== My Group project== Music File Sharing
Contents |
My proposed topic looks at the rise of niche audiences around the globe. I will research the part new media has to play in the emergence of a world where music tastes are much more individual. This will include how local bands can gain large niche followings, how the growth of new media has weakened the traditional power structures of record industries and radio stations. How a more diverse music scene can grow independent of commercial backers. Elliott franks 16:24, 4 Aug 2004 (EST
Alderman, J.(2001). Sonic Boom: Napster MP3 and the new pioneers of music. London: Perseus Publishing ISBN 0738204056
This resource details the rise of Digital music technology in particular programs such as Napster. Whilst Napster makes up a large proportion of the resource, the author also details the other players in the MP3 revolution such as MP3.com and Underground university music archives. It also details the record companies follies such as using their resources to stall the digital revolution rather than creating a virtual marketplace for music. John Barlow sums it up well "The greatest constraint on future liberties may not come from government but from corporate legal departments laboring to protect by force what can no longer be protected by practical efficiency or general social consent."
Cook, R. (2003) “Niche Music lovers find online is sound,� New Media Age, Mar 6 2003, retrieved August 9 2004 from [1]
This article examines the record industries approach to older niche audiences. The author summises that these audiences which have been traditionally ignored by the record industries market have found a way to explore their musical tastes thorugh the internet and file sharing programs.
Feldman, T.(1997). ‘What Digital Revolution’. In An Introduction to Digital Media. London:Routledge ISBN 0415151082
This resource is an in depth overview of the digital revolution. The author focuses on the effects of digitisation on the business world and our daily lives. This resource gives an assessment of how the digital revolution will affect current technologies. As these technologies are now largely superseded this section give more of an insight in the paths that society chosen and the technologies that have failed. This resource is very useful as a historical guide to the new media.
Hartley, J. (2003), ‘The Frequencies of Public Writing: Tomb, Tome and Time as Technologies of the Public’, In Jenkins, H. & D. Thorburn (eds.), Democracy and New Media, Cambridge, Mass./ London, MIT Press ISBN 0262101017
This resource examines the effect of spatial and frequency changes in media.The resource examines the frequency ranges in media and maps out changes for the future. The resource claims we are in an era of communication change from spatial to temporal. The effects of this are widespread from graffiti to political systems.
Kasaras, Kostas. “Music in the Age of Free Distribution: MP3 and Society,� First Monday, issue 7, Retrieved August 8 2004 from [2]
This resource examines file sharing technologies and in particular the way they effect music which is released. The resource examines the technologies of the past and studies how it affected them and extrapolates on them. The Author uses these to predict how the current technologies will affect new music.The resource looks a digital piracy in a wider context than the the other resources. This resource suggests that it is just one side of the digitisation of culture as a whole.
Lowry, Tom (2002) “A little niche music,� Business Week, Iss 3772 retrieved August 9 2004 from [3]
This article studies some of the success niche music has had in the United States. In particular it studies the success of niche label Lost Highway records. This label in their first year made $109 million dollars and gained 19 grammy nominations.
Mitchell, T (ed) (2001) Global Noise: rap and hip hop outside the USA, Middletown: Wesleyan University Press ISBN 0819565024
This book gives accounts of hip hop culture outside the USA. As hip hop started in the USA it could be said that the influence of the culture outside the USA is a case of homogenisation. Mitchell argues that this is not the case. He believes that other cultures around the world use hip hop to express their local identity and promote their causes. This resource gives detailed accounts of rap music around the world and lists the positive attributes such as Colombian slum rap and the negative attributes such as the afrocentrism of French rap. There is much discussion in this resource of the Americanisation of music. Tony Mitchell believes whilst there are many examples of Americanisation in hip hop, citing example such as Bulgarian rappers. Hip hop is an example of “the vibrant hybridity of contemporary culture�
Mulgan, Geoff. (1998). "The age of connexity", in Connexity: responsibility, freedom, business and power in the new century, London: Vintage ISBN 009959451X
This resource examines the ever growing interconnected nature of the world. The resource gives a history of events that have inadvertently led us to a global village. The resource examines the effects of such a connected world in particular, our loss of privacy and the homogenisation of cultures. The resource claims we are all connected like it or not and that our destinies are linked. This is the new fact that defines the challenges.
Pareles, J (1995) “Niche Music, Tejano, Rave and Yes, Bhangra,� New York Times May 14 1995, retrieved August 9 from [4]
This article examines the ever-growing fragmentation of pop music. The author believes pop can be seen as an interplay between mass acceptance and a periphery of regional and sub cultural favourites. The author gives many examples of different styles of music, which have been very successful within their established audience that have crossed over for mainstream media success. This list includes styles such as zydeco and contemporary Christian music.
Rivkin, J. (2000) ‘From being cultured to being entertained’, in The Age of Access: Penguin ISBN 014029547X
This resource details the rise of entertainment in the digitised world. This resource states that “Entertainment is now the driving force for new technology� This resource details the entertainment economy and the change in habits in society from “accumulating things to accumulating experiences and from property to access relationships�
Turow, J .(1997) “Media Systems in society :understanding industries, strategies, and power�.New York: Longman Press ISBN 0801317045
This text gives an indepth analysis of the economics of media. The author breaks down media to the level of commodities. Turow views the media as an interconnected medium that is driven like all other capitalist industries, by money. He explores the relationship of the consumer with these big businesses and examines how an industry built on creativity can be stringent and controlled by corporate decisions.
Vaidhyanathan, Siva. (2001) “Copyrights and Copywrongs: the rise of intellectual property and how it threatens creativity�. New York: New York University Press ISBN 0814788068
This resource gives an account of copyright law in the United States. It presents the argument copyright law restricts music and allows corporations to take advantage of artists. This resource demonstrates how copyright law has a stranglehold on the creative industries.
Weisbard, E, (ed.) (2004) “This is pop: in search of the elusive at Experience Music Project� Cambridge: Harvard University Press. ISBN 0674013441
This resource is a compilation of papers presented at a conference of the same name. Whilst much of the resource is filled with music journalist wankery there are some very good papers covering many different theories of popular music. One in particular David Sanjeks chapter on manufacturing authenticity and manufacturing authorship describes the processes which record companies use to create credible artists. This article draws many similarities between pop icons and credible alternative artists.
Whiteley, S. (ed) (2004) “Music space and place : popular music and cultural identity� Aldershot: Ashgate publishing ISBN 0754637379
This resource explores issues of identity and cultural discourse. There are many articles by different authors all examining the relationship between spaces and the music which is consumed and produced in these spaces. This text examines many relationships such as political social and economical and their effects on music. The text examines many aspects of different communities and music’s role in shaping them and the communities role in shaping the music. This can be in the form of diasporas or glocal niche music communities around the world. Elliott franks
A.I.M Association of Independent Music
[5]
AIM is a trade body that promotes and protects independent music. AIM helps musicians with the business side of the music industry.
A.U.R.A Association of United Recording Artists
[6]
AURA is an organisation that represents artists and producers who have released commercial music. They are a union and lobby group of sorts who represent artists and producers.
B.C.C British Copyright Council
[7]
The BCC is an organisation that represents performers and those who hold rights to music. They lobby governments at local national and international levels.
C.E.G Creative Export Group
[8]
A government forum for the Creative Industries, to look at issues affecting the export of creative industries. The group considers ways to enhance their performance and productivity.
E.F.F Electronic Frontiers Foundation
[9]
The EFF works to protects individuals rights and privacy on the Internet. Their agenda is broad and consists of censorship, copyright law and surveillance.
I.A.E.L International Association of Entertainment Lawyers
[10]
Association spreading information on entertainment law between members
I.A.P.U International Anti-Piracy Tool
[11]
Songbird Tool helps artists track down copyright theft
R.I.A.A Recording Industry Association of America
[12]
Association set up by record companies in America. This association provides representation for artists and helps protect their music. Elliott franks
