First Generation of Vinyl Composites with Long and Continuous Fibers

Total Page:16

File Type:pdf, Size:1020Kb

First Generation of Vinyl Composites with Long and Continuous Fibers First generation of vinyl composites with long and continuous fibers 2013 Automotive Composites Conference & Exhibition, Detroit Victoire de Clermont-Tonnerre Market Development Manager SolVin Foreword THE POWER OF INNOVATION « The early history of mankind has been classified by archaeologists into three chronological ages: The Stone Age, the Bronze Age and the Iron Age. Each of this Age is named after the materials technology that was possessed by society. This is recognition of the impact of materials on the welfare, economies, and technologies of societies. Materials are the basis of manufactured goods and the basis of construction. In fact, they are the basis of most technological progress. » Christopher Scott Musso « Beating the system: accelerating the commercialization of new materials » 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Living in the Plastic Age Numerous cultural references in the XXth century to the Plastic Age • In the Cinema: - as early as in 1923 in the movie entitled « The Plastic Age » - in the blockbuster « The Graduate » dated 1967, plastics profile is been raised to the attention of a recent college graduate named Ben (played by actor Dustin Hoffman) • Mr. McGuire: I want to say one word to you. Just one word. • Benjamin: Yes, sir. • Mr. McGuire: Are you listening? • Benjamin: Yes, I am. • Mr. McGuire: Plastics. • Benjamin: Exactly how do you mean? • Mr. McGuire: There's a great future in plastics. Think about it. Will you think about it? • In the music industry: first album of the Buggles group in 1980 entitled « The Age of Plastic ». One single: “Living in the Plastic Age » • In anthropology: a recent research program commissioned by The Smithsonian explored the impact of plastics on contemporary society. 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Contents • LF Composites overview - Market - Challenges • New vinyl engineering technologies • Focus on Process 1 and associated composites • Focus on Process 2 and associated composites • Conclusion: a disruptive innovation 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 LF Composites 1 Market overview 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Current LF composites market led by thermosets… Thermoplastics: PP, PE, PPS, PEI, PEEK, PA, NO PVC to date Market size 12%* Thermosets in 2013 Polyester Vinyl-ester Epoxy 2020 Phenolic Polyurethane • Thermosets represent around 88%* of the composites market. • Unmet needs are: VFast cycle time, allowing large production scale VHigher mechanical properties to replace metal V“Green design”, easy to recycle and valorize scraps and end of life parts • Strong potential for Thermoplastic Composites VMarket pull for thermoplastic composites bringing strong added value in mainstream applications at affordable cost with affordable manufacturing process * Gesstimation, Olivier Wyman study 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Demystifying the composites challenges 1 Build reliable material characterisation database Homologation of min. 2 raw materials suppliers 5 (matrix & fiber) 2 ." ) !!+ ) ta h % # "* ) .5 *" &"%%"! " ! " " ( "" ! " " tw9{/wL.9w{ Enhance predictability of CAE toolset /I![[9b D9{ 4 3 5 !!! " #$ % &"$ të/( Upscale from a pilot line to mass production: 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 New Vinyl Engineering 2 Technologies 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Solvay breakthrough in the composites landscape PVC/ Flax PVC/ Fiberglass Vinyl Fiberglass Reinforcement 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Breakthrough in rigid LF vinyl composites Short fibers mixed with PVC dry blend before Historical being extruded Decking in process Drawback: this process cuts the fibres providing WPC limited mechanical properties to the end products. 2013 1st Process Disruptive Profiles innovation Step 1: Dip coating of continuous fibers reinforcement in a vinyl dispersion Technologies without shear Step 2: Drying and gelation by hot air Car fabrics NEW (No extrusion) prepregs processes allowing for the first time to keep the 2nd Process length of long and 2 Process continuous fibres in Step 1: Dispersion of PVC dry blend into Sandwich vinyl composites. the chopped fiberglass through an panels alternating electric field Motor Step 2: Gelation by hot air and calendering encapsulation 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 First generation of continuous fiber-reinforced vinyl composites C* I$ $,/$$ të//{ Vinyl / t $$ $ Fiberglass sheet Y" &' ( Construction and Automotive C$! !" Vinyl / Fiberglass Ü 5 $& $ tapes Y" &' ( Construction and automotive &$ Vinyl/ flax !" fibers sheet t $ $ Y" &' !$ ( Automotive market 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Focus on process 1: Dip coating of continuous fibers in a 3 waterborne vinyl dispersion 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Dipping of continuous rovings - 1st step: fabrication of a strip • Use of PVC latex to impregnate the fibres • Drying by air flow • Gelation by IR heating 284°F 356°F 455°F UD Tapes or fabrics prepregs 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Experimental dipping line Dip coating Heated tunnel Die 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 UD vinyl-reinforced fiberglass tapes Properties Unidirectional tapes - Lightweight - 20% waterborne PVC dispersion • 25% weight reduction compared to and 80% Fiberglass metal for the same rigidity - Thickness: 0.3 – 1mm - Very high mechanical properties • Tensile Modulus: 45GPa • Tensile Strength: 140MPa Potential Applications - High thermal insulation - Alternative to metal or heavy - in the window profile application (up to 35%) composites reinforcement in either window and door profiles or - Good fire behavior automotive components • Limiting oxygen index > 40% - Good thermo-mechanical resistance • HDT: 90°C - 194°F • Lin. expansion coef.: 7 10-6°C - Easy to process • pultruded, welded or glued 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Semi-finished materials 1. Prepregs Glass Basalt Flax 80% Glass 80% Basalt 50% Flax Tensile modulus GPa 45 45 15 Tensile strength MPa 350 400 190 Coeff. lin. expansion 10-5/K 0.7 0.6 0.7 2. Bar reinforcements 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Zoom: Prepreg of woven long flax fibers Rigid plate of Properties - 50% PVC dispersion and 50% - Lightweight long flax fabrics woven • 50% weight reduction compared to - Thickness: 0.5 – 4mm PP for the same rigidity - High mechanical properties • Tensile Modulus: 12GPa Potential Applications • Tensile strength: 140MPa - Car rear shelves • Impact strength: 4.5J/mm at -20°C - Car interior trims - Good fire behavior - Back of seats • Limiting oxygen index > 25% - Headliner - Good thermo-mechanical resistance • HDT: 88°C - 190°F • Lin. expansion coef.: 12 10-6°C - Highly sustainable • 50% renewable fibres - Easy to process • thermoformed, welded or glued - Good vibration damping properties 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Focus on Process 2 Use of an electrical field to disperse 4 PVC dry blend into chopped fiberglass 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Groundbreaking process 1/2 • The patented FIBROLINE Process is a dry process allowing the impregnation of fiber structures with powders PVC dry blend 0 I . ! { 3 $ 5 Fibres / L Rigid PVC film 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Groundbreaking process 2/2 • The product is pressed in a hot and cold calender to gelate • The sheet (around 0.9 mm) is then rolled no destruction of the fibres fibres randomly distributed into the polymer 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 PVC/long fiberglass composite Rigid plates of Properties - 60% S-PVC and 40% long - Lightweight fiberglass (>5cm) randomly • 50% weight reduction compared to distributed metal for the same rigidity - Thickness: 0.6 – 1.4mm - Very high mechanical properties • Tensile Modulus: 15GPa • Tensile Strength: 200MPa Potential Applications • Impact strength: 14J/mm at -20°C - Car rear shelves - Very good fire resistance - Car interior trims • Limiting oxygen index > 40% - Back of chairs - Good thermo-mechanical resistance - Sandwich panels • HDT: 78°C -172°F - Motor encapsulation • lin. expansion coef.: 20 10-6°C - Easy to process • either thermoformed, welded or glued 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Properties of a vinyl sandwich panel with PVC honeycomb (Nidacell®) • Offers the advantages of : - the PVC • Very good fire behaviour • Easy gluing • Relatively high Young’s modulus - a honeycomb • Lightweight • Formability - a fiberglass composite • Stiffness • Good impact resistance (cold temperature) • Improved fire behaviour 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Conclusion 5 A disruptive innovation Solar Impulse 2013 Automotive Composites Conference and Exhibition - SolVin 02/10/2013 Vinyls into automotive Seating shell and back Artificial leather Strip
Recommended publications
  • A Chronology of Middle Missouri Plains Village Sites
    Smithsonian Institution Scholarly Press smithsonian contributions to museum conservation • number 7 Smithsonian Institution Scholarly Press AThe Chronology Age of Plastic: of IngenuityMiddle Missouriand Responsibility Plains ProceedingsVillage of the 2012 Sites MCI Symposium By CraigEdited M. byJohnson Odile Madden, A. Elena Charola, Kim Cullen Cobb, Paula T. withDePriest, contributions and Robert byJ. Koestler Stanley A. Ahler, Herbert Haas, and Georges Bonani SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of “diffusing knowledge” was expressed by the first Secretary of the Smithsonian. In his formal plan for the Institution, Joseph Henry outlined a program that included the following statement: “It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge.” This theme of basic research has been adhered to through the years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Botany Smithsonian Contributions to History and Technology Smithsonian Contributions to the Marine Sciences Smithsonian Contributions to Museum Conservation Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology In these series, the Smithsonian Institution Scholarly Press (SISP) publishes
    [Show full text]
  • Representation of 1980S Cold War Culture and Politics in Popular Music in the West Alex Robbins
    University of Portland Pilot Scholars History Undergraduate Publications and History Presentations 12-2017 Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West Alex Robbins Follow this and additional works at: https://pilotscholars.up.edu/hst_studpubs Part of the European History Commons, Music Commons, Political History Commons, and the United States History Commons Citation: Pilot Scholars Version (Modified MLA Style) Robbins, Alex, "Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West" (2017). History Undergraduate Publications and Presentations. 7. https://pilotscholars.up.edu/hst_studpubs/7 This Thesis is brought to you for free and open access by the History at Pilot Scholars. It has been accepted for inclusion in History Undergraduate Publications and Presentations by an authorized administrator of Pilot Scholars. For more information, please contact [email protected]. Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West By Alex Robbins Submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in History University of Portland December 2017 Robbins 1 The Cold War represented more than a power struggle between East and West and the fear of mutually assured destruction. Not only did people fear the loss of life and limb but the very nature of their existence came into question. While deemed the “cold” war due to the lack of a direct military conflict, battle is not all that constitutes a war. A war of ideas took place. Despite the attempt to eliminate outside influence, both East and West felt the impact of each other’s cultural movements.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information C om pany 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313 761-4700 800/521-0600 Order Number 9031153 The utilitarian object as appropriate study for art education: An historical and philosophical inquiry grounded in American and British contexts Sproll, Paul Anthony, Ph.D.
    [Show full text]
  • WCXR 2004 Songs, 6 Days, 11.93 GB
    Page 1 of 58 WCXR 2004 songs, 6 days, 11.93 GB Artist Name Time Album Year AC/DC Hells Bells 5:13 Back In Black 1980 AC/DC Back In Black 4:17 Back In Black 1980 AC/DC You Shook Me All Night Long 3:30 Back In Black 1980 AC/DC Have a Drink on Me 3:59 Back In Black 1980 AC/DC Dirty Deeds Done Dirt Cheap 4:12 Dirty Deeds Done Dirt… 1976 AC/DC Squealer 5:14 Dirty Deeds Done Dirt… 1976 AC/DC Big Balls 2:38 Dirty Deeds Done Dirt… 1976 AC/DC For Those About to Rock (We Salute You) 5:44 For Those About to R… 1981 AC/DC Highway to Hell 3:28 Highway to Hell 1979 AC/DC Girls Got Rhythm 3:24 Highway to Hell 1979 AC/DC Beating Around the Bush 3:56 Highway to Hell 1979 AC/DC Let There Be Rock 6:07 Let There Be Rock 1977 AC/DC Whole Lotta Rosie 5:23 Let There Be Rock 1977 Ace Frehley New York Groove 3:04 Ace Frehley 1978 Aerosmith Make It 3:41 Aerosmith 1973 Aerosmith Somebody 3:46 Aerosmith 1973 Aerosmith Dream On 4:28 Aerosmith 1973 Aerosmith One-Way Street 7:02 Aerosmith 1973 Aerosmith Mama Kin 4:29 Aerosmith 1973 Aerosmith Rattkesnake Shake (live) 10:28 Aerosmith 1971 Aerosmith Critical Mass 4:52 Draw the Line 1977 Aerosmith Draw The Line 3:23 Draw the Line 1977 Aerosmith Milk Cow Blues 4:11 Draw the Line 1977 Aerosmith Livin' on the Edge 6:21 Get a Grip 1993 Aerosmith Same Old Song and Dance 3:54 Get Your Wings 1974 Aerosmith Lord Of The Thighs 4:15 Get Your Wings 1974 Aerosmith Woman of the World 5:50 Get Your Wings 1974 Aerosmith Train Kept a Rollin 5:33 Get Your Wings 1974 Aerosmith Seasons Of Wither 4:57 Get Your Wings 1974 Aerosmith Lightning Strikes 4:27 Rock in a Hard Place 1982 Aerosmith Last Child 3:28 Rocks 1976 Aerosmith Back In The Saddle 4:41 Rocks 1976 WCXR Page 2 of 58 Artist Name Time Album Year Aerosmith Come Together 3:47 Sgt.
    [Show full text]
  • ARTURIA SOLINA V User Manual -1- 1 INTRODUCTION Project Management Theo Niessink Pierre-Lin Laneyrie
    USER MANUAL ARTURIA SOLINA V User Manual -1- 1 INTRODUCTION Project management Theo Niessink Pierre-Lin Laneyrie Product management Glen Darcey Programming Adrien Courdavault Pierre-Lin Laneyrie Theo Niessink Design Glen Darcey Shaun Ellwood Morgan Perrier (decoderdesign.com) Sound design Glen Darcey Randy Lee Erik Norlander Boele Gerkes Theo Niessink Pierce Warnecke Manual Randy Lee 1st edition, October 2014 © ARTURIA S.A. – 1999-2014 – All rights reserved. 30, chemin du Vieux Chêne 38240 Meylan FRANCE http://www.arturia.com ARTURIA SOLINA V User Manual -2- 1 INTRODUCTION Table of contents Table of Contents Project management ........................................................................................................................................ 2 Table of contents ............................................................................................................................................... 3 1 INTRODUCTION ............................................................................................................................................. 5 1.1 String theories ............................................................................................................................................... 5 1.1.1 Chamberlin and Mellotron ................................................................................................................ 5 1.1.2 Ken Freeman: string synthesist .......................................................................................................... 6 1.1.3
    [Show full text]
  • Metros Give All, but Fall by Ana Millar 61-60 Advantage
    Volume 0 Number 40 Indiana Unlvartlty-Purdue University at Indianapolis February 11, 1980 Metros give all, but fall by Ana Millar 61-60 advantage. The Maraud­ The upset-minded Metros Sometimes you can give it ers went on to pour in four more next turned their attention to your all. but it just ain't enough unanswered points before Mike the 18-4 Anderson College Ka Playing the role of potential Herr found the range After vens on Thursday at MSA The giant-killers, the IUPUI Metros * Crafter sank the front end of a evening got off to a rather omin nearly knocked off two respect­ 1-1 free throw. Kevin Brauns ous start when, with gamelim* ed teams last week, only to fall tipped an errant shot in to bring rapidly approaching, the IUPUI short in both cases Coach Mel Garland's squad staff realized that no officials Last Tuesday, the Metros back to within two, 66-64. had been contracted to ref the tried to put the shackles on 12-6 But the Metro quintet never game. (The Anderson match was Central State of Ohio, but they could get over the hump after a latecomer to the year's ached couldn't contain cagey Melvin that. Two critical turnovers ule. added long after officials Crafter. The satin-smooth helped the Marauders leap back were contracted for the season ) Dayton forward—who has been out to a 70-64 lead at the 2:46 A scramble ensued to correct a thorn in the Metros' side for mark, and two more errors after the oversight A ref who had three years-rifled in 32 points that fattened the margin to 74- called IUPUI games in the past and wrestled down 13 rebounds 66.
    [Show full text]
  • Introduction
    Are We Not New Wave?: Modern Pop at the Turn of the 1980s Theo Cateforis The University of Michigan Press, 2011 http://press.umich.edu/titleDetailDesc.do?id=152565 Introduction Like many historical narratives, the story of rock music is one organized around a succession of cycles. The music’s production, reception, and mythology are typically situated as part of a constantly renewing periodic phenomenon, intimately tied to the ebb and ›ow of adolescent or youth generations. This periodization ‹nds its most conspicuous form in the shape of rock “invasions” and “explosions.” Such events are characterized by a ›urry of musical activity, as a number of related new artists and bands coalesce and the recording and media industries recognize a new popular music movement. We tend to associate these cycles with the spectacle sur- rounding a signi‹cant iconic performer or group: Elvis Presley serves as a lightning rod for the emergence of rock and roll in the 1950s; the Beatles head a British Invasion in the mid-1960s; a decade later the Sex Pistols and punk rock shock mainstream society; in the early 1990s Nirvana articulates a grunge style that solidi‹es alternative rock’s popularity. In the most basic sense, any of these four dynamic outbursts might rightfully be considered a new wave of popular music. It is mostly a matter of historical circumstance that the actual label of new wave should be associated with the third of the aforementioned movements: the mid-1970s punk explosion. In the 1970s critics credited punk bands like the Sex Pistols and the Clash with startling the rock industry out of its moribund complacency.
    [Show full text]
  • Max's CD Collection
    Max's CD Collection (as of Mon Feb 10 18:13:08 CET 2003) 625 records by 298 artists. Pop CDs 607 records by 290 artists. Artist Title Year Notes Location (Various) Le Meilleur du Rock Progressif Européen 1994 Compilation (7,5) Mannerisms 1994 (2,19) The Glory of Gershwin 1994 (1,10) La Yellow 357 1995 Compilation (8,12) Le Meileur du Rock Progressif Instrumental 1995 (7,10) Supper's Ready 1995 (2,15) XTC - A Testimonial Dinner 1995 (2,21) The Cocktail Shaker 1997 Compilation (8,14) Select Hot! 1998 Compilation (4,6) Classic Rock vol. 10 1999 (2,13) Uncut vol. 7 1999 Compilation (2,16) Uncut vol. 9 1999 Compilation (4,9) Uncut 2000 vol. 3 2000 Compilation (4,17) Uncut - September 2001 2001 Compilation (8,15) Rock Save The Queen 2002 Compilation (9,25) Uncut - Neat Neat Neat 2002 Compilation (9,7) 10,000 Maniacs MTV Unplugged 1993 (6,42) 3 Mustaphas 3 Heart of Uncle 1989 (2,11) Soup of The Century 1990 (3,5) 4 Non Blondes Bigger, Better, Faster, More! 1992 (3,9) A A vs. Monkey Kong 1999 (9,27) Exit Stage Right 2000 Live (9,21) Hi-Fi Serious 2002 (9,14) Abel Ganz Gratuitous Flash 1982 (3,20) The Dangers of Strangers 1985 (7,11) Gullibles Travels 1987 (7,10) The Deafening Silence 1994 (7,7) AC/DC High Voltage 1976 (5,14) Let There Be Rock 1977 (3,13) Highway to Hell 1979 (5,15) Back in Black 1980 (6,40) Live 1992 Live (4,15) Alan Parsons Project, The Tales of Mystery and Imagination 1976 (7,11) The Turn of a Friendly Card 1980 (7,11) All About Eve Scarlet and Other Stories 1989 (7,3) Almond, Marc Jacques 1989 (9,4) Amos, Tori Little Earthquakes 1991 (3,14) Boys for Pele 1996 (4,9) From The Choirgirl Hotel 1998 (1,13) From The Glastonbury Hotel 1999 Live, Bootleg (1,16) To Venus And Back 1999 2 CD.
    [Show full text]
  • Cumulative Form in Pop-Rock Music
    twentieth-century music 1/1, 29–64 © 2004 Cambridge University Press DOI: 10.1017/S1478572204000052 Printed in the United Kingdom (Ac)cumulative Form in Pop-Rock Music MARK SPICER Abstract This article examines a variety of compositional procedures that give rise to what the author defines as ‘accumulative’ and ‘cumulative’ forms in pop-rock music, formal processes which are directly linked to the rapid advances in recording technology that occurred mainly from the late 1960s to the 1980s. The article includes detailed transcriptions and analyses of pop-rock music across a wide range of styles and genres, from progressive rock to post-punk to techno. J. Peter Burkholder has coined the term ‘cumulative form’ to describe an unusual com- positional strategy in selected late nineteenth-century works, particularly in the music of Charles Ives.1 In typical large-scale eighteenth- and nineteenth-century tonal pieces (those in sonata form, for example), we expect the main theme to be stated intact at the outset – most often in the tonic key – and then subjected to various processes of fragmentation and development as the piece unfolds. In a cumulative form this typical order is reversed: thematic fragments are gradually introduced and developed, only to crystallize into a full-fledged presentation of the main theme in a climactic pay-off at the end of the piece. As Burkholder shows, prototypes of cumulative form can be found in symphonic works from early in the nineteenth century. Probably the most famous example is the finale of Beethoven’s Ninth Symphony (1823), where fragments of the ‘Ode to Joy’ are introduced long before the theme makes its first complete appearance.
    [Show full text]
  • Richardjamesburgessdoctorald
    STRUCTURAL CHANGE IN THE MUSIC INDUSTRY: THE EVOLVING ROLE OF THE MUSICIAN RICHARD JAMES BURGESS A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy March 2010 ii Copyright © 2010 by Richard James Burgess All Rights Reserved ii 1 Structural Change in the Music Industry The Evolving Role of the Musician Abstract The recording industry is little more than one hundred years old. In its short history there have been many changes that have redefined roles, enabled fortunes to be built and caused some to be dissipated. Recording and delivery formats have gone through fundamental conceptual developments and each technological transformation has generated both positive and negative effects. Over the past fifteen years technology has triggered yet another large-scale and protracted revision of the business model, and this adjustment has been exacerbated by two serious economic downturns. This dissertation references the author’s career to provide context and corroboration for the arguments herein. It synthesizes salient constants from more than forty years’ empirical evidence, addresses industry rhetoric and offers methodologies for musicians with examples, analyses, and codifications of relevant elements of the business. The economic asymmetry of the system that exploits musicians’ work can now be rebalanced. Ironically, the technologies that triggered the industry downturn now provide creative entities with mechanisms for redress. This is a propitious time for ontologically reexamining music business realities to determine what is axiological as opposed to simply historical axiom. The primary objective herein is to contribute to the understanding of applied fundamentals, the rules of engagement that enable aspirants and professionals alike to survive and thrive in this dynamic and capricious vocation.
    [Show full text]
  • Progressive Rock, “Close to the Edge, // and the Boundaries of Style
    1 Progressive Rock, “Close to the Edge, // and the Boundaries of style JOHNCOVACH 1 “Progressive rock,” “classical rock,” “art rock,” “symphonic rock”- these labels have been used over the last twenty-five years by various authors to designate a style of popular music developed in the late 1960s and early 1970s, primarily by British rock musicians.’ During this time groups such as King Crimson, the Moody Blues, Procol Harum, the Nice (and later Emerson, Lake, and Palmer), Gentle Giant, Genesis, Yes, Jethro Tull, Van der Graaf Generator, and Deep Purple attempted to blend late-’60s and early-’70s rock and pop with elements drawn from the Western art-music tradi- tion.2 This attempt to develop a kind of “concert-hall rock‘‘-which was neverthe- less still often performed in stadiums and arenas-was the result of a tendency on the part of some rockers and their fans to view rock as“listening music” (as opposed to dance music), an aesthetic trend that Wilfrid Mellers3 attributes to the influence of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band of 1967.4 The early progressive rockers were not the first to employ musical elements gen- erally associated with the “classical” or art-music tradition in their arrangements. The mid- 1960s British-invasion groups, in an apparent attempt to surpass one another in eclecticism, began to use instruments and stylistic elements drawn from both the British music-hall and European art-music traditions. Music-hall elements are present, for instance, in Peter and Gordon’s “Lady Godiva” (1966) and Herman’s
    [Show full text]
  • Download Just the Tracklists & Artwork
    POST PUNK 198O When my interest in post-punk blossomed into a bit of an obsession, my mind fixed on two years: 1979, which seemed to have a disproportionate number of the period-defining all-time-great LPs; and 1981, which had its fair share of great albums by big names, but more significantly was seemingly endless in its supply of lesser-knowns of incredible quality and diversity. For this reason, I focused first on 1981 in the eponymous ‘1981’ box set I made between 2003 and 2004, that consisted of nine themed CD-length mixes and a whole additional mp3 “briefcase” disc, which in total featured hundreds of bands and artists. But I’d actually first made a 3-mix 1979 set for friends the year before, which finally blossomed into the (relatively) tight ‘1979: Post-Punk’ set from 2017. For whatever reason, I’d subconsciously always thought of 1980 as sort of the breather between these two different high-water-mark years. Finally, I’ve set out to delve more consciously into that elusive year of post-punk. The result of my reconsideration is this, the final box-set of a trilogy of explorations: ‘Post Punk 1980’. I could perhaps say a slightly lower proportion of my all-time favorite post- punk/new-wave/etc. albums were released in 1980, the kernel of truth in the way I’d thought of the year. But, unsurprisingly, the bigger realization as I assembled this collection was that 1980 was in no way, shape or form a down year. In fact, the explosion of quality-and-quantity nearly matches 1981.
    [Show full text]