46,292 research outputs found

    Live Music vs Audio Tourism

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    Inaugural professorial lecture given on 11 November 2008 at SOAS. Concepts attached to 'world music', commodification, the challenges of the changing music industry, distinctions between the commercial side of world music and academic courses/degrees, and strategies for sustaining traditional music and the livelihood of musicians specialising in it

    Singing all the Way to the Bank: The Case for Economic Development through Music in Cape Verde

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    There has been an increasing awareness within the developed world that the cultural industries may play an important role in economic development. The fact that most of the commercial cultural industries have relatively low distribution costs, and that the gains from the mass production of a ‘hit’ recording can be substantial, have alerted policy makers to the possibility of a more dispersed location pattern; one that possibly need not concentrate at the core. Moreover, there is acknowledgement that all countries have a potential cultural heritage elements of which might be translated into cultural industries products; in fact, in a market place where novelty is king, new ideas and novel formulations are likely to be at the leading edge. Put simply, the cultural industries have been shown to be net positive contributors to economic growth; the cultural industries are not necessarily rooted in one place, production can move to the talent and visa versa; both can still have access to a market. Nations and regions that are able to make a contribution to cultural industries production may reap considerable local benefits. Cape Verde's prosperity resides in the intellectual capacity of its people; and Cape Verde’s history has many examples of how challenge and adversity can be transformed into hope and opportunity. Cesaria Evora put Cape Verde on the map for many people to listen to and enjoy: this has been welcomed news. The even better news is that Cape Verde has a seemingly never-ending source of talented singers and performers waiting to be discovered and promoted on the international scene, just like Brazil with its young soccer players. This paper will try to show how the development of a vibrant and active music industry in Cape Verde can provide this country with a medium for long term economic growth and development. It uses a few case studies to illustrate this point: Senegal, Austin, and Jamaica. Finally, it provides a way forward for what should be the key elements of a strategy that Cape Verdeans should develop to brand and build a globally competitive Cape Verdean Music industry.Cape Verde, Economic Development, Music

    From the western classics to the world: secondary music teachers' changing attitudes in England 1982 and 1998

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    Two parallel samples of secondary music teachers in England, taken from 1982 and 1998, reveal similarities and differences in their evaluations and uses of twentieth and pre-twentieth century Western classical music, folk music, popular music, jazz and ‘world’ music. Least change occurs with relation to folk and pre-twentieth century classical music; most with relation to popular and world musics. The status of classical music is high in each of the two time periods, but in different ways. By the end of the century, teachers’ views of musical value have overall, shifted radically towards more global perspectives, and their classroom approaches include far more integrated practical work involving performing, composing and listening, with an emphasis on cross-stylistic comparisons and musical universals

    Artefacts, stories & photographs : do they work as a tool for cultural understanding & humanitarian learning? : a thesis presented in partial fulfilment of the requirements for the degree of Master of Education in Adult Education at Massey University

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    This thesis is a qualitative, ethnographic study, which examines the assumption that at the heart of worthwhile teaching and learning is our shared humanity. Artefacts, stories and photographs are explored as vehicles through which learners critically examine and share their cultural learning and perceptions of what is significant and valuable. In this way artefacts, stories and photographs provide a conduit for learning between and among people of diverse cultures. I believe such learning celebrates our shared humanity, which is deliberately defined in positive terms as "the best that encompasses the collective quality and characteristics of all people including kindness, compassion, empathy, humility, caring and thoughtfulness" Learning that celebrates our humanity may be considered a positive force and humanitarian in nature. In the context of this thesis I speak of and describe humanitarian learning as "the development of understanding of self and others through the sharing of personal, cultural and social experiences that exemplify the attitudes and values needed for responsible citizenship and dignified relationships. Rich sources of ideas, expertise and perceptions about relevant experience have been drawn from various authors and educators. Key documentation from the International Baccalaureate Organisation, (IBO), including "A Continuum of International Education"(2002) and the work of the former Director General of the IBO. Professor George Walker also provided useful resource material. The data was generated through questionnaires and photographs focussing on cultural artefacts with personal meaning, documenting the voices, reflections, interactions, and perceptions of the participants about the significance of cultural diversity in their lives and education. The data is presented in a series of charts and graphic organisers linked with the IBO expected teaching practices. These are analysed in the context of intercultural understanding and humanitarian learning, a notion developed and examined in this thesis with a view to how it may be supported. In analysing the data, the following key points emerged. • Personal multicultural experiences, a sense of global awareness and a thorough appreciation of people from differing backgrounds are considered highly significant in humanitarian learning • Stories, artefacts and photographs create an accessible, versatile and effective human connecting instrument enabling humanitarian learning • Stories, artefacts and photographs can illuminate cultural conflict, tension and misunderstanding. Suggestions and recommendations for ways that humanitarian learning can be fostered in a climate defined by tolerance, respect and responsibility include: • The need to make more explicit the obligations of learners to develop perspectives, intuition and empathy so they know themselves and others and are able to view cultural difference as enriching • The notion of learning as humanitarian is worthy of greater emphasis and implementation in educational organisations • The recognition that areas of tension between people have great potential for meaningful growth of understanding across cultures. This thesis provides a springboard for more serious consideration and action towards initiating learning that purposefully fosters people knowing each other in a spirit of global responsibility

    Cultural transmission modes of music sampling traditions remain stable despite delocalization in the digital age

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    Music sampling is a common practice among hip-hop and electronic producers that has played a critical role in the development of particular subgenres. Artists preferentially sample drum breaks, and previous studies have suggested that these may be culturally transmitted. With the advent of digital sampling technologies and social media the modes of cultural transmission may have shifted, and music communities may have become decoupled from geography. The aim of the current study was to determine whether drum breaks are culturally transmitted through musical collaboration networks, and to identify the factors driving the evolution of these networks. Using network-based diffusion analysis we found strong evidence for the cultural transmission of drum breaks via collaboration between artists, and identified several demographic variables that bias transmission. Additionally, using network evolution methods we found evidence that the structure of the collaboration network is no longer biased by geographic proximity after the year 2000, and that gender disparity has relaxed over the same period. Despite the delocalization of communities by the internet, collaboration remains a key transmission mode of music sampling traditions. The results of this study provide valuable insight into how demographic biases shape cultural transmission in complex networks, and how the evolution of these networks has shifted in the digital age

    A design method for modular energy-aware software

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    Nowadays achieving green software by reducing the overall energy consumption of the software is becoming more and more important. A well-known solution is to make the software energy-aware by extending its functionality with energy optimizers, which monitor the energy consumption of software and adapt it accordingly. Modular design of energy-aware software is necessary to make the extensions manageable and to cope with the complexity of the software. To this aim, we require suitable methods that guide designers through the necessary design activities and the models that must be prepared during each activity. Despite its importance, such a method is not investigated in the literature. This paper proposes a dedicated design method for energy-aware software, discusses a concrete realization of this method, and—by means of a concrete example—illustrates the suitability of this method in achieving modularity

    Music 2025 : The Music Data Dilemma: issues facing the music industry in improving data management

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    © Crown Copyright 2019Music 2025ʼ investigates the infrastructure issues around the management of digital data in an increasingly stream driven industry. The findings are the culmination of over 50 interviews with high profile music industry representatives across the sector and reflects key issues as well as areas of consensus and contrasting views. The findings reveal whilst there are great examples of data initiatives across the value chain, there are opportunities to improve efficiency and interoperability

    Innovation Dynamics and Evolutionary Economic Paths in the Music Industry

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    This work aims at analysing the evolution of music industry, since the beginning of music marketed as a product for the masses until the new frontiers of digital music. Our goal is to identify which factors played a key role in the evolution of the demand in the last years and in the largely discussed crisis of the international music market. In order to reach our goal, it is necessary to contextualise the analysis, starting from the definition of the so-called pop music, or popular music, that must not be confused with the expression “musica popolare†that in Italian defines folk traditional music. We analysed diverse sets of data, ranging from economic ones to sociology-related studies, which helped us to understand, through the contribution of several schools of thought, which factors influence music consumption and to what extent demand and supply influence each other. Our work focuses on the conception of the music market as an eclectic sector of cultural industry, halfway between entertainment, leisure and culture. Music can be used in several ways, and during the years the use has been modified by the implementation of new technological means (particularly referring to the phonograph) by the attempt to satisfy needs that change constantly, such as self-accomplishment, social aggregation or escape from the routine. On the basis of these needs the industry periodically tried to control demand through push strategies, trying to impose new musical trends and pull strategies, adapting to the consumption trends registered. It is important to determine to what extent acting on the market influenced the current situation and whether in this context music is the only element to take into account or not. Our idea is that music does not always play a key role in demand dynamics, that is to say music influences consumption to the extent it is able to meet specific requests by the public, that sometimes are not strictly related to the product itself. Because of the uncertainty of the record industry, technology, market situation and demand become extremely interdependent factors.Schumpeterian dynamics; Music industry; Appropriability; Radical innovations
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