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Openness in the Music Business– How Record Labels and Artists May Profit from Reducing Control
Table of Contents TECHNISCHE UNIVERSITÄT MÜNCHEN Dr. Theo Schöller-Stiftungslehrstuhl für Technologie- und Innovationsmanagement Openness in the music business– How record labels and artists may profit from reducing control Johannes L. Wechsler Vollständiger Abdruck der von der Fakultät für Wirtschaftswissenschaften der Technischen Universität München zur Erlangung des akademischen Grades eines Doktors der Wirtschaftswissenschaften (Dr. rer. pol.) genehmigten Dissertation. Vorsitzender: Univ.-Prof. Dr. I. Welpe Prüfer der Dissertation: 1. Univ.-Prof. Dr. J. Henkel 2. Univ.-Prof. Dr. F. v. Wangenheim Die Dissertation wurde am 09.12.2010 bei der Technischen Universität München eingereicht und durch die Fakultät für Wirtschaftswissenschaften am 11.05.2011 angenommen. i Table of Contents Table of Contents DETAILED TABLE OF CONTENTS .................................................................................................... II LIST OF FIGURES .................................................................................................................................. V LIST OF TABLES ................................................................................................................................. VII LIST OF ABBREVIATIONS..................................................................................................................IX ABSTRACT..............................................................................................................................................XI 1 INTRODUCTION ...................................................................................................................... -
The Independent / Suindependent.Com • February 2018 Alternative Rock Band from Salt Lake City Inspired by ‘90S Bands Like Nirvana, Soundgarden, and Foo Fighters
In print February 2018 - Vol. 22, #12 the 1st Friday FREE of each month Online at SUindependent.com PLEASE RECYCLE KANAB BALLOONS AND TUNES ROUNDUP SOARING TO GREATER HEIGHTS - See page 3 ALSO THIS ISSUE: RIRIE-WOODBURY DANCE COMPANY PREMIERS KAYENTA ART FOUNDAtion’s februarY ann carlson’s “elizabeth, the dance” in slc BEST EXPO EVER FEATURES SPRING BREAK STAYCATION, HELICOPTER RIDES, AND MORE SEASON: A MONTH OF VARIETY AND TALENT - See Page 4 - See Page 4 - See Page 5 ruffled some feathers in his short time at his publishing power in a way questionable the helm. Which brings me to the point of to some readers? Sure he does. But again, February 2018 Volume 22, Issue 12 this article here today. that’s the risk I as the publisher of The For many years, I’ve felt like the public Independent have always taken. and our readership has defined us. That’s It is often a difficult task for me to to say that we’ve been seen as a champion defend the musings of any writer or editor of many progressive causes to the point with the simple statement of “free speech,” where The Independent has been labeled but that truly is the defining characteristic “the liberal rag” by its detractors and “the of The Independent far more than anything only local publication I read” by many else. “But why?” many ask me. “How can progressives or those in the counterculture you publish and therefore promote ideas EDITORIAL ............................2 DOWNTOWN SECTION .......12 here in sunny southern Utah. In the last 22 that some find offensive, insensitive, biased, EVENTS ................................3 ALBUM REVIEWS ................14 years we’ve published content of virtually or angry?” Because ideas are simply that. -
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Scienze Matematiche, Fisiche e Naturali Corso di Laurea in Scienze e Tecnologie della Comunicazione Musicale Intelligent Dance Music: analisi formale comparativa tramite reti di Petri Relatore Ing. Luca Andrea Ludovico Correlatore Dott. Adriano Baratè Tesi di Laurea di Elena Melcarne Matr. 678930 Anno Accademico 2007-2008 1 2 Ringraziamenti Ringrazio, prima di tutti, i miei genitori che in ogni istante hanno saputo garantirmi la fiducia ed il sostegno senza i quali non sarei arrivata fin qui. Ringrazio anche i miei fratelli, Barbara e Stefano, che mi hanno premurosamente accudito e supportato sin da piccola e, per i loro saggi consigli nei momenti più critici della mia carriera universitaria. Ringrazio il Dott. Adriano Baratè e l’Ing. Luca Andrea Ludovico per la loro disponibilità e cordialità. Un grazie particolare anche a Dario, amico caro, che non ha mancato di essermi vicino nonostanze la distanza. Infine, un grazie a Francesco per essermi sempre accanto. Per il suo grande aiuto nella stesura della tesi e soprattutto perché contribuisce, di giorno in giorno, a saziare la mia curiosità musicale. 3 Indice Premesse 1 1 Musica elettronica: dalle origini ai nostri giorni 3 1.1 Introduzione ............................................................................................ 3 1.2 Russolo e l’arte dei rumori ..................................................................... 4 1.3 Musica elettronica di matrice colta ........................................................ 7 1.3.1 Da Parigi a Colonia: Musique concrète e elektronische Musik ................................... 8 1.3.2 Il minimalismo classico ........................................................... 11 1.4 Una nuova concezione di musica elettronica ..................................... 12 1.4.1 La metamorfosi dell’elettronica ........................................... 13 1.5 Chicago e Detroit: dalla house alla techno ......................................... -
The Song Remains … the Same? Three Case Studies of Issues of Digital Preservation in Second Life Performance Practices
The Song Remains … The Same? Three Case Studies of Issues of Digital Preservation in Second Life Performance Practices Dennis Moser I. Conceptual Differences Across Disciplines: Needs & Approaches The practice of documentation of performances such as music, theater, and dance and performance art is an integral part of the cultural record. As such, it is subject to change and evolution over time, as well as the vagaries of natural catastrophe, social disorder, or any of the myriad disrupters of human history. The application of the practice of documentation varies according to the discipline utilizing it; indeed, even its efficacy varies from culture to culture and from discipline to discipline. Couple this with our movement deeper and deeper into the use of digital technology for the manifestation of culture and we must grapple with new solutions for capturing and conveying the essentials of these acts of expression. The emergence of performance and installation art in the 20th century gave rise to a field of critical theory somewhat at odds with other approaches of documentation, couched as it was in the visual arts. While aspects of theater and dance have influenced this critical theory, the performance practice considerations of music have not played as much a role in defining it. Indeed, considerable discussion has been generated, over understanding just what comprises “documentation”, whether photography is ‘documentary’ or ‘theatrical’, or if it is a ‘conceptual medium for documentation’ (Taylor, 2009). This reflects a concern for the “visual” aspect of “performance” art as opposed to the temporal aspects so inherent in both music and dance. -
Hierarchical Categorisation of Web Tags for Delicious
HIERARCHICAL CATEGORISATION OF WEB TAGS FOR DELICIOUS J. Parra-Arnau, A. Perego, E. Ferrari, J. Forné and D. Rebollo-Monedero1 INTRODUCTION In the scenario of social bookmarking, a user browsing the Web bookmarks web pages and assigns free-text labels (i.e., tags) to them according to their personal preferences. The benefits of social tagging are clear – tags enhance Web content browsing and search. However, since these tags may be publicly available to any Internet user, a privacy attacker may collect this information and extract an accurate snapshot of users’ interests or user profiles, containing sensitive information, such as health-related information, political preferences, salary or religion. In order to hinder attackers in their efforts to profile users, this report focuses on the practical aspects of capturing user interests from their tagging activity. More accurately, we study how to categorise a collection of tags posted by users in one of the most popular bookmarking services, Delicious (http://delicious.com). METHODOLOGY As frequently done in collaborative tagging sites, the profile of a user is modelled as a tag cloud, that is, a visual representation where tags are weighted according to their frequency of use. Note that tag clouds are in essence equivalent to normalized histograms of tags. Nevertheless, the representation of a user profile as a cloud, or equivalently as a normalized histogram, of all the tags submitted by users is clearly an inappropriate approach; not only because of the intractability of the profile, but also because it makes it difficult to have a quick overview of the user interests. For example, for users posting the tags “welfare”, “Dubya” and “Katrina” it would be preferable to have a higher level of abstraction that enables us to conclude, directly from the inspection of the user profile, that these users are interested in politics. -
Text of the German Application of Art of Coding
This is the Text of the German application of Art of Coding (www.http://demoscene-the-art-of-coding.net) with the purpose of bringing the demoscene onto the list of UNESCO intangible cultural heritage of humanity. The application was submitted in Oct 2019 and has been written in an collaborative community effort led by Tobias Kopka supported by Andre Kudra, Stephan Maienhöfer, Gleb Albert, Christian Brandt, Andreas Lange and many more who gave their hands at Digitale Kultur und Tastatur und Maus e.V. The structure depends on the form, which is given by the German UNESCO. In spite the structure differs from forms used in other countries text modules can be used for application in other countries. The texts in square brackets are part of the German form. Also every kind of feedback is welcome, which could be taken into account for future use. Use ‘team (at) demoscene-the-art-of-coding.net’ 1. Type of Immaterial Cultural Heritage [Please tick the applicable sections and elaborate in keywords (multi-selection possible, but not mandatory)] Section A) verbally passed on traditions and expressions [keywords]: own technical vocabulary, own idiom with specialized terminology, English is lingua franca Section B) performing arts (music, theatre, dance) [keywords]: composition, performant, live, public presentation, animation Section C) social tradition, (seasonal) celebration and ritual [keywords]: demoparties, competitions, visitor voting, price ceremonies Section D) Knowledge and customs, related to nature or the universe [keywords]: digitalized living environment, cyberspace, virtual reality Section E) traditional craftsmanship [keywords]: coding, composition, animation, adoption, do-it-yourself Section F) other 2. -
Digimag46.Pdf
DIGICULT Digital Art, Design & Culture Founder & Editor-in-chief: Marco Mancuso Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256 Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Marco Mancuso Persepolis 2.0: Creative Support To Iran .................................................................. 3 Mark Hancock Vlogging, Networked Cinematic Poetics ................................................................. 9 Marco Mancuso Pirates At The Parliament: The Big Dream?! .......................................................... 14 Davide Anni A New Center For Art and Technologies ............................................................... 24 Loretta Borrelli Hackmeeting 2009: Meeting With The Debian Community .............................. 27 Philippa Barr Alessandro De Gloria, From Child’s Play To Serious Games ............................... 33 Alessio Galbiati Rip: A Remix Manifesto. A Specter Wanders In The Net .................................... 39 Silvia Casini The Ethics Of Gaze: Raymond Depardon and William Kentridge ...................... 43 Giulia Baldi Soundclusters: -
Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas -
What's That Sound?
What‘s That Sound? Bittles‘ Magazine | Record Review When I tell you that there is lots of great music coming out this month I am not just saying this because I have been given lots of huge bribes. It is actually true! That is why, this month, the new album reviews will be spread out over two whole weeks instead of the usual one. By JOHN BITTLES And what a line up of fantastic records there is! This week alone we’ve got the raucous rock of Royal Blood, the psychedelic weirdness of The Wytches, the lush house of Roman Flügel, the strange, techno atmospherics of Ital and tons more. So get your ears ready, your headphones on your head, and let us begin. Since I have been obsessed with this record over these last couple of weeks it is only right to start with the gorgeous house stylings of Happiness is Happening by techno legend Roman Flügel. The follow-up to 2011’s excellent Fatty Folders has been a long time coming, yet it is more than worth the wait. With a light house feel the record’s ten tracks touch on ambient, shoegaze, acid and just about every style of music you would care to name. Opener Connecting The Ghost is a beautiful chug of a tune recalling M83 in its spectral majesty. Friendship Song quickly follows, with a laidback italo-style groove that leads us into the first half of the album which is stuffed full of gently chilled delights. The second half is more dancefloor-based, but is every bit as good. -
Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor
Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona. -
Quantifying Music Trends and Facts Using Editorial Metadata from the Discogs Database
QUANTIFYING MUSIC TRENDS AND FACTS USING EDITORIAL METADATA FROM THE DISCOGS DATABASE Dmitry Bogdanov, Xavier Serra Music Technology Group, Universitat Pompeu Fabra [email protected], [email protected] ABSTRACT Discogs metadata contains information about music re- leases (such as albums or EPs) including artists name, track While a vast amount of editorial metadata is being actively list including track durations, genre and style, format (e.g., gathered and used by music collectors and enthusiasts, it vinyl or CD), year and country of release. It also con- is often neglected by music information retrieval and mu- tains information about artist roles and relations as well sicology researchers. In this paper we propose to explore as recording companies and labels. The quality of the data Discogs, one of the largest databases of such data available in Discogs is considered to be high among music collec- in the public domain. Our main goal is to show how large- tors because of its strict guidelines, moderation system and scale analysis of its editorial metadata can raise questions a large community of involved enthusiasts. The database and serve as a tool for musicological research on a number contains contributions by more than 347,000 people. It of example studies. The metadata that we use describes contains 8.4 million releases by 5 million artists covering a music releases, such as albums or EPs. It includes infor- wide range of genres and styles (although the database was mation about artists, tracks and their durations, genre and initially focused on Electronic music). style, format (such as vinyl, CD, or digital files), year and Remarkably, it is the largest open database containing country of each release. -
House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines.