| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HIDDEN POLITICS MUSIC RADIO": |
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Hidden Politics of Music and Radio, 2003.
A look at how consolidation in the broadcast industry is harming free speech.
2,661 words (approx. 10.6 pages), 9 sources, MLA, £ 57.95
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Abstract
A short discussion of how media consolidation, particularly in the radio industry, has suppressed political viewpoints, forcing many musical artists to censor their political opinions to avoid losing airplay from the nation's largest and most powerful broadcasters.
From the Paper
"When Americans turn on their radios each day, most listeners expect to hear the artists that are most popular in their preferred musical genre. Listeners assume that the radio stations in their town are choosing the music based on what listeners want to hear without any outside influence other than the music itself. Yet since the Telecommunications Act of 1996, many artists have found that in addition to an infectious rhythm and memorable lyrics, radio stations have been frequently basing their playlists on corporate mandates dictated by the political beliefs and business practices of the artist. This rapidly growing form of systematic censorship has left many musicians afraid to speak out on political issues, including the very issue of consolidation that has given rise to a sharp increase in music censorship."
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Negative Impact of Popular Music and Music Videos, 2003.
Investigates the negative impact of popular music and music videos on youth in the United States today.
3,623 words (approx. 14.5 pages), 10 sources, APA, £ 71.95
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Abstract
The music industry spends enormous amounts of money to create music videos that will make a profit, and the one ingredient they have consistently found that helps sell their products is violence; this violence is usually directed toward women. The AAP notes that there is a paucity of research concerning the impact of such gratuitous violence on children and adolescents. To this end, this paper demonstrates this relationship through a critical review of the literature, followed by a summary of the research and recommendations in the conclusion.
From the Paper
"The definitions concerning what constitutes entertainment and what is protected by the 1st Amendment do not necessarily address the underlying problems of violence in the media and sometimes only serve to merely contribute to the statistical haze that surrounds an already complex situation. The recent appearance of national leaders on MTV attests to the importance and power of music videos in shaping the nation?s conscience. Further, while many non-black observers feel that rap music is just ?so much noise generated by angry black youths,? rap music or simply ?rap,? is in actuality a reflection of the current affairs within the communities in which it is performed. Rap is a ?genre of rhythm-and-blues music that consists of rhythmic vocals declaimed over musical accompaniment. The accompaniment generally consists of electronic drum beats combined with samples (digitally isolated sound bites) from other musical recordings? (Bowman, 2003). From this perspective, rap is an extension of the Black Power movement of the 1960s, and has embodied the essence of the young black culture. The first rap recording was made in 1979 and the genre rose to prominence in the United States in the mid-1980s. Although the term rap is often used interchangeably with hip-hop, the latter term encompasses the subculture that rap music is simply one part of. The term hip-hop derives from one of the earliest phrases used in rap, and can be found on the seminal recording ?Rapper?s Delight? (1979) by Sugarhill Gang. In addition to rap music, the hip-hop subculture also comprises other forms of expression, including dance methodologies, art, vocabulary (in the form of slang) and fashion affectations. Despite these contributions to the popular culture, many observers suggest a connection between the music and personification of violence evinced in music videos and rap as a factor contributing to the incidence of violence by young people in the United State today."
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The Media and Politics, 2002.
An overview of the media portrayal of government and politics.
1,272 words (approx. 5.1 pages), 3 sources, MLA, £ 30.95
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Abstract
The purpose of this paper is to introduce the topic of the media in politics. Specifically, it discusses why the media pay more attention to national than state and local politics and whether the media fairly portrays the government. It looks at how the media today is a huge conglomerate made up of television news and talk shows, radio news and talk shows, and a vast array of print and online media, which all affect how Americans view and interpret the daily news. As such, the media portray only what is entertaining and will keep the American public interested without changing the channel or turning the page. It shows how it tends to cover more national events, which will hold a wider audience, and tend to portray government and politics in negative and even reactionary terms.
From the Paper
"Media is so pervasive in our society; it can actually change the perception of the people, and swing the balance of power from one political cause to another. As one political media expert noted, "The press, as Walter Lippmann noted, has power partly because it can act as 'the beam of a searchlight that moves restlessly about, bringing one episode and then another out of darkness into vision'" (Seib, 2000, p. 60). For example, at the end of the Gulf War in 1991, the Bush Administration effectively swept the Kurds in Northern Iraq "under the rug," and ignored their situation, which was tenuous with Saddam Hussein's regime. However, after the media continually reported on the Kurd's plight, including live reports from their miserable refugee camps near the Turkish border."
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Guillaume Dufay Music from Medieval and Renaissance Music, 2006.
An examination of Guillaume Dufay's music and its origins.
34 words (approx. 0.1 pages), 6942 sources, MLA, £ 12.95
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Abstract
In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant
Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper
"Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
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African Music's Influence on Pop Music Culture, 2005.
An ethno-musicological study of African music's influence on western society's popular music culture.
675 words (approx. 2.7 pages), 4 sources, £ 18.95
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Abstract
The paper by examines various western artists, such as Paul Simon and David Byrne, and shows how African music plays an important part in how popular music is interwoven within the western musical tradition. The paper concludes that western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent.
From the Paper
"This ethno musicological study will examine the various African music influences that have become imbued within western pop music culture. By examining various western artists, such as Paul Simon and David Byrne, one can realize how African music plays an important part in how pop music is interwoven within the western musical tradition. In essence, western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent."
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Program Music v. Absolute Music, 2006.
This paper examines the Verdi aria "Ave Maria" from "Othello," highlighting the debate between program and absolute music.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
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Abstract
The paper outlines the importance the aria holds for the opera and for music in general. The paper then outlines the debate depicting how music ought to be considered. Finally it considers whether the aria better fits one or the other of the arguments. The conclusion of the paper is that program music better explains the piece.
From the Paper
"In Verdi's "Ave Maria," from "Othello," Desdemona sings what is perhaps the opera's greatest addition to the storyline already laid out so brilliantly by Shakespeare. In a lilting, soaring soprano, Desdemona presents this liturgical prayer for the humble, the innocent and the oppressed in such a beautifully supplicant manner that the listener feels her purity and honesty pouring through her tender prayer. The story wins the listener over to the character, particularly as the music is juxtaposed to the hard declamations of the evil Iago. Though the character has a name that is purposefully indicative of demons, and the tragedy that befalls her later in the opera stems from the misunderstanding of her connection to evil, the listener knows from the moment that Desdemona has sung the "Ave Maria" that the character is pure of heart and gentle of spirit."
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The Internet and the Music Industry, 2004.
This paper argues that music downloads and online radio have a positive effect on the music industry.
2,725 words (approx. 10.9 pages), 5 sources, APA, £ 58.95
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Abstract
This paper explains that online radio, which simply rebroadcasts the content from existing, traditional radio stations or is solely virtual, has done the music industry much more good than harm because it is able to expose a greater diversity of people to artists and a greater diversity of artists to people. The author, using statistics, points out the correlation that the more you burn from the Internet, the more CDs you buy; therefore, the author seeks other causes for the lagging sales in the music industry, such as the recession, competition from other forms of entertainment, consolidation of radio stations, the ever-increasing CD prices, and even cellphones. The paper relates that the music industry?s legal campaign against downloading is being circumvented by new technology, such as ?Grouper?, which only allows users to ?stream? songs from a peer and, thus, operates legally under the ?private performance? section of the copyright law.
Table of Contents
Introduction
History of Online Radio
History of Music Downloads
Effects of Online Radio on the Music Industry
Effects of Music Downloads
Current Legal Status of Downloading
From the Paper
"As technology increased, so did the popularity of file sharing software like Napster. Although the use of such file-sharing software to download non-copyrighted material is not illegal, the propensity was for users to download copyrighted materials (?File Sharing?). For the last few years, the legalities of file sharing have made the issue one of the central debates. Record companies and musicians argue on both sides of the issue. Most, however, feel that unauthorized music downloads infringe on their livelihood and have negatively affected the profitability of the music industry as a whole. However, this may not be true."
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Anglo-Rock and Heavy Metal Music, 2003.
Presents a complete dissertation, which compares the cross-cultural promotion of anglo-rock and heavy metal music in France and the USA.
16,060 words (approx. 64.2 pages), 112 sources, MLA, £ 178.95
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Abstract
This paper investigates why the promotion and sales of anglo-rock and heavy metal are less in France than in the USA. The music industry, the marketing of music and the research methodology are fully explained. The author reports that the research found that the differences were because of cultural factors. In France, lyrics are more important than the music. Therefore, because the French do not necessarily speak English, they are not especially interested in music whose lyrics are not understood. The author stresses the importance of knowing cultural preferences and behavior in international marketing because cross-cultural promotion cannot be standardized. Many color graphs and tables are included with the paper.
Table of Contents:
Abstract
Introductory Chapter
Background of the Research
Theme
Research Problems
Research Rationale
Research Motivation
Research Question
Aims and Objectives
Hypothesis
The Research Project
Definitions
Scope and Limitations
Outline of the Report
Anglo-Rock/Heavy Metal Industry and Music Marketing Theories
The Industry Environment
The Music Industry
The Entertainment Industry
Sales of Recorded Products
Record Companies
Evolution of the Environment
Independent Companies
Cyclical Theory
The Rock Industry
The Anglo-Rock/Heavy Metal Music Style
Definition
History
French Music Industry
French Rock History
French Music Market
Marketing Theories
Marketing Activity
Marketing Definition
Marketing Goal
Marketing Strategies
Marketing Mix
The Promotion Activity
Music Marketing
Music Marketing Definition
Music Marketing Departments
Music Marketing Goals
Music Product
Music Marketing Strategy
Music Promotion
Music Promotion Definition and Goals
Music Promotion Strategy
Music and Artist Promotion
Promotion Means
Traditional Promotion Means
Radio Promotion
Television Promotion
Live Performance Promotion
Press Promotion
Internet Promotion
Original and New Promotion Means
International Marketing
Culture Theories
Culture Definition
Culture Theory
Impact of National Cultures on Promotion
Music Cultures
French Music Regulations
The Method Chapter
Research Methodology
Methodology to Recolt Quantitative Data
Live Promotion
Radio and TV Promotion
Methodology to Recolt Qualitative Data
Limitations of the Methodology
The Results Chapter
Results from Quantitative Data
Live Promotion
Radio and TV Promotion
Results from Qualitative Data
The Conclusions Chapter
Appendices A-O
From the Paper
"Dolfsma (2000) explained that music industry has a structure that is a blending between local and global. Majors are global companies organised at the international level with subsidiaries in more than one country. The typical organisation chart of the majors' subsidiaries worlwide is composed of three main departments (marketing, international and nation). Rock music is usually marketed in each of these three departments that is why it is impossible to quantify and know the proportion of Rock music produced".
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Anglo-Rock and Heavy Metal Music, 2003.
Presents a complete dissertation, which compares the cross-cultural promotion of anglo-rock and heavy metal music in France and the USA.
16,060 words (approx. 64.2 pages), 112 sources, APA, £ 178.95
»
Click here to show/hide summary
Abstract
This paper investigates why the promotion and sales of anglo-rock and heavy metal are less in France than in the USA. The music industry, the marketing of music and the research methodology are fully explained. The author reports that the research found that the differences were because of cultural factors. In France, lyrics are more important than the music. Therefore, because the French do not necessarily speak English, they are not specially interested in a music whose lyrics are not understood. The author stresses the importance of knowing cultural preferences and behavior in international marketing because cross-cultural promotion cannot be standardized. Includes many color graphs and tables.
Table of Contents:
Abstract
Introductory Chapter
Background of the Research
Theme
Research Problems
Research Rationale
Research Motivation
Research Question
Aims and Objectives
Hypothesis
The Research Project
Definitions
Scope and Limitations
Outline of the Report
Anglo-Rock/Heavy Metal Industry and Music Marketing Theories
The Industry Environment
The Music Industry
The Entertainment Industry
Sales of Recorded Products
Record Companies
Evolution of the Environment
Independent Companies
Cyclical Theory
The Rock Industry
The Anglo-Rock/Heavy Metal Music Style
Definition
History
French Music Industry
French Rock History
French Music Market
Marketing Theories
Marketing Activity
Marketing Definition
Marketing Goal
Marketing Strategies
Marketing Mix
The Promotion Activity
Music Marketing
Music Marketing Definition
Music Marketing Departments
Music Marketing Goals
Music Product
Music Marketing Strategy
Music Promotion
Music Promotion Definition and Goals
Music Promotion Strategy
Music and Artist Promotion
Promotion Means
Traditional Promotion Means
Radio Promotion
Television Promotion
Live Performance Promotion
Press Promotion
Internet Promotion
Original and New Promotion Means
International Marketing
Culture Theories
Culture Definition
Culture Theory
Impact of National Cultures on Promotion
Music Cultures
French Music Regulations
The Method Chapter
Research Methodology
Methodology to Recolt Quantitative Data
Live Promotion
Radio and TV Promotion
Methodology to Recolt Qualitative Data
Limitations of the Methodology
The Results Chapter
Results from Quantitative Data
Live Promotion
Radio and TV Promotion
Results from Qualitative Data
The Conclusions Chapter
Appendices A-O
From the Paper
"Dolfsma (2000) explained that music industry has a structure that is a blending between local and global. Majors are global companies organised at the international level with subsidiaries in more than one country. The typical organisation chart of the majors' subsidiaries worlwide is composed of three main departments (marketing, international and nation). Rock music is usually marketed in each of these three departments that is why it is impossible to quantify and know the proportion of Rock music produced".
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Radio Station Comparison, 2002.
A comparison of two radio stations in Toronto: Q-107 107.1 FM and CBC Radio Two 94.1 FM.
1,650 words (approx. 6.6 pages), 3 sources, £ 44.95
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Abstract
This paper examines the content of two radio stations in Toronto, Ontario. Analysis and comparison includes the type of music, radio hosts, language, advertising, target audience and its general image. Suggestions for increasing their audience are also included.
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Marketing Plan: XM Radio, 2007.
This paper applies marketing principles to a marketing case featuring the introduction by satellite radio XM Radio of a new revolutionary product, Replay Radio.
1,845 words (approx. 7.4 pages), 3 sources, APA, £ 42.95
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Abstract
This paper discuses Replay Radio's product life cycle, channel management, an advertising plan and price, promotional and public relations strategies. The author points out that, during the launch phase, XM's marketing team should follow a skimming price strategy because of their competitive advantage and limited product availability. The paper relates that the pricing strategy for Replay Radio should be sales-oriented objective, which seeks some level of unit sales, dollar sales or share of market goal without referring to profit. The author recommends an initial promotion schedule starting the first of August so that the company can catch the height of sports, shopping and new releases for television shows and the music tour calendar. The paper suggests a public relation campaign by promoting technological sharing with the other satellite radio system Sirius, to assist in growing the industry market.
From the Paper
"The second phase is growth, during this phase of the product's life cycle the product tends to become more profitable and competitors tend to become more attracted to the market. Companies tend to start forming alliances, and more money is put into the advertising the product. Replay radio should be in mass production at this point of the life cycle and be marketed to manufacturers worldwide. The third phase is maturity; products that tend to survive the early phases normally spend the longest in this particular phase. Sales tend to grow at a decreasing rate then stabilize and price wars begin with the competition and promotion of the product becomes more widespread."
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Music Predilection Marketing Research, 2002.
A paper on marketing research dealing with music predilection and music consumption of the general Israeli public.
9,915 words (approx. 39.7 pages), 8 sources, MLA, £ 143.95
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Abstract
In the last decade many technological advances such as the Internet, CD recorders and many others offered the music consumers new alternatives to easily acquire their favorite music, while preserving a high recording quality. The paper shows that one of the solutions suggested to combat "music theft" was to decrease music prices in the Israeli market. The paper argues that before doing a general price decrease, market research should be done in the field. The paper therefore puts forward a detailed and comprehensive market research plan that might give a better understanding of the music market segmentation. The assumption that is tested by the research is: The types of music that tend to be ?stolen? frequently differ from those that are not and those individuals who ?steal? music belong to much lower educational and/or income level than those who tend to buy music. The paper includes strategy, methodology, questionnaire examples and detailed tables with the research results.
Table of Contents:
Executive Summary
Introduction
Methodology
Results
Introduction
Problem
Study Objectives
Strategy
Methodology
Questions
Questionnaire Design and Pre-testing
Main Study Data Collection Process
Errors and Problems
General Problems and Errors
Problems with General Data
Problems with Music Predilection
Problems with Music Consumption
Flaws in Questionnaire Form Design
Errors and Problems with Distribution
Results and Recommendations
Study Results
Conclusions
Recommendations
Appendix
Statistics
Data Evaluation Methodology
English and Hebrew Questionnaires
Bibliography
From the Paper
"The most problematic issue that I was facing in this research is the difficulty in revealing the subject of this research, which is the illegal music consumption. My goal was to find the most neutral approach, in order not to make our respondents feel like suspects for committing a crime (that some of them do?). Therefore, I proposed to design the questionnaire in such a way that it will emphasize the music predilection side of the research, and less the music consumption side. My hope to get the true answers to those questions was based on the acquaintance with Israeli mentality ? people are open enough to provide us with true data, as long as they are anonymous. However, the credibility of the research cannot be based on such an assumption alone and I will try to estimate it using additional methods."
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Digital Downloading and its Impact on the Music Industry, 2008.
A detailed description of the effects that digital music distribution has on the music industry.
2,375 words (approx. 9.5 pages), 9 sources, APA, £ 51.95
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Abstract
This paper discusses the music recording industry and how it has been impacted by digital music distribution. The paper relates that the early success the music labels had against the initial music file downloading sites were short lived, and legitimate digital downloading sites have since prospered. The paper then argues that major recording labels are suffering from the decline in CD sales, not because of music pirating, but because they refuse to recognize that consumers demand digital music downloading for its convenience and portability. The paper further emphasizes that digital music distribution and retailing is the future of the music industry and every relevant party seems to recognize this, except the music industry itself.
Outline:
Overview
Restructuring of the music Industry
New distribution model & Itunes
Online distribution variations
Conclusion
From the Paper
"The music industry, in spite of its ineptitude and obstinacy over the past decade regarding digital music downloading, is finally realizing that whether it embraces downloading services such as iTunes and others, it must evolve with the digital age or face irrelevance. In order to compensate for the loss of revenues, the recording music industry has been examining their base revenues in order to determine if digital downloads can compensate completely for the decline in sales of CDs. Two of the major record labels, Sony and BMG, have even merged in order to expand their catalogues (Recording, 2007). There have been efforts made to encourage EMI to merge with one of the remaining three major record labels but thus far these remaining major record labels have resisted further consolidation. However, EMI undertook its own internal restructuring by merging its two main record labels in the US market during the first half of 2007 and Warner Music was sold during 2004 creating even more churn in the industry (Recording, 2007). Yet, perhaps the most visible change is the industry is the downsizing or disappearance of retail music stores, which has begun to accelerate."
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Online Music Distribution, 2007.
This paper explains that the rise of peer-to-peer (p2p) digital technologies has led to a fundamental transformation in how the audience of popular music regards music as property.
1,360 words (approx. 5.4 pages), 5 sources, MLA, £ 32.95
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Abstract
This paper relates that, while property rights in the music industry remain based upon rigid copyright laws, which give the copyright holder protection against any unlicensed copying or use of a music property, digital media has permitted widespread disregard for this law. The author points out that, even though there remains an opposing view by some people in the music industry that peer-to-peer (p2p) networks exchanging music amounts to theft of their property, a transformation in the understanding of property rights and music is underway on a global scale. The paper concludes that, as the phenomena of mashes and sampling indicate, artists and audiences have come to see digital music as a new medium for creative growth, which promises substantial changes in our popular music in the future.
Table of Contents:
Introduction
Copyright Law and the Question of Ownership
Peer-to-Peer Technologies and Music Exchange
Audiences and Music Property
Conclusion
From the Paper
"It must be noted that even this limited copying capability was the result of fierce renegotiations between Apple and the leading recording industry companies who were unhappy about the one fixed price business model, as well as Apple's limited support for the audience's right to copy music. However, this right was based upon a key limitation on copyright known as "fair use" in the United States, and "fair dealing" in Canada. Under "fair use", for example, it is possible to not only use a copyrighted work without the copyright holder's approval but even to do so over the owner's express objection."
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