Uploaded August 2019 | Updated September 2026, 2 days ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
A Phenomenological Study: The Adaptation of Digitisation from the Experience and Perspectives of the Malaysian Music Industry
Nurulhamimi Abdul Rahman - University of Liverpool, United Kingdom; Universiti Teknologi MARA, Malaysia
Email: hamimi@liverpool.ac.uk
/// ABSTRACT
Digitisation is a universal and global phenomenon which brings the disruptive effects to the entire world. However, digitisation is not a uniform process, but its irregular in which different country has their particular way to deal with the situation. Malaysian experience and character of digitisation are very distinctive, unique and distinguishing compared to the rest of the world as Malaysia is a modernise Islamic country with the multi-ethnic, multicultural and multi-faith society. Therefore, digitisation is experienced differently in different state and culture in which these have brought into changes in the recorded music business practices in Malaysia. As a result, these changes influenced how music is made and consumed in societies with a special reference to the Malaysian music industry. Hence, this study aims to discover how the local record companies in Malaysia adapted to digital disruption by discussing the nuances of distinctiveness of the Malaysian experiences of the local music companies which focussing on several key themes and issues highlighted including the music economy, social, cultural, political, educational and individual behavior factors, the business practices of the recorded music in Malaysia (local labels), music industry value chain as well as the difficulties and challenges in the digital environment in the Malaysian context. The finding of this study is expected to educate the research community to learn about the impact of digitisation on music industry from the Malaysian experience and to fit into the current literature.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
A Phenomenological Study: The Adaptation of Digitisation from the Experience and Perspectives of the Malaysian Music Industry
Nurulhamimi Abdul Rahman - University of Liverpool, United Kingdom; Universiti Teknologi MARA, Malaysia
Email: hamimi@liverpool.ac.uk
/// ABSTRACT
Digitisation is a universal and global phenomenon which brings the disruptive effects to the entire world. However, digitisation is not a uniform process, but its irregular in which different country has their particular way to deal with the situation. Malaysian experience and character of digitisation are very distinctive, unique and distinguishing compared to the rest of the world as Malaysia is a modernise Islamic country with the multi-ethnic, multicultural and multi-faith society. Therefore, digitisation is experienced differently in different state and culture in which these have brought into changes in the recorded music business practices in Malaysia. As a result, these changes influenced how music is made and consumed in societies with a special reference to the Malaysian music industry. Hence, this study aims to discover how the local record companies in Malaysia adapted to digital disruption by discussing the nuances of distinctiveness of the Malaysian experiences of the local music companies which focussing on several key themes and issues highlighted including the music economy, social, cultural, political, educational and individual behavior factors, the business practices of the recorded music in Malaysia (local labels), music industry value chain as well as the difficulties and challenges in the digital environment in the Malaysian context. The finding of this study is expected to educate the research community to learn about the impact of digitisation on music industry from the Malaysian experience and to fit into the current literature.
