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Smart Speakers & Their Impact on Music Consumption
Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment. -
Radio Airplay and the Record Industry: an Economic Analysis
Radio Airplay and the Record Industry: An Economic Analysis By James N. Dertouzos, Ph.D. For the National Association of Broadcasters Released June 2008 Table of Contents About the Author and Acknowledgements ................................................................... 3 Executive Summary....................................................................................................... 4 Introduction and Study Overview ................................................................................ 7 Overview of the Music, Radio and Related Media Industries....................................... 15 Previous Evidence on the Sales Impact of Radio Exposure .......................................... 31 An Econometric Analysis of Radio Airplay and Recording Sales ................................ 38 Summary and Policy Implications................................................................................. 71 Appendix A: Options in Dealing with Measurement Error........................................... 76 Appendix B: Supplemental Regression Results ............................................................ 84 © 2008 National Association of Broadcasters 2 About the Author and Acknowledgements About the Author Dr. James N. Dertouzos has more than 25 years of economic research and consulting experience. Over the course of his career, Dr. Dertouzos has conducted more than 100 major research projects. His Ph.D. is in economics from Stanford University. Dr. Dertouzos has served as a consultant to a wide variety of private and public -
Robinson, Emily. 2010. Our Historic Mission' Party Political Pasts And
Robinson, Emily. 2010. Our Historic Mission’ Party Political Pasts and Futures in Contemporary Britain. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/29014/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] 'Our Historic Mission' Party Political Pasts and Futures in Contemporary Britain Emily Robinson Goldsmiths College, University of London PhD 2010 ABSTRACf The temporal positioning of political parties is an important aspect of their philosophical stance. This cannot simply be characterised as forward-facing progressivism and backwards-looking conservatism; since at least the late nineteenth century both progressive and conservative positions have involved a complex combination of nostalgia, obligation and inheritance. But while conservatives have emphasised a filial duty towards the past as enduring tradition, progressives have stressed the need to bear memories of past injustice forward, in order to achieve a different future. The contention of this thesis is that since the late 1970s these temporal positions have begun to dissolve. Both Labour and the Conservatives now favour what might be termed an 'affirmative presentist' approach to political time, whereby the present is viewed as both the 'achievement' of the past and the 'creator' of the future. -
GJFC 2014 Abstracts and Bios
Guelph Jazz Festival Colloquium 2014: Sounding Futures September 3-5, 2014 Abstracts and Bios Jonathan Adjemian (Programme in Social and Political Thought, YorK University) “Of Afterness and After” This paper is an extended meditation on one of Sun Ra's most famous one-liners, the repeated "it's after the end of the world - don't you know that yet?" from Space is the Place, as a proposal to address—or sidestep—the crisis of history that occupied the late twentieth century. What does it mean to situate history not just after catastrophe, but so far beyond that its catastrophic nature comes into question? What is at stake in making the future, like the past, not just another time but another place? Making reference to the Iraqi painter and sculptor, Jewad Selim, the Algerian painter Mohammed Khadda, and the Martinician writer and theorist Édouard Glissant (with some sideways glances towards European phenomenologists), I read Ra among—and beyond—other approaches to the future of the past and the past of the future. These artists and writers faced questions, still actual today: what does it mean to reactivate the past, beyond the disasters of the slave trade, colonialism, and the increasing presence and possibility of total war? As a challenge not only to linear history but to cyclical or static models, the actuality of past and future together points away from any figure of history, but what does it point towards? If the aft-er is what moves from fore to aft, putting behind, then what is it to be after that, beyond obsolescence? And how do the oscillations of a history that is beyond the form-er, beyond the foreman who shows man his form and keeps him to it, run past not just man but the world, too? How does the slipperiness of sound mix with the visual to upend our sense of time and our place in it? This paper attempts to write in a looser and more free-form mode than my usual academic writing, moving quickly between points and images while indicating connections more than spelling them out. -
Authorship and Subjectivity in Contemporary Art and Experimental
The Fugitive Self: Authorship and Subjectivity in Contemporary Art and Experimental Documentary Meredith A. Birrell A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy School of Art & Design Faculty of Art & Design September 2019 Thesis/Dissertation Sheet Surname/Family Name : Birrell Given Name/s : Meredith Anne Abbreviation for degree as give in the University calendar : PhD Faculty : Art & Design School : Art & Design The fugitive self: authorship and subjectivity in contemporary art and Thesis Title : experimental documentary Abstract 350 words maximum: (PLEASE TYPE) This thesis identifies and theoretically articulates strategies of ‘fugitive authorship’ in the work of The Otolith Group, Ursula Biemann, and Hito Steyerl. I argue that within the work of these contemporary artists, all of whom work with experimental documentary, a renegotiation of the author-self has emerged in response to new frontiers of crisis in the twenty-first century, including new crises of the human within an emergent post-human paradigm. Drawing on histories of the essay film, feminist and postcolonial counter-cinemas, and feminist Posthumanist theory, this thesis demonstrates how these artists actively revolt against the documentary’s claims to authorial authority by moving towards a radical aesthetics of fugitivity. Vacillating between presence and absence, knowledge and doubt, clarity and opacity, they become fugitive by performing a ‘flight’ from the author-self while simultaneously remaining accountable to their socio-historical location. Working with the theories of Karen Barad and Rosi Braidotti in particular, this thesis identifies a new form of authorship, fugitive authorship, at the centre of emergent forms of experimental documentary in contemporary art that meet the complexities of the contemporary condition. -
Change That Tune 1
Change That Tune 1 Table of Contents Background..........................................................................................................................................................3 Why Payola Is Such A Problem...................................................................................................................4 History Of Payola..........................................................................................................................................5 The New York Attorney General’s Investigation.........................................................................................9 FCC Response ...........................................................................................................................................10 The Voluntary Agreement.................................................................................................................................11 Rules of Engagement.................................................................................................................................12 Concerns About the Rules of Engagement ..............................................................................................13 The “Indie Set-Aside” .................................................................................................................................13 What Can Artists Do?........................................................................................................................................15 Do Research, -
2020-08-Xx DISSERTATION Revisions
UCLA UCLA Electronic Theses and Dissertations Title A Cinematic Atopia: Robert Smithson and the Filmic Afterlife of the Soviet Avant-Garde Permalink https://escholarship.org/uc/item/3kn4f5g8 Author Rottman, Zachary Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles A Cinematic Atopia: Robert Smithson and the Filmic Afterlife of the Soviet Avant-Garde A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Zachary Rottman 2020 © Copyright by Zachary Rottman 2020 ABSTRACT OF THE DISSERTATION A Cinematic Atopia: Robert Smithson and the Filmic Afterlife of the Soviet Avant-Garde by Zachary Rottman Doctor of Philosophy in Art History University of California, Los Angeles, 2020 Professor George Baker, Chair This dissertation reconsiders the legacy of American artist Robert Smithson (1938–73) through his reception of Sergei Eisenstein (1898–1948), famed Revolutionary Soviet filmmaker. From his early canonization, Smithson has been virtually synonymous with the emergence of aesthetic postmodernism. Radically redefining sculpture as plural and dispersed (as in his nonsites) or else site-specific, subject to physical deterioration, and mediated by film and photography (as with his signal earthwork Spiral Jetty), Smithson’s practice has been consistently positioned as a rigorously logical, programmatic critique of Greenbergian modernism and the idealism subtending its values of autonomy and opticality. To that end, Smithson’s work is understood, too, as “postminimal,” extending the anti-aesthetic provocations that Minimalist objecthood ii inherited from the Soviet avant-garde precedent. In focusing narrowly on Constructivist sculpture of the early 1920s, however, accounts of this generation’s revival of that avant- garde have ignored the Revolutionary cinema to which it gave rise.