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The Evolution of the Roles of Producers in the Zimbabwe Recording Industry
16 references·0 citing·39 second hop
The Evolution of the Roles of Producers in the Zimbabwe Recording Industry (2022)The Evolution of the Roles of Producers i…Theory for Ethnomusicology (2019)Theory for EthnomusicologyThe Music Business and Digital Impacts (2018)The Music Business and Digita…The Evolution and Decline of the Traditional Recording Studio (2016)The Evolution and Decline of …Sungura Music's Development in Zimbabwe: The Emergence of Trendsetters, Emulators and Copycats (2014)Sungura Music's Development i…Reformatted (2014)ReformattedThe music industry: music in the cloud (2013)The music industry: music in …The Global Music Industry (2013)The Global Music IndustryThe Art of Music Production: The Theory and Practice (2013)The Art of Music Production: …Sungura in Zimbabwe and the Limits of Cosmopolitanism (2012)Sungura in Zimbabwe and the L…The Music Business and Recording Industry (2011)The Music Business and Record…The Software Slump?: Digital Music, the Democratisation of Technology, and the Decline of the Recording Studio Sector within the Musical Economy (2009)The Software Slump?: Digital …The Producer as Composer (2005)The Producer as ComposerRecording Studios: Relational Spaces of Creativity in the City (2005)Recording Studios: Relational…Review Essay : Music in Zimbabwe (2002)Review Essay : Music in Zimba…Music, radio and the record business in Zimbabwe today (2001)Music, radio and the record b…THE CHANGING CONTEXT OF AFRICAN MUSIC PERFORMANCE IN ZIMBABWE (1996)THE CHANGING CONTEXT OF AFRIC…The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry (2012)Control, curation and musical experience in streaming music services (2015)The Cultural Industries (2019)Platform pop: disentangling Spotify’s intermediary role in the music industry (2020)Being and Time (1927)A social history of British broadcasting (1991)Genesis of Heidegger's Being and Time (1994)The production of stardom and the survival dynamics of the Zimbabwean music industry in the post-2000 crisis period (2010)‘Welcome singingsunguraqueens’: Cultural studies and the promotion of female musicians in a Zimbabwean male-dominated music genre (2011)Rethinking the notion of chimurenga in the context of political change in Zimbabwe (2011)A Sociology of monsters: Essays on power, technology, and domination (1991)The Rise of the Creative Class (2002)The rise of the creative class: and how it's transforming work, leisure, community and everyday life (2002)Sonic City: The Evolving Economic Geography of the Music Industry (2009)Material Inheritances: How Place, Materiality, and Labor Process Underpin the Path-dependent Evolution of Contemporary Craft Production (2015)The Managed Heart: Commercialization of Human Feeling (1984)Code and Other Laws of Cyberspace (1999)Clusters and knowledge: local buzz, global pipelines and the process of knowledge creation (2004)Music Scenes to Music Clusters: The Economic Geography of Music in the US, 1970–2000 (2010)A Creative Industry in Transition: The Rise of Digitally Driven Independent Music Production (2012)Cultural Intermediaries in the Digital Age: The Case of Independent Musicians and Managers in Toronto (2013)iTunes: Breaking Barriers and Building Walls (2013)Music Everywhere: Setting a Digital Music Trap (2017)K-Pop’s Global Success and Its Innovative Production System (2022)Rethinking music's status as adaptation versus technology: a niche construction perspective (2016)Alan Lomax’s Cantometrics Project (2018)Engaged Activist Research (2021)Crowdfunding in the Cultural Industries (2020)Media Innovation Strategies for Sustaining Competitive Advantage: Evidence from Music Download Stores in Iran (2020)Showcase Festivals: Gatekeepers and Bridge Builders in the Music Industries (2022)The financialisation of urban infrastructure: A framework of analysis (2018)“Splendid Isolation”: The reproduction of music industry inequalities in Spotify’s recommendation system (2021)Conceptualizing Services and Service Innovation: A Practice Theory Study of the Swedish Music Market (2022)The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production (2010)Hybrid spaces and hyphenated musicians: secondary students' musical engagement in a songwriting and technology course (2012)The impact of technological advances on recording studio practices (2013)Online group influence and digital product consumption (2018)Making Music, Finishing Music – An Inquiry Into the Music-Making Practice of Popular Electronic Music Students in the “Laptop-Era” (2020)Music Technology in Education – Channeling and Challenging Perspectives (2020)
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References

  • 2013The music industry: music in the cloud326 cited
  • 2009The Software Slump?: Digital Music, the Democratisation of Technology, and the Decline of the Recording Studio Sector within the Musical Economy157 cited
  • 2019Theory for Ethnomusicology69 cited
  • 2005The Producer as Composer68 cited
  • 2014Reformatted67 cited
  • 2013The Art of Music Production: The Theory and Practice65 cited
  • 2005Recording Studios: Relational Spaces of Creativity in the City65 cited
  • 2011The Music Business and Recording Industry46 cited
  • 2018The Music Business and Digital Impacts31 cited
  • 2001Music, radio and the record business in Zimbabwe today19 cited
  • 1996THE CHANGING CONTEXT OF AFRICAN MUSIC PERFORMANCE IN ZIMBABWE19 cited
  • 2012Sungura in Zimbabwe and the Limits of Cosmopolitanism13 cited
  • 2016The Evolution and Decline of the Traditional Recording Studio7 cited
  • 2014Sungura Music's Development in Zimbabwe: The Emergence of Trendsetters, Emulators and Copycats7 cited
  • 2013The Global Music Industry6 cited
  • 2002Review Essay : Music in Zimbabwe

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