Titlebook: Contracts, Patronage and Mediation; The Articulation of Tuulikki Pietil? Book 2015 Tuulikki Pietil? 2015 development.industry.media.mediat

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Normativer Rahmen, Ziele und Organisationens, distribution networks, radio stations and programs, live music events and even wholesalers and retailers tend to focus on certain genres and audiences. This chapter explores the terms applied by the recording industry people for describing and discussing the segmented market. As with the other ma

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https://doi.org/10.1007/978-3-540-71033-2dominate the record distribution sector and the independent labels used their distribution services. When distributed by majors, small labels are, however, typically concerned about their products’ visibility because they believe the sales representatives foreground the majors’ own products. In addi

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內(nèi)部

Normativer Rahmen, Ziele und Organisationenc industry is all about relationships’, while the other asserts that ‘the music industry is all about ownership’, wherefore one has to ‘be independent’ or ‘go independent’ and ‘corporatize his or her skills’. The latter statement refers to the ownership of musical works and is often accompanied by e

Innocence

Eckehard Schnieder,Lars Schniederures can be found both in the small labels and the bigger ones, including the majors. The record companies’ and labels’ representatives usually maintain that when making a contract, they always ask the artist to consult a lawyer before signing it. Not all artists are in a position to or have the fin

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Pop Music, Culture and Identityhttp://image.papertrans.cn/c/image/237124.jpg

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sundowning

Introduction, and structuring of the industry. The recording industry is often posed as a global entity whose developments are governed by the hard facts of technological innovations, legal agreements and the logic of capitalist enterprise — especially the changing market strategies of the few multinational comp

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The South African Recording Industry, early presence and intertwinement of international and local labels and hefty competition between the local operators in particular. In addition to the international and local labels, the chapter discusses the historically varying role and value of international and domestic music in the market and