Independent Music

This article examines the relationship between the practices of do-it-yourself (DIY) micro-independent record labels in the UK and wider mediated discourses surrounding the music industry. It is suggested that a heightened version of the art versus commerce dichotomy central to rock ideology provides the basis for a number of legitimizing theories through which the aesthetic and industrial conventions of these practitioners are justified and given importance. First, the article suggests that these legitimizing theories serve to narrow the scope of, and draw distinct boundaries around, small-scale cultural production. Second, through a self-conscious critique of globalized corporate media they serve as an engagement with the politics of cultural production and, ultimately, media power. Finally, using two prominent case studies relating to new technology (Arctic Monkeys and Clap Your Hands Say Yeah) the article examines the ways in which discourses relating to DIY cultural production ...

This article examines how four Portuguese independent labels established, throughout this century, do-ittogether (DIT) strategies that surpass conventional do-it-yourself (DIY) methodologies, orienting themselves towards collaborative paradigms of sustainability within a scenario of structural instability. The investigation analyses four record companies-Lovers & Lollypops, Omnichord Records, Revolve and Zabra Recordsexploring how these initiatives overcome structural issues. The study identifies four specific DIT modalities based on strategic cooperation: functional diversification, cultural territorialisation, collaborative economic democracy and transdisciplinary experimentation. The results reveal how the DIT ethos challenges the contemporary individualisation of musical production, demonstrating that collective alternatives overcome limitations of the 'DIY' model through shared infrastructures, mutual support networks and organisational hybridisation. Theoretically, the article distinguishes DIT as an advanced evolution of DIY ethics that redefines urban territories, strengthens local identities and creates typical economies for the indie milieu. Empirically, it offers an analytical framework transferable to similar conjunctures, demonstrating that the pursuit of cultural sustainability depends less on abundant capital than on capacity for social articulation and collective adaptive creativity.

ha tenido lugar en los últimos diez años una significativa proliferación de emprendimientos musicales editoriales y en vivo de pequeña escala de producción, dando lugar a la constitución de una denominada "escena musical independiente". Diferenciada del mercado históricamente concentrado de la música, sin recitales gigantes, empresas multinacionales o producción masiva de discos, constituye un mosaico heterogéneo de instituciones, actores, prácticas y procesos reunidos bajo la noción de "independencia". Asimismo, su desarrollo es paralelo a una creciente consolidación de la "cultura" como término de moda, no sólo en las ciencias sociales sino aun en agendas gubernamentales de planes de desarrollo o en boca de inversores privados cuando se habla de responsabilidad social empresaria. Nuestro objetivo se centra en explorar, desde una mirada cualitativa del fenómeno a través de entrevistas en profundidad, las características de esta "escena", sus actores sociales, las prácticas que desarrollan así como sus conflictos y tensiones, convencidos de que reconocer a las prácticas aglutinadas bajo el rótulo de "culturales" su lugar social es un primer paso para atender al profundo sentido de actualidad que revisten en pos de una aproximación crítica hacia la totalidad social.

Key debates of contemporary cultural sociology -the rise of the 'cultural omnivore', the fate of classical 'highbrow' culture, the popularization, commercialization and globalization of culture -deal with temporal changes. Yet, systematic research about these processes is scarce due to the lack of suitable longitudinal data. This book explores these questions through the lens of a crucial institution of cultural mediation -the culture sections in quality European newspapersfrom 1960 to 2010. Starting from the framework of cultural stratification and employing systematic content analysis both quantitative and qualitative of more than 13,000 newspaper articles, Enter Culture, Exit Arts? presents a synthetic yet empirically rich and detailed account of cultural transformation in Europe over the last five decades. It shows how classifications and hierarchies of culture have changed in course of the process towards increased cultural heterogeneity. Furthermore, it conceptualizes the key trends of rising popular culture and declining highbrow arts as two simultaneous processes: the one of legitimization of popular culture and the other of popularization of traditional legitimate culture, both important for the loosening of the boundary between 'highbrow' and 'popular'. Through careful comparative analysis and illustrative snapshots into the specific socio-historical contexts in which the newspapers and their representations of culture are embedded -in Finland, France, Spain, Sweden, Turkey and the UK -the book reveals the key patterns and diversity of European variations in the transformation of cultural hierarchies since the 1960s. The book is a collective endeavour of a large-scale international research project active between 2013 and 2018.

El objetivo de esta investigación fue analizar el campo de la música popular en Chile entre los años 2010-2020, específicamente en los géneros de música urbana, pop e indie a partir de la experiencia de los agentes involucrados en la creación-producción y los registros industriales e institucionales del sector. Para esto, se diseñó un estudio exploratorio y descriptivo de tipo mixto, que incluyó el análisis de datos secundarios, como plataformas de distribución de música, y la realización de entrevistas semiestructuradas con músicos, productores, críticos y otros agentes del campo de la música chilena.

Abstract

This article explores the extent and nature of Indian cultural hegemony within Bangladesh’s music industry and education system. Drawing on Antonio Gramsci’s theory of cultural hegemony, it critically examines how Indian influence has become deeply embedded within the cultural and educational frameworks of Bangladesh, from the dominance of Bollywood soundtracks to the preferential treatment of Indian classical music pedagogy in local music institutions. The article investigates key mechanisms sustaining this influence, such as the Indian Council for Cultural Relations (ICCR) scholarships, economic dependencies, and mass media dominance. It also highlights the marginalization of Bangladesh’s indigenous musical traditions and the lack of diversification in music education. Furthermore, the piece discusses the Nazrul Sangeet copyright controversy as an example of the broader issue of ownership and cultural control, ultimately calling for a more autonomous and self-sustained musical identity for Bangladesh. Through grassroots movements and digital platforms, emerging Bangladeshi artists and educators are pushing for cultural sovereignty, seeking to reclaim their musical heritage while engaging with global influences. The article concludes with an exploration of whether Bangladesh can break free from Indian cultural dominance and assert its own artistic identity.

en los años 2006 y 2007. El estudio consiste en un análisis sobre ideología y Derechos Humanos. Se analizan las posturas defendidas por los diferentes actores institucionales, también la visión de la fuente elegida, el periódico Al Día. Se concluye la existencia de importantes sesgos ideológicos en los discursos de los distintos actores políticos, por ejemplo la reducción de los hechos, el trato eufemístico, la simplificación de los Derechos Humanos a sólo su expresión legal, entre otros; el tratamiento dado por las instituciones a la xenofobia no combate ese problema social.

cuatro provincias entre 1996 y 2011. La hipótesis central del trabajo es que los gobernadores son los actores que tienen las facultades y el interés de llevar adelante una política de seguridad de izquierda o de derecha según su plan de campaña, que responde a otros condicionantes que no son los supuestos intereses policiales: principalmente los intereses del ejecutivo nacional y la ubicación del elector medio. La contrastación de dicha hipótesis instruye sobre la autonomía relativa de la policía y su papel en la construcción de un relato político siempre demandado sobre la seguridad y los medios para proveerla. Futuras investigaciones deberán profundizar el nuevo enfoque teórico, avanzando no sólo en la explicación de la implementación de las políticas de seguridad sino también en su eficacia Políticas de seguridad, policía, orden público, delitos, Argentina.

The purpose of this special issue of Popular Music and Society is to bring together a series of articles that deal with issues related to music, digitalization, and democracy. Since the 1980s, the impact of digitalization on the production, dissemination, and consumption of music has been immense. Scholars, artists, and policymakers have depicted this as a "digital turn," which can simultaneously be both a potential enhancement of, and a threat to, cultural life. Business futurists and technological optimists have described the increasing financial possibilities created by the new lower cost structures, and visionaries have predicted a greater cultural and creative freedom for larger population groups (e.g. Anderson; Fox; Frost; Lessig). On the other hand, others have questioned the scope of the structural changes in the music industries, emphasizing the reintermediating forces at play and criticizing unfounded hopes of increasing creative activities (e.g. Elberse; Galuszka; Jones). While many of these writings offer a thorough description of technological, industrial, and economic developments, less has been written about the cultural dimensions of the changes. In this connection, it is interesting to ask whether digitalization really has had an impact on, for example, the diversity, equity, access, participation, inclusion, or fairness of music cultures. These kinds of issues are often lumped together in discourses on "democracy" which, despite criticism of their vagueness (e.g. Hesmondhalgh, 2019), seem to persist in popular music studies. From this perspective, it is interesting to ask how music and democracy and the discourses surrounding these phenomena have been influenced by the introduction of digital technology. This includes approaching digitalization and culture not as separate entities linked by a deterministic causal connection but as two sides of the same coin, functioning in mutual interdependency. It is also worth making a division between a narrow "digitization," or the technological methods of converting analogue material into digital bits, and a wider "digitalization," which refers to the way in which many domains of social life are restructured around digital communication and infrastructures (compare, e.g. Brennen and Kreiss). Here we also follow Williamson and Cloonan in adopting a pluralistic model of the music industries which goes beyond a concentration on the recording sector to incorporate live music, the copyright industries, etc. In this introduction, we will give a brief overview of some key approaches to studying the interplay between music, technological development, and democracy. Our aim is not to give a complete summary of the whole research field, but to consider some of the complex issues at play in the attempts to define and analyze the issue of democratization. Thus, we will start off by discussing the dystopian and utopian visions that have permeated much of the debates for a long time. We will then focus on how digitalization has been explained to increase accessibility to culture, often summarized in the concept "democratization of culture," after which we move on to digitalization's potential for so-called "cultural democratization," which refers to greater possibilities for personal creation and self-expression. Finally, we will present briefly the articles included in this special issue.

In the 21st century, independent music creation has become increasingly common. Producing, distributing, and promoting music in a DIY (Do-It-Yourself) manner within the realm of independent music has emerged as a prominent facet of mainstream cultural production. The revenue of independent labels and artists has played a significant role in the global music industry in the past few years, with the rapid growth of music tracks released on streaming platforms. In Taiwan, indie music has become a driving force for musical innovation and industry growth since the mid-2000s. The evolution of ICT technologies and the internet, coupled with DIY practices and entrepreneurial trends, has propelled independent music to new heights. This ascent has been further facilitated by the government's significant popular music subsidy policies since 2007.

This article delves into the dynamics of entrepreneurship and an unique landscape of "subsidyism" in Taiwan's music and social culture, tracing the rise of indie music since the early 2000s. It scrutinizes the transformation of the early DIY ethos into practical entrepreneurialism and its intersection with ongoing government subsidies. As DIY entrepreneurship becomes mainstream in the music business, new power dynamics and competition rules emerge. Over the past 15 years in Taiwan, the resilience of independent music ethos has waned, replaced by a growing zeitgeist of “subsidyism” among practitioners who view securing government subsidies as the new norm. The DIY music career continues to strive for survival within the evolving hegemony of the 21st-century music industry.

Keywords: DIY ethos, entrepreneurialism, subsidyism, popular music policy, independent music

Na confluência de duas leituras sobre o início do século XX, uma relativa
ao processo decadencial experimentado pela civilização e outra concernente à jovem república brasileira, João do Rio, em 1910, concebeu seu primeiro romance – A profissão de Jacques Pedreira.

Espécie de anti-Bildungsroman, A profissão de Jacques Pedreira tematiza a recusa de um jovem a qualquer processo de formação, expressando, alegoricamente, os sentimentos morais que enformavam a “era” e o horizonte posto à jovem república brasileira, em estreita concordância com tais sensibilidades.

A exploração desse romance, focalizando sua fortuna crítica, seu enredo, e o gênero a partir do qual ganha forma na relação com as duas leituras do tempo imbricadas na sua composição, constitui o objetivo maior do artigo.

This dissertation uses a historically-informed ethnographic method to investigate the ways in which the "professional folklore musician" is culturally produced at the National School of Folklore José María Arguedas in Lima, Peru. Efforts to reform tertiary music education in the face of systemic racial discrimination, sexual abuse, and colonial violence have suggested that a more inclusive approach to non-European expressive cultures can alleviate these problems. However, reform proposals lack the empirical evidence to support them, and fail to underscore how music education itself is entangled with the process of colonization and how it reinforces the social hierarchies structured by it. Through fieldwork, semi-structured interviews, and document analysis, this research focuses on: (1) the historical process by which discourses of "music," "folklore," and "professionalism" materialized as part of the emplacement of coloniality in Peru, (2) how this history shapes the ways in which the National School of Folklore produces "folklore professionals," and (3) how its students reproduce, adapt, or resist this model. The analysis shows that these discourses are contested arenas where social hierarchies are affixed and reproduced, while also providing a space for non-dominant expressive cultures to seek social and political legitimation. The "professionalization" that the School promotes, requires a retrofitting of vernacular forms of music and dance into stylized presentational formats and an enculturation of students into "academic" knowledge and ways of iii being. The data also reveals how students creatively produce their identities as "professional folklore musicians" out of a wide variety of sources, sometimes in ways that short-circuit the process of colonial reproduction of privilege and domination. These findings suggest that the reform of tertiary music education should analyze more closely the model of "professional musician" that operates in each context, and how it is entangled with the historical emplacement of coloniality. The dissertation also recommends that efforts at reforming these institutions should study closely the ways in which students culturally produce their professional identities and support those processes in ways that undermine the reproduction of colonial hierarchies.

This study investigates the evolving role of do-it-yourself (DIY) artists in the context of digital transformation, analyzing the delicate balance between maintaining artistic integrity and achieving economic sustainability in the contemporary music industry. By exploring the innovative use of digital platforms, the research highlights the need to foster innovation and ensure sustainable growth as part of a pivotal strategy for these artists. The findings emphasize the complexities and challenges presented by digital platforms, particularly in terms of diverse groups and the potential disparity between artistic and commercial pressures. Drawing from global DIY music scenes, the study underlines the importance of expanding income sources, fostering community-driven growth, and prioritizing genuine artist-fan interactions. The results offer invaluable insights for independent musicians, industry stakeholders, and digital platform developers, emphasizing the interrelationship between artistry, identity, and sustainability in the digital domain.

Las series de televisión ofrecen un campo de estudio privilegiado para investigar cuáles son los paradigmas subyacentes en el conocimiento social de sus potenciales audiencias. Llamamos sociología folk a esas preconcepciones. En este sentido todos somos sociólogos en algún nivel. A pesar de que las relaciones entre los conocimientos cotidianos de la realidad social y la sociología científica son ciertamente complejas, se pueden poner de relieve algunas conexiones interesantes a través del análisis de Cómo conocí a vuestra madre, ya que esta sitcom americana explicita, como hacen los sociólogos, teorías sobre cómo funciona el mundo social. Palabras clave Teoría sociológica, sociología científica, sentido común, series de televisión.

Ampliación del artículo sobre la producción artística musical, de 2007, en COMUNICACIÓN Y MÚSICA II, con comentarios diversos sobre aspectos de la figura del productor musical, desde la gestión técnica y artística hasta la comercialización de la obra musical, su influencia en el estilo y la proyección de los artistas, tanto en lo técnico como en lo comercial y el fenómeno actual de los actuales “montajes” mediáticos y la autoproducción independiente.

Los mercados de educación superior se caracterizan por ser altamente competitivos. En este escenario un grupo de universidades han definido su estrategia de crecimiento a través de la oferta de programas de estudios en el formato a distancia. Esta situación se observa en Chile, donde de un total de 60 universidades que operan en el sector de educación superior, 14 ofrecen este tipo de programas. Sin embargo, en Chile la oferta se concentra principalmente en estudios de capacitación, perfeccionamiento y postítulo. Dado esto, se concluye que es necesario que las instituciones de gobierno regulen la calidad de los programas ofrecidos, y que las universidades operen con responsabilidad. Esto permitirá que el mercado laboral mejore la percepción que tiene sobre la educación a distancia, y con esto que sean más los estudiantes que opten por estos tipos de programas. Educación superior, educación a distancia, dinámica competitiva, posicionamiento, Chile.

This article aims to contribute to a greater understanding of the development of new opportunities for the creation of value within the music economy. The underlying proposition is that the current transformation of recorded music culture into a networked on-demand music culture, one where new digital networked media allow more artists and consumers to act as producers, distributers, publishers, critics etc. is comparable to previous fundamental transformations where new media became the dominant means of production, allocation, perception and use of music. The concluding part of article examines how the new media impacted and challenged the music business' economic value chain.

This study explores the collaborative process of members of DIY art collectives in the Pacific Northwest as understood through a collective action lens focused on the cooperative links and motivations of the art collectives. Participant observation and indepth interviews were used to gather data showing the process of establishing and maintaining membership in a DIY art collective, and the values that motivate the collective's continuation. Drawing on Howard Becker's art world framework as well as literature on social movements and art activism, I show how the DIY art world of this study is fluid, open, and driven by values of social change, community, and freedom of expression.

Música y memoria La representación del detenido-desaparecido en la industria cultural de la Argentina reciente Guillermo Martín Quiña 1 RESUMEN En el presente trabajo abordamos la problemática de la representación de los detenidosdesaparecidos por la última dictadura militar argentina en un producto mercantil cultural concreto: la música. Se trata de una indagación acerca de las características que dicha representación asume, preguntándonos por diversas especificidades que hacen a la industria cultural en tanto tal, a la música como producción simbólica y a los modos de su inscripción en la historia reciente de una lucha política concreta. ¿Qué relevancia analítica asumen las condiciones materiales de existencia de la obra musical en la representación del detenidodesaparecido? ¿Qué vínculo establece la obra musical con su propia condición de producto social? ¿Cómo indagar la relación inherente a la obra musical en tanto producto artístico y objeto mercantil? Intentamos reflexionar críticamente acerca de diversos aspectos que constituyen la relación entablada entre las mercancías culturales en sentido amplio y musicales en particular, y los sujetos colectivos históricos involucrados, atendiendo al carácter industrial que asumen hoy aquellas. Se trata de una reflexión que pretende abonar a la construcción de un interés analítico sobre las transformaciones del campo musical local en los últimos años por parte de las ciencias sociales.

The present paper consists in the development of an interactive digital infographic as an auxiliary tool for independent musicians. This content will act as a facilitator so that these artists have access to the digital marketing mechanisms available for application in the main social media platform. The objectives of this project is to teach the theories and applications of the digital marketing tools available and in addition contribute to fostering independent music and culture. For the accomplishment of this project were studied visual communications, information design, instructional design, cognitive ergonomics and infographic's areas. Furthermore, aiming to produce a quality content the study of digital marketing focused on the music business was deepen. The methodology used on this project was adapted from 3 different authors, based on the design thinking of Ambrose and Harris, focused on web projects, followed by Munari, providing more solidity to the research stages, being finalized with Andrade and his specific creating infografics methodology's. Lastly, the participants opinions of the usability test was taken into consideration, obtaining a product that expresses with the targeting group's language and with content of easy assimilation. In addition, the final project has a clear and informal communication, which allows the user to have freedom of choice over the information they want to consume, allowing different experiences for different levels of prior knowledge about the subject.

Bandung from various discourses is often referred to as the epicenter of the development of popular culture in Indonesia, including the independent music scene. Along the way, being independent or mostly known as "indie" is increasingly popular and then has its own meaning for each musician who adopts and practices it. In addition, the role of the media in music activities is also inevitable. Whether it is  to maintain their relationships with audiences, share informations, or brand theirselves, they do it through the media. This research will provide a typification of how subjective meaning of being independent can be seen from the use and preferences of media by indie musicians. Researchers interviewed four musicians who live in Bandung. Each of the musicians was  interviewed at different times and places. The results show, there are three main types of indie musicians: The Idealists, The Moderates, and The Opportunists. Each type of indie musicians has their own charact...

Esse texto apresenta a trajetória do Grupo Eldorado, de São Paulo, que chegou a ser composto de duas emissoras de rádio (AM e FM), um estúdio, uma gravadora, uma editora musical e uma distribuidora de discos. Sua ênfase, no entanto, será nas atividades do estúdio, criado em 1971, e da gravadora, criada em 1977.

Resumo: Trata-se de um ensaio que descreve e problematiza o vídeo caseiro feito para a canção "Hard Time", pelo músico e artista independente norte-americano Daniel Johnston. O caso específico justifica e dá as bases para uma discussão sobre a cultura Do it yourself, primitivismo, precariedade e espontaneidade no âmbito da música pop. Apoia-se, para tanto, na obra de autores que refletem sobre a cultura pop e suas manifestações independentes e de vanguarda, como Eloy Fernández Porta, Will Gompertz, Dick Hebdige e Simon Reynolds. Evidencia-se que culturas de resistência, como é o caso do Do It Yourself, sempre encontram brechas para manter sua força simbólica à margem do mainstream, gerando novos signos através de um diálogo transgressor com as culturas hegemônicas. Palavras-chave: Do It Yourself; primitivismo; espontaneidade.

Uma das principais características do rock brasileiro é que ele sempre circulou pelo mainstream fonográfico. Em cinqüenta anos de história, o rock brasileiro foi lançado por grandes gravadoras, esteve em trilhas sonoras de telenovelas, entre outros elementos típicos desse modelo de distribuição. Mas, nas últimas duas décadas, é possível notar a formação de um circuito de rock brasileiro entre o mainstream e o underground, um circuito médio. Os principais fatores que possibilitaram a formação desse circuito foram a ressaca do rock brasileiro dos anos 80, o surgimento de novas tecnologias de gravação e, principalmente, a possibilidade de distribuição a partir da internet. O objetivo desse artigo é investigar se essa mudança no modo que o rock brasileiro circula pela indústria fonográfica provoca mudanças mais profundas no gênero.

Resumo: Trata-se de um ensaio que descreve e problematiza o vídeo caseiro feito para a canção "Hard Time", pelo músico e artista independente norte-americano Daniel Johnston. O caso específico justifica e dá as bases para uma discussão sobre a cultura Do it yourself, primitivismo, precariedade e espontaneidade no âmbito da música pop. Apoia-se, para tanto, na obra de autores que refletem sobre a cultura pop e suas manifestações independentes e de vanguarda, como Eloy Fernández Porta, Will Gompertz, Dick Hebdige e Simon Reynolds. Evidencia-se que culturas de resistência, como é o caso do Do It Yourself, sempre encontram brechas para manter sua força simbólica à margem do mainstream, gerando novos signos através de um diálogo transgressor com as culturas hegemônicas. Palavras-chave: Do It Yourself; primitivismo; espontaneidade.

This research paper presents a study on developing a machine learning-based system to provide suggestions for music, utilizing a dataset from Asia's leading music streaming service. The purpose is the study to build a better music system for suggestions and provides personalized recommendations for listeners based on their previous listening behavior. The proposed approach employs both content-based as well as collaborative filtering approaches to produce suggestions. The content-based approach analyzes the properties associated with music, such as genre, tempo, and melody, to find similar songs. The collaborative filtering approach uses user behavior data to recognize other people that have similar hobbies and music preferences and recommends songs that they have listened to. The paper presents the planning and carrying out of the system for a song suggestion, including the data collection, preprocessing, and feature extraction steps. The system is evaluated using the dataset from the music streaming service and compared to a number of baseline algorithms. The conclusions show if the suggested system exceeds the baseline algorithms in relation to recommendation accuracy and diversity. This paper ends with a discussion of conceivable applications and limitations in terms of the planned music recommendation system, as well as future directions for investigating this field. In general, the research demonstrates the effectiveness of methods of learning from machines for building better suggestions for song systems which can improve the music experience with hearing for users.

Indie rock musicians are a group of extra-institutional individuals who play an oftenvibrant role in urban economic development. The organizational structure that guides their professional activities has yet to be investigated. Interviews with 18 indie rock musicians provided a way to investigate organizational structure. They reported a build structure featuring the principles of audience development, slow growth, and unevenness. The constraints of the musician's professional situation require long-term promotion of aesthetic products to a slowly growing audience in a saturated market that produces unevenness through power imbalances. This slow-growing structure contrasts with organizational structures that provide immediate benefits.

Stop inhaling Oxygen and exhaling Carbon Dioxide, because "we did that in the 60s" Andy Ingamells 1 @textscoreaday was a project that ran from 12/10/12 until 12/10/13. A group of five composers and visual artists posted an experimental text score every day on Twitter to the account www.twitter.com/textscoreaday. 2 The German word Geusenwort (from the Dutch Geuzennaam) specifically refers to this kind of linguistic re-appropriation.

This study approached the Hit Song Science problem with the aim of predicting which songs in the Afrobeats genre will become popular among Spotify listeners. A dataset of 2063 songs was generated through the Spotify Web API, with the provided audio features. Random Forest and Gradient Boosting algorithms proved to be successful with approximately F1 scores of 86%.

Em minha tese de doutorado estudo a cena musical alternativa norte catarinense nas décadas de 1990-2000. Para um estudo das bandas, dos integrantes, dos espaços de sociabilidade da cena, faço uso em meu trabalho dos arquivos pessoais de muitos dos participantes da mesma. São cartazes, fotos, vídeos, gravações de fitas demo, fanzines, entre outros materiais, que fazem parte da história da cena. Neste artigo, faço uso da História Oral na interpretação dos arquivos pessoais. E, através da pesquisa nestes arquivos pessoais, busco explicitar um pouco do objeto de minha pesquisa, a cena musical alternativa norte catarinense nas décadas de 1990-2000.

correlacionales entre la disponibilidad per cápita y el consumo hídrico se establece mediante variables valorativas, evaluativas, perceptuales, actitudinales, intencionales y conductuales en torno a las situaciones hídricas de escasez, desabasto e insalubridad. El objetivo del presente trabajo es exponer los EPS para discutir la inclusión de variables exógenas en referencia a variables endógenas a través de modelos teóricos y estructurales. De este modo, los EPS realizados en México muestran que los motivos de ahorro de agua están asociados con los comportamientos de dosificación. En la medida en la que los usuarios del servicio público de abastecimiento quieren pagar menos por el volumen consumido, desarrollan habilidades y estilos de austeridad. La discusión en torno a los EPS permitirá establecer un sistema tarifario de consumo en función de las correlaciones entre las situaciones hídricas y los estilos de consumo.

correlacionales entre la disponibilidad per cápita y el consumo hídrico se establece mediante variables valorativas, evaluativas, perceptuales, actitudinales, intencionales y conductuales en torno a las situaciones hídricas de escasez, desabasto e insalubridad. El objetivo del presente trabajo es exponer los EPS para discutir la inclusión de variables exógenas en referencia a variables endógenas a través de modelos teóricos y estructurales. De este modo, los EPS realizados en México muestran que los motivos de ahorro de agua están asociados con los comportamientos de dosificación. En la medida en la que los usuarios del servicio público de abastecimiento quieren pagar menos por el volumen consumido, desarrollan habilidades y estilos de austeridad. La discusión en torno a los EPS permitirá establecer un sistema tarifario de consumo en función de las correlaciones entre las situaciones hídricas y los estilos de consumo.

Recommendations based on the most popular products in a catalogue is a common technique when information about users is scarce or absent. In this paper we explore different ways to measure popularity in the music domain; more specifically, we define four indices based on three social music services and on web clicks. Our study shows, first, that for most of the indices the popularity is a rather stable signal, since it barely changes over time; and second, that the ranking of popular artists is heavily dependent on the actual index used to measure the artist's popularity.

This article explores the theme of management and production in the field of culture, inquiring about the importance of management processes in the organization, specifying the time of production with its various functional components, distinguishing between the management of for-profit companies and institutions and nonprofit companies.

This paper explores Skiza Tunes' impact on the music industry. In the
process, the research sought answers on how Skiza Tunes disrupted the
Kenyan music industry, the Skiza Tunes platform’s intermediary role,
and its exploitative propensities. It initiates a discussion on Skiza Tunes’
disruptive innovation focusing on its business model, platform
capitalism. The researcher will undertake a comprehensive literature
review on platform capitalism, disruptive innovations and access-based
services’ impact on the music industry. Spotify is an access-based
service that thrives through platform capitalism. The researcher also
conducts in-depth interviews with Kenyan artists, focussing on their
opinions on the impact of Skiza Tunes on their socio-economic
development. Skiza Tunes is significantly transforming the Kenyan
music industry by generating new artist revenue streams. However,
limited literature exists on the impact of Skiza Tunes on the music
industry. Several questions still linger on the intermediary role of the
Skiza Tunes, revenue splits and its exploitative propensities. There
should be deliberate efforts to overhaul the education systems to reflect
the current technological innovations. The skilled labour expected to
drive these disruptive innovations does not get the necessary education,
which slows down the adaption of these technologies in the music
industry.

En 2011 la Universidad Nacional de Avellaneda abría sus puertas y nos brindaba la posibilidad de iniciar una investigación que se mantiene aún en desarrollo. Nos proponíamos construir información sobre el entorno regional en que se inserta la universidad. Por ello el Conurbano bonaerense enmarcó todo el desarrollo de nuestros proyectos, y adoptamos una mirada que nos alejaba de aquella que piensa este territorio como una periferia. Específicamente, nos propusimos estudiar las condiciones de vida y las estrategias de reproducción de un grupo de las clases populares y aportar a una perspectiva teórica de economía popular. En este artículo presentamos el recorrido realizado, un recorrido que nunca fue lineal ni sencillo. Sobre las dudas, los interrogantes y las incertidumbres trazamos el derrotero que presentamos.

El CIDIPROCO, es en sí, un ensayo frente a la pregunta: ¿diseño para quiénes?, de modo que el desarrollo de sus investigaciones puede agruparse en función de los términos de esta interrogación. Por un lado, respecto del “Diseño”, éstas parten de inscribirlo en un campo capaz de instrumentar respuestas proyectuales para un conjunto de necesidades sociales que no encuentran satisfacción en otros campos, ni en el mercado de bienes y servicios. Claro que la delimitación de los problemas que forman parte de este campo se construye, como señalamos antes, en el diálogo entre actores que exceden al ámbito académico. En cuanto al segundo de los términos: “quiénes”, el CIDIPROCO viene produciendo información para un vasto conjunto de hogares que habita en el Conurbano bonaerense

Esse texto pretende discutir o desenvolvimento da produção musical independente no Brasil a partir da análise daqueles que considero seus três principais momentos de articulação: a cena do final dos anos 70, marcada pela atuação do músico e produtor Antonio Adolfo e pela produção desenvolvida em torno do Teatro Lira Paulistana (Sâo Paulo), a cena dos anos 90, impulsionada pelo desenvolvimento das tecnologias digitais de produção e pelas estratégias de terceirização das grandes gravadoras e o momento atual, de inédita articulação da cena independente bem como de sua atuação autônoma em diversos segmentos musicais.

This paper builds on the popular use case of music requests on voice assistants like Siri, Google Assistant, Alexa, and others and explores the different AI and NLP techniques. The paper particularly focuses on how each of these techniques can be applied in the context of musical recommendations and experiences on voice assistants. It enumerates specific problems in the space of music recommendations and illustrates how specific techniques like multi-armed bandits can be applied.

https://doi.org/10.5752/P.2237-9967.2012v1n2p91 | Resumo: O advento e o avanço das mídias comunicacionais nas sociedades contemporâneas tem reconfigurado os modos de estar junto socialmente e alterado o regime do visível. Atentando para as transformações nos modos de ver e de se relacionar, ressaltamos a dimensão espetacular e entretenida implicada na performance dos agentes sociais. A prática performática, por essa via, tem se configurado segundo à lógica mediática e mercadológica, em que sujeitos em (inter)ação se colocam frente ao olhar alheio visando conquistar atenção e alcançar a visibilidade propiciada pelos media. Neste artigo, atemo-nos à ambiência midiática configurada pela internet, mais precisamente os vídeos de Felipe Neto no YouTube, buscando compreender de que modo as imagens possibilitam vinculações sociais.

Este artigo propoe analisar a cancao “Senhas”, da cantora e compositora Adriana Calcanhotto em dialogo com a estetica da poesia concreta e com o movimento tropicalista. Tomando como base o conceito de dialogismo preconizado por Bakhtin, o trabalho propoe uma reflexao sobre a perspectiva dialogica presente na construcao musical da cantora e compositora.

Se analiza el concepto de cultura en su evolución, desde las concepciones etnográficas esencialistas hasta las posiciones materialistas, que, tras la crítica marxista, incorpora la teoría de la agencia. Finalmente, con la ayuda de los estudios latinoamericanos, se entiende el proceso cultural como una modulación especializada en la transmisión de la estructura social, y la producción musical contemporánea como el fetiche que asegura la ilusión de los valores dominantes. Además, incorporando los análisis sociológicos musicales contemporáneos realizados en el mundo anglosajón, se expone que serviría para producir un sustrato ontológico para el yo fragmentado de una posmodernidad que, en realidad, no ha querido superar la metafísica tradicional.

The digitization of music has changed how we consume, produce, and distribute music. In this paper, we explore the effects of digitization and streaming on the globalization of popular music. While some argue that digitization has led to more diverse cultural markets, others consider that the increasing accessibility to international music would result in a globalized market where a few artists garner all the attention. We tackle this debate by looking at how cross-country diversity in music charts has evolved over 4 years in 39 countries. We analyze two large-scale datasets from Spotify, the most popular streaming platform at the moment, and iTunes, one of the pioneers in digital music distribution. Our analysis reveals an upward trend in music consumption diversity that started in 2017 and spans across platforms. There are now significantly more songs, artists, and record labels populating the top charts than just a few years ago, making national charts more diverse from a global ...