The colonial days of America marked not only the beginnings of a country, but also of a new culture, part of which was the first American music publishers, entrepreneurs, and instrument makers forging musical communities from New England to New Spain. Elements of British, Spanish, German, Scots-Irish, and Native American music all contributed to the many cultures and subcultures of the early nation. While English settlers largely sought to impose their own culture in the new land, the adaptation of native music by Spanish settlers provided an important cultural intersection. The music of the S
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Recent scholarship on Nazi music policy pays little attention to the main party newspaper, the Völkischer Beobachter, or comparable publications for the general public. Most work concentrates on publications Nazis targeted at expert audiences, in this case music journals. To think our histories of Nazi music politics are complete without comprehensive analysis of the party daily is premature. One learns from this resource precisely what Nazi propagandists wanted average party members and Germans in general, not just top-level officials and scholars, to think—even about music. Therein, we see how contributors placed a Nazi "spin" on music history and composer's biographies. Using heretofore untranslated materials, this presentation will fill part of this gap in our historiography of Nazi music policy. It will first detail Völkischer Beobachter coverage of late-nineteenth and early twentieth-century music, which essentially involved determining where music could go after Wagner: committed late Romantics including the Strausses, Bruckner, Wolf, and Pfitzner were pitted against "French diseases" and Mahler's "psychopathia musikalis." Thereafter, this presentation will cover "acceptable" alternatives to Weimar decadence that the Völkischer Beobachter posited from the so-called Era of Struggle [Kampfzeit ] through the Third Reich. To answer the problems of musical modernism, the paper supported works of Richard Strauss, Siegfried Wagner, Max Reger, Carl Orff, Paul Graener, and Max von Schillings—though none seemed to truly deserve the mantle of the Bayreuth "Master" himself. With the war, however, the theme most emphasized in Völkischer Beobachter cultural coverage was militarism. The presentation will conclude with a survey of how revered figures such as Bach, Handel, Mozart, Beethoven, and Wagner were scrutinized for indications that they had engaged with or contemplated conflict and combat, demonstrating in their works and biographies that they had "fighting natures" which could serve as inspiration for the German ...
The case study is about loss of business due to piracy and file-sharing in the music industry in Britain. According to a survey by Ipsos Inc. (2006), CD piracy cost the industry £165m in lost revenue in 2005 - nearly 10% of total sales. The survey found that 37 million pirated CDs were sold in Britain in 2005. The piracy of music in Britain has pinned the British Music Industry (BMI) and the music artists against the internet service providers, the government and the consumers. The BMI is blaming the Internet Service Provider (ISP) firms for not policing illegal downloads of music and asked them to disconnect people who ignore requests to stop sharing music. The ISP firms do not see their role as policing the piracy problem and do not agree with BMI. The BMI is pressuring the government to legislate copyright offenses related to music downloads in Britain. Also, the BMI wants the consumers engaged in copyright offense of music piracy to be prosecuted for criminal offense in addition to civil offenses. The consumers disagree with the BMI. The case study discusses the current actions of the BMI, ISPs and the British Government.
Before the digital era, music consumption was limited to purchasing LPs, tapes and CDs, or attending concerts. With digitization and mobile technologies in tow, the consumption of music exploded. Music is now literally everywhere—but none of it is actually free. Our consumption of it on television and cable, through games on our computers and our phones, through subscriptions or sites with built-in never-ending streams of advertising always has a price. Music is everywhere, but how did this happen? How has digital distribution and production changed the recording industry? What are the consequences of ubiquitous music? In this article, I argue that the digital music trap is an outgrowth of digital capitalism that commodifies our everyday existence.
