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Downloadable Tracks As Mp3 and Wav (For Broadcast) City Research Online City, University of London Institutional Repository Citation: Inskip, C. (2010). Upbeat and Quirky, With a Bit of a Build: Communicating Meaning and Meeting Information Needs in the Music Industry. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1122/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Upbeat and Quirky, With a Bit of a Build Communicating Meaning and Meeting Information Needs in the Music Industry. Charles Inskip Submitted for PhD, September 2010 City University London, Department of Information Science, School of Informatics. 1 Contents 1. INTRODUCTION ............................................................................... 16 i. Meaning ......................................................................................................... 16 ii. Context........................................................................................................... 17 iii. Aims and objectives ...................................................................................... 18 iv. Findings ......................................................................................................... 19 v. Structure ........................................................................................................ 19 vi. Sources ........................................................................................................... 20 2. MEANING, COMMUNICATION, MUSIC: TOWARDS A REVISED COMMUNICATION MODEL ............................................................................. 22 i. Introduction .................................................................................................. 22 ii. Music .............................................................................................................. 23 a. Function: ............................................................................................. 24 b. Organisation and Description ............................................................. 25 c. Digitisation .......................................................................................... 26 d. Queries ................................................................................................ 27 e. Popular music ...................................................................................... 27 iii. Meaning ......................................................................................................... 28 a. Musical analysis .................................................................................. 28 b. Semiotics ............................................................................................. 30 c. Social Semiotics .................................................................................. 32 d. Semiotics of Music ............................................................................. 33 e. Semiotic analysis of popular music .................................................... 34 f. Coding ................................................................................................. 36 iv. Communication............................................................................................. 37 a. Models of communication. ................................................................. 38 b. Musical Communication ..................................................................... 39 v. User Centred Communication Model ......................................................... 41 vi. Conclusion ..................................................................................................... 42 2 vii. Next steps ....................................................................................................... 43 3. METHODOLOGY............................................................................... 44 i. Introduction .................................................................................................. 44 ii. Aims and Objectives ..................................................................................... 44 iii. Scope and definition ..................................................................................... 45 iv. Relating the design of the research to the paradigm ................................. 45 v. The strategies of inquiry .............................................................................. 51 a. Grounded Theory ................................................................................ 51 b. Discourse Analysis .............................................................................. 56 vi. Choice of method .......................................................................................... 60 vii. Collecting the data ........................................................................................ 62 a. Sample / scope .................................................................................... 62 b. Ethics ................................................................................................... 66 c. Interviews ............................................................................................ 67 d. Observation ......................................................................................... 71 e. Collecting textual information ............................................................ 71 f. Systems evaluation .............................................................................. 71 viii. Summary ....................................................................................................... 72 4. MUSIC AND FILMS ........................................................................... 73 i. Introduction .................................................................................................. 73 ii. Use of Music in Films ................................................................................... 74 iii. Methodology .................................................................................................. 74 iv. Analysis and discussion ................................................................................ 76 a. Stakeholders ........................................................................................ 76 b. Briefs ................................................................................................... 77 c. Product knowledge .............................................................................. 79 d. Relevance ............................................................................................ 81 e. Meaning .............................................................................................. 82 f. Context ................................................................................................ 82 v. Discussion ...................................................................................................... 83 3 a. Process ................................................................................................ 83 b. Content or context? ............................................................................. 84 vi. Conclusion ..................................................................................................... 85 vii. Next steps ....................................................................................................... 85 5. ORGANISING MUSIC ....................................................................... 86 i. Introduction .................................................................................................. 86 ii. Music search engines .................................................................................... 86 iii. Methodology .................................................................................................. 87 iv. Organization: facets ..................................................................................... 88 a. Unknown item ..................................................................................... 90 b. Description .......................................................................................... 90 c. Genre ................................................................................................... 91 d. Lyrics / Subject: .................................................................................. 93 e. Mood ................................................................................................... 94 f. Keyword .............................................................................................. 95 g. Musical features .................................................................................. 95 v. Discussion .....................................................................................................
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