The Nigerian gospel music industry has over the years witnessed the emergence of many artistic, cultural and philosophical movements. One of these movements is the “singing-in-tongues” paradigm, ...particularly endorsed by the new generation of Pentecostal hip-hop musicians, many of whom seem bent on redefining the boundaries of Nigerian gospel music. Although remarkable, the singing-in-tongues paradigm (as deployed by Nigerian artistes) has remained understudied or virtually non-theorized by scholars. This paper seeks to fill this apparent gap in knowledge by exploring the singing-in-tongues concept in the light of two philosophical/religious currents, namely esotericism and postmodernism. What has been the place of the singing-in-tongues paradigm in the evolution of the Nigerian gospel music industry? How is singing in tongues esoteric? And how is it a subtle reflection of postmodern Christianity in Nigeria?
This paper explores the wider political economy surrounding the opening of Capitol Records' first Canadian record pressing plant in 1976. This celebrated facility encapsulates much of the optimism ...for Canadian music during this period. As a site of research it reveals a great deal of the complex relationship between a multinational corporation and an evolving national record industry. Further, this paper explores the materiality of popular music and places it within the context of national industrial and cultural policy. This material history brings forth a different account of the role of government policy in the development of this industry, with a greater emphasis on Canadian trade policy than on broadcast regulation. The plant began operation a few years after Canada's broadcasting regulator, the Canadian Radio-Television Commission, implemented Canadian Content regulations in 1971 for the programming of music created by Canadians on Canadian radio stations. 'Beyond the branch plant' draws from archival materials from the EMI Music Canada Archive, housed at the University of Calgary, to offer primary accounts of the development of this plant as well as the economic externalities beyond the music industry that were shaped by this new facility. The conclusions of this study call into question long standing positions regarding the place of national broadcasting content quotas and the growth of cultural industries. It highlights an industrial logic that was largely American in structure and one that indicates that the legacy of these content regulations is more complicated than it is often assumed to be.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
The network traffic monitoring and marketing strategy of online music products in the multimedia environment refers to the use of existing multimedia technologies to analyze the environment of the ...online music industry, accurately locate the needs of product users, and formulate more practical and effective network traffic monitoring and marketing strategies. This paper firstly gives a comprehensive overview of the concept and characteristics of online music and then analyzes the development status of the online music industry. Then, according to the current situation and marketing direction of the industry, three network traffic monitoring and marketing strategies for online music products are proposed. They are marketing strategy based on big data mining, marketing strategy based on new media platform, and marketing strategy based on O2O model. These three network traffic monitoring and marketing strategies all need to rely on the existing multimedia technology. Finally, the effectiveness and practicability of the proposed network traffic monitoring and marketing strategies are analyzed by comparing the network traffic monitoring and marketing strategies of online music products with the traditional marketing strategies in the multimedia environment. The experimental results show that the number of visits to music products under the multimedia environment marketing strategy is 1.2 times that of the traditional marketing strategy, and the download volume is 1.5 times that of the traditional marketing strategy. This has a very good effect on the marketing of online music products.
PurposeThe coronavirus disease 2019 (COVID-19) pandemic has once again brought to our attention one of the three main pillars of sustainability–the environment. It has also brought into sharp relief ...the fragility of the live music festival sector, whose success hinges fundamentally on the capacity for both travel and mass gatherings to occur. Considering this intersection of environmental sustainability and the live music festival sector, this paper–which reports on events occurring long before the global pandemic took hold–examines the ways in which eight Australian folk and world music festivals successfully engage in eco-friendly and pro-environmental practices and educational activities at their events. Findings from this research will assist industry practitioners in being able to engage in similar practices at their events, as well as further academic understandings of the relationship between the environment and the live music sector, and the role of environmental communication practices within this.Design/methodology/approachThis study engaged an exploratory research design using interviews to gain an insight into the perceptions of eight live music festival promoters regarding their patrons' on-site eco-friendly behaviours and engagement with the eco-friendly initiatives at their events.FindingsSocial support within the on-site festival community (applied here through the notion of a sense of communitas), coupled with the provision of eco-friendly initiatives and effective environmental communication approaches, were key pivot drivers to support patrons' pro-environmental behaviours. Engagement with environmental authorities and experts during the festivals was found to validate their eco-friendly approaches.Originality/valueThis paper provides details of, as well as insights into, the success of the eco-friendly and pro-environmental education practices engaged at select world and folk music festivals in Australia. It broadens and builds upon existing understandings of environmental communication practices.
Previous studies have analyzed Korean hip hop through the lens of authenticity, language, and cultural hybridity, but not through the lens of race. One of the main characteristics of hip hop culture ...is that it emerged in the form of resistance against dominant hegemony and as a form of resistance to systemic injustice; however, it is difficult to find K-hip hop artists that defy the racial supremacy of Koreanness and racism through their art. This article utilizes Yoon Mi-rae, who is half-Black and half-Korean, as a significant text to explore how race plays a role in Korean society and how Blackness, Koreanness, and han intersect in the K-hip hop scene. Utilizing the concept of community cultural wealth, interest convergence principle, and Koreanness, the study analyzes how Yoon Mi-rae’s “Black Koreanness” was consumed by Korean media and music industry, and how Yon Mi-rae, as an embodiment of Blackness and Han, uses hip hop and her intersectionality as a tool of resistance to both the mainstream American and mainstream Korean racial ideology and discourse. With the growing influence and popularity of K-hip hop globally, the article problematizes the message K-hip hop is reflecting and sending the world about race.
It is one of the main goals of personalized music recommendation system that how to accurately recommend the songs in line with users’ interests in the huge music library. In view of the above ...problems, this study proposes a personalized music recommendation method based on convolutional neural network. First, this study defines a training set containing potential musical characteristics and, combined with the depth of the belief network, design a music information prediction model and the research in the music-type classification method with different dimensions. Based on selecting four different kinds of music information better describing the underlying characteristics of 40D feature vector to every song music composition, the music feature set is constructed. Then, the CNN (convolutional neural network), which is widely used in audio field, is used as the music information prediction model, and its structural parameters are redesigned to complete the multidimensional music information prediction, which solves the cold start problem to some extent.
Abstract
In 1992, emi acquired Sparrow Records. At that time, emi was one of the "Big Six" (secular) major record labels; Sparrow was the largest and most successful label in the Christian record ...industry. As in other sectors of the music and entertainment industries, reactions to corporate consolidations are mixed. This issue is particularly fraught in the Christian industry, in which the relationship between financial and theological priorities was tense long before its incorporation into the secular industry. How did these discourses manifest in public? What significance did they have for fans, artists, and cultural intermediaries? ccm magazine and its sister publications, for decades the primary sources of information about and for the Christian market, provide a unique opportunity to observe and analyze these tensions leading up to these mergers and acquisitions. In this article I consider the role of ccm's reporting and editorial content as a barometer of broader anxieties over commercial priorities and corporate consolidation.
In this paper we study the impact of a radical technological innovation on business models. Do firms react by adjusting their business models incrementally, through iterative steps? Or do such ...innovations lead, instead, to a big bang of new innovative business models that are all adopted and experimented with by the industry? To answer these questions, we analyze the impact of digitization-a radical innovation-on business models in the recorded music industry. Using an economic analysis of the effects of digitization, we begin by building five potential digital business models for the music industry. Then, using data from a survey on a sample of French record companies, we map these record labels on our digital business models. Our analysis suggests that digitization has led to a big bang of business models in the music industry, rather than to incremental adjustments of the existing business model.
PDF
