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'Indie' empowerment
Title
'Indie' empowerment: new media strategies and the rise of the independent artist.
Creator
Harris, Simone K., College of Business, Department of Management
Abstract/Description
The use of new media technology which refers to digital, computerized, or networked information and communication technologies such as the Internet, mobile devices, gaming, and social networks, has come to define the music industry today, and it is this technology that has empowered independent artists in such a way that they are now free to pursue heights of success previously only available to major label artists. New media technology has affected the traditional business models of major...
Show moreThe use of new media technology which refers to digital, computerized, or networked information and communication technologies such as the Internet, mobile devices, gaming, and social networks, has come to define the music industry today, and it is this technology that has empowered independent artists in such a way that they are now free to pursue heights of success previously only available to major label artists. New media technology has affected the traditional business models of major labels, it has resulted in gross decline in recording costs, given birth to new channels of music marketing, and business models, and has created a new music clientele that requires instant gratification, personalization, and connectivity. In the face of such change, independent artists have been empowered and can access opportunities to distribute music independently, market and promote music effectively to niche markets, secure publishing deals, while building their own community of dedicated fans.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2705072
Subject Headings
Music, Economic aspects, Music and the Internet, Music trade, Music and globalization, Sound recordings, Marketing
Format
Document (PDF)
A Historical Perspective on LP Marketing and Payola in 1962: The Case of Robby and the Troubadours
Title
A Historical Perspective on LP Marketing and Payola in 1962: The Case of Robby and the Troubadours.
Creator
Fagan, Kalman Sheppard, Rhorer, Marc A., Florida Atlantic University, College of Business, Department of Marketing
Abstract/Description
The music industry in 1962 reflected the political turmoil of the times. Dinner and dancing was a popular pastime. The music Americans heard and enjoyed over the airways was limited, however, by payola. Program directors adhered to criteria that supported the corporate fiscal model of their radio stations. Songs needed to attract listeners and major advertisers. Payola typically involved direct payments from major record labels to disc jockeys and the rewards were lucrative. Record labels fed...
Show moreThe music industry in 1962 reflected the political turmoil of the times. Dinner and dancing was a popular pastime. The music Americans heard and enjoyed over the airways was limited, however, by payola. Program directors adhered to criteria that supported the corporate fiscal model of their radio stations. Songs needed to attract listeners and major advertisers. Payola typically involved direct payments from major record labels to disc jockeys and the rewards were lucrative. Record labels fed them songs to play and disc jockeys became loyal to the payments. Thus, payola became a bottleneck to broader distribution of other artists, which hurt musicians, small record labels, and the public, and increased the price of music. Entertainment managers were ambitious band managers who took on additional roles due to the high costs of producing and promoting songs. The case of Robby and the Troubadours is shared through a historical simulated marketing plan.
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Date Issued
2018
PURL
http://purl.flvc.org/fau/fd/FA00013059
Subject Headings
Long-playing records., Music trade--Marketing., Rock groups.
Format
Document (PDF)
Music Publicity: Independent Public Relations in the Digital Age
Title
Music Publicity: Independent Public Relations in the Digital Age.
Creator
Maksimow, Stephanie A., Abrams, Ira, Florida Atlantic University, College of Business, Department of Management
Abstract/Description
The music industry has undoubtedly seen accelerated change over the past decade. Standard practices in the industry have been turned upside down, leaving record label executives, managers, and other personnel behind the scenes working to develop new and innovative ways to cope with this change. Music publicists are not immune to these changes and have seen a tremendous shift in their roles and responsibilities. With the advent of the digital age, the role of music publicity is getting...
Show moreThe music industry has undoubtedly seen accelerated change over the past decade. Standard practices in the industry have been turned upside down, leaving record label executives, managers, and other personnel behind the scenes working to develop new and innovative ways to cope with this change. Music publicists are not immune to these changes and have seen a tremendous shift in their roles and responsibilities. With the advent of the digital age, the role of music publicity is getting stronger and is arguably one of the most vital components of a successful music career. The demand and necessity for a well-executed music publicity campaign is growing as modern technology reduces the need for a record deal. However, external forces resulting from technological changes are making the job of a music publicist difficult. Despite its importance, little has been said about the field of music publicity in scholastic literature, and the few in-depth texts and articles on the subject are grossly outdated rendering them irrelevant. The majority of recent comment on music publicists and their duties have come from journalists and music publicists themselves. Further, the average person knows little about the practice of music publicity and what a publicist does. Independent publicists are often highly criticized and looked down upon merely because artists, managers, media personnel, and even record labels may not fully grasp what a publicist does. This poses a slew of issues, including the publicist not feeling completely part of the artist’s team, despite being one of the most essential components of the artist’s successful career. The author of this thesis is an independent senior publicity manager for a boutique music publicity firm. The purpose of this thesis is to define music publicity, bring to light essential issues in music publicity, and provide a thorough understanding of the role and responsibilities of a music publicist. Through analysis of the available literature and qualitative interviews with industry professionals, this paper will address what music publicity is, how the digital age has changed music publicity, and finally will provide suggestions for best-practices when working with indie artists and mid-level campaigns.
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Date Issued
2016
PURL
http://purl.flvc.org/fau/fd/FA00004611, http://purl.flvc.org/fau/fd/FA00004611
Subject Headings
Music publicity., Music--Marketing., Music trade--Technological innovations., Internet marketing., Public relations.
Format
Document (PDF)
Marketing music in a digital age
Title
Marketing music in a digital age.
Creator
Amedeo, James Rocco., College of Business, Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
The physical sale of music and the effectiveness of traditional media are expected to continue to decline, challenging marketers to develop new methods to create awareness about music. Although music sales are declining, interest in music is healthy, and strongest amongst the American young adult market - between the ages 18-34. This marketing plan uses traditional and innovative techniques to capture the attention of the target market, which is more culturally diverse and technologically...
Show moreThe physical sale of music and the effectiveness of traditional media are expected to continue to decline, challenging marketers to develop new methods to create awareness about music. Although music sales are declining, interest in music is healthy, and strongest amongst the American young adult market - between the ages 18-34. This marketing plan uses traditional and innovative techniques to capture the attention of the target market, which is more culturally diverse and technologically advanced than any previous demographic.
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Date Issued
2009
PURL
http://purl.flvc.org/FAU/192980
Subject Headings
Music and the Internet, Music trade, Marketing, Internet marketing, Popular music, History and criticism
Format
Document (PDF)
Comparative Analysis of Sarah Brightman and 2 Cellos, Classical Artists Applying Successful Crossover Strategy to Popular Music
Title
Comparative Analysis of Sarah Brightman and 2 Cellos, Classical Artists Applying Successful Crossover Strategy to Popular Music.
Creator
Simonovska, Dragana, Compomizzi, Joseph, Florida Atlantic University, College of Business, Department of Management
Abstract/Description
For decades now, musicians have been using crossover to expand their career and earn more knowledge about the music industry. Soprano Sarah Brightman and duo 2 Cellos are classically trained musicians who implemented crossover into their career and used their classical training as guidance of become successful. Musicians who restrict themselves only to classical music may approach danger regarding a career and livelihood, which includes audience interest, employability and financial...
Show moreFor decades now, musicians have been using crossover to expand their career and earn more knowledge about the music industry. Soprano Sarah Brightman and duo 2 Cellos are classically trained musicians who implemented crossover into their career and used their classical training as guidance of become successful. Musicians who restrict themselves only to classical music may approach danger regarding a career and livelihood, which includes audience interest, employability and financial instability. In this study the term “crossover” refers to classical artists’ who use their skills to perform other genres. Crossover gives artists the chance to appeal to larger audiences and extend their repertoire of music while using techniques used in classical works. Classical musicians such as Sarah Brightman and 2 Cellos are being forced to cross musical genres because of employability, declining audience interest in classical music and financial instability. Within this research I am going to compare and analyze the crossover of one classical vocalist, Sarah Brightman, and a classical instrumentalist group named 2 Cellos. My research will focus on the following three questions: Research Question #1 What are the critical factors for successful crossover for classical musicians to pop? Research Question #2 What crossover processes did Sarah Brightman and 2 Cello’s employ to transition from classical to pop music? Research Question #3 Was Sarah Brightman’s and 2 Cellos crossover to pop music successful according to the definition and parameters of success? This paper ends with a conclusion highlighting my findings, which summarizes the major points of this research and provide ideas for further research on the concept of crossover.
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Date Issued
2017
PURL
http://purl.flvc.org/fau/fd/FA00004829, http://purl.flvc.org/fau/fd/FA00004829
Subject Headings
Career development., Music trade., Popular music and art music., Cover versions., Brightman, Sarah--1960-, 2Cellos (Musical group)
Format
Document (PDF)
The Sonata of Band Management
Title
The Sonata of Band Management.
Creator
Schmidt, William, Rhorer, Marc A., Florida Atlantic University, College of Business, Department of Management
Abstract/Description
The Music Industry we knew 20 years ago has evolved into a completely different business. Major labels are scrambling to adapt to a new market created by digital streaming and the heavily dominated mobile environment. The purpose of this study is to explore the choice of remaining independent as a musician, and develop a systematic process that any aspiring artist or band manager can confidently follow to ensure their project has the best chance of success. Most of the published writings on...
Show moreThe Music Industry we knew 20 years ago has evolved into a completely different business. Major labels are scrambling to adapt to a new market created by digital streaming and the heavily dominated mobile environment. The purpose of this study is to explore the choice of remaining independent as a musician, and develop a systematic process that any aspiring artist or band manager can confidently follow to ensure their project has the best chance of success. Most of the published writings on this subject are either too broad, or too business-minded for the typical musician. This thesis provides a creative approach with the organization of the information. I present the process of band management in five chapters named after the five movements of traditional sonata form: The Introduction (Chapter 1) presents the various themes that are covered throughout the study, and describes the reasoning for using sonata form for organization and also elaborates on the author’s background. The Exposition (Chapter 2) describes the beginning stages of creating a band and establishing a creative project in the local music scene. This includes the initial formation of the band and its members, the process of networking within the local music scene, and an in depth explanation of how to effectively utilize all the “Essential Websites.” The Development (Chapter 3) describes the process of developing a band into a consistently gigging1 project. The main topics covered are booking shows, performing shows, recording and releasing an album, and what to focus on after it is released. The Recapitulation (Chapter 4) condenses the main topics of the thesis into a more palatable checklist of essential steps that musicians can easily reference throughout the process of managing their project. The Coda (Chapter 5) looks towards the future of the music industry, and serves as a prediction of how the previously effective methods apply to new technologies and website.
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Date Issued
2015
PURL
http://purl.flvc.org/fau/fd/FA00004544, http://purl.flvc.org/fau/fd/FA00004544
Subject Headings
Music trade., Style, Musical., Music--Performance., Sound recording industry., Popular music--Vocational guidance., Popular music--Writing and publishing.
Format
Document (PDF)
Digital music streaming in the 21st century: the music industry becomes radio-active
Title
Digital music streaming in the 21st century: the music industry becomes radio-active.
Creator
Paradise, Kaitlyn, Sánchez-Samper, Alejendro, Florida Atlantic University, College of Business, Department of Management
Abstract/Description
Digital music streaming websites have taken over the musical landscape. While the digital music market is booming, both data and time have revealed that the current system as it exists will not provide a sustainable future for creators of content or for technology companies. Although some consumers are willing to pay for content they can access for free, many are still enjoying content without paying. Both the technology companies and creators of content have sacrificed to meet consumer...
Show moreDigital music streaming websites have taken over the musical landscape. While the digital music market is booming, both data and time have revealed that the current system as it exists will not provide a sustainable future for creators of content or for technology companies. Although some consumers are willing to pay for content they can access for free, many are still enjoying content without paying. Both the technology companies and creators of content have sacrificed to meet consumer demands, but the technology companies have been too willing to make creators of content be the ones paying for ‘free.’ Recent legislative efforts have provided a good start to balancing a system that is clearly in distress, but there is still much be done to move the music industry forward. This paper examines the current issues facing the digital music streaming industry and several legislative and industry-prompted efforts in current discussion.
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Date Issued
2014
PURL
http://purl.flvc.org/fau/fd/FA00004222
Subject Headings
Digital media, Mass media -- Technological innovations, Music trade, Streaming audo, Streaming technology (Telecommunications)
Format
Document (PDF)
Pop Cultures: A Comparative Analysis of the American and South Korean Record Industries
Title
Pop Cultures: A Comparative Analysis of the American and South Korean Record Industries.
Creator
Marchand, Kanel, Abrams, Ira, Florida Atlantic University, College of Business, Department of Music
Abstract/Description
As the oldest recording industry in the world, the United States has set industry standards regarding record labels, publishing, live entertainment and music services. Since the beginning of the 20th century, American music has become a staple in worldwide pop culture, spreading to all four corners of the world. Indeed, the U.S. music industry has held the number one position in the ranking of the world’s top 10 largest music markets since its first record label, Columbia Records, was founded...
Show moreAs the oldest recording industry in the world, the United States has set industry standards regarding record labels, publishing, live entertainment and music services. Since the beginning of the 20th century, American music has become a staple in worldwide pop culture, spreading to all four corners of the world. Indeed, the U.S. music industry has held the number one position in the ranking of the world’s top 10 largest music markets since its first record label, Columbia Records, was founded in 1887. However, a relatively new genre of music is rapidly taking over the world’s pop music scene: South Korean pop music, otherwise known as K-pop. This thesis analyzes the similarities and differences between the two diverse music industries – with an emphasis on pop music – by first delving into the copyright and recording aspects of the business, followed by identifying key differences in each industry’s standards and aesthetics, and finally examining media consumption and marketing implications in the two countries.
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Date Issued
2017
PURL
http://purl.flvc.org/fau/fd/FA00004851, http://purl.flvc.org/fau/fd/FA00004851
Subject Headings
Music trade--Standards--United States., Music trade--Standards--Korea (South), Music trade--Technological innovations., Popular culture--United States--History and criticism., Popular culture--Korea (South)--History and criticism., Music and globalization--Korea (South), Popular culture and globalization--Korea (South)
Format
Document (PDF)
Technology, Music and Social Change: 17 - 18th Centuries
Title
Technology, Music and Social Change: 17 - 18th Centuries.
Creator
Hieronymus, Bruce, Keaton, Kenneth, Florida Atlantic University
Abstract/Description
This dissertation examines the interrelationship of technology, music, and social change during the Seventeenth and Eighteenth Centuries. The analysis centers upon operas produced during these centuries beginning with the first opera of Claudio Monteverdi in 1607 and closing with the final opera of Wolfgang Amadeus Mozart in 1791. The historical foundation of music, technology and social change at the beginning of the Seventeenth Century will first be established. Events that directly...
Show moreThis dissertation examines the interrelationship of technology, music, and social change during the Seventeenth and Eighteenth Centuries. The analysis centers upon operas produced during these centuries beginning with the first opera of Claudio Monteverdi in 1607 and closing with the final opera of Wolfgang Amadeus Mozart in 1791. The historical foundation of music, technology and social change at the beginning of the Seventeenth Century will first be established. Events that directly influence this relationship will then be examined regarding their influence upon opera development. An explanation ofthe subjects of music, technology, and social change and a discussion of the interrelationships between these three topics precedes this historical analysis.
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Date Issued
2007
PURL
http://purl.flvc.org/fau/fd/FA00000983
Subject Headings
Technology--Social aspects--17th century, Technology--Social aspects--18th century, Creative ability--Social aspects, Music trade--Technological innovations--History
Format
Document (PDF)