Creativity and Innovation in the Music Industry by Peter Tschmuck

By Peter Tschmuck

Why did jazz turn into a dominant well known track style within the Nineteen Twenties and rock 'n' roll within the Fifties? Why did heavy steel, punk rock and hiphop locate their manner from sub-cultures to the proven song undefined? What are the results of latest verbal exchange applied sciences and the net at the construction of track within the early 21st century?

These and different questions are responded through Peter Tschmuck via an built-in version of creativity and innovation that's in accordance with a world background of track considering Thomas A. Edison invented the phonograph in 1877. therefore, the heritage of the tune is defined in complete element. via discussing the ancient technique of tune construction, distribution and reception the writer highlights a number of revolutions within the track that have been attributable to the inference of aesthetic, technological, felony, fiscal, social and political strategies of switch. at the foundation of an built-in version of creativity and innovation, a proof is given on how the methods and constructions of the current track should be altered by means of the net, tune on-line prone and MP3-technology. a transparent indication of a electronic revolution within the tune industry!

Show description

Read or Download Creativity and Innovation in the Music Industry PDF

Best music: guitar books

Additional info for Creativity and Innovation in the Music Industry

Example text

37 Visually, a red record label would document this special recording event. Overcoming some difficulties, Gaisberg managed to get the opera star in front of the recording funnel. ” Thus, Gramophone produced the first record of an opera star, which was offered for sale on the “red label” for the luxury price of £1. A few days after the recording session with Chaljapin, Gaisberg recorded other opera arias for Gramophone with different Russian opera singers such as Sobinow and Dawidow, which turned out to be huge successes on the Russian market.

In 1909, Odeon, which was part of the Lindström Corporation, produced the first full recording of Tchaikovsky’s “Nutcracker Suite” on four double-sided records. S. produced Schubert’s “Unfinished”. A few more orchestral recordings by Columbia and Gramophone followed, but it was the first complete recording of Beethoven’s “5th Symphony” by the Berlin Philharmonic conducted by Arthur Nikisch in 1913 that was epochal. Nikisch was the first maestro who conducted a recording for a record label, in this case Gramophone.

The consequences for Columbia were still grave. Except for London, all European offices had to close, and all business representatives had to be laid off. The new board of directors of the now solely British-owned Columbia put a halt to the production of music cylinders and focused all its energy on the production and distribution of records. S. market remained oligopolistic throughout 1914. Between 1909 and 1914, only eighteen producers of phonographs and records were registered (Figure 5). 6 5 HHI 4 3 2 1 0 1900 1905 1910 1915 1920 Source: Alexander (1994: 116); Herfindhal-index (HHI) = square-sum of the companies’ market share in an industry.

Download PDF sample

Rated 4.73 of 5 – based on 34 votes