earliest own studio (Gilbey 2005). She formalized her training in musical experiences to her latest solo endeavors, this paper production at the BRIT school of Performing Arts & demonstrates Heap’s renegotiations of power, gender and Technology in Croyden, Surrey, from 1992 until 1995. sound allowed by the reconfigurations of institutional and In 1998, Heap released her first solo album I Megaphone commercial structures, which were enabled by the with Almo Sounds. -
The New Yorker, January 11, 2016 1 Contributors
PRICE $7.99 JAN. 11, 2016 JANUARY 11, 2016 5 GOINGS ON ABOUT TOWN 17 THE TALK OF THE TOWN Amy Davidson on extreme weather; lightsabers; after “Downton”; David Bowie; James Surowiecki on taxing corporations. Katherine zoepf 22 SISTERS IN LAW Saudi Arabia’s first female attorneys. Simon rich 28 DAY OF JUDGMENT NICK Paumgarten 30 THE WALL DANCER A rock-climbing prodigy. TAD Friend 36 THE MOGUL OF THE MIDDLE A studio head tries to reinvent Hollywood. BEN Lerner 50 THE CUSTODIANS The Whitney’s conservation methods. FICTION ANNE Carson 60 “1 = 1” THE CRITICS A CRITIC AT LARGE THOMAS Mallon 63 The rise of the radical right. BOOKS 69 Briefly Noted MUSICAL EVENTS ALEX Ross 70 Igor Levit and Evgeny Kissin. POEMS Frank x. Gaspar 27 “Quahogs” Jane VanDenburgh 56 “When Grace at the Bliss Café Calls” marcellus hall COVER “The Great Thaw” DRAWINGS Kim Warp, Farley Katz, Will McPhail, Benjamin Schwartz, Liana Finck, Charlie Hankin, Edward Steed, Joe Dator, Paul Noth, William Haefeli, Roz Chast, Tom Cheney, Tom Chitty, David Borchart, Tom Toro, Barbara Smaller, David Sipress, Jack Ziegler SPOTS Pablo Amargo THE NEW YORKER, JANUARY 11, 2016 1 CONTRIBUTORS Katherine Zoepf (“SISTERS IN LAW,” P. 22) is a fellow at New America. Her first book, “Excellent Daughters: The Secret Lives of Young Women Who Are Transforming the Arab World,” comes out this month. Reporting for this piece was facilitated by a grant from the Pulitzer Center on Crisis Reporting. Sarah Larson (THE TALK OF THE TOWN, P. 20)is a roving cultural correspondent for newyorker.com. -
Voice of the Machine Sean Jackson Eads
Vassar College Digital Window @ Vassar Senior Capstone Projects 2015 Voice of the Machine Sean Jackson Eads Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Eads, Sean Jackson, "Voice of the Machine" (2015). Senior Capstone Projects. 424. https://digitalwindow.vassar.edu/senior_capstone/424 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. VOICE of the MACHINE Sean Jackson Eads Senior Thesis & Project Media Studies Vassar College April 24, 2015 Thesis readers: Lisa Brawley Tom Porcello VOICE OF THE MACHINE CONTENTS INTRODUCTION Cyborg Music: Digital Voices and the Rise of the Virtual Pop Star 3 I. (DIS)EMBODIMENT IN DIGITAL MUSIC Locating the Body in Contemporary Popular Music Production 8 Musical Modernism 10 Evidence of the Posthuman in Electronic Music 13 Reading Intentionality - The Answer is in the Brain 14 Artistic Responses to Embodiment Discourse 15 Works Cited 18 II. UNPACKING VOCALOIDS Digital Voices, Physical Reverberations 20 In and of the Digital Landscape 24 Hatsune Miku the Pop Star 27 Identity of Digital Voices 28 Materializing the Digital 29 Works Cited 31 III. ADDITIONAL PROJECT FRAMING Internalizing the Digital: All Cyborgs 32 Advances in Sound Culture 34 What Does ‘Post-Digital’ Reveal? 36 Works Cited 37 IV. VOICE OF THE MACHINE Senior Project in Media Studies 38 Project Description 38 Track List & Lyrical Content 39 Notes & Comments 41 BIBLIOGRAPHY 45 INTRODUCTION Cyborg Music: Digital Voices and the Rise of the Virtual Pop Star Singing is a fundamentally embodied act. -
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ANNOUNCED TODAY: T H E M U S I C O F H A R R Y P O T T E R A N D T H E C U R S E D C H I L D IN FOUR CONTEMPORARY SUITES BY IMOGEN HEAP WILL BE RELEASED 2 NOVEMBER 2018 AVAILABLE NOW TO PRE-ORDER AWARD-WINNING SCORE FEATURED IN A NEW ALBUM OF MUSIC BY GRAMMY & IVOR NOVELLO AWARD-WINNING COMPOSER & INNOVATOR IMOGEN HEAP Today, 20 September 2018, Producers Sonia Friedman and Colin Callender are proud to announce that The Music of Harry Potter and the Cursed Child, an album of music from the internationally acclaimed stage production, will be released on 2 November 2018. /more… -2- The Music of Harry Potter and the Cursed Child is written, composed, performed and recorded by Grammy and Ivor Novello Award-winner Imogen Heap. It is presented as four contemporary musical suites, each showcasing one of the play’s theatrical acts. This unique new album format from Imogen Heap chronologically features the music heard in the stage production, further reworked to transport listeners on a sonic journey through the world of Harry Potter and the Cursed Child. The Music of Harry Potter and the Cursed Child will be released by Sony Music Masterworks, and available in stores as well as digitally on 2 November 2018, with pre-orders available now at https://HarryPotter.lnk.to/HARRYPOTTERANDTHECURSEDCHILDPR Imogen Heap said “This album is like nothing I’ve ever attempted before. It’s four suites containing music from each of the four acts of the play, Harry Potter and the Cursed Child. -
Cultural Leaders a Community of Over 40 Cultural Leaders Joins the Annual Meeting in Davos to Help Inspire Responsive and Responsible Leadership
Cultural Leaders A community of over 40 Cultural Leaders joins the Annual Meeting in Davos to help inspire responsive and responsible leadership. Zarifa Adiba, Kabul Zarifa Adiba is a musician playing the viola and one of the conductors of the Afghan Women’s Orchestra, the first all-female Afghan orchestra based at the Afghanistan National Institute of Music. In Davos, she will join the orchestra to perform the closing concert before embarking on tour in Europe. Carol Becker, New York In her role as Dean of the Columbia School of the Arts, Carol Becker has helped to launch international programmes for screen and television writing, film production and literary translation. She has written extensively about the impact of art and artists on society. Becker also worked closely with the World Economic Forum’s Global Leadership Fellows to develop a unique programme on leadership development through art practice. Lonnie Bunch, Washington DC Lonnie Bunch is the founding Director of the Smithsonian Institution’s brand-new National Museum of African American History and Culture on the National Mall in Washington DC. A historian and educator, Bunch has unique insights on embracing history to address current challenges in the US and around the world. Matt Damon, New York Matt Damon is a prominent actor, film producer and screenwriter. He is passionate about alleviating the global water crisis. He is the co-founder of Water. org, which seeks to ensure that everyone in the world has access to safe water and basic sanitation. Damon is a 2014 recipient of the Crystal Award. Andrea Bandelli, Dublin Andrea Bandelli is the Executive Director of Science Gallery International (SGI).