[go: up one dir, main page]
More Web Proxy on the site http://driver.im/

Klingenberg, 2019 - Google Patents

Toward a More 'Modern'Music Industry: The Creative Economy of Popular Music in Uganda

Klingenberg, 2019

Document ID
6834637538906386264
Author
Klingenberg K
Publication year

External Links

Snippet

The mainstream popular music of Uganda over the last 40 years has largely been imitative of genres from other countries and professionals in the East African nation's music business give a variety of answers as to why Uganda lacks its own “sound.” Chief among these are a …
Continue reading at search.proquest.com (other versions)

Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
    • G10H1/0041—Recording/reproducing or transmission of music for electrophonic musical instruments in coded form
    • G10H1/0058—Transmission between separate instruments or between individual components of a musical system
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/14—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
    • G10H3/18—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a string, e.g. electric guitar
    • G10H3/186—Means for processing the signal picked up from the strings
    • G10H3/187—Means for processing the signal picked up from the strings for distorting the signal, e.g. to simulate tube amplifiers
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/395—Special musical scales, i.e. other than the 12- interval equally tempered scale; Special input devices therefor
    • G10H2210/525—Diatonic scales, e.g. aeolian, ionian or major, dorian, locrian, lydian, mixolydian, phrygian, i.e. seven note, octave-repeating musical scales comprising five whole steps and two half steps for each octave, in which the two half steps are separated from each other by either two or three whole steps
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/101—Music Composition or musical creation; Tools or processes therefor
    • G10H2210/151—Music Composition or musical creation; Tools or processes therefor using templates, i.e. incomplete musical sections, as a basis for composing
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/155—Musical effects
    • G10H2210/265—Acoustic effect simulation, i.e. volume, spatial, resonance or reverberation effects added to a musical sound, usually by appropriate filtering or delays
    • G10H2210/295—Spatial effects, musical uses of multiple audio channels, e.g. stereo
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0008—Associated control or indicating means
    • G10H1/0025—Automatic or semi-automatic music composition, e.g. producing random music, applying rules from music theory or modifying a musical piece
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/571—Chords; Chord sequences
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
    • G10H2230/075—Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard; MIDI-like control therefor
    • G10H2230/125—Spint harp, i.e. mimicking harp-like instruments, e.g. large size concert harp, with pedal
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/36—Accompaniment arrangements
    • G10H1/38—Chord
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
    • G10D3/02—Resonating means, horns, or diaphragms

Similar Documents

Publication Publication Date Title
Mall “The stars are underground”: undergrounds, mainstreams, and Christian popular music
Ntarangwi The street is my pulpit: Hip hop and Christianity in Kenya
Garland Music, Affect, Labor, and Value: Late Capitalism and the (Mis) Productions of Indie Music in Chile and Brazil
Klingenberg Toward a More ‘Modern’Music Industry: The Creative Economy of Popular Music in Uganda
Kerr Performing the self: rappers, urban space and identity in Dar es Salaam
Emms Live underground heavy metal: The perseverance and decline of an art world
Hendrickson et al. A study on the creative industry as a pillar of sustained growth and diversification: the film and music sectors in Jamaica: lessons from case studies of successful firms and ventures
Riyanto Celebrity and Komunitas: The Rise and Fall of the Jogja Hip Hop Foundation
Kummels Indigeneity in Real Time: The Digital Making of Oaxacalifornia
Bauer Fund raising for film festivals in Europe
Wallis Internationalisation, localisation and integration: the changing structure of the music industry and its relevance for smaller countries and cultures
Wong “Lost Lambs”: Rock, gender, authenticity, and a generational response to modernity in the People's Republic of China
Fech More than Movies: Art House Cinemas in the Digital Age
Gracon Exiled records and over-the-counterculture: a cultural political economic analysis of the independent record store
Moshugi Between the church and the marketplace: how professional gospel musicians negotiate the tension between sacred and market contexts, with reference to the case of No Limits, a vocal music group from Soweto
Singer I'm Not Loud Enough to be Heard: Rock'n'Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production
Ng Filipino bands performing in hotels, clubs and restaurants in Asia: Purveyors of transnational culture in a global arena
Balaji Trap (ped) music and masculinity: The cultural production of Southern Hip-Hop at the intersection of corporate control and self-construction
Ragsdale Surviving the culture change
Kepplová The Beat of ‘Cool Capitalism’
Barso Music Production and Cultural Entrepreneurship in Today's Havana: Elephants in the Room
Smith-Lahrman Selling-out: Constructing authenticity and success in Chicago's indie rock scene
Leung Selling out the indie music?: re-examining the independence of Hong Kong indie music in the early 21st century
Weber Likkle but talawah (small but mighty): Reggae music, globalization, and the birth of a social movement
Guglielmino A qualitative study of small-scale artist run'Indie'music business in Brisbane