A Case Study Of The Music Industry

Every industry in the world is affected by technological advancements.  As new products and methods are invented, old products and methods become obsolete.  Perhaps no industry illustrates this basic principle better than the music industry. From the invention of sheet music to the digital music files known today, the music industry has remade itself time after time.  With the development of the latest technology, old products have repeatedly been abandoned.  This case will explore the history of the music industry by highlighting the various technologies that changed the industry.  In addition, a discussion will be offered to explore possible future directions of the industry

Music and Digital Media

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of anextra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory. Praise for Music and Digital Media ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, Communication Studies and Art History, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, Anthropology, University of California at Santa Cruz 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication, musician and writer ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, Music, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, Media and Communication, University of Leeds ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, Anthropology, University of Texas, Austi

Music and Digital Media: A planetary anthropology

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of an extra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory

Music and Digital Media

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of anextra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory. Praise for Music and Digital Media ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, Communication Studies and Art History, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, Anthropology, University of California at Santa Cruz 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication, musician and writer ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, Music, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, Media and Communication, University of Leeds ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, Anthropology, University of Texas, Austi

Standardised criteria for classifying the International Classification of Activities for Time-use Statistics (ICATUS) activity groups into sleep, sedentary behaviour, and physical activity

Background Globally, the International Classification of Activities for Time-Use Statistics (ICATUS) is one of the most widely used time-use classifications to identify time spent in various activities. Comprehensive 24-h activities that can be extracted from ICATUS provide possible implications for the use of time-use data in relation to activity-health associations; however, these activities are not classified in a way that makes such analysis feasible. This study, therefore, aimed to develop criteria for classifying ICATUS activities into sleep, sedentary behaviour (SB), light physical activity (LPA), and moderate-to-vigorous physical activity (MVPA), based on expert assessment. Method We classified activities from the Trial ICATUS 2005 and final ICATUS 2016. One author assigned METs and codes for wakefulness status and posture, to all subclass activities in the Trial ICATUS 2005. Once coded, one author matched the most detailed level of activities from the ICATUS 2016 with the corresponding activities in the Trial ICATUS 2005, where applicable. The assessment and harmonisation of each ICATUS activity were reviewed independently and anonymously by four experts, as part of a Delphi process. Given a large number of ICATUS activities, four separate Delphi panels were formed for this purpose. A series of Delphi survey rounds were repeated until a consensus among all experts was reached. Results Consensus about harmonisation and classification of ICATUS activities was reached by the third round of the Delphi survey in all four panels. A total of 542 activities were classified into sleep, SB, LPA, and MVPA categories. Of these, 390 activities were from the Trial ICATUS 2005 and 152 activities were from the final ICATUS 2016. The majority of ICATUS 2016 activities were harmonised into the ICATUS activity groups (n = 143). Conclusions Based on expert consensus, we developed a classification system that enables ICATUS-based time-use data to be classified into sleep, SB, LPA, and MVPA categories. Adoption and consistent use of this classification system will facilitate standardisation of time-use data processing for the purpose of sleep, SB and physical activity research, and improve between-study comparability. Future studies should test the applicability of the classification system by applying it to empirical data

Responses of Private and Public Schools to Voucher Funding: The Czech and Hungarian Experience

A state monopoly in schooling followed the collapse of communism in Central Europe. The centrally planned system was abandoned. Systems comparable with educational voucher scheme, also known as school choice system, were introduced in the Czech Republic and Hungary in the early 1990s. The newly established system of school financing allocates public funds according to the number of students enrolled in a school. Accredited non-state schools, private and religious, are also eligible for public subsidies. The scope and the form of these reforms represent a unique opportunity to test conflicting hypotheses of proponents and opponents of the voucher scheme. In this empirical analysis, we test fundamental theoretical predictions of the voucher model. Specifically, we test: i) whether non-state schools are established at locations where the supply of educational opportunities provided by state schools is low or of low quality, ii) whether state and non-state schools in such a system respond to changes in demand for education, and iii) whether state schools respond to competition from non-state schools. We use detailed school level data on the whole population of schools and data on regional conditions. In our econometric model we estimate education value added, instead of relying on absolute quality of school graduates. We find that non-state schools emerge at locations with excess demand and lower quality state schools. We also find that greater competition from non-state schools creates incentives for state schools with the result that state schools slightly improve the quality of educational inputs used and significantly improve their output, quality of graduates. As concerns the technical schools, we find that non-state schools react to regional labor market conditions in terms of technical branch premium and unemployment rate. We do not find such reactions to market signals by state schools. We introduce this analysis with a review of non-state schools' development in the Czech Republic and Hungary during the 1990s.http://deepblue.lib.umich.edu/bitstream/2027.42/39744/3/wp360.pd

The cultural industries: creative definitions, quantifications and practice

This submission is in five sections and includes my analysis of the New Labour Creative Industries Policy, including a discussion of definitional and data issues, followed by a summary of my contribution to the field through the cited public works and a conclusion. The body of knowledge represented in the selected studies and published works contributes to two major activities: vocational learning and the cultural and creative industries. On first reading, these seem incompatible; however, vocational learning is a key component of creative industries development and to understand the issues in vocational learning, an industrial context - in my case, the creative industries - is helpful. However, this submission relies on my works in the creative and cultural industries, with supplementary references to my public contribution in the vocational learning arena. The particular focus of the earlier published works surrounds a groundbreaking project, the Artist in Industry scheme. This scheme was the first of its kind in the United Kingdom, and took public funding of the arts into uncharted territory by connecting artists, companies and employees in a structured and organised manner. It is the interaction between the artist as worker in the workplace and employees in the company that made the scheme important and thus provides a logical starting point for this submission. Consequently, there are few references to my work before 1980. The overall contribution to professional practice in this submission can be summarised as breaking new ground in the relationship between the arts and industry, significantly influencing vocational education and training in the cultural field (particularly higher education) with a recognised contribution to a reappraisal of the creative industries' definitional frameworks, development of primary baseline methodology and provision of new data on the sector. This has required an understanding and critiquing of the concepts employed by government and related agencies, the suggestion of alternatives, and the development of work-based projects built around consultancy activities to test methodologies and provide new intelligence to inform practice