Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).

Os fatores que influenciaram o download gratuito de música na Internet

A disseminação do formato mp3 como padrão para arquivos de música, aliada ao crescimento da Internet, fez surgir uma poderosa rede de distribuição de música online. A extrema disponibilidade, diversidade de escolha e facilidade de acesso para quem possui banda larga em seus computadores fez crescer o download de músicas pela Internet, revolucionando o mundo fonográfico. O objetivo geral deste estudo é identificar quais fatores, na perspectiva do consumidor, têm maior influência no download gratuito de música pela Internet através de uma pesquisa exploratória de duas fases. Na primeira fase, qualitativa, foram realizadas entrevistas não estruturadas com usuários e consumidores de redes peer-to-peer de download de música pela Internet e entrevista semi-estruturada com um ex-executivo da indústria fonográfica. Na fase seguinte, quantitativa, foram aplicados questionários estruturados a pessoas que efetuam download de música pela Internet. Adotou-se a regressão linear múltipla como modelo para interpretar os dados colhidos junto à amostra e testar as hipóteses relacionadas as variáveis: acessibilidade ao produto, percepção de injustiça no preço e faixa etária. Os resultados sugerem a não rejeição das três hipóteses estudadas.

O futuro da indústria da música no Brasil

A indústria da música tem enfrentado grandes mudanças e transformações nos últimos anos. O setor sempre se caracterizou por ser muito dinâmico, especialmente com o constante advento de novas tecnologias. Contudo, a tendência atual tem se demonstrado substancialmente diferente das passadas. As primeiras tecnologias como as fitas cassetes e discos de vinil começaram a perder espaço para o CD quando este foi introduzido no mercado no início dos anos 80 (PIKAS, PIKAS, & LYMBURNER, 2011). Contudo, o modelo de negócio da indústria permaneceu o mesmo, as grandes gravadoras continuavam a ser os grandes players do setor, e não enfrentavam competições externas. Este cenário mudou no final do século XX. Os arquivos de MP3, que foram desenvolvidos em 1989, mas que não alcançaram grande escala no mercado Americano até 1999, começaram a ganhar popularidade (PIKAS, PIKAS, & LYMBURNER, 2011). Aliada a esta popularidade, surgem também os downloads ilegais de arquivos e grandes perdas financeiras para as grandes gravadoras. Dado este cenário dinâmico e indefinido, este trabalho propõe focar-se no futuro da indústria da música e não nas tendências atuais ou passadas. O objetivo é prospectar e analisar possíveis cenários futuros para os próximos anos no Brasil. Em outras palavras, mostrar diferentes possibilidades e características que o setor possa apresentar em alguns anos. Para isso, este trabalho usará a metodologia de cenários prospectivos, além de entrevistas com experts da indústria que possibilitarão o desenvolvimento e a descoberta destes possíveis cenários.

Mídia e produção de sentido: a reconfiguração da indústria da música e as estratégias discursivas da associação cultural DoSol

This dissertation aims to analyse discursive strategies from Dosol in order to understand the present elements to keep its audience and the marketing activities. Based on French line of discourse analysis We look into the articles posted on its website at http://www.dosol.com.br within 2010 and We foment dialogues among music, media and communications researchers. Participant observation is slightly used on the critical perception and views of researched object to confront situations and step up, with theorists, the major part of closing remarks. The obtained results indicate a website speech paved on afirmative policies and social capital, trying to keep/seduce its audience with the efect of the intended credibility meaning. The economic factor wanders the speech so often that the speaker assumes a entrepreneur/cultural producer. As a niche market, Dosol assumes a main role in music industry for releasing the regional and local cultural production. On the other hand, it is noticeable that its sustainability and media visibility, as it is seen today, depends on the laws tor promote Culture, what denotes a lack of a regional cultural policies to medium and long term at Rio Grande do Norte

Reconfigurando la canción, reinventando la nación: La folclorización de la música popular en brasil y en chile en los años cuarenta y cincuenta

At the middle of the twentieth century, between the forties and the fi fties, especially after the Second World War, the endless debate concerning national identity was taken up again in Latin America with a new focus. Mass culture, especially popular music with ties to the music industry, was shaped by its great capacity to spreadshown through its assorted forms of production, circulation and consumption- as one of the main areas of dispute related to the question of what is considered to be national. During that period there were important debates in Brazil and Chile about the selection, preservation and perpetuation of a certain repertoire of popular urban music as being representative of national folk music. These debates, which are analyzed starting from discursive representations driven by the written press, in both the specialized academic and the large-circulation press, constitute the central focus of this article.

Estrutura de mercado, padrões de concorrência e inovações na indústria fonográfica brasileira

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Som livre: trilhas sonoras das telenovelas e o processo de difusão da música

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Fetichismo na música: do conceito adorniano à reflexão sobre (im)possibilidades formativas

Pós-graduação em Educação Escolar - FCLAR

Segmantação e consumo: a produção fonográfica brasileira - 1965-1999

Este texto busca oferecer uma visão geral da produção fonográfica brasileira entre 1965 e 1999. A partir de levantamentos estatísticos produzidos pelo Nopem (Nelson Oliveira Pesquisas de Mercado), é apresentada aqui uma classificação dessa produção em diferentes segmentos e uma breve descrição do surgimento e da dinâmica de cada um deles, bem como, em alguns casos, uma análise mais detalhada de suas características e de seu desenvolvimento. Com vistas a uma melhor contextualização, a exposição dos dados é acompanhada por uma ligeira discussão acerca do cenário geral da indústria

Att marknadsföra med musik : en studie kring musik i reklamfilm och en artistprofils påverkan på ett varumärke

Due to the current digitalization of the music industry it has become more important than ever for musicians to get their music placed in advertising. This process is frequently described as a win-win situation for both sides: the musician gets money and exposure while the brand gets to ride on the musician’s pop-cultural position in society. The following thesis is focused on identifying the different ways brands work with music in their TV-advertising, and what effects the brand of the featured artist might have on the brand itself. Using text analysis, six advertisements all shown on Swedish TV during the first half of 2016 were analyzed, with the result that four major recurring themes were identified: nostalgia, text-related usage, making the advert memorable and making the advert into entertainment. The study also found three ways in which a band profile could serve a brand: (I) to make the advert an artifact of popular culture, (II) to let the brand ride on the bands success, (III) to give credibility to the brand. The study was based on brand theory, sensory branding and semiotics as well as David Hurons theory on the different usages of music in advertising. 

The Political Economy of Financially Successful Independent Hip-Hop Artists

From 2000 to 2010, America’s music industry’s annual revenue went from $4 billion to $2 billion. Much of this is attributed to the internet’s ability to provide consumers with easy access to free music, and hip hop has been especially impacted by this trend. Utilizing document analysis and personal interviews, this study found that the success of independent artists has influenced the business strategies of major record companies. In response to a dramatic decrease in record sales, major labels have made more of an effort to sign their artists to 360 deals, which allow the labels to profit from every aspect of an artist’s brand or identity. While some independent artists are the main beneficiary of the profits generated from their music and personal brand, they also reify the commodity-form capitalist system by attempting to turn their music and brand into a fetishized commodity and by turning their audience into a fetishized commodity.

Um olhar sobre a música gospel: a lógica simbólica e de mercado do Ministério de Louvor Diante do Trono

This study aims to understand how the gospel music genre - based on the gospel band Ministério de Louvor Diante do Trono - articulates itself to the logic of the market by its insertion in the music industry and use of symbolic logic in the available songs of their Cds and DVDs. Our research is a case study, methodologically being the descriptive analysis of the production process, distribution and broadcasting of the band's CDs and functional analysis of the music that permeates the entire thesis. The following songs are presented as an analytical corpus: Preciso de Ti,Quero me Apaixonar, Tua Visão, Creio, Tu Reinas e Tetelestai. Our hypothesis is that religious institutions - as a field responsible for the structure which maintains gospel artists - experiences a new dynamic that consists of a superficial modernity, ratified in the ways the symbolic goods produced communicate, that is, simulate a religious modernity maintaining traditional values regarding the dogmas of religion , but incorporate business and advertising procedures in the dissemination of its products The results point to gospel music as mediation, part of the religious ritual sometimes as prayer and other as preaching, stimulating consumption and entertainment, and performing as a device in the making of symbolic goods.

Digital rights management –systeemit ja kuluttajien suhtautuminen niihin peliteollisuudessa

Tämän kandidaatintutkimuksen tarkoituksena on löytää vastaus siihen, miten vahva voi olla DRM-systeemi, ennen kuin kuluttajat eivät enää hyväksy sitä. DRM-systeemejä on monen tasoisia, mutta ne eivät ole soveltuvia sellaisenaan kaikille eri alustoille. Peliteollisuuden digitaalisten käyttöoikeuksien hallintajärjestelmillä on omanlaisensa lainalaisuudet kuin esimerkiksi musiikkiteollisuudella. Lisäksi on olemassa tietty tämän hetkinen hyväksytty DRM:n taso, josta voi olla vaarallista poiketa. Tutkimus on luonteeltaan laadullinen tutkimus. Työssä on sovellettu sekä diskurssi- että sisällönanalyysin oppeja. Tutkimuksen aineistona on erilaisten viestiketjujen tekstit, joiden pohjalta pyritään löytämään vastaus tutkimuskysymykseen. Ketjut on jaettu eri vahvuisiksi sen perusteella, miten vahva on DRM:ää koskeva uutinen, jonka pohjalta viestiketju on syntynyt. Koska aineisto on puhuttua kieltä ja sillä on aina oma merkityksensä kontekstissaan, ovat valitut menetelmät soveltuvia analysoimaan aineistoa. Eri ketjujen analyysien tuloksien pohjalta voidaan sanoa, että DRM ei voi olla sitä tasoa suurempi kuin mikä on sen hetkinen vallitseva taso. Jos tästä tasosta poiketaan pikkaisenkin, voi se aiheuttaa suurta närästystä kuluttajien keskuudessa, jopa siihen saakka, että yritys menettää tuloja. Sen hetkiseen tasoon on päästy erinäisten kokeilujen kautta, joista kuluttajat ovat kärsineet, joten he eivät suosiolla hyväksy yhtään sen suurempaa tasoa kuin mikä vallitsee sillä hetkellä. Jos yritys näkee, että tasoa on pakko tiukentaa, täytyy tiukennus tehdä pikkuhiljaa ja naamioida se lisäominaisuuksilla. Kuluttajat ovat tietoisia omista oikeuksistaan, eivätkä he helpolla halua luopua niistä yhtään sen enempää kuin on tarpeellista.

Internationalization plan of NMusic to Angola

Field lab: Entrepreneurial and innovative ventures