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iMusic: Living and Working as Musicians in Digital Capitalism.

机译:iMusic:在数字资本主义中作为音乐家生活和工作。

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摘要

In the midst of overall decline in the United States economy, information and communication industries continued to grow in 2008, accounting for 30% of the increase in the nation's GDP. Creative and copyright-based industries constitute a significant portion of this industry. The anomaly of growth in digital culture industries amidst overall decline has lead to the belief that a new form of digital capitalism -- mediated, populist, and creative -- will solve problems of economic development and maintain social diversity.;Scholarly research has examined the union of creative industries with economic forces, but has yet to examine how digital technologies mediate this relationship. Through an ethnographic account of independent music production in two small American cities, I examine how digital capitalism shapes the life chances of cultural workers who use digital technologies to build their own networks of production and distribution. Among creative industries, interactive media has most radically reorganized the music industry, challenging the viability of it centralized distribution channels.;Treating independent musicians working outside of this industry as my key informants, I ask 1) how is musical work resourced and rewarded and 2) which social forces organize access to musical representation? I build an inductive analysis of the networked organizational structure of independent music production. I theorize independent musicians as an emergent type of creative worker -- one who is embedded in networks of other entrepreneurs that are organized by shared cultural meanings. To build such networks, these workers invest their own capital and are dependent upon local resources and ability to travel. In this way, I show that there are possibilities for a wide range of people to forge their own careers, yet these possibilities continue to be structured by class and geography. Through my account, I build an empirical foundation for understanding how creative production is organized, valued, and accessed in digital capitalism.
机译:在美国经济总体下滑的情况下,2008年信息和通信行业继续增长,占该国GDP增长的30%。创意和基于版权的行业构成了该行业的重要组成部分。在整体下滑的情况下,数字文化产业的增长异常已导致人们相信,一种新形式的数字资本主义-媒介,民粹主义和创造力-将解决经济发展问题并维持社会多样性。创意产业与经济力量的结合,但尚未研究数字技术如何调解这种关系。通过对两个美国小城市独立音乐制作的人种学研究,我研究了数字资本主义如何塑造使用数字技术构建自己的生产和发行网络的文化工作者的生活机会。在创意产业中,交互式媒体从根本上重组了音乐产业,挑战了其集中发行渠道的可行性。;以我作为主要信息提供者,处理在该产业以外工作的独立音乐家,我想知道:1)音乐作品如何得到资源和奖励; 2) )哪些社会力量组织获取音乐表演的机会?我对独立音乐制作的网络组织结构进行归纳分析。我将独立的音乐家理论化为一种新兴的创意工作者-嵌入到其他企业家的网络中,这些企业家是由共同的文化含义组成的。为了建立这样的网络,这些工人投入自己的资金,并依赖当地的资源和出行能力。通过这种方式,我表明,各种各样的人都有可能打造自己的职业,但这些可能性仍继续由阶级和地理构成。通过我的论述,我为了解创造性生产如何在数字资本主义中进行组织,重视和使用建立了经验基础。

著录项

  • 作者

    Sargent, Carey Lynn.;

  • 作者单位

    University of Virginia.;

  • 授予单位 University of Virginia.;
  • 学科 American Studies.;Information Technology.;Economics General.;Sociology Social Structure and Development.;Mass Communications.;Music.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 223 p.
  • 总页数 223
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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