1993
DOI: 10.1017/s0261143000005687
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The aftermath of a crisis: Quebec music industries in the 1980s

Abstract: Increased market concentration of multinational record companies, greater integration of major labels with international multi-media and entertainment conglomerates, as well as long economic recession were among the most striking developments of the 1980s to impact upon music-related industries. In the French-speaking province of Quebec (Canada), these developments, combined with local socio-political turmoil, left popular music in the throes of crisis and further jeopardised an indigenous music industry still… Show more

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Cited by 10 publications
(14 citation statements)
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“…Much work has been done over the past twenty-five years on the low-frequency radio emission detected from pulsars, in large part due to the huge volume of data available. In the last decade, however, attention has been turning toward the high end of the emission spectrum, as more reliable data become available (see, for example, Grenier et al 1993 andMasnou et al 1994).…”
Section: Introductionmentioning
confidence: 99%
“…Much work has been done over the past twenty-five years on the low-frequency radio emission detected from pulsars, in large part due to the huge volume of data available. In the last decade, however, attention has been turning toward the high end of the emission spectrum, as more reliable data become available (see, for example, Grenier et al 1993 andMasnou et al 1994).…”
Section: Introductionmentioning
confidence: 99%
“…1 The qualitative data collected through this participation in Montreal's electronic music scene(s) in the 2000s is discussed in relation to scholarly literature on music scenes (Straw 1991(Straw , 2004Grenier 1993;Taylor 2012), electronic music (Straw 1993(Straw , 2008Rodgers 2010), Montreal (Remiggi 1998;Stahl 2001;Straw 2005;Stolarick and Florida 2006) and DJ and club culture (Thornton 1995, Fickentscher 2000Katz 2007). Research into various local music scenes has a long and highly developed history within popular music studies and cultural studies, dating back to at least the late 1980s and early 1990s with the work of Straw (1991), Barry Shank (1994 and, later, Holly Kruse (2003), among others.…”
Section: Montreal Scene Setting: From Disco To the Indiesmentioning
confidence: 99%
“…2 There were many Anglophone and Allophone musicians/artists performing and recording in Quebec in the 1980s and 1990s; however, they were not signed to the Francophone-controlled labels that Grenier (1993) discusses. And, while the music and artists represented by these Franco-indie labels were almost exclusively Francophone, some Anglophone musicians were key players in shaping the sounds that emerged from these Quebec labels in the 1980s and 1990s.…”
Section: Montreal Scene Setting: From Disco To the Indiesmentioning
confidence: 99%
“…For example, British singers frequently produce /t/ intervocalically while singing as a tap rather than a glottal stop, such as the American variant [bɛɾɚ] instead of the British variant [beʔə] 'better' (Simpson 1999). We then postulate that Québécois singers may be influenced by Hexagonal French dialects, given that France represents the majority dialect and Quebec the minority dialect in the French music industry (Grenier 1993). While the majority dialect in a music industry can play a role in predicting dialectal traits in music, it may not always do so.…”
mentioning
confidence: 99%