Music Industry Research Articles

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Light or easily made target texts. The methods of Swedish schlager translationSchlager was used as a term for songs on the Swedish popular music market from the 1920s and on. Coincidentally, song translation practices developed that varied rather seamlessly between liberty and fidelity. Nevertheless, based on an extensive corpus of Swedish target song lyrics, released 1916–2011, I identify and name six roughly distinguishable text methods: near-enough translation, perspective-shift translation, hook transposition, single-phrase spinoff, phonetic calque, and all-new target song lyrics. Examining the chronological distribution of the variation, most exploration of the experimental middle ground was found in the 1960s and 1970s. One decisive factor may be increased tailoring of lyrics for specific performers or venues. From the 1980s and on, changing circumstances seem to have made imported music released with Swedish lyrics less prevalent on the market, but widely variable song translation methods continue to be practiced in later decades too.

Towards monopolistic music promotion: an analysis of North American concert tours

ABSTRACT The music industry, and in particular the recording and publishing sectors, has historically been controlled by a handful of large firms. In recent years, this tendency towards concentration appears to have spread to the promotion sector as well. Using a Herfindahl-Hirschman Index (HHI) together with other North American tour industry figures, this study investigates the impacts of rising concentration in music promotion between 2010 and 2019. The results show a steady rise from moderate to high-level concentration over that time frame in large part driven by Live Nation alone. This rising concentration was found to be associated with higher prices for fans, bigger productions, less risk taking from promoters and more homogenous offerings, consistent with known monopolistic behaviours. Implications for theory and policymakers are suggested in closing.

Population characteristics and self-assessment of speaking and singing voice in Polish contemporary commercial music singers-an exploratory, cross-sectional study.

The domination of the Contemporary Commercial Music (CCM) industry in music markets has led to a significant increase in the number of CCM performers. Performing in a wide variety of singing styles involves exposing CCM singers to specific risk factors potentially leading to voice problems. This, in turn, necessitates the consideration of this particular group of voice users in the Occupational Health framework. The aim of the present research was threefold. First, it sought to profile the group of Polish CCM singers. Second, it was designed to explore the prevalence of self-reported voice problems and voice quality in this population, in both speech and singing. Third, it aimed to explore the relationships between voice problems and lifetime singing involvement, occupational voice use, smoking, alcohol consumption, vocal training, and microphone use, as potential voice risk factors. The study was conducted in Poland from January 2020 to April 2023. An online survey included socio-demographic information, singing involvement characteristics, and singers' voice self-assessment. The prevalence of voice problems was assessed by the Polish versions of the Vocal Tract Discomfort Scale (VTDS) and the Singing Voice Handicap Index (SVHI). Also, a self-reported dysphonia symptoms protocol was applied. The perceived overall voice quality was assessed by a Visual Analogue Scale (VAS) of 100 mm. 412 singers, 310 women and 102 men, completed the survey. Nearly half of the studied population declared lifetime singing experience over 10 years with an average daily singing time of 1 or 2 h. 283 participants received vocal training. For 11.4% of respondents, singing was the primary income source, and 42% defined their career goals as voice-related. The median scores of the VTDS were 11.00 (0-44) and 12.00 (0-40) for the Frequency and Severity subscales, respectively. The median SVHI score of 33 (0-139) was significantly higher than the normative values determined in a systematic review and meta-analysis (2018). Strong positive correlations were observed between SVHI and both VTD subscales: Frequency (r = 0.632, p < 0.001) and Severity (r = 0.611, p < 0.001). The relationships between most of the other variables studied were weak or negligible. The examined CCM singers exhibited substantial diversity with regard to musical genre preferences, aspirations pertaining to singing endeavors, career affiliations, and source of income. Singing voice assessment revealed a greater degree of voice problems in the examined cohort than so far reported in the literature, based on the SVH and VTDS.

Research on the Exploitation of Artists in the K-pop Industry

The Korean pop music (K-Pop) industry has garnered fame in the recent years and has had a great economic impact on South Korea . It is best known for its music, performances and content creation but behind the glitz and glamour of the idol industry lies the dark truth if exploitation of its artists particularly minors. This paper examines the exploitation of artists, the trainee system, debut process, sexualization of minors and the impact of sasaeng fans. The unfair contracts, long working hours, the toxic beauty standards, limited rights over their craft which often leads to physical and mental health issues for these young artists’. The K-pop industry has been under scrutiny for its treatment and sexualization of minors. The intrusive and obsessive behaviors of the sasaeng fans further exacerbate the situation leading to concerns over the well-being of the artists. It also covers the government’s role and intervention in protection of minors and the protection of artists. However, more needs to be done to address these issues within the industry and strong measures need to be taken to ensure the well being of the artists and protection of minors within the industry.

Enhancing English Proficiency for Thai Music Professionals: A CLT Instructional Package

The study aims to achieve three primary objectives: 1) To identify essential components for developing an instructional package aimed at enhancing English proficiency among individuals working in the Thai music industry; 2) To design an instructional package specifically tailored to improve the English proficiency of personnel in the Thai music industry; and 3) To implement the developed instructional package and assess its effectiveness in advancing English proficiency among music industry personnel. Employing the principles in developing an ESP course, the study comprises three phases: need analysis, instructional package development, and implementation. The need analysis phase involved surveying 150 individuals employed in the Thai music industry using a structured questionnaire. The instructional package development phase enlisted the expertise of five experts to evaluate the instructional model. Finally, phase three involved administering a pre-posttest study with 30 music professionals. The results highlight the successful creation of an English instructional package based on communicative language teaching (CLT) principles, leading to significant enhancements in participants&amp;#39; English proficiency. The study&amp;#39;s significance lies in its identification of English language development needs within the music profession and its provision of a practical methodology for designing specialized English for Specific Purposes (ESP) courses tailored to the unique requirements of music professionals.

Mediatized World in Digital Music Industry: Transformations, Challenges, and Opportunities - A Study in Indonesia

The world of music industry has experienced profound transformation in recent years due to digital revolution. This research explores the changes, challenges, and opportunities in the digital music industry. From the evolution of production to distribution, the researcher analyzed this dynamics industry. Several challenges, such as piracy and unequal revenue distribution are faced, yet opportunities arise through digital platforms and blockchain technology. Collaboration between governments, copyright organizations and artists become the key to creating a sustainable music ecosystem. As such, the research not only reflects the essence of the title, but also provides deep insights into how mediatization can be implemented to understand the transformation of the digital music industry in Indonesia, as well as the related challenges and opportunities.

Korean K-Pop Band BTS and the Iranians: An Online Exploration

The meteoric ascent of the Korean music ensemble BTS has captured the attention of audiences worldwide with their distinctive fusion of pop, hip-hop, and R&amp;B. Their ability to weave religious elements into their music has propelled their success far beyond mere musical band, breaking through cultural and linguistic confines. Their impact reshapes the music industry and presents an intriguing case of cultural exchange within the global entertainment scene. This data-mining study explores BTS’s remarkable ability to cultivate a vast fanbase in Iran. However, the findings indicate a waning influence in the region, as evidenced by a decrease in tweets about BTS from 39,237 to 23,697, and finally to 9,215 over three consecutive years leading up to 2024. Despite this decline, the core group of BTS enthusiasts in Iran, predominantly loyal teenage girls, continues to actively support the group.

Digital transformation and the DIY artist: Balancing artistic integrity and economic sustainability in the digital domain

This study investigates the evolving role of do-it-yourself (DIY) artists in the context of digital transformation, analyzing the delicate balance between maintaining artistic integrity and achieving economic sustainability in the contemporary music industry. By exploring the innovative use of digital platforms, the research highlights the need to foster innovation and ensure sustainable growth as part of a pivotal strategy for these artists. The findings emphasize the complexities and challenges presented by digital platforms, particularly in terms of diverse groups and the potential disparity between artistic and commercial pressures. Drawing from global DIY music scenes, the study underlines the importance of expanding income sources, fostering community-driven growth, and prioritizing genuine artist–fan interactions. The results offer invaluable insights for independent musicians, industry stakeholders, and digital platform developers, emphasizing the interrelationship between artistry, identity, and sustainability in the digital domain.

Melody Generation using Deep Learning: Unleashing the Power of RNN and LSTM

This project aims to develop a novel approach for piano melody generation using Recurrent Neural Networks (RNN) and Long Short-Term Memory (LSTM) models in deep learning.The suggested models will be trained on a dataset of MIDI files with piano melodies to use sequential learning capabilities and capture the complex patterns and relationships present in musical compositions. [1] The project aims to gen- erate a variety of melodies that are both musically coherent and diverse by experimenting with various network designs, hyperparameters, and training procedures. The developed tunes will be evaluated primarily on their originality, conformity to stylistic elements, and general quality. The results of this study could lead to new developments in AI-driven music composition as well as opportunities for computational creativity in the music industry.

Analysing the results of a questionnaire survey as part of a study of the role of the sound producer in the contemporary Ukrainian sound industry

In the 21st century the sound industry in Ukraine, which includes music, movie, gaming, and other sectors, has undergone substantial development. An essential figure in this process is the sound producer, an expert accountable for sound solutions in the creative industries. This study’s relevance is emphasised by the context of European integration processes in Ukraine, the modernisation of professional listings to align with the current labour market, and the integration of Ukrainian culture and cultural industry representatives in Europe. The purpose of the study is to examine the perspectives of sound industry professionals regarding the role of sound producer and to define the responsibilities of a sound producers within the industry. The study used a questionnaire, and empirical, analytical, and generalisation methods. This article analyses the results of a survey conducted to delineate the role of sound producers in the contemporary Ukrainian sound industry. The key findings reveal that 38.5% of the people surveyed agree that the sound industry in Ukraine has established itself as a separate entity within the creative industries. Additionally, 63.7% confirm that the sound industry and music industry are distinct yet interconnected activities. Furthermore, 73.3% perceive a distinction between a music producer and a sound producer. 91.1% of the respondents were unaware of the existence of the “Sound Producer of the Year” award in Ukraine. 82.2% of respondents support the introduction of sound producer and music producer professions to the official profession classifier. The survey results confirm the crucial significance of sound producers in the contemporary Ukrainian sound industry. Sound producers are essential in the creation of top-notch sound material and make a vital contribution to the growth of the industry. The collected data from the survey can be employed to improve training for professionals and advance the general growth of the sound industry in Ukraine

ANALISA HUKUM ATAS KEPEMILIKAN SAH BAGI HAK CIPTA LAGU ATAU MUSIK (PERATURAN NOMOR 56 TAHUN 2021)

The uncertainty of legal regulations concerning the economic entitlements of songwriters or musicians and related rights in asserting royalties can arise due to the failure to register the data of songwriters or musicians along with their related rights in the Song and Music Information System (SILM) and the Directorate General of Intellectual Property (DJKI) database. In an attempt to offer legal safeguard for copyright or related rights in the music industry that are not registered in SILM, this study seeks to examine the legal consequences of such situations and the patterns of dispute resolution. Through observation of the research object and the degree of its application in practice, empirical sociology is the applied method used to evaluate the efficiency of legal tools in complying with prevailing regulations. Findings indicate that in cases of music compositions or songs not included in SILM, users are willing to pay royalties in exchange for not releasing new recordings, and that to achieve mutually beneficial agreements, conflict resolution procedures typically require mediation through PPNS before resorting to litigation.

“I Guess this is Growing Up”

This research article examines the transformation of pop-punk from bands to solo artists and how the genre regained popularity due to new popular personalities and the transmedia engagement in social media and with established media. Through a three-pronged approach, this study adopts phenomenological, theoretical, and empirical perspectives to understand the transition and regained popularity fully. The phenomenological angle delves into the case studies of musicians, revealing key factors behind the shift to solo artists in pop-punk. Theoretical explanations contextualize the phenomenon within broader cultural frameworks, considering industry and transmedia dynamics, audience preferences, and technological advancements. Empirical evidence, including statistical data from social media profiles, quantifies the impact of the shift. This study contributes to a comprehensive understanding of pop-punk's transformation, offering an exploration of its past, present, and future within the ever-evolving music industries and transmedia landscapes.

Experiential Knowledge as a Musical Resource

Historically, music pedagogy has witnessed the implementation of diverse teaching models in different educational settings. Within the academic realm, for example, music theory and instrumental training approaches have been developed to align with standardized curricula, considering the diverse musical histories and cultures across the globe. Even so, there is a growing trend among individuals to explore alternative modes of instruction beyond traditional school environments. These alternative methods encompass online platforms and one-on-one in-person tutoring, among other options. Such modalities have prompted recognition of exponents who provide music tutorage having not acquired formal music training but possess knowledge through lived experience. Their practically inclined teaching approaches and demonstration of musical artistry have sparked interest in people, who subsequently aspire to learn music and play instruments. Their efforts have played a crucial role in fostering the need for music education in the music domain and the entire art industry. In doing so, they establish a prominent presence in music pedagogy, and consequently, in formal educational settings. Considering this, I examine the contributions by such educators within the music industry, particularly in the field of education. Using qualitative case study methods such as interviews, I explored different non-formal pedagogical approaches and interrogated their impact on learners. Insights from these interviews revealed that observation, replication, and innovation are utilized as instructional approaches in non-formal settings, with students studying under peers, master musicians, and family members. Through this, students acquire musical exposure as they develop skills that align with the music industry. Such training ought to be integrated into academic curricula to enhance music scholarship and ensure its relevance locally and within global contexts.

Binational Indianism in James DeMars’s Guadalupe, Our Lady of the Roses

AbstractSince the late nineteenth century, the “Indian” as symbol has been a recurring trope in the art music of Mexico and the United States. Composers in both countries have often turned to representations of Indigenous Peoples as symbolic of nature, spirituality, and/or aspects of the national Self. This article seeks to place James DeMars's opera Guadalupe, Our Lady of the Roses (2008) in the context of two major cultural trends: Indianism in the U.S., and the representation of Mexico by U.S. composers. DeMars's use of Indigenous instruments in Guadalupe, including Mexican pre-Hispanic percussion, and flutes performed by famed Navajo-Ute flutist R. Carlos Nakai, continues the Indianist tradition of associating the Indigenous cultures of both countries with nature, spirituality, and authenticity. Similar associations emerge in the development and reception of both “world music” and the Native American recording industry since the 1980s, as exemplified by Nakai's career. DeMars uses these instruments in combination with Plains Native American features and generic exoticisms to represent both the Mexican Indigenous Peoples and the spiritual message of the opera. The sympathetic treatment of Indigenous cultures in Guadalupe nevertheless exists in tension with their exoticism and Otherness; in this the work is representative of U.S. cultural responses to Mexico stretching back throughout the long twentieth century.

The rise of Q-pop in Kazakhstan and its impact on national identity

This study delves into the influence of the Korean Wave on the emergence of Q-pop in Kazakhstan, examining its impact on the country's cultural landscape and national identity. Stemming from the worldwide appeal of Korean culture, Q-pop merges local Kazakh motifs with global trends, leaving a significant mark on Kazakhstan's music industry and culture. This study highlights how Q-pop influences Kazakhstani youth's sense of national pride, spreading across Central Asia and countering Russian musical dominance. The research aims to investigate the role of Q-pop in reinforcing Kazakh cultural ties among various demographic groups, thereby enriching our comprehension of national identity in the country. This study utilized a quantitative research methodology, employing an online survey and snowball sampling technique to gather statistically significant results and insights into the rise of Q-pop and its intricate relation with national identity in Kazakhstan. Through exploring Q-pop's interaction with different cultural contexts, this study aims to shed light on the dynamics of cultural adaptation, fusion, and national identity construction in Kazakhstan, paying special attention to the intricate effects of gender and geographical factors. It highlights the critical balance between preserving Kazakh traditions and aligning with the younger generation's preferences.

예술의전당 건립이 현악기점 집적에 미치는 영향

This study aims to explore the relationship between cultural facilities and regions by analyzing the impact of the establishment of the Seoul Arts Center on the agglomeration of stringed instrument stores. A spatial analysis of the distribution change of the Seoul musical instrument industry was conducted, and after the establishment of the Seoul Arts Center, it was confirmed that a new musical instrument store agglomeration centered on string instruments was formed in the area of the Seoul Arts Center in addition to Nag-won Shopping Center in Jongno-gu, which was an existing musical instrument store agglomeration. In addition, the process and factors of the agglomeration of stringed instrument stores around the Seoul Arts Center were examined by dividing them by period, and the causal relationship between the establishment of the Seoul Arts Center and the agglomeration of stringed instrument stores was inferred by analyzing the socio-spatial context and characteristics of the formation stringed instrument stores. This study differs from previous studies in that it analyzes the process of cultural economy emergence through the combination of the local urban context and the social characteristics of stringed musical instruments as cultural products from various perspectives. It also suggests that complex factors are required to trigger positive social and economic effects in a region through the construction of cultural facilities, and that comprehensive planning and consideration are needed in the promotion and operation of cultural facilities.

Una investigación sobre un sistema de recomendación musical basado en expresiones faciales mediante mecanismos de aprendizaje profundo

In this study, we propose a new music recommendation system (MRS) that combines facial expression recognition technology and deep learning algorithms to respond to the changing music industry environment and provide personalized music recommendations based on the user's emotional state. Our approach includes a thorough study of facial expression recognition, emotion-based music recommendation systems, and deep learning engines, as well as a detailed presentation of the MRS design, system architecture, and deep learning engines used. Through extensive experiments, we evaluate MRS's ability to accurately recognize facial expressions, filter music based on emotional states, and effectively recommend music to users. We analyze the results of follow-up experiments to identify the strengths and limitations of MRS compared to existing approaches, and conduct a comparative study with the latest music recommendation systems based on deep learning and emotion. This comparison highlights the originality and potential of the proposed MRS system to improve user experience and promote the development of artificial intelligence-based music recommendation systems. This study demonstrates the problem of accurately determining a user's emotional state from facial expressions, which requires the integration of facial expression recognition systems, deep learning, and music recommendation systems. Using advanced deep learning techniques and a comprehensive experimental setup, the proposed MRS provides a solution to this problem by facilitating accurate emotional state identification and personalized music recommendations. Overall, MRS represents a powerful and innovative response to the growing demand for accurate and reliable music recommendations and shows significant potential for future collaboration and development of AI-based music recommendation systems.

Implementation of Vector-Based Melody Extraction for Plagiarism Detection Using Szymkiewicz-Simpson Coefficient

Plagiarism is topical within the music industry. It is filled with circumstances such as the potential of massive losses coupled with a “false-positive” court ruling due to the blurred line of plagiarism factor. This research aims to solve the gray line of music plagiarism by exploring the potential of the Szymkiewicz-Simpson coefficient toward musical aspects of music. Melody and Rhythm are chosen as the main features to focus on in the research. MIDI files of music involved in court cases are used as data for the study, with limitations put on what cases can be used for the research. Using a threshold range of 0.1 to 0.25, detection accuracies for melodic plagiarism range from 45% to 60%, while rhythm plagiarism ranges from 60 to 65%. This shows that the algorithm of plagiarism detection has a tendency to detect non-plagiarism cases and is more effective towards rhythm plagiarism detection rather than melodic plagiarism detection against existing plagiarism cases.

Study on the Communication Path of the New System of Quality-oriented School Music Education in Chinese Music Education Institutions

With the deepening reform of quality education and art education in the new era, a new system of music education in quality-oriented schools has emerged. In order to effectively explore the dissemination path of the new system of quality-oriented music education in Chinese music education institutions, this paper summarizes the current development status of the new system of quality-oriented school music education. Starting from the sources and characteristics of the music education system of quality-oriented schools, it takes Beijing IGW Love and Country Art Center as a case study, analyzes the development status and user profile of the Chinese music education industry, and summarizes the promotion strategy of the new system of teaching, in order to explore a sustainable development path for the dissemination of the new system of quality-oriented school music education in Chinese music education institutions.

Feature-Based Structures of Opportunity: Genre Innovation in the American Popular Music Industry, 1958 to 2016

We offer a new perspective on how cultural markets are structured and the conditions under which innovations are more likely to emerge. We argue that in addition to organization- and producer-level factors, product features—the locus of marketplace interaction between producers and consumers—also structure markets. The aggregated distribution of product features helps producers gauge where to differentiate or conform and when consumers may be more receptive to the kind of novelty that spawns new genres, our measure of innovation. We test our arguments with a unique dataset comprising the nearly 25,000 songs that appeared on the Billboard Hot 100 chart from 1958 to 2016, using computational methods to capture and analyze the aesthetic (sonic) and semantic (lyrical) features of each song and, consequently, the market for popular music. Results reveal that new genres are more likely to appear following markets that can be characterized as diverse along one feature dimension while homogenous along the other. We then connect specific configurations of feature distributions to subsequent song novelty before linking the aesthetic and semantic novelty of individual songs to genre emergence. We replicate our findings using industry-wide data and conclude with implications for the study of markets and innovation.