Download e-book for iPad: Creativity and Innovation in the Music Industry by Peter Tschmuck

By Peter Tschmuck

ISBN-10: 3642284299

ISBN-13: 9783642284298

ISBN-10: 3642284302

ISBN-13: 9783642284304

Why did jazz turn into a dominant renowned track style within the Twenties and rock 'n' roll within the Nineteen Fifties? Why did heavy steel, punk rock and hiphop locate their means from sub-cultures to the confirmed song undefined? What are the consequences of recent conversation applied sciences and the web at the construction of tune within the early twenty first century? those and different questions are replied by means of Peter Tschmuck via an built-in version of creativity and innovation that's in keeping with a world heritage of tune considering Thomas A. Edison invented the phonograph in 1877. therefore, the background of the track is defined in complete element. through discussing the ancient technique of tune creation, distribution and reception the writer highlights a number of revolutions within the track that have been as a result of the inference of aesthetic, technological, felony, fiscal, social and political strategies of swap. at the foundation of an built-in version of creativity and innovation, an evidence is given on how the methods and buildings of the current tune could be altered by way of the continuing electronic revolution, which absolutely replaced the value-added community of the construction, dissemination and use of tune. For the second one variation, the writer has transformed bankruptcy nine so one can contain all of the advancements which formed the track within the first decade of the twenty first century – from Napster to cloud-based track companies or even beyond.

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Extra info for Creativity and Innovation in the Music Industry

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3 Records and Gramophones 23 The Graphophone-Columbia group felt that this new company threatened its leading market position. Furthermore, it realized that the future belonged to the record, not to the cylinder. It was thus necessary to join in the production of records. They managed to do this, because Johnson never patented the invention of his wax records. Instead, one Joseph W. Jones had already applied for a patent for the method of recording sound with the help of wax records in 1897, after he had worked for one summer in the Washington laboratory of Emile Berliner.

21 The original wax cylinder is now completely unusable, but a copy exists that was made in 1930 and recently digitally reconstructed in the Phonogram Archive of the Austrian Academy of Science. 4 Herr Doctor Brahms Plays the Piano 25 during the early period of music recordings whose names do not appear either in the Columbia catalog or on the music cylinders. It was simply not necessary to name musicians who, at the time, did not financially share in the success of phonogram sales or received royalties based on copyright laws.

All of these recording activities had no commercial interests in mind and thus cannot be counted as music industry activities. The delivery of music boxes with pre-recorded music cylinders was, however, the earliest field of application in which the music repertoire played a role. Companies were not interested in producing new and creative music; instead, they recorded particularly popular songs and instrumental standards. As we have already seen, Columbia Phonograph was especially active in the recording of such music.

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Creativity and Innovation in the Music Industry by Peter Tschmuck

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