Abstract: The topic of space music requires a new scientific perspective. The goal of this article lies in examination of the historical and social peculiarities of the origin and development of space rock. The article presents futuristic interpretation of musicality of the celestial Universe. The article provides information about selected performers of this direction. Contextually, the article encompasses the stories of JULIAN'S TREATMENT and HAWKWIND. In reconstruction of the chronology for new interpretation, the author avoids repetitions and long descriptions of commonly known facts; aligns the key episodes of narration with the communication lines through the prism of social history; as well as gives assessment to the current situation and forecasts for the future. The recordings of space rock music stored in the audio archives, private collections, museums of music, and other sound libraries comprise the empirical basis for this publication. This article is first to offer periodization of the development of space music. The author’s special contribution of consists in clarification of the chronology of a range of recordings, as well as in familiarization of the audience with other aspects that are combined into a single concept. The provided material is intended for scholars in culture studies, musicologists, historians, archivists, as well as everyone interested in rock music.

Abstract: The object of the present study is an intellectual relations in the field of musical recordings. The subject of the article is a comprehensive description of the main types of violations of intellectual property rights in the history of music recording. One of the purposes of the publication is to systematize and distinction identified in the subject field disturbances in the degree of public danger. In this regard, the author of subject stops his research interest in the problems of illegal activity in this area – plagiarism, counterfeit audio products and the phenomenon of bootlegging in the chronological framework of the second half of the XX century – the first decade of the XXI century. Details considered practical examples of violations of rights holders in the music business. The theoretical core around which are grouped the methodological bases of research is the concept of intellectual property rights (intellectual property rights) in the context of cultural knowledge about soñial-musical (musical-legal) the nature of the three types of infringements of intellectual property rights in the sound recordings of popular music – plagiarism, counterfeiting and bootlegging. The priorities are the general methodological approaches to the analysis of social phenomena: the concrete historical and descriptive methods, comparative, dialectical systemic, structural and functional analyzes.As a result of the study the author comes to the conclusion that the level of musical audio stream adjusted using exclusively legal means is no longer possible and this trend affects the change communication formats in the music industry and record business. The study of the historical and legal aspects of bootlegging as a sub-system of unofficial records gave reason for removing logical-legal formula «Conflict-Free Anti-Recording». Less important intellectual and legal innovation is to identify the different levels of relations in terms of «Non-Release» and «Official Bootleg», which requires, in the author’s opinion, and additional regulatory updates on the legislative level.

Abstract: This study is performed at the intersection of document science, archive science, information law and some related sciences. It describes the phenomenon of a phonodocument in the global communications space from the position of analysis of its evolution, current condition and directions of transformations. The research subject is the content, typology, service functions, legal peculiarities of internal phonodocuments functioning as sources of recorder information of various types. The purpose of the study is to specify internal phonodocuments as a specific sector of service means within the development of an integral concept of genesis and functioning of phonodocuments, and to specify the classification of information audio-sources of this type. The research methodology is based on the metatheory of social communication (noocommunicology). It helps consider the processes of creation, production, distribution, use and storage of an internal phonodocument as a system. The author uses the methods of comparative analysis, scientific prognostication, terminological analysis and archive science. Based on the interdisciplinary synthesis of socio-communication, system-functional, synergetic, sociocultural, historical-typological approaches, the author outlines the specificities of internal phonodocuments compared with other types of audio sources. The author presents the phonodocumental communication concept as disconnected elements, which had been brought together and integrated into the balanced system. The typology of phonodocuments is based on new features – types of sound carriers, peculiarities of recorder audio content and specificity of service functions. The author broadens the field of study by means of in-depth systematization of the bulk of non-musical phonodocuments. The author distinguishes internal phonodocuments as a specific cluster of communications space. For the first time in scientific literature, the author studies the essence and the purpose of phonodocuments of this type, formulates the key patterns of formation and principles of classification of internal phonodocuments. The author describes advantages and disadvantages of revision of consumer forms of internal phonodocuments, proposes the directions of improvement of legislative support of legal regime of internal phonodocuments with restricted access. 

Abstract: This article is first in the Russian scientific literature to analyze a rock band from the perspective of legal relations established in music industry. The subject of this publication in the music legal analysis of international practice of resolution of the issued that emerge in juridical platitude due to the rock bands transformations. The author carefully examines the formats of rock bands transformations, illustrating the research materials in the examples from music business, including the legal support and court consideration of disputes. The chronological boundaries capture the period of 50 years (1965-2015). The theoretical core lies in communication theory in the context of culturological knowledge with the elements of intellectual property rights. The author comes to a conclusion that a rock band holds one of the major places within the system of legal relations, being an integral communication phenomenon and representing a certain format of music collective with the inherent peculiarities in its composition, number of participants, distribution of role and functions, used instruments. Based on the communication legal theory, the author describes each of the formats of transformations, analyzing the similarities and differences, as well as the issues that often occur due to coincidence in the names (trademarks, brands). Special attention is given to the author’s proposition regarding the formulation and adoption of the Model Code in the field of sound recording as a unified regulation of behavioral rules of recommendation character.

Abstract: Based on the identified and processed sources, the author conducted a comprehensive research of the phenomenon of phonodocumental communications. The subject of this publication is the phonodocument and phonoarchive as the elements of the system of social communications. The essence, classification, and function of phonodocuments are determines. The musical phonodocuments are highlighted as a specific cluster in the communication space. The author carries out a classification of phonodocuments, gives characteristic to the essence of musical phonodocument, and defines its functions. Special attention is paid to the analysis of organizing the storage of sound recording materials in various archives, as well as access to them at present time. The author concludes that the entirety of phonodocumental resources generates the systems of sound recording materials as forms of higher level, which include the combined phonoarchives of the international record labels (majors). The article suggests the efficient ways for improving the work of phonoarchives. The scientific novelty of the research consists in substantiating the hypothesis of cyclic evolution of the system of phonodocumental communications, as well as finding ways for optimization of storing the phonodocuments.

Abstract: This article is first within the Russian scientific literature to analyze a rock band within the system of legal relations formed in the area of music industry from the systemic perspective. The subject of this publication is the music-legal analysis of international practice on resolution of the issues that emerge in juridical platitude due to special events associated with the transformation of rock bands. The author thoroughly reviews the examples of legal content and judicial (extrajudicial) consideration of disputes from the practice of music industry. Particular attention is given to determination of specificity of separate or joint co-authorship within the rock band, as well as intellectual-legal peculiarities of the use of back-catalogue and labels. The theoretical core of this research consists in the theory of communication in terms of the culturological knowledge with element of intellectual property law. The author comes to a conclusion that a rock band holds one of the major places within the system of legal relations in the area of sound recording as an integral communication phenomenon that represents a special format of music collective with characteristic peculiarities in composition, distribution of role and functions, and used instruments. Based on the communication-legal theory, the author describes each of the special events (“comeback”, “reunion”, “reincarnation”, and “reestablishment”), analyzing the similarities and differences, as well as issues emerging due to the match of names. The author underlines the proposition regarding the normative consolidation of the use of the term “music law” that characterizes a complex sub-branch of civil law, the subject of regulation of which lie in the legal relations emerging in music sphere, and particularly legal aspects of the international music business.

Abstract: The object of the research article is the legal regulation of social relations arising under new conditions in the production and consumption of phonographic products. The subject of the research is the analysis of problems related to legal regulation of the recording field under the global crisis. The aim of the article is to develop strategic perspectives of legal support for various actors of the music industry, to propose and substantiate a number of managerial and legal recommendations in the field of crisis management of the music industry. The author examines the content of the examples of the legal practice in music business. The logical and theoretical justification of the recording industry modernization doctrine is based on the methodological basis of the survey representing a comparative, dialectical systems, structural and functional analysis, descriptive methods, and methods of forecasting and prospective analysis. As a result of the research the author emphasizes the need to create predictive models of the new music recording industry which could meaningfully display conditions of conflict-free interaction between music creators, producers of phonographic products and audio product consumers. The special contribution of the author to the research topic is his proposal to resolve the «conflict of interests» often occurring in the music business  which requires special legal knowledge and professional skills. The novelty of the research is caused by the fact that the author justifies the introduction and consolidation of updated models of creation and use of rock music (outsourcing, ñrowdfunding and others), formed on the basis of new legal regulations that have received regulatory consolidation in the form of relevant international instruments as well as the modernization of the proposals of the legal (attorney) support of various actors of the music industry.

Abstract: The object of the publication is the system of relations in the field of the music recording industry in the production of packaging for the audio media sector. From the point of view of intellectual property rights in the international historical and legal discourse in the publication the author analyzed records decorating envelopes and design of its packaging CDs (publishing object). Particular attention is paid to the cultural and legal component of intellectual property issues in the corporate style of covers and packaging design records and other carriers of music sound. Theoretical and methodological core around which are grouped the methodological bases of research is the intellectual property rights with the assistance of historical and cultural knowledge. The material is based on the general methodological approaches to the analysis of social phenomena, where the priorities are the comparative, dialectical systemic, structural and functional analysis and descriptive method. On the basis of the intellectual and legal approaches, and classification systematized kinds of vinyl records, cassette tapes, reel-to-reels, CDs packages and covers. As a result of the study, the author concludes that in the history of intellectual property law as applied to the field of the music recording industry is clearly observed the dialogue of cultures – art (visual aspect) and phonographic (audiomusical aspect). The main conclusion of the study is that the mechanism for the conservation of this dialogue is contained in the third (unifying) plane – legal. The novelty lies in the fact that the research material is illustrated by examples from the practice of issuance of branded, licensed, bootleg and counterfeit audioedition, and in each case with deducing the legal component in compliance with intellectual property rights in the design of the cover (envelope, packaging).

Abstract: The object ofthe present research is the social relations arising in the sphere of modern recording industry music business. The subject of this research is organizational and legal features of Western record labels and their place in the global record. The author of the article offers data research for the major types of record companies established in the global music industry. The author examines such aspects of the topic as the management problems and PR in the recording industry as well as the legal status of the management of the label and the artist. The reliability, representativeness and originality of the research is provided by the author's using the systems analysis of a representative empirical data based on the theoretical and methodological premises of basic research.The theoretical core of the methodological basis of the research is the theory of communication with the broad involvement of knowledge of administrative law and management theory. The priorities are the general methodological approaches to the analysis of social phenomena: the concrete historical and descriptive methods, comparative legal, dialectical systems, structural and functional analyses.As a result of the study the author comes to the conclusion that the recording industry bears the signs of historical time and the regional-national characteristics that manifests itself in the structure of recording institutions. The author has also systematized types of recording companies and types of record labels presented in the form of a single conventional model. The main author's idea is embodied in the final thesis that the recording industry as the system is turned into a global meta-system of social communication which operates with its own specific rules and corporate principles. The novelty of the research is caused by the fact that the author determines the recording system infrastructure as a set of organizational structures and subsystems of musical and publishing corporations (record labels, companies and studios, plants for the production of gramophone records and other phonographic products).

Abstract: The analysis of foreign rock music in the domestic concept of recording the example of the best examples of records issued in the Soviet period «The Melody Firm», and «first wave» CDs in the 1990’s. The author proceeds from the fact that Filofoniya (collection of recorded music) is an important element of audiovisual culture, consumer version of the phonographic products. In this article shown as phonographic products with recordings of the best representatives of foreign rock music (and not the least illegal!) Formed in the Soviet, and then – in Russian, the special socio-cultural stratum of society with their specific rules and traditions. Methodological priorities are the comparative-historical methodology of musicology and theory of social communications. In the study of individual features in the article used a structured approach, descriptive method, hierarchical and faceted classification methods, the method of terminologic, logical-conceptual methods and motivic analysis. The novelty of this study lies in the fact that as a result of generalization of quantitative and qualitative indicators released in the Soviet Union Western carriers with recordings of rock music for the first time comprehensively substantiated the thesis of a clash of two cultures – the phonographic and philophonic, happened in the Soviet-Russian sector of the global musical space. A number of positions reviewed by the author, many enhanced with new fact-finding. As a result, the main result of the study is to identify the patterns of development of the recording of rock music on the stages of production and consumption of media products in the phonographic period from early 1970’s until the end of the 1990’s.

Abstract: This article presents a chronology of the main events and trends in the history of Soviet rock in the context of the development of the system of music communication in USSR, in other words one more version of formation and establishment of the Russian rock music – the author reconsidered a number of position, complemented many of them with the newly revealed facts, and determines the new correlations.  The subject of this work is the peculiarities of formation of the national rock music within the framework of evolution of the gramophone recording system in USSR. Due to this fact the phenomenon of our inquiry is presented in a form of dual socio-communicational construct that functions in the cultural space (sound recording + rock music). The author suggests and argues a thesis, according to which the dual nature of the rock music recording is expressed in the fact that the aforementioned musical phenomenon also represents an institution of social communication. The author is first to comprehensively explore the category of “rock music recording in USSR” as an intrinsic part of the system of social communication. On the example of rock clubs, the author expands the idea about music organizations in the conditions of socialism. The main conclusion consists in the following: as a result of a joint action of socio-historical, political, information, and economic-technological factors, by the middle of the 1970’s several regional-national schools of rock music recording were formed in USSR as a “mosaic system” of sociocultural communication, which was founded on the complicated multilevel correlations.

Abstract: In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).

Abstract: The object of the research is the intellectual relations in the field of recording. The subject of the article is the 'Contracts For The Record', 'Separate And Undivided Co-authorship' and 'Right To Use A Back Catalog' as interrelated phenomena studied through the prism of intellectual property rights. In addition, the author of the article describes the mechanism of protection of intellectual property rights in the international music business, taking into account the specifics of narrowly focused features of advocacy. Understanding of some of the problems associated with intellectual legal relationships in the record is illustrated by the examples from the practice of legal support of various actors of the music business, judicial and non-judicial dispute resolutions. The methodological basis includes a survey representing a comparative, dialectical systemic, structural and functional analysis, descriptive methods, methods of forecasting and perspective analysis. As a result of the research the author comes to the conclusions about the theoretical and practical importance of the formation of the updated sample preparation and consumption of phonographic products. Particular attention is given to clarifying the legal content of the concept 'Artist’s Back Catalog' and 'Publisher’s Back Catalog'. The novelty of the study is caused by the fact that the author makes proposals for improving the legal (advocate) support of the various actors of the music industry.

Abstract: In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).

Abstract: In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).

Abstract: In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).

Abstract: The article presents the results of the study of social and informational aspects of the music sector of screen culture during 1960-90-ies. Music television is examined as a complex cluster of spheres of social and cultural communication where the stable rules of the interdependence of the principles of the screen and the phonographic cultures (musical sound recording) are formed. Audiovisual promotion of music products are shown in terms of the communication paradigm of the media system of the USSR and the socialist countries of Eastern Europe. Based on the systems concept of multichannel communication in the music industry the chronological order of TV programs and videos about rock and disco music is being analyzed from the point of view of cultural studies. Historical cultural analysis allowed to consider the social environment in which a certain historical period created the phenomenon of mass recording (i.e. recording of pop music). To determine features of the genre of pop music and its constituents the researcher has applied the musicological method. A special place in the author's approach to the analysis of documentary material is given to the systematization of information by using the chronological methodology. In this article screen culture is interpreted as a mirror in which the «Beat», «Rock», «Pop» and «Disco» music were permanently reflected in the form of bright passages of progressive trends of music inavailable for Soviet citizens in full. Interpretation of events is shown taking into account the existing and (sometimes) interpenetrating levels of socio-cultural communication – TV pop music, philharmonic societies, vinyl records and tape recorders that altogether satisfied the musical aesthetic needs of the Soviet people. One of the important conclusions made by the author is that at the age of socialism music-media manipulation was a specific kind of mass communication of the «mosaic» nature.

Abstract: The article deals with the organizational structure of Soviet industry record with a description of each item. From the standpoint of the development of socio-cultural communication in the music industry to analyze the history of rock in Central Asia. Set out an analysis of formation and development of rock music in Central Asia. The author carries out a detailed description of the Central Asian rock scene. A special place in the author's approach to the analysis of reference given to the systematization of information on the history of the record in the republics of Central Asia. Details covered lesser known pages of the history of Central Asian rock music and sound recordings.

Abstract: In his article Sineokiy presents the results of his research devoted to the social process of rock music recording as a youth subcultural phenomenon in the second half of the XX century. The subject of the research is the socio-communicative conditions of formation and development of the tape recording community as part of the history of Soviet youth subcultures in the 1970-80's. The purpose of the research is to conduct a retrospective study of the tape recording culture, i.e. the culture of home music rewriting in the USSR. In general, the Soviet youth subculture was a complex combination of different social groups, both interrelated and autonomous ones, where the passion for rock music occupied a central position. The author of the article examines the content and dynamics of the sociocommunicative component in the development of informal entities of the Soviet youth who were interested in collecting records and music tape recordings. Thereupon the author pays particular attention to the analysis of the social infrastructure of The Tape Recording Community in terms of recreational functions of record collecting. The images of 'Sound Writers' as part of the expansion of the socio-cultural scope of the term 'Magizdat' are characterized. The location of recording studios in the mass media and their organizational role during the consumption of the phonographic products are revealed. The interdisciplinary nature of the scientific description of the phenomenon of The Tape Recording Community led to the use of various human science methods in the present research. The phenomenon of tape recording subculture is characterized as part of the mass recording formed under socialism. The definition of the term Taping Subculture is substantiated. The similarity of the positions in this case has a syntactical nature. The phenomenon of Musical Recording Subculture as a complex cluster of spheres of social and cultural communication that formed stable interdependence rules and principles of the phonographic and record collecting cultures are presented. The hypothesis, according to which The Tape Recording Community was an important element of multichannel polysubcultural communication in the USSR both legally and illegally in the sphere of music is proved.

Abstract: The article described the social and communication essence of rock music. The author presents a recording of rock music as a special social and communication construct (twofold institution) in global cross-cultural space. The varied picture of rock music is interpreted in the framework of the communication recording system. The features of the regional-subgenres of rock music in the Social Communications. Analyzed the social and communicative origins of rock and roll, showing the diversity of the England-American Rock. Particular attention is paid to the identity of the African, Asian and Latin Rock. In the analysis of the origin and variety of the meaning of «Rock Music» is used historical-genetic method. To determine the characteristics of the genre of rock music and its constituent used musicological method. In the study of individual features of the music industry it used a structured approach that has allowed to reveal the multidimensionality and diversity of communicative performance recording rock music. In addition, the use of comparative-historical method and the phenomenological approach made it possible to identify and characterize the main stages of evolution of the recording of rock music as a communication and communication categories. Terminology method has provided an opportunity to clarify the conceptual apparatus. Method Internet-survey revealed trends in the genre among the priorities of the regular visitors to music sites. The author concluded that the rock is a reflection of social and communication the era of high-tech audio. The study offer insight into the recording of rock music as a complex cluster of socio-cultural sphere, where he formed a stable rules appear certain historical patterns, as well as specific principles apply. The novelty of the research is to establish a communication system elements of rock, since the origins of the universality of this musical roots in the music industry and in the phenomena of a wide public plan.

Abstract: The object of study is a musical recording as a system of socio-cultural communications. The subject of this publication is the history of Polish rock as sociodynamic factor in the transformation of the cultural heritage of the national sound recording system. Cultural heritage in the field of audiovisual culture Phonographic subsystem regarded by the author as an open system of socio-cultural communications. From the standpoint of the development of socio-cultural communication in the music industry authors analyzed the history of the Polish system of record. The article c position in the context of socio-cultural dynamics recording features is presented analysis of formation and development of beat-, pop- and rock-music in Poland. Showing mechanisms of self-organization and self-development of cultural heritage in the field of musical recordings. Problems of studying the history of Polish beat-, pop and rock music in artefacts record considered in conjunction various interpretations. The author conducts scientific research, based on the most significant ideas belonging to different areas of modern humanities, where the priority appears comparative historical methodology. The methodological basis of this publication became classics of the theory of cultural urological thought and modern thinkers. The author concludes that actually rock music became the unofficial center of the special social and communication system around which under socialism in Poland (as well as in other countries from «Eastern Bloc») formed heterogeneous youth subcultures. The process is as a result of scientific and technical modernization of everyday culture of big cities was further deterministic increased access to foreign music. For the recording system of the Polish People's Republic under socialism was an attempt to create an organization of multi-vector of the phonographic industry («Polskie Nagrania – Muza», «Polton», «Savitor», «Arston», «Pronit», «Tonpress», «Veriton», «Wifon»). In conclusion, the author focuses on the fact that the global recording industry at the present stage of development of digital technologies requires upgrading communications platform and cross-cultural communication.

Abstract: The study of the regularities of reflection rock documentary information in various media sources is an actual scientific historical and cultural problem. Reflecting the history of Eastern European pop culture of the former «socialist community» in the musical literature, and the social consequences of the «digital revolution» in the field of rock journalism remain poorly understood dopolnitetelnymi sectors. The subject of this article is to construct a chronological chain of iconic publications related to foreign and domestic rock culture in the Soviet and post-Soviet (Russian and Ukrainian) printing for the purpose of cultural analysis. In the article the author reveals the unique social and informational role of «Rock Samizdat» (the first independent publications) during the socialist era. In this research was applied a number of methodological tools of the humanities (history and cultural practices). As an empirical basis are the journalistic texts of newspaper and magazine periodicals, information and reference books, books of Soviet, Russian and Ukrainian authors. «Rock Samizdat», published in the official press, and multiple document-communications in times of socialism fulfilled sotsioinformatsionnye function as elements of a special mediakulturnoy system communications.

Abstract: The main component of culture is the audio sound. The object of study is a musical recording as a socio-cultural institution with its specific corporate policies the study of which is the subject of the publication. In the music business, corporate culture plays a particularly important role as it advocates the axiom behavior for all participants in these relationships and is a powerful strategic tool. To date, there remain issues of the relationship between corporate culture and corporate law in music business. In this regard, the author examines the problem of correlation between corporate culture and corporate law in music business. Particular attention is paid to the cultural significance of the music recording technology. The research is based on the phenomenological concept of organizational culture and the theory of social institutions that are understood as stable complexes of formal and informal rules, principles, standards, attitudes governing the interaction of people in a particular sphere of life and organizes it into a system of roles and statuses. The novelty of the research lies in the scientific substantiation of the provision according to which corporate relationships in the recording business perform the role of a coordinator of common ties, creating a comprehensive communications network with common rules, thereby forming new cultural levels of musical sound recording, sale and consumption of the phonographic products.

Abstract: In the historical and cultural context of recording studies the legal problems of professional producer activity were inverstigated. From the perspective of intellectual property rights the problems of music producing were outlined. Particular attention is paid to the study of deontological receptions of record producer activity, which are used in the rock business. Through interaction senders and addressees of counterfeit products in the «pirate’s» sector of music industry digested information and legal problems of «Anti-Recording».

Abstract: The article deals with the historical and cultural aspects of development in the plane philophonia collecting records and other musical audionositeley. The issue of research into the causes and conditions of formation and development in the socio-cultural philophonia communications under socialism is an actual scientific problem. Accordingly, the subject of the publication are the social and communicative aspects of collecting, the collecting of artifacts music recording activities in the recreational area of leisure culture. The purpose of the study is to examine the social infrastructure philophonia and its cultural and recreational functions. The methodological basis of the article is a systematic method, because the study is based on a synthesis of different perspectives in the social sciences and humanities to the phenomenon of philophonia. The author concludes that the introduction of the category "philophonia" will transform not only the theory of culture, communicative science: the typology of mass communication in the field of leisure is impossible without taking into account the experience of the creation of audio-visual collections. The particular attention is paid to the analysis of infrastructure like philophonia sociocommunicative phenomenon under socialism. This publication is characterized recreational function philophonia in leisure cultural space. The hypothesis according to which philophonia is a unique institution of social and cultural communication.

Abstract: Cultural heritage in the field of audiovisual culture phonographic subsystem regarded by the author as an open system of socio-cultural communications in Eastern Europe, which is the object of study. The subject of this publication is the history of East German rock as sociodynamic factor in the development of communications in the field of music sound recording in the German Democratic Republic. The author is justified in the use of modern cultural knowledge of the term «Ost Rock». Particular attention is paid to the characterization of the record of the GDR. Problems of studying the history of rock music in the GDR record artifacts are considered in relation to varying interpretations. The methodological basis of the article is a systematic method, because the study is based on a synthesis of different views on the phenomenon of musical recordings. The author conducts scientific research, based on the most significant ideas belonging to different areas of modern humanities, where the priorities are the comparative-historical methodology and philosophical-anthropological analysis. The author concludes that actually rock music became the unofficial center of the special social and communication system, around which in the conditions of socialism in the GDR (as well as in other countries «Eastern Bloc») formed heterogeneous youth subcultures. The novelty of the research is to establish a communication system elements GDR record based on the state company «Deutsche Schallplatten Berlin» with several trademarks, including the special place occupied «Amiga», which has now acquired a special nostalgic cultural status.

Abstract: The object of this research is the issues of overcoming the psychological stress in professional music career. Bolin’s music is exquisite and embodies strength and refined beauty. Being a sound innovator, he attained recognition among jazz and rock musicians at a very early age. It was Tommy Bolin that was able to fully refresh the creative atmosphere of DEEP PURPLE, who by that time sort of regressed due to stubborn self-imitation, even though he could not prevent the break-up of the band. His death a void in a definitely unique sector of rock music, which represented the musical cocktail mixing jazz, hard rock, and vintage blues. The article substantiates the position that the notable musician, possibly one of the most fruitful and underappreciated guitarists of all time – Tommy Bolin, became a hostage of the brand, created to embody the initially different ideas of another fantastic musician Ritchie Blackmore. The author presents a version, according to which this and some other circumstances became the main psychological determinants of the crisis of development of professional music career, which serves as the subject of the philosophical-culturological research. The novelty consists in the scientific substantiation of the causes of the crises in the professional musical career of Tommy Bolin, which in the end led to a real tragedy – death of the great guitarist.  Over the last year and a half of Bolin’s life, four mistakes were made – branding (first); communicative (second); psychological (third);and tactical (fourth), the totality of which played the fatal role.

Abstract: The results of the documentary research publications about pop and rock music, performed by the authors from Eastern Europe in the period of socialism are presented in this article. The unsufficiently explored pages of history of Eastern European music journalism in the sociocultural context of the origin and evolution of rock culture are outlined. The social information and cultural communication role of rock publications of foreign authors in Russian for soviet readers is revealed. The number of publications about Eastern European pop music in the Soviet magazined during the period from 1958 to 1982 are analyzed. The author used comparative-historical and cultural methodes. The journalistic texts from newspaper and magazine soviet periodicals, as well as musical and journalistic literature of Eastern Europe are used as an empirical basis.The main conclusion is that in the times of socialism Eastern European rock journalism stood for Soviet rock fans a special information and cultural channel. The history of Eastern European rock music and the current state of the music industry in the former «socialist community» in all modern editions of Russian rock covered in a minimum volume.

Abstract: The object of this research is the issues of overcoming the psychological stress in professional music career. Bolin’s music is exquisite and embodies strength and refined beauty. Being a sound innovator, he attained recognition among jazz and rock musicians at a very early age. It was Tommy Bolin that was able to fully refresh the creative atmosphere of DEEP PURPLE, who by that time sort of regressed due to stubborn self-imitation, even though he could not prevent the break-up of the band. His death a void in a definitely unique sector of rock music, which represented the musical cocktail mixing jazz, hard rock, and vintage blues. The article substantiates the position that the notable musician, possibly one of the most fruitful and underappreciated guitarists of all time – Tommy Bolin, became a hostage of the brand, created to embody the initially different ideas of another fantastic musician Ritchie Blackmore. The author presents a version, according to which this and some other circumstances became the main psychological determinants of the crisis of development of professional music career, which serves as the subject of the philosophical-culturological research. The novelty consists in the scientific substantiation of the causes of the crises in the professional musical career of Tommy Bolin, which in the end led to a real tragedy – death of the great guitarist.  Over the last year and a half of Bolin’s life, four mistakes were made – branding (first); communicative (second); psychological (third);and tactical (fourth), the totality of which played the fatal role.

Abstract: The object of study is a musical recording as a system of socio-cultural communications. The subject of this publication is a separate sector of the Balkan vector socio-cultural development of musical pop culture. The article describes the analysis of the formation and development of pop and rock music in Bulgaria and Romania. In this article detailed analysis of the origins of the Bulgarian and Romanian rock scene. From the standpoint of the development of socio-cultural communication in the music industry authors analyzed the history record systems: Bulgarian and Romanian. The author discussed in detail lesser known pages of the history of the Bulgarian and Romanian beat-(rock) music discussed in the context of the recording features. Problems of studying the history of the Bulgarian and Romanian beat-, pop and rock music in artefacts record considered in conjunction various interpretations. The author conducts scientific research, based on the most significant ideas belonging to different areas of modern humanities, where the priority appears comparative historical methodology. The author concludes that actually rock music became the unofficial center of the special social and communication system around which under socialism in Bulgaria and Romania (as well as in other countries «Eastern Bloc») formed heterogeneous youth subcultures. The process is as a result of scientific and technical modernization of everyday culture of big cities was further deterministic increased access to foreign music. Special contribution of the author in the study topics is concluded that for the recording systems of Bulgaria and Romania were the common presence of a single state manufacturer phonographic production, which had a monopoly of relevant national market for music recording. In conclusion, the author focuses on the fact that the global record industry requires modernization communications platform and the new formula organization recording and intercultural communication. In this context, the problem of forming strategies outlined crisis communications in the music industry of post-communist countries – Bulgaria and Romania.

Abstract: Phonographic heritage is seen as a communication system in Eastern Europe and as a subsystem of audiovisual culture which is the object of study. The subject of this study is the history of the national rock as a sociodynamic factor in the development of communications in the field of music recording in the Hungarian People's Republic. The author of the article defines the place and the role of the Hungarian rock music in the field of recording. The author describes in detail the system of recording of communications in the socialist era of Hungary. Particular attention is paid to the analysis of recording artifacts, in partiular, gramophone records with rock music. The methodological basis of the article involves a systems method because the study is based on a synthesis of different views in social-humanities sciences on the phenomenon of musical recording. The priorities of scientific research are the comparative-historical methodology and philosophical-anthropological analysis. The author concludes that rock music actually became the unofficial center of a special sociocommunication system centered in Hungary just like in other countries of the «Eastern block» and formed a youth musical subculture. The novelty of the research is caused by the fact that the author establishes the basic elements of Hungarian record communication related to the state company «Magyar Hanglemezgyártó Vállalat – Hungaroton» with several trademarks «Pepita», «Start», «Bravo», «Favorit», «Krém», «Qualiton» which today has acquired a special nostalgic cultural status.

Abstract: Audio recording is the main component of phonographic culture. The object of the present research is the music industry culture with all its corporate rules and features. The subject of the present research is labels as a part of phonographic business in the music industry from the piont of view of audiovisual culture. The typology of labels was studied and their structural and functional models were characterized. Corporate ties between the main actors of the recording business were identified. Due to the interdisciplinary nature of the phenomenon of phonographic culture, the researcher had to apply methodological instruments of different humanitarian sciences. The methodological basis of the research involves the synergetic approach viewing label as the main element of sound-recoding communication. The novelty of the research is caused by the fact that the author provides the scientific evidence proving that sound-recording establishments constitute a major part of the sound-recording system involved in the general system of the music industry culture. The researcher describes the structure of music-recording corporations and defines communicative patterns of record labels in the global system of show business.

Abstract: The article analyzes the history of rock culture in Yugoslavia with position of socio-cultural communications. At the first time the author is discussed in detail lesser known pages of the history of the Yugoslav rock music. Special attention is paid with the concept of the Slovenian professor of cultural studies Mitja Velikonja of communicative and symbolic nature of the Yugonostalgia. In this article with a position of the humanitarian knowledge Recording is investigated as a social construct in a broad multicultural mediaspace. The place of this institution is determined in the system of mass communications. The scholar gives a characteristic of the social-communicative essence of the sound recording system. He researches the regularities of development and the functioning of the sound recording institutions (Record Labels) in the system of social communications in times of socialism. The scientist analyzes the business model of music-publishing corporations of Yugoslavia in the second half of the twentieth century. The article deals with problems of interaction between senders and recipients in musical subsector of media space based on a systemic understanding of multichannel communications in the sphere of music sound recording. The author outlines the priorities of the information strategies to promote the phonographic releases, including special role of PR-technology and «feedback» in the music business. In conclusion he offers the understanding of Recording as a complex cluster of media sphere, in which stable rules, historical regularities as well as specific principles were formed.

Abstract: The phenomenon of the rock-and-roll is viewed by the author of the article as the information cognitive model consisting of different elements, the most important element being the geography of sound recording. The author describes the history of formation of the recoding industry in China, Viet Nam, Laos, Mongolia, North Korea and partly South Korea. Special attention is paid to communication features of the gramophone recording of rock music during socialism. The author offers practical solutions of some issues being raised. These are the legal solutions in the first place. 

Abstract: The author of the article views the history of gramophone recording in the countries of Central and South-Eastern Europe at the second half of XX century. The 'Era of Democrates' lasted for 30 years from 1945 to 1995 and was a unique phenomenon in Russian music. Even though the period is officially over, the topic is still interesting and important due to the fact that it still lacks thorough researches. The author of the article presents a conceptual model of the institution of gramophone recording as a specific social and communication phenomenon and describes its place in the system of mass communication. Special attention is paid to legal and communicative features of the development of gramophone recording of pop- and rock-music in the 'Eastern block' countries during socialism. 

Abstract: The article is devoted to Aprelevsk Factory of Gramophone Disks as the central element of the Soviet sound-recording industry. The author of the present article does not claim to provide a full analysis of all aspects of creating a gramophone record of rock music. At the same time, the author of the article views the most typical features of gramophone recording under the conditions of socialism. he analyzes the main stages of development of Aprelevsk Factory and some other factors of the Melodia Company. Special attention is paid at informative, legal and socio-communicative peculiarities of recording pop- and rock music in the USSR. 
The author of the article would like to acknowledge all authors (including unknown Internet users) who participated in the research and whose expressions or writings lie at the root of this article. The article contains references to all expressoins or writings and the author of the article does not claim to be the author of these quotations or studies. At the same time, he has reviewed, extended and developed these ideas.
The present article does not cover all music bands, disks, compact disks or record labels. However, the author hopes that his article will be able to fill in the gaps and reveal a few secrets of gramophone recording. All the singers, names of their albums and compositions are first given in their native language and only then translated into Russian.
Based on the results of his research the author of the article offers a hypothesis bout music recording being a unique tool of social communication.

Abstract: This article presents a study of one of the most outstanding and mysterious guitarists of the second half of the twentieth century -- Tommy Bolin. Particular attention is paid to the communicative requirements of becoming a guitarist in the music business. The analysis of his life story in rock still generates many versions of his early demise. The author considers the unexpected version of 'branding error' to be one of the circumstances that indirectly, on a psychological level, became the cause of the guitarist's growing drug addiction. In addition, the article presents a detailed overview of many recorded rarities featuring Tommy Bolin, including illegally manufactured domestic 'pirate' recordings. Given the current situation in high-tech developments, the music industry has seen better days, and its future requires a new platform that will allow the building of a healthy relationship between audiences and musicians. In this regard, the article touches upon the legal issues of reproducing phonographic releases in digital format.

Abstract: In each country, music recording is a unique, distinctive phenomenon with its own traditions, defining traits and peculiarities. The article presents an analysis of legal and counterfeit content within the phonographic market of Russia and Ukraine during the period of 1990 to early 2000s. The author examines the legal, social, informational and communication-based defining traits of philophonic interaction in new digital environment. He analyzes key audio products containing the recordings of the most interesting and rare samples of foreign rock music, released under Russian record labels during the said period. Attention is drawn to informational, legal, social and communications traits of rare rock music distribution in modern music-lover and collector community. The resulting hypothesis states that music recording is a unique aspect of social communications, as well as informational and legal phenomenon.

Abstract: In all times music culture represented a mirror for social sentiment and general moods of humanity. Each stage of historical development has its own informational space, its own conditions of functioning and development of cultural communications systems, the element of which being the phenomenon of disco-communication. One of the elements of informational subculture, audio culture, includes the history of gramophone recording as one of its designated aspects of general expression and audio information exchange. Nowadays, it is impossible to correctly evaluate the majority of events in the history of show industry, without the understanding of economical and legal issues. Within modern global information space, the disco phenomenon remains an important factor of forming digital culture. In this article, the author lays out the results of his research on social, economical, informational and communications peculiarities of disco music development of 1970-s-80s. In conclusion, the author justifies his thesis that disco as a social phenomenon and style in music has a distinct informational value and represents a form of mass communication.