Music Production Research Articles

Que “Macho” é Esse?: “Anormalização”de Subjetividades em Videoclipes de Bregafunk

Abstract The entertainment industry is featured by discursive productions of ideological nature. Accordingly, different music genres work as identity vectors; thus, it is possible perceiving the representation of male individuals as the dominant gender in some of them. Bregafunk music stands out among these genres, since its music videos highlight straight and virile men, by showing women, LGBTQIAPN+ individuals and fat bodies in a stigmatized way. Based on the Foucauldian theory, the current study addresses the subjectivity “abnormalization” process carried out by another socially dominant subjectivity as way to defend and maintain its position. In order to do so, the current research presents the following investigative question: how do bregafunk music video productions represent alterities to male subjectivity? In total, 777 bregafunk music videos posted on YouTube between September 2012 and September 2020 were herein investigated, based on the foucauldian discourse analysis, in order to answer this question. Results have evidenced the dominant discourse of “male bregafunk music artists”, which is anchored in a strategy focused on perpetuating stereotypes and chauvinism. Thus, it was possible concluding that this subjectivity is a variation of the alpha male, who resorts to his cultural repertoire and social context to consolidate himself as the dominant identity by subjugating other identities through a double move comprising self-affirmation and denial of others. In addition, it was possible inferring that targeting women, LGBTQIAPN+ and fat individuals may be a defense strategy to address the growing political space gained by these identities in recent decades.

СУЧАСНА РОСІЙСЬКА МУЗИКА ЯК ЗАСІБ ПОШИРЕННЯ ПРОРОСІЙСЬКИХ НАРАТИВІВ: ОСОБЛИВОСТІ ТА ШЛЯХИ БОРОТЬБИ З БОКУ УКРАЇНИ

Over the course of two years of full-scale war, numerous studies demonstrate that a portion of Ukraine’s population still maintains an interest in Russian-language musical products. This has a particularly negative impact on the consciousness of such citizens and supports the armed aggression of the Russian Federation. Through the monetization of music streaming on various platforms, funds flow into Russia’s budget, which it then uses to purchase weapons for its war against Ukraine. Music is enjoyed by different generations of people, regardless of age, status, or nationality. That is why it is one of the most effective means of spreading propaganda. It is unobtrusive, designed for easy perception and relaxation. This manipulation tactic of audience consciousness can be observed even during World War II. Most Russian songs predominantly celebrate everyday phenomena, various forms of leisure, or depict the grandeur of love and other emotions. However, in Russia, there are types of songs that propagate narratives such as the idealization and romanticization of Russian President V. Putin, calls for patriotism, reminders that everyone living in Russia and speaking Russian is part of the «great Russian people», emphasis on the greatness and power of Russia, and portraying the country as always victorious, urging participation in the military. Ukrainian media researchers need to regularly and carefully monitor the emergence of such compositions and the narratives they spread. They have a particularly negative impact on the consciousness of Ukrainian citizens, especially those residing in temporarily occupied territories of our country. The dissemination of propaganda through songs is a widespread and at the same time insidious method of influencing society. Russia actively uses it and unfortunately, quite successfully, as evidenced by numerous studies showing that Ukrainians still listen to Russian music on many online platforms.

The Digital Transformation in The Music Industry: A Qualitative and Quantitative Study in The Republic of Moldova

The digital transformation has caused significant changes in the music industry globally, also influencing the music sector in the Republic of Moldova. The research in question examines how digitization has changed the dynamics of music production, distribution and consumption in the country. The main objective of the paper is to analyze the impact of digital technologies on the music industry in the Republic of Moldova, to identify the opportunities and challenges brought by this transformation. The study is based on a combination of qualitative and quantitative methods, including sociological research into functional sectors of the domestic music industry, analysis of streaming data, as well as literature review on global and local trends in the music industry. The results indicate the dependence on streaming platforms and the need to develop digital skills among professionals in the field. It also highlights the role of social media in promoting artists and distributing music. Digital transformation offers new opportunities for Moldovan artists to access international markets and monetize their creativity through various digital channels. However, the challenges of digital transformation remain important obstacles that need to be addressed to ensure the sustainable development of the music industry.

Univerzitný komorný orchester Mladosť a 15 rokov jeho pôsobenia

The contribution brings a view in existence of University chamber orchestra Mladosť by Faculty of Education of Matej Bel University in Banská Bystrica in the period of last 15 years also earlier instrumental music production in academic area of Banská Bystrica.

Digitization and Development of Pantok Melody Themes Tongkek Using Leon Stein's Theory Approach

ABSTRACTThis paper presents a study on the composition of traditional music performance in Pancor Village, East Lombok, Indonesia with a focus on the creation of digitalized compositions based on traditional music. The study employs the approach of Leon Stein's theory of composition, which emphasizes the importance of understanding the cultural and historical context of musical works in order to create innovative and meaningful compositions.The study involves field research, where traditional music performances in Pancor Village are recorded, transcribed, and analyzed using Stein's approach to composition. The analysis focuses on identifying the characteristic elements of traditional music, such as melody, rhythm, and instrumentation, and exploring how these elements can be integrated with digital technology to create new compositions.The study also involves experimentation with digital tools, such as software synthesizers, digital audio workstations, and other music production tools, while adhering to Stein's approach to composition. These tools are used to create digitalized compositions based on the traditional music of Pancor Village, with the aim of exploring the creative possibilities of combining traditional music with modern technology, while maintaining the cultural and historical context of the original works.The results of the study show that the integration of traditional music with digital technology while employing Stein's approach to composition, can lead to the creation of innovative and compelling musical works that are relevant to contemporary audiences. The digital compositions created in this study demonstrate how traditional music can be transformed and reimagined in new and exciting ways, while still respecting the cultural and historical context of the original works.This study contributes to the ongoing conversation on the preservation and development of traditional music and demonstrates the potential of integrating traditional music with modern technology using a theoretical framework that emphasizes cultural and historical context. It also highlights the importance of understanding and respecting the cultural and historical significance of traditional music, and the role that technology can play in preserving and evolving these musical traditions.

Principles and Procedures of the Construction of Opera Scenarios

"The construction of opera scenarios involves the development of a dramatic and narrative framework upon which an opera is built. These scenarios serve as the foundation for the libretto, music, staging, and overall production of the opera. In this introduction, we will explore the principles and procedures that guide the creation of opera scenarios. In summary, constructing an opera scenario is a complex and collaborative process that involves the careful consideration of narrative, character, music, and cultural context. The principles and procedures outlined here provide a foundation for the creation of opera scenarios that can captivate audiences and convey the depth of human emotion through music and drama. Over time, the evolution of the singing voice follows a phenomenon of symbiosis between words and music. The intertwining of the act of speaking with that of singing is constantly found in the concerns of the creators in ancient monody, Greek declamation, Gregorian chant, in the polyphonic style, in the opera performance as well as in all the ramifications of the vocal genre. Keywords: opera scenario construction, musical drama, analysis of the libretto, Eugene Onegin, The Queen of Spades."

Narrative observation about music institutionalization through music educational institutions in Kosovo (1948-2020)

The institutionalization of music in Kosovo emerged as a necessary process, playing a pivotal role in fostering sustainable cultural and social development. Its profound effectiveness became evident in the musical trajectory of cultural advancements from the 1950s and 60s onwards. Music schools stood as the primary catalysts, generating a cadre of music professionals involved in various facets of musical productivity. They provided comprehensive professional training to the entire musical community, encompassing composers, conductors, instrumentalists, and pedagogues, who actively contributed to the vibrant musical activities. The year 1948 marked a significant milestone with the establishment of the first music school, initially named ‘Josip Slavenski’ and now known as ‘Lorenc Antoni,’ in Prizren. This was followed by the inception of the music school ‘Stevan Mokranjac,’ later renamed ‘Prenk Jakova,’ in Prishtina in 1949. These institutions served as foundational pillars, laying the groundwork for the subsequent development of a multidimensional music landscape. Notably, the establishment of the Higher Pedagogical School (Branch of Music Education) in 1963 and the Music Academy in 1975 represented crucial milestones, marking the expansion and enrichment of the music sector. The period between 1990 and 1999, characterized by a tumultuous socio-political landscape, posed significant challenges to music education. In the years following 2000, music education in Kosovo continued to adapt and evolve, reflecting to the changing socio-political and cultural landscape. This era witnessed new processes of the established institutional forms and typologies, prompting the adoption of new curricula and a re- evaluation of music education within the context of the evolving social reality and market demands. Furthermore, the demand for music education continued to grow, leading to the establishment of more music schools and programs throughout the country. In general, since 1948, music education in Kosovo represents an unstoppable process that in terms of historical importance, it represents the cornerstone of all professional musical developments in Kosovo.

Musical Imagination and Reading: The Role of Sight-Reading in the Constitution of Brazilian Musical Genres

We focus on professional Brazilian music of the instrumental genre and address the crucial role of sight-reading in its development. We argue that in addition to the standard concept of sight-reading — related to the strict deciphering of signs on the pentagram — other reading praxis founded, over the last two centuries, what came to be recognized as Brazilian music. In this sense, we highlight that the notational format internationally known as lead sheet (the notational standard used in the context in question) not only enabled the availability of essen-tial musical elements for the singularization of work and authorship but also led to the con-solidation of the collection of images musicals that constituted the genre in question. In this way, the interaction of imagined simulations of generic patterns—the action of embodied memory — with reading the lead sheet gave rise to works and defined a repertoire. Consid-ering assumptions of embodied cognition of music, stylistic-musical foundations, and the analysis of recordings and transcriptions, we speculate attributing a central role to sight-read-ing in the constitution of the stylistic field addressed — primarily represented by Choro. It is a musical production originated by and in performance, encompassing phrasal and harmonic improvisation, modes of articulation, and sonority.

A SEMIOTIC EVALUATION OF COVER IMAGES OF THE TEN MOST HELD TURKISH POP MUSIC ON THE 2021 SPOTIFY LIST

Semiotics, or semiotics as it is commonly known, is an interdisciplinary research field that examines the sign strings of studies in many fields such as music, sociology and linguistics. Today, semiotics, which makes metaphorical analysis of various disciplinary fields such as literature, art, music and cinema and has a wide range as a field of study, has been an important communication tool in this sense. The science of semiotics, which has both a principled and free movement environment due to its multidisciplinary structure, has explained objects, figures and situations in this way by revealing the meaning and establishing a connection with the place of that meaning in society. Among these fields, especially in music, graphic designs used in the creation of album covers, concert posters, posters have an important role in conveying the message that the musical product wants to convey. In this research, it is aimed to make a semiotic analysis of the cover images of the ten most listened songs in the field of Turkish pop music in the Spotify 2021 list. Within the scope of the purpose of the study, cover images were evaluated semiotically in terms of elements such as writing styles, color preferences, use of figures and objects. In this case, questions such as how the current album cover designs examined are, what kind of differences they have with the album covers of the past, how the effects, colors, figures, etc. used in the design of the album covers are, whether the album covers are meaningfully compatible with the title of the album. According to this analysis, ten cover images determined by scanning reliable sites on the internet were reached. The covers were analyzed semiotically in four groups with the criteria of object, human, digital photograph and color under the elements of signified and signifier according to the sign method created by F. Saussure. In addition to these examinations, the content of the lyrics in the albums was also evaluated and it was determined whether they were meaningfully compatible with the album title and cover image. In the light of the evaluations made, it has been concluded that some of the album covers are compatible with the name of the album and some are not. It has been observed that the design of the album covers is influenced by the general fashion sense of the global music industry, and for this reason, they are far from the old album covers in terms of design and meaning.

The (R)evolution of Music Video in American Music Industry

The essay offers a concise historical examination of the evolution of music videos and places this medium within the broader context of the popular music industry, which is influenced by the principles of late capitalism. The study highlights the significance of music videos in the popular music industry and media studies, underscoring their role as both promotional and artistic products. It traces the medium's development, from its early days as "illustrated songs" in the late 19th century to the MTV era's explosion, marked by groundbreaking music video directors and the digital turn in the 21st century, which has reshaped the landscape of music video production, distribution, and reception. The article also addresses emerging trends, such as visual albums and changes in video length and format, reflecting shifts in music consumption and technology. In conclusion, it asserts that music videos continue to evolve, challenging conventions and fostering a multisensory, intermedial relationship with audiences.

New communication strategies of modern classical artists

Relevance of the study: Along with the crisis of the "aging audience" of classical music in concert halls, which is noted by researchers and performers, in the last two years there has been a tendency to increase listening to classical music on digital platforms. The fact that, on the one hand, we are talking about the crisis of classical music audience reduction and, on the other hand, there are opposite trends indicating an increase in its popularity, actualizes the study of the communication mechanisms of classical music performers with the audience through digital tools.
 Main objective of the study: To identify the trends, principles and mechanisms that have led to the recent increase in the popularity of classical music, particularly through digital tools on social media platforms such as YouTube and Instagram.
 Methodology: Using the concept of "communication strategy" from the field of strategic management, we analyze the trends observed in the process of transformation of the way classical music performers communicate with the audience in the context of the evolution of media technologies. The study also used empirical (data collection, observation), general scientific (analysis) and theoretical (generalization, systematization) methods.
 Results and conclusions. Modern media platforms have become a great resource for the promotion of a cultural product. They offer opportunities to reach a multi-billion audience composed of different segments, analytical tools and feedback. The mediatization of cultural space and changes in the psychology of perception of cultural products among new generations require new strategies of communication of classical music performers with the audience. The answer lies in the tendency to create audiovisual content that can be broadly divided into those in which classical music is the central object and those in which it is the background. Reels and Shorts, short videos that use classical music as a background, have become a means of expanding audiences by attracting listeners who were not previously interested in classical music. Audiovisual content featuring classical music is evolving from the traditional concert video to the visualization of music through electronic means, plastic arts (photography, painting) and the creation of videos with a storyline (cinematography). An important trend contributing to the growth of classical music audiences is the combination of classical repertoire with more popular film or cartoon music.
 The study of communication channels and methods of modern classical music performers with the audience is important in connection with the development of the classical music industry in Ukraine and the development of a strategy for the promotion of Ukrainian classical music products in the world market of music production.

Cause of Death: Lähiö

As geographically and socially marginalized neighbourhoods, Finnish lähiös are associated with urban segregation and a set of stereotypes about their residents. Claiming to portray everyday life in the lähiö, in 2018, Turku City Theatre premiered a musical theatre production Varissuo, which was set in the city’s largest and most multicultural housing unit. This article investigates how Varissuo was constructed and depicted both on stage and beyond the stage by analyzing several characters and their storylines, as well as material details present in the theatre building’s lobby area. Drawing from Richard Dyer’s notion of stereotypes as a product of assumed consensuses about specific social groups, the article first focuses on plotting how both novelistic and stereotypical characters contributed to an understanding of the lähiö as a locus of ill-being and personal struggle. Critically approaching Jill Dolan’s conceptual utopian performatives, the article then discusses the elements of utopia and dystopia in Varissuo, suggesting that the representation of the lähiö on stage and in the theatre building erased political potential of the utopian performatives and subverted them into a counterproductive force. I argue that the utilization of lähiö stereotypes and Varissuo’s detachment from its real-life origins potentially contributes to further stigmatization and polarization between social groups

Decoloniality and Russian Music: Finno-Ugric Legacies in Contemporary St. Petersburg

This article presents two case studies examining the musical groups Talomerkit and Ingervala in the context of the late Soviet and post-Soviet reawakening of Finno-Ugric culture in St. Petersburg, Russia. Coming from different ethnic backgrounds, these two groups demonstrate different ways of engaging with local Finno-Ugric traditions. While Talomerkit uses a so-called tradition-based approach with minimal alteration of primary material, Ingervala looks for alternative stylistic choices through electric instruments and electronic sounds. Based on my fieldwork done in June 2018 and May 2019, I present ethnographic observations about Talomerkit and Ingervala’s musical activities and focus on issues related to the repatriation of Finno-Ugric musical heritage to a local community in St. Petersburg after the interruption of these traditional musical practices during the Soviet period. By using ethnomusicological approaches of decolonization, my aim is to foreground the voices of artists and activists who engage with the legacy of a small, non-Slavic Finno-Ugric population indigenous to the lands of present-day St. Petersburg and Leningrad Oblast. I argue that those autochthonous perspectives are instrumental in challenging the cultural discourse in Anglophone Russian music studies, which predominantly focuses on musical knowledge production through the lens of the Slavic population.

Collaborative Music Production via Live Streaming

Live Streaming has become one of the recent phenomena for content creators. Fast internet, self isolation and monetisation through streaming platforms can be seen as a few reasons for it. A new wave of live streamers has emerged where the music production process is streamed live on platforms such as YouTube and Twitch. These sessions show the DAW screen to the audience in order for them to understand the process of music making. These live streams have now evolved into collaborative music production sessions where the audience suggests what will happen to the track next. Alongside this, singers send their vocal samples recorded using their phones live on stream which gets included in the music in real time. This paper will explore the process of collaborating via live streaming alongside how this practice has created a micro economy and a strong fanbase who are showing up daily to watch.

The Production of Independent Popular Music during the COVID-19 Pandemic in Guayaquil City

This work delves into the profound impact of the COVID-19 pandemic on Guayaquil's music scene, with a focus on the adaptation strategies of independent music producers. Drawing on the concepts of musical scenes proposed by Bennet and Peterson (2004), the study reveals how a traditional local music scene shifted towards a virtual one, impacting various cultural circuits. The pandemic necessitated the migration of music production and recording processes to digital platforms, revolutionizing the modes of listening and audio production. The study employs a qualitative, descriptive, and exploratory research approach, encompassing field research, netnography, and ethnomusicology. It offers a holistic understanding of how independent producers coped with the challenges of the pandemic and continued their work.

Balinese Lexicons on Gamelan Musical Orchestra

Ecolinguistics study concerned with the use of language and its environment. The existence of words or lexicons in the use by the speakers is due to the needs of the speakers of the language. The developments in technology have resulted in the disappearance of several previously existing lexicons, and new lexicons have emerged, resulting in previously existing lexicons being no longer known by the next generation, especially those who have switched professions to professions that are more economically or profitable. Tihingan Village is a village on Bali Island in which 60% of the population are Pande whose profession is as craftsmen making Gamelan Orchestra. Due to the recent development, some of the young generation shifted their profession to others. This research aimed to investigate the types of Balinese lexicons used by the Pande in their daily life during the production of musical orchestra products. The research was conducted in Tihingan village Klungkung Regency Bali Indonesia. It is field research, by direct observation and in-depth interviews with the Pande (craftsmen), a qualitative approach was applied to obtain the data, and the analysis was done descriptively. The findings show there were four types of lexicons found namely, lexicons related to materials, tools, processes, and products.

Resisting Heteronormative Traditions to Stage the Possible

Concerned with the heteronormative nature of education, we engage with queer theory and pedagogy to destabilize heteronormative constructs. Guided by arts-based educational research (ABER) and ethnodramatic practices, we stage the lived teaching experiences of educators who challenge heteronormativity while preparing their students for an elementary school musical production. We discover that creating opportunities for students to delve into varied costumes, themes, and characters can strengthen or transform their self-perception, and can embolden them to uncover facets of their identity. Moreover, our inquiry demonstrates how queering curriculum and pedagogy can provide more inclusive opportunities for all students as they engage in arts learning experiences.

The performance of machine aesthetics: acoustic reimagining of electronic music

AbstractThis article explores the emergence of musical performance practices whereby electronic music styles, along with the musical and sonic characteristics inherent in their electronic production, are emulated through live musical performance using acoustic instrumentation. The article draws on Brummett's (1999) concept of ‘machine aesthetics’ to explore the emergence of these practices, whereby musicians emulate sonic and musical attributes of music usually produced by machines, without the use of machines. Utilising semi-structured interviews and musical analysis of records by Abstract Orchestra and GoGo Penguin, the article attempts to contextualise these practices within their broader function in popular music production and performance.

Pop music production and regulation online in select African countries and Brazil

Abstract Over the last quarter of a century, the sources of the global recorded music industry's revenues have changed fundamentally, from 100 per cent physical sources (mostly compact discs [CDs]) in 1999 to diversified sources between 2010 and 2015, to mostly intangible sources (mostly streaming) thereafter. However, such global statistics tell us little about developments on the ground in countries with very different socio-economic and cultural circumstances. This special issue examines, from a multidisciplinary and comparative perspective, how technology, particularly the internet, cultural practices and law have interacted in the field of popular music in three African countries (Nigeria, Cameroon, South Africa) and Brazil. The socio-economic and legal situations in these countries have been far less studied than those in the Global North. In addition, they are of great importance from an overall perspective because of their population and market size, as well as their ‘cultural influences’ on the regional and even global music scene – suffice it to mention Afrobeats, Bossa Nova and Amapiano. Remarkably, the studies featured in this special issue reveal more similarities than differences.

Streaming platforms and the music industry crisis in Cameroon

Abstract Cameroon's music sector has been reinvigorated by a new generation of musicians and by locally created and international streaming platforms. Arguing that these streaming platforms have the potential to mitigate the music industry piracy crisis of the 1990s and 2000s, this article examines the recent developments on the Cameroonian music market, the positions of the various stakeholders in the music business, the twenty-first-century copyright legislation concerning music in Cameroon and users’ and musicians’ perception of the platforms. It shows how the crisis arose due to the accessibility of digital gadgets that facilitated practices of copying and sharing that drove music producers into bankruptcy. Although in their daily lives users still prefer to listen to free music, as many have difficulties to afford paying for music streaming, this article argues that in the long run the streaming platforms, if they succeed in persuading users to pay for renting music, will turn out to be more efficient in mitigating informal music-sharing than copyright law and prosecuting the so-called ‘pirates’ in court.