The Phonographic Industry and the Recorded Music Market: A Long Misunderstanding* (original) (raw)
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This paper discusses the digitalization process of the Brazilian music industry through bibliographical, documental and empirical sources – the latter based on fieldwork and personal interviews conducted from July 2014 to June 2015. To achieve this goal, I intend to: highlight the conditions that lead to the emergence of the digital age; analyze the development of medias, devices and equipment which may have led to this turning point; investigate the possibilities of music production and distribution in the Brazilian context; cross the local circuits of piracy and the independent ways of commercialization, including digital distribution and the copyright issue. The hypothesis raised at the end of this research is that the existence and functioning of the current phonographic industry is pervaded by ruptures and continuities. Finally, I hope that this paper may bring new perspectives about the relationship between music, culture, communication and technology in the Brazilian contemporary context. Particularly, based on empirical research, I reflect upon the effects, ruptures and continuities observed in the current context of digitalization.
ILKAR - Preserving Endangered Audio Media - Rethinking Archival Strategies for Conservation of Analogue Audio Carriers, 2011
Written during 2011 in the timeframe of the research project "The Recording Industry in 20th Century Portugal,” ref. PTDC/HAH/70991/2006, for an oral presentation in Berlin at the International Symposium "ILKAR — Preserving Endangered Audio Media: Rethinking Archival Strategies for Conservation of Analogue Audio Carriers", Ethnologisches Museum/Staatl. Museen zu Berlin, and published the same year in the “ILKAR Project Ducumentation” DVD-ROM, released the same year, much of the information in this text is currently (2019) out of date. Original abstract: "In Portugal there is still no National Sound Archive or any institution responsible for housing, preserving or even surveying the Portuguese sound recordings. INET-md, with its 3-year-long project [Grant FCT ref: PTDC/HAH/70991/2006], aims is to study ‘The recording industry in 20th century Portugal.’ This research arouse from the lack of studies that would focus on the recording industry in the country, and knowing that it would not be possible to cover systematically the whole 20th century, we tried to elaborate a study of the history of the recording industry in Portugal in its very first decades. This study is trying to bring forth information on phonograms, record companies, recording artists, repertoire, technicians and other agents, the technologies involved in the production and reception of records."
Phonographic industry: summit and decline in the 20th century
Journal of Media Critiques (University of Lincoln), 2017
Abstract: by highlighting the Brazilian context as the analytical approach, this article gathers data on the impacts on music consumption brought by the development of the phonographic industry. Since the emergence of the phonograph in the late 19th century until the revolution brought by the digitization and sharing of files in the first decade of the 21st century, this research presents, chronologically, the main devices for sound reproduction or physical music supports that have appeared within this time period, thus creating a record of the technological evolution in the phonographic industry in the 20th century. This article targets the present-day reconfiguration of the means of production and distribution of music, as well as its means of consumption and some of its effects on the industry, the artists and users.
The Introduction of phonogram market in Portugal: Lindström labels and local traders (1879-1925)
The Lindström Project: contributions to the history of the record industry, Vol. 2, 2010
This paper aims at understanding the connections between the Carl Lindström Company and the publication and trade of early phonograms in Portugal, up to the EMI merger in 1931. More specifically, the paper will focus on: - Surveying Carl Lindström labels which were commercialized in Portugal in early 20th century with Portuguese recordings, like Beka, Favorite, Fidelio Record, Odeon, Parlophon, Fonotipia; - Identifying Portuguese labels that were pressed at Lindström’s factories (Simplex, Luzofone Ideal, Chiadophone); - Identifying Lindström agents, including individuals and retail stores with an active role in the record trade in Portugal. - Listing matrix and catalogue numbers of the aforementioned labels, in an attempt to try and understand how they fit within the international Carl Lindström Company production. The data presented were collected within the Framework of the research project "Recording Industry in 20th Century Portugal", carried out at INET-md/ Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (FCT funded, ref: PTDC/HAH/70991/2006)
The local dimension of the cultural industry of music. An ‘anthroponomic’ perspective
This paper is about the reconstruction of some of the production’s global pro-cesses in the cultural industry of music in its local dimensions, through a report of a family story of musicians and their band from a small village in Central-West Mexico. To understand the characteristics and properties of our goal, we use the anthroponomic perspective proposed by Bertaux as a conceptual alternative focusing the “other” production, that is not only confined to matters of econom-ics, and it documents a different process, sometimes a complementary one, in which are produced minds and bodies that are apt for certain types of activity in a time and a given social space. As a result, we point out that, at the same time in which the macro social structures produced three generations of “apt” musicians, was being born and progressively growing stronger a complex cul-tural industry in Mexico that testified the relative fine tuning of a local and an industrial-cultural temporalities. Keywords: Cultural Industry. Music. Culture. Comala Band
2010
In the last decade, the music industry has become the paradigm of the transformations that has carried the development of the productive system towards Informational Capitalism. Of the hand of a quick technological innovation, not always produced by companies, new forms of production and consumption of music have been developed. This new environment has dragged the phonographic companies to a crisis of sales that has forced a radical transformation for the sake of survival. One of these business transformations has been the intensification of the management of copyright. This intensification occurs mainly in two areas: the extension of the protection deadlines and the expansion of the fields and rights management companies-driven activities. This article is intended to answer the question that lies behind the ambitions to modify the productive system: how create cultural industries capable, at the time, to maintain a common and democratic culture and also to develop initiatives to g...
European Theories in Former Yugoslavia, 2015
In the book “European Theories in Former Yugoslavia” (Cambridge Scholars Publishing, 2015), chapter written by Marija Maglov is concerned with Jacques Attali’s discussion on political economy of music and its understanding in the context of recording industry in Former Yugoslavia. Author examines main theses by French theoretician and focuses on the problem of repetition in his narrative, as it is closely connected to the recording industry in general. This repetition model comes as one of the characteristics of capitalist societies. For Attali, first signs of this model came in music (as for him, music is the one that generally heralds future changes in society). So, how can we understand repetitive models in music, music industry and practice of listening to recordings in socialist context? Could these practices be interpreted as “prophetic” for the future Yugoslav transition to capitalism? Author suggests possible case study for further elaboration of Attali’s ideas in the context of Yugoslav recording industry.
Phonografic industry: summit and decline in the 20th Century
Journal of Media Critiques [JMC], 2017
Published in 2017 by the "Journal of Media Critiques", the article highlights the Brazilian context as the analytical approach and gathers data on the impacts on music consumption brought by the development of the phonographic industry. Since the emergence of the phonograph in the late 19th century until the revolution brought by the digitization and sharing of files in the first decade of the 21st century, this research presents, chronologically, the main devices for sound reproduction or physical music supports that have appeared within this time period, thus creating a record of the technological evolution in the phonographic industry in the 20th century. This article targets the present-day reconfiguration of the means of production and distribution of music, as well as its means of consumption and some of its effects on the industry, the artists and users.