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This study explores how the location choice and financial resources of music-tech startups impact their performance, focusing on the role of CEO type (founder vs. non-founder). Entrepreneurs face the challenge of choosing between leveraging existing networks in their home region or relocating to industry-specific hubs. While location decisions significantly influence access to resources and growth potential, recent findings on their impact remain mixed. This research aims to clarify these dynamics by examining how founder and non-founder CEOs affect startup performance, particularly in creative industries where financial resources and location play critical roles. By providing insights into these factors, the study enhances our understanding of the interplay between startup location, financial support, and leadership in the music-tech sector. [ABSTRACT FROM AUTHOR]

Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines capacity building and professional development in Western Australia's contemporary popular music sector. It reports on a mixed-methods qualitative-quantitative study into the lived experiences and needs of musicians and industry practitioners alike. It examines learning which is undertaken outside of formal education settings, and includes conferencing, one-on-one mentorship and other workshop based modes of delivery. As is reported, participants are overall positive about their experiences when engaging in such activities however several barriers exist as they relate to the required investments of time and money, modes of delivery and the focus of specific opportunities. A range of recommendations are made in order to address these barriers and support a diversification within the capacity building and professional development space. [ABSTRACT FROM AUTHOR]

AbstractThis qualitative research investigates the career experiences of 14 female musicians in the city of Gqeberha in the Eastern Cape province of South Africa. Findings accord with research conducted in other countries, and like their international counterparts, these musicians find themselves in a complex and precarious industry. They develop their identity or brand, build networks, and pursue lifelong learning while working in non-music fields to sustain their employability. The findings also indicate that a music qualification is not a prerequisite for employment except in the field of music education, and that such formal qualifications are associated with greater job security in this field. These findings offer new insights and a nuanced understanding of how a specific group of music creatives navigate protean careers. [ABSTRACT FROM AUTHOR]

As cinema moved from exhibition theatres to cable television in the late-1980s pre-liberal License Raj1 economy, the competitive music label market in India pushed its executives to look beyond the established modes of music making and selling. This development also collided with the growing cultural demand for new and ‘fresh’ female voices, and innovative audio-visual modes inspired by the MTV consumerism model of the West. Additionally, music videos of international popstars such as Madonna, Michael Jackson, etc. started making waves in India through direct and indirect channels. As a result, the influence of western music video culture led the music industry officials to rope in ‘westernized in style, desi at heart’ female performers to represent the new wave of alternative non-film popular music – collectively popularised by music labels and the media as Hindi Pop or Indipop. Moreover, the cultural impact of American popstar Madonna’s stardom, performativity, and politics also played a critical role in the way the emerging Indipop ‘divas’ projected themselves, both in and outside the diegesis of their music videos, during the 90s MTV boom in India. Engaging with the textual and extratextual world of indipop music videos that belong to the ‘new women’ of the neoliberal-90s – Jasmine Bharucha, Alisha Chinai, Shweta Shetty, etc.—this paper attempts to track and locate the emergence of these ‘non-film’2 female voices in the traditional ‘song and dance’ aesthetic substructure of Bombay cinema. [ABSTRACT FROM AUTHOR]

Dubbed a ‘fusion pioneer’, Asha Puthli straddled multiple cultural mediums and created an alternative niche for herself as a global performer. By charting her trajectory as a musician, the genres that influenced her, the rise and proliferation of her music in relation to the cultural landscape of India during that period, this paper, which is structured around an interview with her, tries to understand what made her different from her contemporaries. How did her Indian roots supplement her in navigating the global music arena? Did she, as a female performer singing Western music challenge entrenched notions of femininity in India? By situating her as a performer who blurred boundaries and opened avenues of alternative resistance to set cultural patrimonies, her global presence and its impact on the Indian music scene are discussed, contextualising her work in the cultural ecosystem of India as it embraced modernity, inscribing Puthli as a hidden pop icon of the 70s. [ABSTRACT FROM AUTHOR]

AbstractIn this article I explore the notion of jazz cosmopolitanism in Malawi in an effort to examine the complexities of navigating transnational multicultural spaces. I am specifically interested in how this plays out in southern Africa, where the music industries are affected by ongoing influences from the Global North sedimented on top of a history of multiple types of colonialism. I outline some foundational works on music and cosmopolitanism in Africa before discussing the music and career of Malawian jazz guitarist and producer, Erik Paliani. Paliani stands apart from many Malawian musicians based on his career highlights, but also his commitment to jazz as an international and African art form as well as a means of navigating the world. I focus on two compositions as performed by him in order to explore creativity and positionality as they relate to the intersection of jazz and African musics. I also interrogate my own positioning as a foreign white male and frequent participant in the Malawian music industry since 1991. In doing so, I unpack some complexities to cultural representation in cosmopolitan African spaces articulating with discourses on mobility and privilege. My aim is to understand how reconciling individual expression and collective belonging may be accomplished through the praxis of Afro-jazz in southern Africa. I suggest that jazz cosmopolitanism, rooted in socio-musical practices in southern Africa and beyond, adds a crucial layer of expressive devices and referential frameworks that illustrates important stories of human experience in this region. [ABSTRACT FROM AUTHOR]

A common perception is that a strong copyright regime protects cultural diversity and creativity; thus, it should be well developed, implemented, and respected. However, this belief may be different for certain industries or countries. In other words, strong copyright may not bring about a positive impact as expected whereas weak copyright can bring about positive impacts contrary to one's expectations, which is different from the conventional belief on copyright. This paper explores this issue with the Korea music industry. Although this industry has recently enjoyed global popularity with K-pop, it was lesser-developed as it endured many difficulties over several decades. By comparing and analyzing these two contrasting periods, the case of the Korean music industry demonstrates that both weak and strong copyright has helped with its development. This interesting case can provide meaningful implications regarding the practice and development of copyright and its impact on the growth of the music industry, particularly in the era of digitization. [ABSTRACT FROM AUTHOR]

Products from certain areas are assumed to share qualities by virtue of where they are made. This article considers the economic significance of such place brands in the wider market for symbolic goods. It forwards a theory of these as judgement devices, whereby place reputation serves to lower search costs in symbolic goods markets with excess supply. This theory is investigated through a study of an online music platform where a weak form of place branding is available to producers. Results suggest that branding is associated with musical success at the individual level and that place brands may act as strategic resources for producers from creative clusters. Branding effects do not necessarily depend on the content of the place brand signal (i.e., country acts branded from Nashville are not especially privileged) and may be based in simpler heuristic mechanisms where a listed origin is a stamp of quality or an aid in recognition. [ABSTRACT FROM AUTHOR]

Performance anxiety is a significant professional problem among musicians. A psychoanalytically oriented qualitative research design was employed to explore the psychological realities of six professional musicians from various genres, including classical, folk, jazz, and crossover music. Each participant took part in three unstructured hour‐long interviews. Analysis focused on the integration of conscious and unconscious elements in order to provide some insight into participants' internal worlds. Three interrelated themes emerged from the data: 1. ‘The masquerade’, conveying the idea of a covering up of the visible signs of anxiety, and a simulation of confidence on stage; 2. ‘The lair of the beast’, describing the backdrop of the music industry, experienced as a threatening underworld; and 3. ‘The ghost’, reflecting a sense of the overhang of anxiety from earlier generations. Emergent themes were linked to psychoanalytic concepts, including Winnicott's concept of a false self and Freud's discussion of the uncanny. The multifaceted nature of performance anxiety, as evidenced in the material brought by participants in this study, is explored within the discussion. Directions for further research and clinical implications in relation to the culture of the music industry and working with performance anxiety in a psychotherapeutic context, are also outlined. [ABSTRACT FROM AUTHOR]

This article discusses two books that would be of interest to scholars and students researching specific topics. The first book, "Printing Music in Renaissance Rome" by Jane A. Bernstein, explores the trade and production of music books in Rome during the sixteenth century. It examines the role of printers, publishers, and craftsmen in creating and distributing music books, highlighting the unique market in Rome and its connection to the city's economic and social climate. The second book, "William Byrd: Consort Music" by Anne Martin, focuses on the consort music of composer William Byrd. It provides a detailed analysis of Byrd's music and its historical context. The book includes music examples, illustrations, a bibliography, and an index, making it a valuable resource for scholars and performers interested in Byrd's music. The author's decision to publish the book in 2023, the 400th anniversary of Byrd's death, adds to its significance and relevance. [Extracted from the article]

This article examines how the indigenization of language in hiplife becomes a marker of authenticity and, at the same time, a project of transnational commodification to "sell our culture". Recently, language and global marketability have become a focus of debate in the Ghanaian entertainment industry. Here, indigenization becomes central to how some Ghanaian performers want their music and identity to circulate globally. I argue that the global music industry can be regarded as an authenticating mechanism legitimizing musics in a way that can define the horizons of musical possibility in local contexts. De article dey examine how the indigenization of language for hiplife dey become marker of authenticity, wey at de same time e be transnational commodification project to "sell our culture". Recently, language den global marketability come turn focus of debate for the Ghanaian entertainment industry. For here, indigenization dey become central to de way Ghanaian artists dey want make dema music then identity go international. I dey argue say de global music industry be some authenticating mechanism wey e dey legitimize local music by de way e dey determine what be musically possible. [ABSTRACT FROM AUTHOR]

This article documents the creation and distribution of a new sample pack, Instruments INDIA, as an intervention against systemic orientalist practices observable within the marketing, branding and production of non-Western instrument sample packs. This intervention draws upon Edward Said's model of Orientalism and Stuart Hall's theories of representation, fortifying an interrogation of practices that misrepresent diverse sonic content, musicians and cultures in negative ways. The research brings into focus the influence digital samplers and early sample library CDs had in determining technical configurations and misrepresentation tendencies found within paratextual elements of contemporary sample packs. The article joins forces with a leading sample pack distributor, Loopmasters, to cultivate change via new policy documents and good practice principles. Attending to problematic representation issues at the start of the music production chain offers a strategy to scaffold and promote positive change throughout the production process and into other connected music industry areas, where influential language and imagery align sample content with music production goals and aspirations. The article offers a first-hand account of sample pack development in collaboration with musicians of Indian musical instruments, which provide a case study to better understand and inform more ethical commercial practices in the future. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Music technology continuously evolves, transforming the way we create, perform, and experience music. From the invention of the phonograph to the rise of digital audio workstations, each technological advancement has broadened the horizons of musical possibilities. The advent of electronic instruments and digital recording revolutionized music production, making high-quality sound creation accessible to artists worldwide. As we progress further into the digital age, the integration of artificial intelligence represents the latest and most profound leap in music technology. AI not only enhances music composition, analysis, and education but also opens up new realms of creativity and interaction, redefining the future of music. [ABSTRACT FROM AUTHOR]

Tom MacDonald's success in the music industry can provide valuable insights for leaders and founders, particularly in the context of high-reliability organization (HRO) theory—MacDonald's approach to music challenges conventional wisdom and societal norms, promoting open communication and adaptability. HROs should prioritize open channels, invest in training, and support continuous learning. Clear communication is crucial for employees to understand the organization's roles, responsibilities, and goals, facilitating collaboration and problem-solving. It also helps manage change and prevents crises. Investing in communication skills and practices is essential for driving organizational success and resilience in today's fast-paced business environment. [ABSTRACT FROM AUTHOR]

The art form jazz dominated the popular music market of the US throughout the first half of the 20th Century. However, the traditional touring circuits slowly disappeared with the demise of jazz clubs thus causing barriers of access for audiences and musicians alike. The Jazz Road Program was launched in the summer of 2019 by South Arts with the aim of promoting deeper engagement between jazz musicians, presenters, and communities and supporting the touring economy. This article documents the program during its initial run from 2019 - 2022. Data was collected from South Arts records on recipients, award amounts, and touring destinations, interviews with organizers, artists, evaluators, and presenters, and surveys with artists and presenters. Results documented positive results in terms of touring economics and reach, quality of music, career development, audience development, and presenter support, as well as some lingering barriers of access and administrative hurdles. Conclusions encourage further inclusion and development of need-based and well-designed granting programs as key ingredients towards strengthening the economic structure of jazz as an art form and eliminating barriers of participation. [ABSTRACT FROM AUTHOR]

Commercial music artists seek celebrity capital, which has central value in the music industry and broader society. Previous literature suggests that besides advantages, fame is connected to interpersonal issues in close relationships. The marginalised celebrity discourses emerging from well-known artists' close interpersonal relationships are examined to better understand the interpersonal dynamics of fame. Relational dialectics theory is applied to study celebrity discourses in the romantic relationships of 11 Finnish music artists. Contrapuntal analysis of the data indicates that fame emerges as competing celebrity discourses privileging separateness, closedness, asymmetry, publicity and inauthenticity. The discursive interplays illuminate the dominating celebrity persona, increased mistrust, social and emotional distance, and asymmetrical power dynamics in artists' romantic relationships. These meaning-systems are linked to decreased self-disclosure and increased social distance, which are negatively connected to relationship formation and maintenance. The dominant perception of fame as harmful for relationships challenges the popular perceptions of fame as worth pursuing. Increased awareness of the interpersonal dynamics of fame can help individuals in managing the fame-related tensions in close interpersonal relationships, which are known as vital for well-being. The research adds to the understanding of the relational production of fame and introduces the interpersonal communication perspective on celebrity studies. [ABSTRACT FROM AUTHOR]

Tom MacDonald’s success in the music industry can provide valuable insights for leaders and founders, particularly in the context of high-reliability organization (HRO) theory—MacDonald’s approach to music challenges conventional wisdom and societal norms, promoting open communication and adaptability. HROs should prioritize open channels, invest in training, and support continuous learning. Clear communication is crucial for employees to understand the organization’s roles, responsibilities, and goals, facilitating collaboration and problem-solving. It also helps manage change and prevents crises. Investing in communication skills and practices is essential for driving organizational success and resilience in today’s fast-paced business environment.

This article examines whether intermediaries and consumers exert similar influence on producers' boundary-spanning efforts. I propose that boundary spanning is primarily constrained by intermediaries specialized in the market, not by consumers. Consequently, producers are more likely to obscure boundaries when intermediaries' power weakens. To test these ideas, I exploit a natural experiment that shifted the hitmaking power of genre-specific radio stations to general consumers and thus partially democratized the market mediation structure of the U.S. commercial music industry. The results indicate that after democratization occurred in 2012, record labels were more likely to introduce crossover offerings that incorporated features from other popular genres. Through mechanism triangulation efforts, I found that strategic reorientation, or producers' attempt to appeal to a broader spectrum of consumers across genre lines, plausibly explains the crossover effect. This study highlights democratizing changes that dilute intermediaries' influence as a novel explanation of why constraints on producers' boundary decisions have weakened in some markets. The findings suggest that intermediaries' and consumers' expectations may diverge, acting as conflicting forces that organizations must carefully manage. Many organizations closely monitor intermediaries that are deemed influential, but their influence should not be taken for granted as marketplaces empower consumers and become more democratized. [ABSTRACT FROM AUTHOR]