Local Music Industry Research Articles

Penerimaan dan Cabaran Inovasi Muzik Digital Terhadap Industri Muzik di Malaysia

Acceptance and Challenge of Digital Music Innovation to the Music Industry in Malaysia ABSTRACT: Music is an important element that greatly influences society through cultural adaptation and creativity. It is constantly evolving and innovating along with technological changes and advances. The development of digital music has had a significant impact on the adaptation of Malaysian musicians to technological advances. This paper examines aspects of the acceptance and challenges of digital music innovation among musicians in Malaysia. Christensen's perspective on disruptive innovation has been used as a research framework to understand these aspects of the acceptance of innovation more clearly. Five prominent Malaysian industry players were interviewed as informants to collect data on acceptance-related aspects. The results show that Malaysian industry players are embracing the digital revolution, especially with the emergence of digital streaming platforms such as TikTok, YouTube, Spotify, Instagram and SoundCloud, which facilitate fan access and help to accept work. The strengths and weaknesses of the local music industry structure can also be identified, where the overall economic picture shows a positive impact despite the difficult transition to digital media. Overall, local industry players accept the changes in Malaysian digital music innovation and adapt to technological progress. This innovation is viewed as a wide-ranging opportunity for industry players to better understand the current landscape and take appropriate measures to ensure the continuous development of the Malaysian music industry. Keywords: Digital music, innovation disruption, digital platform, Malaysian music industry, technology.

Patrilineal Constraints and Female Creativity: Case on Gitar Tunggal Lampung

Women have played a significant role in the history of Lampung's indigenous people, a.k.a Ulun Lappung. Lampung and women have had a long relationship since the Lampung people's ancestors settled in this area in the 14th century. Ratu Sekarmong, a Lampung indigenous resident, has led the Tumi tribe in Sekala Brak. Then women played a unique role in the stringed music of the Pepadun community two generations ago, particularly the gitar tunggal. Participant observations of female gitar tunggal performers, particularly those from the Pepadun ethnic group of Lampung, were used to conduct this qualitative study. The number of female guitar players in Lampung is currently dispersed. Women of the ethnic Pepadun make up the majority of the performers. In-depth descriptions are also produced using ethnographic data and digital documents from the internet. Investigations on virtual field sites, interviews, and literature reviews are used to collect research data. According to the findings, male and female gitar tunggal performers use the same way in techniques. Contrarily, female guitarists have different goals than male guitarists. Women are prohibited from playing stringed instruments in public or in the local music industry. In addition, male performers typically remain active on stage, whereas female performers only reside in their homes. In the traditional view, their creativity is only used for household amusement. As a result, female guitarists must advance new coping mechanisms that affect their ability to retain music. Women's contributions to developing Lampung stringed music must be acknowledged, particularly in light of the patrilineal Lampung traditional system.

The impact of the COVID-19 pandemic on the music industries of Brisbane and an evaluation of the policy response

ABSTRACT This paper examines the effects of policy responses to the COVID-19 global pandemic on Brisbane’s music industries. The methods used for data collection combined a review of policy documents at different levels of government, an on-line questionnaire with music workers, and semi-structured interviews with musicians and music industry workers to understand the impacts of COVID-19 mitigation strategies on various music industries, as well as to examine any opportunities that may have arisen from this disruptive event. The primary questions informing this research are thus what were the impacts of Queensland’s zero COVID policy on the music industries of Brisbane, and what can be learned for future music industry-related policy interventions? Based on data collected from an on-line survey and on semi-structured interviews with musicians and professionals from the Brisbane music scene, we conclude that while the QLD state government response to the crisis recognised to an extent the importance of Brisbane’s music industries, policy responses were not always seen as equitable in relation to other industries and that policy responses to future disruptive events would be better served with greater consultation and consistency. Practitioner pointers COVID-19 planning and policy responses lacked consistency, in particular there was a perception of inequality in the audience numbers available to the local music industries versus the sports industry. Policy responses should have been more consistent, or the perceived lack of consistency should have been better explained. In order to better understand the effects of policy and planning on grassroots local music industries, a greater degree of government consultation is required. Music industries need to find ways in which greater industry vcollectiveness can be achieved to improve advocacy efforts.

The digitalisation of the music industry in Brazil

Abstract The article analyses the digitisation of the music industry in Brazil, taking into consideration the new productive structure that emerges from its ‘creative destruction’. To do so, it presents a historical overview of the record industry in the country and assesses the key components of the structural transformation of its economy in the early twenty-first century, from the sharp decrease in the consumption of CDs and DVDs to the entry of the global streaming services that presented an international modus operandi to the local music industry, or what has come to be known as the celestial jukebox. In the conclusion, it discusses the challenges for the distribution and circulation of music produced in Brazil in the global digital music market.

Challenges Relating to the Collection and Distribution of Royalties for Musical Works in Cameroon

Purpose: The purpose of the study was to explore and analyze the challenges related to the collection and distribution of royalties for musical works in Cameroon. The music industry plays a significant role in the cultural and economic development of the country, making it crucial to ensure a fair and efficient system for royalty management.[1]
 Methodology: The study employed qualitative method that involved a combination of literature review, interviews, and analysis of existing data. Relevant literature on royalty collection and distribution systems in both national and international settings were examined to provide a comprehensive understanding of the subject matter.[2]
 Findings: The findings of this study highlighted several significant challenges faced in the collection and distribution of royalties. These issues contribute to the overall inefficiency and unfairness of the current royalty system, resulting in financial loss of artists. Based on the research findings, several recommendations are proposed to address the identified challenges.
 Unique Contribution to Theory, Practice and Policy: The theory of the research sheds light on the specific challenges faced by rights holders in musical arts in Cameroon, providing a comprehensive understanding of the complex dynamics of the local music industry.[3] In terms of policy, this study has the potential to influence the development and implementation of policies related to royalty collection and distribution in Cameroon. The research findings and recommendations can be used as evidence-based insights by policymakers, copyright organizations, and government agencies to shape new policies or reform existing ones.[4] Overall, the unique contribution of this study lies in its comprehensive analysis of the challenges faced in the collection and distribution of royalties for musical works as well as its practical recommendations for addressing these challenges. By bridging the gap between theory, practice, and policy, this research aims to make a meaningful impact on the music industry in Cameroon and potentially serve as a reference for similar contexts globally.
 

“I’m a feminist, do you hate me?”: Constructions of Feminism by Sajsi MC

The paper focuses on the public persona of a popular female rapper from Serbia, Ivana Rašić, performing under the stage name Sajsi MC. As she openly calls herself a feminist, my goal will be to shed light onto how feminism is constructed in her discourse and music, taking into account the specificities of the post-socialist Serbian society and the transformation of the market (and life in general) into a neoliberal one, as well as certain strategies of the popular music industry. Given that she is active within the music market, and is involved in the creation of various products offered for consumption to audiences in the region, my goal will be to understand how feminism, as a category and a label, is envisioned, appropriated, reimagined and renegotiated within such a context, and how it is used by Sajsi MC as a strategy for positioning herself within the local music industry.

РОЛЬ АРТ-МЕНЕДЖМЕНТА В МУЗЫКАЛЬНОМ ШОУ-БИЗНЕСЕ МЕЙДЖОР-ЛЕЙБЛОВ

Current article discloses principal functions of Arts Administration in music industry on the example of World biggest labels’ practice. Practical evaluation of the proposed information lays in an opportunity to apply foreign experience in order to develop local music industry. The novelty of our investigation lies in consideration of production and post-production processes of musical product through the prism of marketing and social psychology – after all exactly an comprehension of potential customers’ needs and wants differentiate a pure music art from musical show-business. Major labels – are the brands and trade marks of the biggest companies, engaged in all multistage production and post-production processes of musical and video products. Precisely on the example of Major label activities it is possible to descry all the subtleties in musical show-business

51% of Local Music: Cultural Imperative and Legal Norm for the Development of the Music Industry in the Republic of Moldova

The music industry in the Republic of Moldova is proxy to the global music industry, with similar problems and perspectives. The effi cient functioning of the local music industries of the European states is becoming current and increasingly evident in the theoretical and practical approaches of the researchers, musicians, as well as of the economic entities in the fi eld. In this sense, the local music industries have traveled, in the last 30 years, through similar and oscillating routes, with many challenges and few opportunities on the local dimension. Thus, the music industry of the Republic of Moldova yields, from a structural, functional and tendentious point of view, to foreign dimensions: Western and Eastern European. In these circumstances, there is a need to rehabilitate the production, distribution and consumption of the music industry of the Republic of Moldova by valorizing and capitalizing on local music production. The pandemic, forced digitalization and the external macroeconomic context, as well as the politico-military one, require updates and connections to contemporaneity. Therefore, musical activity within the borders regulated by a State must measure and appreciate its own potential, in order to apply appropriate legal rules. The governmental and parliamentary involvement, in this respect, consists in updating the aspects aimed at: the local music production (Law of the Republic of Moldova No. 139/2010); the minimum tariff s of the author remuneration (Government Decision of the Republic of Moldova, No. 641/2001) and 51% - the minimum valorization quota (Law of the Republic of Moldova No. 174/2018).

The emergence of promotional gatekeeping and converged local music professionals on social media

The digitalization of creative industries has undermined the business models of legacy media outlets as well as the music industries. This article discusses the two primary ways that legacy media has functioned in the context of the music industries—as a producer of symbolic value and as an engine of music promotion. However, the central aim of this study is to analyze the development of these functions in the new media sphere by identifying music promotion practices on Facebook. Based on in-depth interviews conducted with local music industry professionals in Estonia, two sets of promotional approaches have been identified: brand-centered approaches and community-oriented approaches. The findings indicate a continuing convergence of autonomous music criticism and music promotion across many dimensions and the presence of “promotional gatekeeping” as a form of business activity in small creative industries.

Radio Univers: The Story of Ghana’s Pioneer Campus-Community Radio Station

ABSTRACT There is a paucity of academic literature on Radio Univers 26 years after it first took to the airwaves as Ghana’s first authorized campus-community broadcaster. Drawing mainly on direct observations and interviews, this paper accounts for the origins of the station, and the role it has played in Ghana’s mediascape, not only in contributions to the public sphere and local music industry but also the opportunities it has created for self-expression and capacity-building for volunteer broadcasters. With meager resources, Univers has developed a reputation for producing quality media practitioners. This paper concludes that going forward, it would be beneficial for Univers and other campus broadcasters if a dedicated broadcasting law is passed in Ghana and the nation’s broadcasting regulatory regime is updated.

Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand. Edited by Graham McPhail, Vicki Thorpe, and Stuart Wise (2018)

Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand, edited by Graham McPhail, Vicki Thorpe, and Stuart Wise (2018), presents a wide variety of perspectives on curriculum matters in contemporary music education in New Zealand. This review gives an overview of the main themes presented by the editors and contributors, which include the concern that under present education policy, secondary students are liable to receive an incoherent music education that does not include important concepts that are necessary for success in tertiary music study. Contributors to the book also consider issues such as the use of computer technology in the music classroom, the teaching of composition, and initiatives such as the Smokefree Rockquest which present students with access to the local music industry. The book also situates the present state of New Zealand music education in the context of local politics and international educational movements, and considers how music teachers might respond to cultural diversity in their classrooms.

Jazz Culture in the North: A Comparative Study of Regional Jazz Communities in Cairns and Mackay, North Queensland

Jazz Culture in the North: A Comparative Study of Regional Jazz Communities in Cairns and Mackay, North Queensland

Alternative Conceptions of Modernity in the History of Iban Popular Music

This paper examines how modernity has historically shaped developments in the industry of Iban popular music. The Iban make up one third of the Sarawakian population and are the largest indigenous ethnic group in Sarawak, Malaysia. As with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. Historically, the Iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of Malaysia. Throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt themselves in the era of modernization. Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of Malaysian nationalism. Drawing upon Barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the Iban reference both a national as well as a local music industry particularly through their use of language as an expression of Iban. First the paper will examine changes in Iban society through political and economic modernization. Then I look at differential transformation within Iban music industry because of relative exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments.

Australian popular music history on television: Long Way to the Top

Public and commercial television has increasingly looked to popular music histories to fulfil content requirements. The recent ratings success of INXS: Never Tear Us Apart (Channel 7, 2014) and Molly (Channel 7, 2016) as television drama series calls to attention how and why Australian pop and rock histories are created for general audiences. Originally aired on the ABC in 2001, Long Way to the Top is the most detailed attempt to construct a pop/rock narrative that intersects with broader Australian social and cultural history. This article examines the methods deployed by the series’ writers and producers, and the challenges in reconciling musicians’ and fans’ experiences with traditional television documentary practices. It argues that the Long Way to the Top series remains important in informing later TV histories, and in the ways in which it interacted with prior local music industry mythologies.

In search for support for the extension of copyright term under the Trans-Pacific Partnership Agreement

PurposeOne of the binding commitments under the Trans-Pacific Partnership Agreement is the extension of the copyright term to 70 years after the death of the author. This paper reports the preliminary findings of a research on the potential impact of the extension of copyright term on the music industry in Malaysia. As Malaysia is a user and net importer of intellectual property, it is feared that extending the copyright term will likely impede incentives for the creation of new contents, increase the cost of licensing/royalties, diminish the choice and creativity of film and music industry and increase royalty payments abroad. The purpose of this study is to determine whether the commercial lifespan of copyright works is long enough.Design/methodology/approachUsing a qualitative research method, in-depth interviews were carried out with key industry players between June and September 2015 to collect relevant information from the industry. The information obtained was analysed to gauge the market standing of the local music industry and how the proposed extension would bolster their financial and market power. The paper does not intend to explore the legal implications from the retrospective extension of copyright term and data on illegal use and piracy. The findings of the research will be purely drawn from the non-structured interviews and information gathered from respondents.FindingsThe paper concludes that there is not enough evidence to support the notion that the copyright extension will be economically advantageous to the local music industry.Research limitations/implicationsThe feedback from the interviews, although cannot be generalised to be considered as representing the whole music industry in Malaysia, can nevertheless be taken as preliminary conclusions and an eye-opener to the quest for concrete support in the debate for the extension of the copyright term in Malaysia. The paper also does no explore the legal implications from the retrospective extension of copyright and data on illegal use and piracy.Practical implicationsIn conclusion, more studies need to be conducted to understand the dynamics and needs of the music market in Malaysia for the extension of the copyright term to be really beneficial to them. As this study is only conducted using a qualitative research method, using open-ended and in-depth interview techniques on a small group of respondents, there may be a need to embark on empirical research with proper execution of survey instruments to a larger group of respondents.Social implicationsThe music industry is chosen as the case study because it may develop into a potential export interest. The music industry as a small component of the larger “creative industry” has been identified as one of the new economic drivers under the Tenth Malaysia Plan.Originality/valueThe paper was first presented at the ATRIP Congress 2015 at Cape Town on 27th September 2015. The paper has not been published. No studies have been done on the possible implications of copyright extension term on the music industry in Malaysia before.

Alternative Conceptions of Modernity in the History of Iban Popular Music

The Iban make up one third of the Sarawakian population and is the largest ethnic group in Sarawak, Malaysia. As with other ethnicities in the nation, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. Historically, the Iban are a cultural group located geographically and politically in Sarawak, Malaysia. Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of modernisation. Drawing upon Barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the Iban associate both a national as well as a local music industry particularly through their use of language as an expression of Iban. First the paper will examine changes in Iban society through political and economic modernisation. Differential transformation within Iban music industry is examined in relation to exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and interact in adaptation of modem demands of change as a result of the effects of historical processes on the social, cultural and physical environments.

HISTORY OF IBAN POPULAR MUSIC, AN ALTERNATIVE CONCEPTIONS OF MODERNITY

The Iban make up one third of the Sarawakian population and are the largest indigenous ethnic group in Sarawak, Malaysia. As with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. The objective of this paper is to examine how modernity has historically shaped developments in the industry of Iban popular music. Historically, the Iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of Malaysia. Throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt them in the era of modernization. Hence, the Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of Malaysian nationalism. Drawing upon alternative conceptions of modernity to evaluate how the Iban reference both a national as well as a local music industry particularly through their use of language as an expression of Iban. Changes in Iban society through political and economic modernization had led to the emergence of Iban popular music industry because of relative exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments.

Ouça sua banda preferida sem precisar ir atrás daquele Torrent:uma análise da publicidade das empresas eletrônicas de música

Neste artigo, realiza-se uma análise do discurso de peças publicitárias de empresas eletrônicas estrangeiras de música que começam a operar no Brasil. O objetivo do trabalho é categorizar as estratégias retóricas utilizadas pelas empresas eletrônicas e compreender como tais produtos midiáticos ajudam na construção de um discurso sobre esses novos agentes da indústria fonográfica. Conclui-se que se têm uma concepção dos consumidores brasileiros como reticentes a pagar para consumir música nas redes digitais, mas interessados em se socializar através de seu gosto musical.

"Mi wantem musik blong mi hemi blong evriwan" ["I want my music to be for everyone"]: Digital developments, copyright and music circulation in Port Vila, Vanuatu

Since the year 2000, Port-Vila, the capital of Vanuatu, has experienced considerable development in digital technologies. This has strongly influenced young people’s musical behaviour.The mobile phone market expanded rapidly with the arrival of the Digicel company, launched in June 2008. Statistics show that in 2009, more than 50 percent of the population had access to mobile telephony. The possibilities for digital storage have made the mobile phone an indispensable tool for young musicians.In August 2012 the country joined WIPO (World Intellectual Property Organization). However, IP (intellectual property) law cannot be practically implemented, because no formal organization to enforce IP has been established by the Vanuatu Government. Musical exchanges are engrained in the archipelago’s traditional culture and, alongside the old circulation systems of musical knowledge, the Internet and mobile phones have created new networks for the circulation of musical culture.While copyright can be seen as important for the development of the local music industry, its implementation faces challenges, given that the circulation of local music occurs largely outside of the formal market system.

Youth, radio and Australian popular music policy

Following its extensive Australian Music on Radio Inquiry conducted between 1982 and 1988, the Australian broadcasting regulator concluded that commercial radio had a responsibility to support the development of Australian music but its own systems for ensuring they fulfilled that responsibility were insufficient. While, as an objective of broadcasting policy the support for Australian music intersected with the federal government’s interest in aiding the development of the local music industry, the government’s concurrent interest in deregulating the broadcasting sector impeded the ability of regulator to address its regulatory deficiencies. In this article I explore how the objective to encourage radio to support the development of the Australian music industry generated a key rationale for the development of non-commercial youth radio services that translated into establishment of the ABC Triple J youth radio network in the 1990s and a set of independent youth community radio stations in the early 2000s.