The world economy in general and the national economies in particular, in twenty first century, are more or less dominated by post-industrial knowledge-based exchanges. Primary production or manufacturing is becoming decreasingly important sectors of the postmodern economy. The importance of cultural and creative industries, especially of music industry, is not merely limited to its economic capabilities (which is, of course, relatively strong); but also to the prominent role it has on the making and unmaking of peoples’ identities, attitudes, values and lifestyles. The dynamics and complexities of the relationships between culture, creative industries and the political and economic development of societies have gained the attention of theorists and researchers from the mid-twentieth century itself. The post World War II world saw the mainstreaming of studies on cultural and creative industries as it was an absolute necessity to explore and grasp the changing nature of politics and economics in both the developed and developing countries.
The end of the cold war marked the beginning of a 'cultural turn' in the globalized world. The worldwide dissemination of the values and attitudes of the West in general and the United States of America in particular has been the focus of attention for not only academicians but also for ordinary people from across the world. There have been intense debates over the impact of globalization and the consequent transformations in the realm of culture from a number of conflicting standpoints. The idea of cultural imperialism has been particularly influential in the understanding of the profound transformations that are taking place in the sphere of culture. Regardless of the difference among these contesting perspectives on the characterization of this cultural turn, there exists a consensus on the incredible role of global music industry as carrier of the unprecedented changes pertinent to culture at both global and local levels. However, culture should no longer be perceived as a locally bounded 'whole way of life' as the components of culture themselves have profoundly changed. It has been suggested that culture should not be viewed as introverted, tied to place and inward looking as it used to be in history. Rather, culture is seen as an outward-looking 'translocal learning process'. The advances in technology and the developments in information technologies, digital media, e-commerce and new communication channels have profoundly changed the character of music industries in twenty first century. Music industries have a major share in the international trade and a deep impact over cultural lives of peoples of different countries. The international flow of music goods and services are higher than ever.
II. Music Market World Wide and the Globalisation Debates
The intangibility is one of the important factor in defining a music product or commodity. Certainly, the content of music commodities is immeasurable and 'cultural' in nature. Here, cultural means that the use value of a music commodity is satisfying some of the mental, psychological needs of a user in one way or another from a culturally determined standpoint. Speaking from the opposite, a music commodity has no 'physical' value apart from its ability to gratify given cultural tastes of a consumer. In broad terms, music industries are characterised by the production, creation, transmission, dissemination, registration, protection, participation and mass consumption of cultural and creative types of intangible and immeasurable contents, which are available in the market as exchangeable commodities or services. Globalisation represents not only the competitive distribution but also the co-operative sharing of music goods.
Music industries deal with the mechanisms of production, distribution and ...
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Scottish Folk Music Scottish music is liked and enjoyed by people all over the world. It is not only played by people who belong to Scottish nationality but by everyone. All along the 20th century, Scottish music has remained very popular.
Bob Dylan was born Robert Allen Zimmerman on May 24, 1941; he grew up in Hibbing where he learned how to play guitar and harmonica when he was as young as six, in high school he formed a rock and roll band called the Golden chords. After graduation, he joined the University of Minnesota, and he started to perform folk songs in coffee houses.
Through endless court battles against pirate music download sites and initiators of international music piracy such as the victory against Napster in 2000 and against Kazaa (http://www.kazaa.com) ending in 2005, originally a Swedish company and bought over in 2002 by an Australian company entitled Sharman Networks (http://www.sharmannetworks.com).
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Moreover cultural music depicts those values, which we have put in oblivion today and which became our identity as these presents our roots that our predecessors left.
Cultural music addresses questions not just about music but about the nature of contemporary culture, because changing perceptions of music have less to do with the music itself than with changes in other cultural practices, values, and attitudes.
But it was during the presidential election campaign in 1988 that Rap had a great influence on the republicans and spread like wild fire across the length and breadth of New York who soon came to regard it as their exclusive turf. In LA there was
It is evident, from the lack of evidence to settle this conflict in ideas, that the developers of the Tango were the neglected underprivileged, poor, and educated in society. Most of them are believed to have died in
They had a profound influence on the topical songwriting and singing.
The Almanac Singers lived an extremely short period of stardom as a group. It cannot be said that the Almanacs was a singing or performing band
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