HSE University’s “Media Sharks”: The Digital Music Record Label in a Classical University / «Media Sharks» НИУ ВШЭ — цифровое музыкальное издательство в классическом вузе by EVPAK EVGENIYA G. / ЕВПАК Е.Г.

Subjects: “…digital music record label…”
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“The Whole Feminist Taking-Your-Clothes-off Thing”: Negotiating the Critique of Gender Inequality in UK Music Industries by Toby Bennett

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Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity by Johannes Voelz

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Alice’n Records / Adam Badruddin Syah by Adam, Badruddin Syah

“…They are an independent record label based in Malaysia and have two branches, one in Gombak and the other in Ampang. …”
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Manajemen Musik Rekaman dalam Menghadapi Perkembangan Teknologi Informasi dan Komunikasi Industri Musik Rekaman Indonesia (Studi Kasus Pada PT. Trinity Optima Production) by , rezki endah nurhani, , Dr. Kuskridho Ambardi, MA

“…Record label company continues to adopt these forms of recorded music innovation to adapt to the environment industry. …”

BRUNO MARS / by Herbert, Emily, author 644284

“…After failure and near poverty in LA where the Motown record label signed and then dropped him, Bruno Mars had a surprise worldwide smash with his fi rst single for Atlantic, ‘Just The Way You Are’. …”

New potentials for "independent" music : social networks, old and new, and the ongoing struggles to reshape the music industry by Wendel, Evan Landon

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Hello my dear society,how pretty we are! On protest without demand by Ilija Petronevic

“…The French film Mathieu Kassovitz used it in his movie La Haine (1995) in an attempt to poeticise the clashes between the police and young rebels in the suburbs of Paris. 13 years after the movie, and 50 years after Burnin’and lootin’, Parisian duo Justice released their album Cross (ED Banger record label). The videoclip of the piece titled Stress again about violence in Parisian suburbs, yet the gap between the discourse employed by Kassovitz and Marley, on the one hand, and Justice’s Stress, on the other hand, is great.…”
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LSO Live: An Entrepreneurial Venture by Travis Newton

“… This case study, grounded in entrepreneurship theory, explores LSO Live, the sixteen-year-old record label wholly owned and operated by the London Symphony Orchestra (LSO). …”
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Comercialización de la música saharaui en el mundo occidental a través de Nubenegra (Madrid, 1998-2011) by Luis Giménez

“…This article analyses the dissemination and commodification of Sahrawi music by the Spanish record label Nubenegra. The text explains the musical and social differences of the Sahrawi music in two distinct contexts: in the refugee camps of Tindouf (Algeria)¬, as a local and transnational experience in which national values are affirmed on the political struggle for the independence of Western Sahara; and in Madrid, as a commercial and global experience in which Nubenegra seeks to promote Sahrawi music culture. …”
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The Real Deal: Hip-hop Mixtape Artwork and Black Masculinity by Emmett Robinson Smith

“…This causes a transfer of control from the artist to the record label, at times jeopardizing hip-hop’s fundamental principles of rebellion, resistance, and risk. …”
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Prediction of Song Popularity Based on BILLBOARD Chart Using The NAÏVE BAYES Algorithm by Farid Sanitas Bachtiar

“…To find out if a song is popular or not, song lovers usually specify certain criteria such as artist, record label, genre, collaboration or featuring, and soundtrack. …”
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The Real Deal: Hip-hop Mixtape Artwork and Black Masculinity by Emmett Robinson Smith

“…This causes a transfer of control from the artist to the record label, at times jeopardizing hip-hop’s fundamental principles of rebellion, resistance, and risk. …”
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O artista popular e o contrato: lógicas divergentes nas produções musicais by Mariana Mont\u2019Alverne Barreto Lima

“…The present article takes as its empirical object a work contract of “onerous assignment of fixed interpreta-tion” made between a Brazilian musical artist, João do Vale, and a big record label, CBS, in the 1980s. It shows how this juridical document, which is an institutional form of specific social bonds, reveals the strategy of a hegemonic business model of distribution in that period and how the dispositions of the agents involved in that process adjusted perfectly to that order. …”
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Hi-Fi, Middle Brow? Frederick Fennell, Mercury Records, and the Eastman Wind Ensemble From 1952 to 1962 by Reed Chamberlin

“…Derived from original research in the Fennell Archive at the Eastman School of Music, this article seeks to highlight tensions between Fennell’s desire to record serious wind-band music and the demands of Mercury Records (EWE record label, 1952–1964) to record populist repertoire. …”
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Catalogue of Dacetini and Solenopsidini ant type specimens (Hymenoptera, Formicidae, Myrmicinae) deposited in the Museu de Zoologia da Universidade de São Paulo, Brazil by Mônica Antunes Ulysséa, Carlos R.F. Brandão

“…In total, the collection includes 141 types of these tribes, 41 of the Dacetini (nine holotypes and paratypes, 15 holotypes, 13 paratypes and four syntypes) and 100 of the Solenopsidini (28 holotypes and paratypes, eight holotypes, 29 paratypes, 27 syntypes, four lectotypes and paralectotypes, one lectotype and three paralectotypes), of which 37 and 89 are of still recognized species, respectively. We record label information, condition of the specimens, nomenclatural changes and type status, as well as provide indexes of the listed taxa.…”
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Listening to The Intrepid Alix: audio experience of a classical bande dessinée by Benoît Glaude

“…Engaging Hague’s proposition, this article focuses on a “Disque d’aventure” produced by Festival, a French record label, in 1960: Alix l’intrépide. The first episode in the French-language comics series Alix by Jacques Martin, The Intrepid Alix, had been serialized in Tintin magazine (1948-49), then released as a comics album (1956), before being adapted by Jean Maurel into an audiobook on LP vinyl record (1960). …”
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Madonna: Feminist or Antifeminist? Domination of Sex in Her Music Videos and Live Performances From the 20th Century to the Present Day by Katarina Mitić

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Trade Mark Strategies of Emerging Music Artists by Tarik Sabry

“…Observations are based on the statistics in Appendix A, a sample of 254 artists from various chart compilations, award nominations and record label rosters, chosen to represent a range of different types of emerging artists that have had at least relative commercial success. …”
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John Zorn: Autonomy and the Avant-Garde (excerpt) by Ted Gordon

“…This essay is an excerpt for a larger paper exploring the concept of autonomy as it emerges in the life and work of the composer, performer, record label executive and club-owner John Zorn. Zorn’s activities over his wide-ranging career span from performing at jazz lofts in the 1970s to winning the MacArthur “genius” grant in 2008, while maintaining his status as a prolific composer and producer of avant-garde music. …”
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