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2009
A major cultural agent A sector of the music industries Tim Wall, analyzing the political economy of the internet music radio, observes that although music and profit maximization are two central aspects of contemporary radio, they are neglected. I would like to focus precisely on at least one of those neglected aspects: the music. As Antoine Hennion and Cécile Méadel (1986) have pointed out, radio is the medium par excellence. I think that it is not an exaggeration to add that it is a medium par excellence especially for the musical culture. Considering the history of the medium, regardless of its form as a public service, a business, a propaganda system, or some hybrid (Malm & Wallis, 1992), it is not very difficult to confirm its importance for the musical culture. Either as a major player in the local music life-as in the Greek case until the elimination of the state monopoly and that of Great Britain-or through its symbiotic relation with the other major player in the music life of the twentieth century, the recording industry, radio is nowadays more engaged in the workings of the musical culture than ever. In Greece, most of the approximately 1,300 radio stations are music stations and as several researchers have noted (Tacchi, 2000; Menduni, 2007), the fact that the radio set vanishes in the dashboard of a car, in the alarm clock, in the mobile phone etc., rather reinforces its power in everyday life. It also makes more difficult to establish its cultural significance. In the economics of culture and the arts, however, as well as in the economics of the recording industry and in the sociology of music, radio is considered a sector of the music industries (Fig. 1). * Sociologist, lecturer in the School of Journalism and Mass Media Studies at the Aristotle University of Thessaloniki (Greece). His research interests are focused on the fields of the sociology of the arts and culture, sociology of music and sociology of education. He has participated in many international and local conferences and has published several papers (
Matrizes, 2011
This article propose a critical approach to FM radio, analyzing in particular those network stations with programming mainly constituted by pop music. The goal is to explore the Political Economy of Communication and Culture theoretical possibilities to investigate music and radio industry articulations, as phonographic market reconfigures itself.
This paper investigates how digitalization has affected the role that Finland's Public Service Broadcasting Company (YLE) plays for the popular music culture of the Swedish-speaking minority of Finland. Drawing on theories from popular music and cultural industry studies, the study explores to what extent new technology has changed practices, structures and perspectives of minority artists. The paper, which forms a sub-study of a larger research project on the impact of digitalization on minority music, focuses on two case studies, the comic duo Pleppo and comedian/artist Alfred Backa. The analysis illustrates how important the public service broadcasting company still is for minority culture despite the structural changes caused by digitalization. However, the radio's quality norms have led to a paradoxical situation where the digital productions of the musicians need to compete with the technical standards of the international entertainment industry, whereas the channels' own productions can follow DIY norms. As the broadcasting company is increasingly moving its focus towards the web, it must in the future achieve a balance between the different dynamics of commercial interests, controversial creativity and traditional public broadcasting objectives.
21st Century Sociology: A Reference Handbook (Volume 2), 2007
The sociology of music has enjoyed a notable boom during the final decade of the twentieth century and the early years of the twenty-first century. This is partly evident in the rising number of publications that address music in some capacity, be it the creation, dissemination, or reception of various musical genres. In this chapter, offer an overview that attends to the three domains of production, content, and consumption. These domains represent analytical stinctions that may blur in both sociological scholarship and contemporary experience. Nevertheless, distinguishing among these domains provides a convenient way to organize the vast works known as music sociology. To employ a musical metaphor, this chapter surveys substantive themes and variations that occur when sociologists turn to music.
Palgrave, 2012
Radio remains one of the most popular mediums through which people experience music.Yet there have only been a few studies examining the dynamic effects of radio on music. In this innovative study of community radio, Charles Fairchild uses a novel combination of critical analysis, interdisciplinary theory and ethnographic writing to compare commercial and community radio institutions and practices. By situating community radio in the dominant context of consumerism, Fairchild shows how people can create democratic discourses by speaking through other people’s music. He argues that the social relations produced by playing music on the radio, and the inherent ambiguity of music itself, hold the potential for cultural democracy. The book shows how community radio’s aesthetic practices accord with the ideals of an open and equitable public sphere, contributing to civil society and a potentially democratic aesthetics in which the ‘old medium’ of radio holds profound lessons for ‘new media’.
The Nigerian music industry has witnessed several prodigious changes since its inception and at every phase of its development. The social processes attached to music composition and consumption have equally varied. Although the history of music has been discovered to be synonymous with that of every society from where it emanates, yet the influence of diffusion and globalization in musical construct cannot be undermined as to how it has affected the musical components, artists, instruments, audience and meaning system universally. In Nigeria, the mélange of styles, beats, rhythms, lyrics and artists that have recently flooded the Nigeria musical scene have attracted a lot of questions as to how the musical contents translate the social realities of the Nigerian society, aided the continuity of socialization function within social institutions, bridge the gap between several social classes and generations of people in the society and usher in social change. The current musical trend in Nigeria has also brought the question about the role of music in culture archiving and the socio-economic motivations and derivations from the current music terrain and the social processes of music among Nigerian youth who are mostly at the receiving end. This paper aims to explore the current state of music in Nigeria with emphasis on the Yoruba ethnic group of south-western Nigeria and the social changes that have occurred and social processes of music among the listening audience most especially the youth with the view to exploring the effects of music on the society and vice versa; it also aims to examine the sociological relevance applicable to music, social change and social processes in Nigeria using the Structural Functionalist perspective, Evolutionism, Cyclical, Diffusionism, Symbolic Interactionism and Social Learning theories. Keywords: Music, Social change, Social process, Sociological theories and Youth. Word count: 282
Based on previous research and literature, the paper presents the characteristics of the RF (Hertzian) radio landscape in Greece and summarizes its basic features. This is a case where the mass media - and thus the RF radio as well - function in an environment defined by their dependence on strong complexes of political and economic interests. Research shows that the hierarchy of political, economic and cultural considerations upon which RF radio in Greece is structured, is affected by this dependence. The paper argues that, in addition to the institutional framework, this setting also strongly affects the news and musical content of the terrestrial ("traditional" or RF) radio. However, setting aside simplistic interpretations and conspiracy theories, the paper argues that in the Greek case radio is not a simple "pipeline", but rather an instrument that performs a dual function: on the one hand, it promotes the complexes of political and economic interests while,...
Radio Evolution, Conference Proceedings, pp. 117-130., 2012
"Based on previous research and literature, the paper presents the characteristics of the RF ("over-the-air") radio landscape in Greece and summarizes its basic features. This is a case where the mass media - and thus the RF radio as well - function in an environment defined by their dependence on strong complexes of political and economic interests. Research shows that the hierarchy of political, economic and cultural considerations upon which RF radio in Greece is structured, is affected by this dependence. The paper argues that, in addition to the institutional framework, this setting also strongly affects the news and musical content of the terrestrial ("traditional" or RF) radio. However, setting aside simplistic interpretations and conspiracy theories, the paper argues that in the Greek case radio is not a simple "pipeline", but rather an instrument that performs a dual function: on the one hand, it promotes the complexes of political and economic interests while, on the other, it contributes to the construction of ideology and culture. Previous studies indicate that this double function is performed in multifarious, sophisticated and indirect ways. It cannot, therefore, be easily detected by solely analyzing the institutional framework or the market performance. A more complicated approach is needed, especially since previous studies show that the way the private radio was established in Greece and its subsequent development, ensured the safeguarding of a particular type of pluralism influenced by complexes of political and economic interests. In this sense, the paper examines the case of the Greek RF radio within the wider context of the media landscape in the country by taking under account several aspects of its historical evolution and social characteristics. In this way it sets out an example for the operation of the medium in small European markets. Based on this review, the paper goes on to analyze the challenge that the Internet radio represents in the Greek media landscape. In this context, it raises several questions. First, about the possibility of and the ways in which Internet radio might differentiate from RF radio, breaking free from the burdens of the former. Considering previous analyses, the paper takes into account the tendency of the Internet radio to be colonized by the same forces and structures that dominate the RF radio and determine its content. Research has shown that this is a general tendency on the Internet as a whole. Second, it raises the question about the differences between the RF and Internet radio as communication media and social systems. In an attempt to study the probability of Internet radio making a difference in a media environment like the Greek one, the paper discusses research scenarios and methods for its scientific evaluation. Finally, the paper tries to outline the main directions of the research in order to examine whether the Internet might represent a new environment for radio or a new form of the old structures in the well-known and well established status quo."
Journal of Popular Music Studies, 1997
Ethnomusicology Forum, 2019
12th Annual International Conference on Mediterranean Studies, 15-18 April 2019, Athens, Greece. , 2019
Since the beginning of human history, music has been able to find its place in every aspect of life. After a series of technological developments starting from the recording of the voice, music has become a tool that is personalized by getting out of the masses and which people can carry and consume at any time. Before the recording technologies, music was created and performed by acappella to very small audiences. Thanks to development of recording technology, music starts to be spread to mass audience and it commercialized. After this commercialization music products turned to be a part of an industry. This paper is about how music is distributed through its historical milestones and how its distributed today. The paper consists of two main parts. In the first main part there is a conceptual part about the history of music. The paper explored the secondary data from industrial and academic researches done about how music is listened in Turkey. The application part of the research consists of a survey done in Turkey in the city of İstanbul about the music listening habits of Turkish music listener. The main question of the research is ‘how people listen to music in millennium era’ in the sample of Turkey. In the conclusion part of the research there is a statistical analysis showing that people have a big demand to the digital platforms for listening to music rather than traditional platforms. This finding is discussed on the effects of economy and industrial structure of music industry.
2024
Greek music magazines have witnessed a sharp decline over the years. This study posits that this decline cannot be attributed solely to the advent of the internet but is the culmination of various factors. The challenges faced by Greek music magazines resonate with those faced by the broader Greek newspaper industry, suggesting an interlinked adversity within the media landscape. A primary concern has been the saturation of the market; Greece had an unsustainable number of titles for its relatively small market. The country's financial crisis, in tandem with the rise of the internet, led to a significant drop in advertising revenues that traditionally supported these publications. Our findings indicate that from 1946 to 2022, there were 73 distinct music magazine and fanzine titles in Greece. Yet, as of now, only four remain in circulation. This paper delves into the historical significance of music magazines, elucidating their pivotal role in disseminating music culture in Greece, with particular attention directed towards elucidating the factors contributing to their contemporary decline
𝐼𝑛𝑡𝑒𝑟𝑛𝑎𝑡𝑖𝑜𝑛𝑎𝑙 𝑅𝑒𝑣𝑖𝑒𝑤 𝑜𝑓 𝐼𝑛𝑓𝑜𝑟𝑚𝑎𝑡𝑖𝑜𝑛 𝐸𝑡ℎ𝑖𝑐𝑠 (Canada), University of Alberta, vol. 33, no. 1, 2024
This paper seeks to unravel and understand the conditions and ways in which cultural capitalism operates that drive its production, exchange, distribution and consumption in the digital age; as well as understanding the powers that hold it and those it serves, the circuits in which it is heard, the spaces in which it is prohibited, its context and historical transformations. Music as an artistic production and symbolic object has always been linked to its characteristic instruments and technologies of its time. But when the economy catches up with it and it becomes merchandise, other means and channels are put into play for its dissemination, storage and control. It seeks to demonstrate those stealthy operations with which intermediaries operate. An analysis is made regarding the logic of consumption and production of users, on power relations and asymmetries between some actors in the music industry.
International Encyclopedia of Communication Theory and Philosophy
To trace the connections between popular music studies and communication research is to recognize the nebulous, interdisciplinary, and often uncertain character of both fields of study. For sure, the study of both existed long before there were defined disciplines dedicated to either. As such, tracing their linkages requires thinking about the place of music in a number of adjacent fields—sociology, psychology, journalism, American studies—as well as how communication has conceived of popular media such as television , film, and radio, which are intrinsically musical even if not always understood that way. This makes for something of a " secret history " of popular music and communication theory, and there is little room in this brief treatment to uncover it all. What follows will therefore mark, in broad strokes, some revelations that arise from thinking about these two areas of academic inquiry in tandem, as well as a few notes toward what popular music studies has offered—and may offer in the future—to the field of communication, especially in the American context.
The relationship between radio and music has drawn particularly little attention from scholars in the field of communications and media studies, considering the prominence that music has in today’s radio programming. This lack of research may be due to theoretical and methodological shortcomings – music may not be approached with the same scholarly toolkit as other radio content. This collection of writings is an attempt to contribute to the obvious lack of scholarly literature on the topic – all the essays in this anthology focus first and foremost on music.
Music journalism is a practice that concerns the production of judgements and evaluations about music. As other forms of criticism, it deals with 'culture' in the sense of 'the works and practices of intellectual and especially artistic activity' (Williams 1993, pp. 87-93).
2016
World Music is often analysed as an interlinked series of music genres that can be specified from an ethnomusicological perspective. But in its contemporary form it is also part of a cultural economy, a sub-set of the global music industry. The purpose of this chapter is to provide a sketch of the main features of the global macro-economy of music followed by comments on the World Music “genre-market ” and its relation to the macro-economy. The chapter has four sections. It begins with a definition of the music industry worldwide. This is followed by a summary of the key financial data of the industry and an estimate of the royalty flows of the music industry between global regions. The third section deals with the corporate structures of the industry. The final section considers the main characteristics of World Music as a cultural industry. Definition of the Music Industry Worldwide The past twenty years has seen a growing interest by national governments in the potential economic...
Communication Research Trends, 2006
2019
The Internet and modern-day technologies have changed the way people connect with the world around them. The music industry is one of the areas that is undoubtedly affected by the Internet. Music technologies have faced a drastic reorganization process due to the digital revolution that changed the way people consume, source, listen, purchase, discover, experience, produce, read and learn music. These technological advancements have induced great changes for artists, listeners, and producers. This study will attempt to investigate the business models of digital music that can be profitable in the future. As previous studies suggest (Arditi, 2017), with the introduction of the technological revolution the whole revenue mechanism has shifted. This study attempts to give insight into the changing revenue mechanism of how musicians, record labels, make money from digital music by analyzing the digital music business models from the perspective of the consumer, the record labels and the artists. The fundamental questions this study attempts to address are a) how technology has changed by presenting an overview of the music industry, b) what kind of digital music business models exist by analyzing their effects from the perspective of the listeners, artists and record labels, and c) what happens if the business model does not meet the demand of the users by explaining the ‘piracy’ phenomenon. The present research seeks to identify where digital music services in the contemporary era are heading, to investigate the effectiveness and operation of digital music services and to offer implications about what can be expected in the future. To answer the given research questions, the literature on related topics suggests that both a quantitative and a qualitative approach are considered as the necessary methods for the present study. In the first phase, drawing on relevant literature review qualitative analysis is used to present the theoretical background for the thesis. In the second phase quantitative analysis is utilized. The primary tool is the questionnaire, which contains three sections of questions. The first section focuses on the personal background of the participants, determining the type of the person under examination. The second section includes questions regarding music consumption habits. The last section analyzes listeners’ perception towards piracy phenomenon. As an artist, I will also myself make empirical analysis based on my observations and experiences during my work with Sony Music Turkey in 2015 in the conclusion.
Contemporary French Civilization, 2011
While the study of popular music and the media in France are well-established areas of academic enquiry, the relationship between these is relatively unexplored. The collection of articles which forms this special issue of Contemporary French Civilization takes a wide-ranging look at the ways in which French popular music of all kinds has been influenced, constrained, facilitated, and structured over the decades since the 1950s. Some of the articles derive from papers presented at FMRG18, a conference of the French Media Research Group (affiliated with the Association for the Study of Modern and Contemporary France), held in Newcastle, UK on May 1 2009 (http://research.ncl.ac.uk/fmrg/). The conference examined the interactions between popular music and media of various kinds in France with assistance from the originator in the early 1990s-with Antoine Hennion-of one of the first sociological analyses (Mignon and Hennion) of French popular music. The success of this conference and the desire to pursue these multidisciplinary investigations led us, as conference organizers to commission a number of further studies to complement those retained from the day's presentations and discussions, leading, finally, to the selection of pieces we are introducing here, and where sociological and cultural studies approaches intermingle in what we hope is a fruitful coexistence. The wide range of the studies reflects both the almost unlimited scope of any ambition to consider the interactions between popular music and the media-how does anything, least of all a popular cultural form such as (variously-defined) popular music escape "mediation" of some kind?-and is intended to appeal to the diverse interests of the audience of Contemporary French Civilization, whose readers span the width and breadth of "French Studies" in North America, Great Britain, France, and elsewhere.
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