Characterizing the Landscape of Musical Data on the Web: State of the Art and Challenges

Musical data can be analysed, combined, transformed and exploited for diverse purposes. However, despite the proliferation of digital libraries and repositories for music, infrastructures and tools, such uses of musical data remain scarce. As an initial step to help fill this gap, we present a survey of the landscape of musical data on the Web, available as a Linked Open Dataset: the musoW dataset of catalogued musical resources. We present the dataset and the methodology and criteria for its creation and assessment. We map the identified dimensions and parameters to existing Linked Data vocabularies, present insights gained from SPARQL queries, and identify significant relations between resource features. We present a thematic analysis of the original research questions associated with surveyed resources and identify the extent to which the collected resources are Linked Data-ready

The Industry and the Unions: An Overview

[Excerpt] This overview chapter provides a framework for the chapters that follow by broadly describing the arts, entertainment, and electronic media (AEEM) industry and the problems confronting it. The overview is presented in four sections focused on: first, the economic structure of the industry; second, unions and bargaining structure; third, the impact of technological changes; and fourth, historical responses on the part of unions and the labor relations system to technological change

Wireless Play and Unexpected Innovation

Part of the Volume on Digital Young, Innovation, and the Unexpected. This chapter considers play as leading to unexpected innovation in advanced wireless technologies. It concludes that much of the potential for new media to enhance innovation actually echoes much older patterns, as evidenced by comparisons to wireless history. These are patterns of privilege, particularly class and gender privilege, reinforced by strict intellectual property protections. Detailed case studies are presented of the "wardrivers," young male computer enthusiasts who helped map wi-fi signals over the past decade, and of earlier analog wireless enthusiasts. The chapter offers a solid critique of many present-day celebrations of technology-driven innovation and of the rhetoric of participatory culture

The Graeme Bell All Stars: Play On

In the golden era of Australian jazz, the Graeme Bell Allstars were icons. From touring the globe to hosting their own television show, they captured the world with their music. Graeme Bell came out of retirement at the age of 88 to reform his band. For over 3 years they enjoyed sold out performances and standing ovations at jazz festivals around Australia, climaxing in one final performance for Graeme\u27s 90th birthday. On tour & at home Graeme & his band reflect on their love of music, their history and their legacy. Accessed from: http://www.nfsa.gov.au/the_collection/ This jazz documentary, screened on ABC TV in 2006 and was made with the assistance of the National Film and Sound Archive. The Graeme Bell All Stars: Play On, focuses on the famous Australian jazz band, and features interviews with a number of Australian jazz stalwarts, including Bob and Len Barnard, Bob Henderson, Kate Dunbar and the legendary Graeme Bell. Marco Ianniello said the film was not intended as a history, but as a celebration of the band, the music and the legacy they are leaving behind . It was filmed in 2004 during Graeme Bell\u27s 90th birthday Reunion Band Tour. Veteran jazz aficionado Bill Haesler has said of the documentary: The film is wonderfully produced and photographed. A real winner, and one of the best jazz docos I\u27ve seen. Accessed from: http://www.afc.gov.au/newsandevents/at_archive/access/jazzdoco/newspage_304.aspx A one hour documentary following the legendary Australian jazz band which screened on the ABC in 2006. Staff and Students of the University of Notre Dame may access this documentary from St Benedict\u27s Library, Sydney

U.S. Radio in the 21st Century: Staying the Course in Unknown Territory

This essay examines the development of the radio industry in the United States as it makes its way into the 21st century. Issues of regulation, technology, commerce, and culture are addressed

From ‘Spiral Scratch’ to PledgeMusic: The Birth & Rebirth of Punk Culture’s Entrepreneurial Spirit

Punk has come a long way from its prematurely declared death in the early-1980s to being not-so-dead after all in the 1990s to still being ‘alive, loud and kicking' today. This paper examines how punk culture's inherent entrepreneurial DIY spirit has kept it alive after returning to its underground origins. While much has been made in the recent literature about social media and the digital revolution's role in democratising the access to the marketplace, (self-)branding, entrepreneurship, crowdsourcing and co-creation of products and meaning have been at the heart of punk culture since its beginning - and long before people ever dreamed of digitalisation. Buzzcocks' self-funded EP ‘Spiral Scratch' is widely credited with being the first independent and crowdfunded record ever to hit the marketplace. Although most classic punk bands were actually signed by major record labels, numerous independent record labels have followed the ‘Spiral Scratch' business model ever since. In recent years, after being dropped by their labels, many of those bands have moved to PledgeMusic, not only to crowdfund and sell their new albums, but also to revive the entrepreneurial spirit of the past that has truly 'democratised' the marketplace. Interestingly, PledgeMusic's most popular music format is vinyl

The Allure of Celebrities: Unpacking Their Polysemic Consumer Appeal

The file attached to this record is the author's final peer reviewed version.To explain their deep resonance with consumers this paper unpacks the individual constituents of a celebrity’s polysemic appeal. While celebrities are traditionally theorised as unidimensional ‘semiotic receptacles of cultural meaning’, we conceptualise them here instead as human beings/performers with a multi-constitutional, polysemic consumer appeal. Supporting evidence is drawn from autoethnographic data collected over a total period of 25 months and structured through a hermeneutic analysis. In ‘rehumanising’ the celebrity, the study finds that each celebrity offers the individual consumer a unique and very personal parasocial appeal as a) the performer, b) the ‘private’ person behind the public performer, c) the tangible manifestation of either through products, and d) the social link to other consumers. The stronger these constituents, individually or symbiotically, appeal to the consumer’s personal desires the more s/he feels emotionally attached to this particular celebrity. Although using autoethnography means that the breadth of collected data is limited, the depth of insight this approach garners sufficiently unpacks the polysemic appeal of celebrities to consumers. The findings encourage talent agents, publicists and marketing managers to reconsider underlying assumptions in their talent management and/or celebrity endorsement practices. While prior research on celebrity appeal has tended to enshrine celebrities in a “dehumanised” structuralist semiosis, which erases the very idea of individualised consumer meanings, this paper reveals the multi-constitutional polysemy of any particular celebrity’s personal appeal as a performer and human being to any particular consumer

Cultural Capital: Challenges to New York State’s Competitive Advantages in the Arts and Entertainment Industry

This is a report on the findings of the Cornell University ILR planning process conducted with support of a grant from the Alfred P. Sloan Foundation to investigate trends in the arts and entertainment industry in New York State and assess industry stakeholders’ needs and demand for industry studies and applied research. Building on a track record of research and technical assistance to arts and entertainment organizations, Cornell ILR moved toward a long-term goal of establishing an arts and entertainment research center by forging alliances with faculty from other schools and departments in the university and by establishing an advisory committee of key players in the industry. The outcome of this planning process is a research agenda designed to serve the priority needs and interests of the arts and entertainment industry in New York State

Pop stars and idolatry: an investigation of the worship of popular music icons, and the music and cult of Prince.

Prince is an artist who integrates elements from the sacred into his work. He uses popular iconography to present himself as an icon of consumer culture, as a deified ‘rock god’ worshipped by his fans, and as a preacher leading his audience like a congregation. His personality cult mixes spirituality and sexuality, and deals with issues of ecstasy and liberation, a transgressional approach that draws both controversy and public interest. This paper investigates Prince’s work and the role of the pop star as an icon within contemporary culture, an icon that contains a physicality and sexuality not present in contemporary western religious traditions. It discusses to what extent popular musical culture operates as a form of religious practice within contemporary western culture, and the implications that this has. The paper investigates the construction of Prince’s public character, his manipulation of the star system, and how he uses popular iconography to blur the distinctions between spirituality and sexuality, the idealised performer and the real world, the sacred and the profane, and the human and the divine. It explores how he possesses and is possessed by the audience, who enter into the hollow vessel he offers up to his fans