Copyright (c) 2010 All rights reserved. http://works.bepress.com/pauloliver Recent documents in Paul G. Oliver en-us Tue, 02 Nov 2010 08:49:25 PDT 3600 http://works.bepress.com/pauloliver/16 http://works.bepress.com/pauloliver/16 Thu, 16 Sep 2010 06:35:22 PDT Due to the technologisation of the music industries there has been a postmodern shift in the way that musicians think, feel and create their art. Musicology is no longer confined by traditional categorisations and historical exclusivity. The Internet has given local musicians the freedom to express themselves independently as well as allowing them to connect with others and become more visible on a global scale. Through this do-it-yourself (DIY) ethic, artists are able to manage their creative activities on a low budget, working under their own umbrella ‘micro business’ within small virtual and physical communities. The lines, within which local musicians work, have long become blurred as a result of people who are highly motivated pushing the boundaries of creativity by using the resources at-hand through creative activities, such as home recording, small-scale events, DIY art and self-publishing. The aim of this paper is to help define the concept of DIY musicology in relation to local music scenes and DIY communities, demonstrated in the form of case studies. The findings of this paper illustrate that various aspects of local music scenes provide a more accessible understanding of musicology, cherry-picking elements of ethnomusicology and popular musicology as a vehicle for developing DIY musicology, which is a single strand of a much broader musicology. Paul G. Oliver http://works.bepress.com/pauloliver/15 http://works.bepress.com/pauloliver/15 Wed, 21 Jul 2010 15:02:41 PDT Rachel McLean Information systems http://works.bepress.com/pauloliver/14 http://works.bepress.com/pauloliver/14 Tue, 20 Jul 2010 12:59:23 PDT The overall aim of this paper is to aid the DIY artist in moving towards sustainability through the use of new technologies, which will be achieved by defining DIY music culture, identifying the creative and business needs of an artist as well as establishing a model for artists to be self-sufficient. The research methodology consisted of a mixture of unstructured interviews, such as email, telephone and face-to-face. Fifteen interviews were conducted with DIY artists from local music scenes around the UK, in particular Manchester, Newcastle upon Tyne and London. The research identifies areas of weakness within the process of a DIY artist’s creative project relating to the artistic and/or managerial process, which can be improved through the use of new technologies. This will be demonstrated in the form of the DIY Musicology Model. Paul G. Oliver DIY culture and management http://works.bepress.com/pauloliver/13 http://works.bepress.com/pauloliver/13 Tue, 20 Jul 2010 12:43:16 PDT Purpose – The aim of this paper is to examine the impact of the digital culture on the music industry through an analysis of official and unofficial websites, media reports and discussions with musicians.Research Design - A critical social theory approach is adopted to examine structures and processes related to communication between artists, fans, the media, as well as commercial and independent labels. We draw upon Habermas’ theory using the concept of ‘communicative action’ to inform an analysis of three vignettes or short case studies.Findings - At first glance it would appear that technology has brought about greater opportunities for independent musicians to communicate, network, promote and distribute, which previously could not be widely published, and to organise against the commercial power of major labels (Majors). Limitations of the study - In many spheres of the music industries this “empowerment” does not appear to be realised. For example, previous studies have shown that the domination of the Majors continues to impact on local music scenes to restrict and ultimately prevent the creative ideal deliver a situation that is necessary to empower independent musicians. Current media manipulation and corporate interests restrict and alienate independent musicians who often have more of an intellectual ownership and culture within their local music communities. Practical Implications - Although steps to enable improved visibility and cooperation have been made we are still a long way off musicians having a powerful enough voice to organise against the commercial power of the large labels and media conglomerates (e.g. Apple i-Tunes). The ideal speech situation remains elusive and the hegemonic state remains unchallenged. Social Implications - Music continues to be commodified and fans are increasingly constructed as “consumers”; the ultimate power remains in mass media and broadcasting rather than independent “narrowcast” and DIY artistry. Originality/value – This paper extends debate on the impact of the developing “digital culture” focusing on independent musicians and the music industries. It raises issues for further research in this area. Rachel McLean Information systems http://works.bepress.com/pauloliver/5 http://works.bepress.com/pauloliver/5 Thu, 27 Aug 2009 04:40:50 PDT Bricolage is taken from the French word 'bricoleur' meaning "to tinker" and holds comparisons with collage, which is an assemblage improvised from materials ready to hand, or the practice of transforming 'found' materials by incorporating them in a new work.The restrictions placed on a bricoleur are sometimes self-imposed and other times as a result of necessity. For example, musicians often restrict themselves to specific instruments and try to make a musical ensemble with these simple tools. This causes a unique sound and performance often referred to as experimental.Knowledge Management is a set of strategies, systems and processes that enable and simplify creation, capture, sharing, distribution and utilisation of an organisation’s knowledge. Customer knowledge management is about attaining knowledge from customers. In the other words it is about discovering what customers know in which it can help the business to improve their efficiency. The difference between customer relationship management (CRM) and customer knowledge management (CKM) is that CRM is gaining knowledge about customers but CKM is capturing knowledge from customers e.g. their experience of using a particular product or service. Customer knowledge management is about gaining, sharing and expanding the knowledge residing in customers, to both customer and corporate benefit. Customers benefit from receiving their required products, services and corporate benefit from using customers’ skills and expertise in their business and as a result gaining completive advantage. The aim of this paper is to look at customer knowledge management from a bricolage perspective. Paul G. Oliver DIY culture and management http://works.bepress.com/pauloliver/4 http://works.bepress.com/pauloliver/4 Thu, 27 Aug 2009 03:38:05 PDT Paul G. Oliver Information systems DIY culture and management http://works.bepress.com/pauloliver/3 http://works.bepress.com/pauloliver/3 Thu, 27 Aug 2009 03:27:05 PDT Over the last 50 years the dominance of the major records companies (Majors) such as EMI and Sony BMG has had a huge impact on the music industries in terms of creative output as well as wealth distribution. However, despite this dominance the local music scenes continue to thrive and grow significantly in the UK. New creative technologies have helped the DIY artist to build specific local-type networks on a global scale, now known as 'glocalisation'. Furthermore, this dominant force has been a catalyst for a complex counter-culture within local music communities.The do-it-yourself (DIY) ethic first came to light in British popular culture with the inception of punk in the late 1970s. The DIY artist is significantly different to the Major artist, as their work is based on self-reliance by making the most of the technical, business or creative resources at-hand. The DIY artist achieves this through self-learning related to how the materials at their disposal can be used to maximum affect in order to develop creative ideas. The adoption of such materials enable DIY artists to have artistic and managerial control over their music. Moreover, the DIY ethic has made sustained communities more viable to the extent that could ultimately condemn Majors in the future. New technologies offer the opportunities to develop clustered communities, which transcend geographical, economic or social boundaries.The aim of this paper is to explain how DIY artists disregard many aspects of popular music culture in favour of their own strong beliefs based on creative integrity and identity. Paul G. Oliver DIY culture and management http://works.bepress.com/pauloliver/1 http://works.bepress.com/pauloliver/1 Wed, 26 Aug 2009 16:41:58 PDT The overall aim of this book is to aid the DIY artist to move towards self-sufficiency through the use of new technologies, which is achieved by defining DIY music culture, identifying the creative and business needs of the DIY artist as well as establishing a model for DIY artists to be self-sufficient. The research methodology consists of a mixture of unstructured interviews, including email, telephone and face-to-face. Fifteen DIY artists were interviewed from local music scenes around the UK, in particular Newcastle upon Tyne, Manchester and London. The research identifies areas of weakness within the processes of a DIY artist’s creative project relating to the artistic and/or managerial process, which can be improved through the use of new technologies. This is demonstrated in the form of the DIY musicology model. Paul G. Oliver DIY culture and management