Academic literature on the topic 'Music marketing strategies'
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Journal articles on the topic "Music marketing strategies"
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MOUNTAIN, ROSEMARY. "Marketing strategies for electroacoustics and computer music." Organised Sound 9, no. 3 (December 2004): 305–13. http://dx.doi.org/10.1017/s1355771804000512.
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This article explores possible strategies for appraising electroacoustic and computer music to enhance ‘marketability’. It is proposed that the specific aesthetics, characteristics and function of a work may be more salient features than those of the medium of composition (e.g. computer) to many listeners. It is suggested that the common practice of focusing on chronology, geography and specific schools is becoming less relevant due to a proliferation of home studios, the internet, and an increasing saturation of electronic sounds in new media contexts. On the other hand, aspects of form, mood, timbral palette, rhythmic complexity, etc., may become very useful bases for choosing works for a compilation CD or concert programme. The inadequacies of musicians' discourse for describing such attributes leads to the incorporation of analogies from visual and performing arts as well as a discussion of other possible approaches to ‘labelling’ and the inherent dangers in such a task. In conclusion, it is proposed that the time is ripe for shuffling the categories and regrouping composers' works according to aesthetic preferences, regardless of the percentage of electronic/computer content.
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Vaccaro, Valerie L., and Deborah Y. Cohn. "The Evolution of Business Models and Marketing Strategies in the Music Industry." International Journal on Media Management 6, no. 1&2 (September 2004): 46–58. http://dx.doi.org/10.1207/s14241250ijmm0601&2_7.
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Vaccaro, Valerie L., and Deborah Y. Cohn. "The Evolution of Business Models and Marketing Strategies in the Music Industry." International Journal on Media Management 6, no. 1-2 (September 2004): 46–58. http://dx.doi.org/10.1080/14241277.2004.9669381.
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King, Stephen A., and P. Renee Foster. "“No Problem, Mon”: Strategies Used to Promote Reggae Music as Jamaica's Cultural Heritage." Journal of Nonprofit & Public Sector Marketing 8, no. 4 (January 2001): 3–16. http://dx.doi.org/10.1300/j054v08n04_02.
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Harbor, Catherine. "The marketing of concerts in London 1672–1749." Journal of Historical Research in Marketing 12, no. 4 (September 4, 2020): 449–71. http://dx.doi.org/10.1108/jhrm-08-2019-0027.
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Purpose This paper aims to explore the nature of the marketing of concerts 1672–1749 examining innovations in the promotion and commodification of music, which are witness to the early development of music as a business. Design/methodology/approach The study takes as its basis 4,356 advertisements for concerts in newspapers published in London between 1672 and 1749. Findings Musicians instigated a range of marketing strategies in an effort to attract a concert audience, which foreground those found in more recent and current arts marketing practice. They promoted regular concerts with a clear sense of programme planning to appeal to their audience, held a variety of different types of concerts and made use of a variety of pricing strategies. Concerts were held at an increasing number and range of venues with complementary ticket-selling locations. Originality/value Whilst there is some literature investigating concert-giving in this period from a musicological perspective (James, 1987; Johnstone, 1997; McVeigh, 2001; Weber, 2001; 2004b; 2004c; Wollenberg, 1981–1982; 2001; Wollenberg and McVeigh, 2004), what research there is that uses marketing as a window onto the musical culture of concert-giving in this period lacks detail (McGuinness, 1988; 2004a; 2004b; McGuinness and Diack Johnstone, 1990; Ogden et al., 2011). This paper illustrates how the development of public commercial concerts made of music a commodity offered to and demanded by a new breed of cultural consumers. Music, thus, participated in the commercialisation of leisure in late 17th- and 18th-century England and laid the foundations of its own development as a business.
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ASAI, SUMIKO. "Firm organisation and marketing strategy in the Japanese music industry." Popular Music 27, no. 3 (October 2008): 473–85. http://dx.doi.org/10.1017/s0261143008102240.
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AbstractTechnological change has had a significant effect on market structure and management strategy in the content industry. This paper presents a survey of changes in firm organisation and marketing strategy in the Japanese music industry from a historical perspective. The market structure has changed from vertical integration within a closed system to vertical separation within an open system due to an increase in distribution channels. In addition, developments in the media have led to changes in the marketing strategies of record companies, and this has accelerated the rate of turnover of hit music. Record companies thus need to revise their marketing approach to match the change in sales pattern.
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Ryan Bengtsson, Linda, and Jessica Edlom. "Mapping Transmedia Marketing in the Music Industry: A Methodology." Media and Communication 9, no. 3 (August 5, 2021): 164–74. http://dx.doi.org/10.17645/mac.v9i3.4064.
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Over the last decade, the music industry has adapted its promotional strategy to take advantage of the fluid, contemporary, platform-based transmedia landscape. For researchers of contemporary culture, the multiplicity of promotional activities creates substantial methodological challenges. In this article, we present and discuss such methodological approaches using two studies of contemporary promotional music campaigns as illustrative cases. Inspired by digital and innovative methods and guided by the Association of Internet Researchers’ (AoIR’s) ethical guidelines, we developed two data collection strategies—reversed engineering and live capturing—and applied two analytical approaches—visual mapping and time-based layering. The first case study traced already staged music marketing campaigns across multiple online media platforms, and the second followed an online promotional campaign in real time for six months. Based on these case studies, we first argue for the importance of grounded manual capturing and coding in data collection, especially when working around data access limitations imposed by platforms. Second, we propose reversed engineering and live capturing as methods of capturing fragmented data, in contemporary promotional campaigns. Third, we suggest the visual mapping and time-based layering of data, enabling researchers to oscillate between qualitative and quantitative data. Finally, we argue that researchers must pool their experiences and resources regarding how to transcend platform limitations and question a lack of transparency while respecting ethical norms and guidelines. With these arguments, we assert the researcher’s necessary role in understanding and explaining the complex and hybrid contemporary promotional landscape and provide tools and strategies for further research.
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González, Jordi Roquer. "Media discourses and marketing strategies in the advertising of the pianola." Popular Music 40, no. 1 (February 2021): 42–57. http://dx.doi.org/10.1017/s0261143021000106.
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AbstractAs a phenomenon of great social relevance between 1900 and 1930, the graphic advertising of the pianola must be considered as one of the first great mass media platforms linked to musical activity and, therefore, the analysis of its discourse offers valuable information about the social construction of the musical world during the first decades of the twentieth century. This article shows the results of an analysis of 200 historical advertisements through which it is possible to trace the origins of some of the current advertising rhetoric and also some of our current ideas about musical activity. In this way, the advertisements studied show some interesting links to the mindset and aesthetic and social conventions of the time but also show us to what degree these discourses are, to a large extent, still valid today.
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Callaway, Stephen K. "Internet marketing strategies for music companies: understanding the demographics of an emerging customer segment." International Journal of Internet Marketing and Advertising 6, no. 2 (2010): 199. http://dx.doi.org/10.1504/ijima.2010.032481.
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Chen, Steven. "Cultural technology." International Marketing Review 33, no. 1 (February 8, 2016): 25–50. http://dx.doi.org/10.1108/imr-07-2014-0219.
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Purpose – The purpose of this paper is to outline a framework for marketing cultural goods (e.g. music) to global markets by examining modes of entry and positioning strategies used by media producers of the South Korean music industry. Design/methodology/approach – An historic analysis was implemented to investigate the modalities and structures through which cultural products are produced and disseminated. Data for this study came from 314 articles collected from www.allkpop.com, a leading English-language, South Korean popular culture news site. Findings – The cultural technology framework consists of the institutionalization of cultural technology, exportation of cultural content, collaborations with local talent, and joint ventures with local markets. Research limitations/implications – The findings emerge from an analysis of South Korean popular music industries, and further research is needed to generalize the results across cultural industries. Practical implications – The cultural technology framework can be applied to cultural industries such as music, film, comics, and art, where culture and language could be barriers to adoption. Originality/value – This study outlines a framework for the modes of entry and positioning strategies of cultural goods (e.g. music) in international markets. Extant literature has examined global marketing from the purview of durable consumer goods and brands, with limited insights into cultural products. More broadly, this paper addresses the call for more qualitative inquiry into international marketing topics.
Dissertations / Theses on the topic "Music marketing strategies"
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Wittschen, Lauren R. "Music as a Marketed Commodity: Strategies of Past, Present, and Future." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619112503178514.
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Carboni, Marius Julian. "Marketing strategies in the UK classical music business : the significance of 1989." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5740.
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The process by which the classical music business operates in the UK changed significantly through the marketing of a classical music recording which took place in 1989. EMI’s recording of Vivaldi’s work Four Seasons with the violinist Nigel Kennedy was given a unique marketing campaign for a classical music recording. Instead of the traditional marketing approach for a classical music release, pop marketing techniques were employed. In a different but related development, in 1990, the first of the Three Tenors concerts was held in Rome to mark the final match of the 1990 Fédération Internationale de Football Association’s (FIFA) world cup competition. The success of this second record campaign lay in the novelty of three tenors performing together at a football competition. The result was classical music achieving worldwide exposure through global radio and television broadcasts. Both case studies help further classical music as a form of popular culture. Earlier precedent demonstrates pieces of classical music being used for adverts or films and becoming popular. For example Ravel’s Bolero was used in a seduction scene in the film 10 between Bo Derek and Dudley Moore in 1984, and by ice-skaters Torvill and Dean in the same year for the final of the 1984 Winter Olympics. Another example is Orff’s Carmina Burana sections of which have been used for aftershave and lager adverts as well as being sung at football matches. Because the reach of the audience is larger than that in a traditional classical music setting, the pieces achieve a mass cultural perspective in this context. My thesis examines the impact that the success of the Four Seasons and Three Tenors releases had on the classical music business and the development in marketing and selling techniques that emanated from their success. Examples of marketing campaigns post the Four Seasons are included to show the extent of non-traditional classical marketing techniques used subsequently by the classical music industry, some of which I devised and implemented. My research also analyses how trading over the internet has had an impact on the music business as a whole, and how the classical music sector has followed the pop area of the music industry in creating different ways of selling to traditional and new consumers through online trading. This part of the thesis focuses on the period between 2000-2010, especially from 2006 when developments in this field progressed. My study will draw on a Case Study approach using multiple data collection methods. Also employed is descriptive analysis using a combination of qualitative and quantitative techniques, in particular through industry reports. The reasons for the sales success of both recordings are examined in my thesis. The Four Seasons achieved 2 million sales and an entry into the Guinness Book of Records as the best-selling classical music recording of all time at that point. The recording of the 1990 Three Tenors concert and the successive recordings of similar concerts in 1994 and 1998 led to these albums becoming the all-time best-selling classical recordings. For example, worldwide sales for the 1990 recording reached over 12 million CDs, cassettes and videos combined and 23 million for the 1990, 1994 and 1998 Three Tenors recordings. These projects not only gave increased exposure to the classical music genre by expanding its traditional consumer reach, they also created a force for change in business models affecting the marketing and visibility of classical music since 1989. A further significant factor in the success of these vocal recordings (as well as the chance for classical music to be heard outside its traditional boundary) was the use of the arresting aria Nessun dorma from Puccini’s opera Turandot. This was sung by Pavarotti and used by the BBC for all its programmes broadcasting the 1990 football matches in the competition. The effect of internet selling and downloading on the music business was encouraged by the creation of Apple’s iTunes program in 2001. The invention of the iPod in 2002 and the legal entity of Napster in 2004 led to much increased accessibility of music. For classical music with its long movements and being part of a slow-moving market (compared to pop music), this area of the business only witnessed an increase in activity through the expansion of Broadband nationally during 2006 and 2007, reaching 70% in 2009 (discussed on page 90, chapter 4). Since then, the growth of classical music e-tailers has forged a new way of operating in the classical music field. The thesis will give examples of the leading companies trading over the internet and their influence on the classical music market. Contributions from practitioners in the music business inform my thesis through their own witnessing of changes in the classical music business since the Four Seasons campaign. My own experience as a former Head of Press and Promotion for both Decca Classics and EMI Classics, and also currently as a marketing and business consultant for classical music organisations, offers a useful and relevant addition to my research. My contribution to knowledge is to identify the adaptation of pop music marketing tools by the classical music industry over a 20 year time frame. My close involvement in the EMI Four Seasons campaign places me in a unique position to identify and evaluate the significance of the publicity campaign of that recording not only at that time but in the years that followed.
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Kamara, II Kalilu. "Music Artists' Strategies to Generate Revenue Through Technology." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5358.
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Music streaming services are increasing, compact discs (CDs) and digital download sales are declining, and many music artists are becoming affected by this positive shift in music technology. Music streaming revenue does not compensate for the decrease in revenue from CDs and paid downloads. Based on organizational configuration theory (OCT), the purpose of this multiple case study was to explore the technology and marketing strategies that small business music artists used to generate sales revenue from the Internet. Six small business music artists who were 18 years or older with different music revenue streams participated in semistructured interviews. These small business music artists provided detailed information on the technology and marketing strategies they used to generate sales revenue from the Internet. The data collection process for this study included semistructured interview data and participant observations. The data analysis process included methodological triangulation of the interview data and participant observation data to identify themes for the study. Seven themes identified were having a marketing budget, social media, recording studio sessions, digital distribution, SoundExchange, music licensing, and corporate sponsorships. These data may contribute to positive social change by helping small business music artists sustain operations in the music industry.
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Turesson, Eric. "STRATEGIC INTERNET MARKETING FOR MUSIC FESTIVALS IN OSLO : A qualitative case study on two music festivals practise of strategic Internet marketing." Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17979.
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The overall aim of this study was to research how music festivals in Oslo practise strategic Internet marketing and how these could improve their marketing throughout strategic Internet marketing. The interest of this study evoked since there was a lack in previous research in this field. Other issues to explore were marketing particularities and how these could be solved. Two music festivals in the city centre of Oslo were interviewed. The study was based on Chaffey and Smith’s (2008) SOSTAC planning framework, together with previous research findings in the field of strategic Internet marketing. The result showed a primarily use of informal goals, together with actions and evaluation based on gut feelings. Focus was placed on creating additional value and thus loyalty. Most applied marketing were connected to Web 2.0 techniques. The study found several shortcomings concerning the practise of strategic Internet marketing. Suggested improvements included use of online measurement systems and a strategic approach towards objectives and evaluation. The study found two distinct characteristics including the importance of visitor activity and loyalty. Web 2.0 techniques, the website and co-branding activities were concluded to be the most effective types Internet marketing. These together with an enhanced use of Web 2.0 techniques were also concluded to be the solution to marketing peculiarities.
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Palasová, Tereza. "Motivace a preference návštěvníků koncertů vážné hudby." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-359788.
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The aim of this thesis is to analyse the motivation and preferences of classical music concert attendees on the basis of the authors own quantitative and qualitative research, and to formulate the results into strategic recommendations for the management of music organisations that are looking to address the problem of low or decreasing attendance. Four important Prague-based ensembles - the Czech Philharmonic, the Prague Philharmonic Orchestra, the Prague Radio Symphony Orchestra, and the FOK Prague Symphony Orchestra participated in the questionnaire survey, and a total of 1218 respondents across the four organizations served as the subject of analysis. The theme is interdisciplinary, and this works contribution to the field of music management is also summarized and connected to knowledge from other fields - marketing, dramaturgy, sociology, and particularly psychology, from which Csíkszentmihályis concept of a fully concentrated experience, called flow, is crucial. Statistical testing has confirmed the elementary premise of this work: The concert attendee who usually experiences flow during a classical music concert tends to attend concerts more often than others. The existence of a relationship between the audiences cultural capital (represented by musical education) and flow has also been confirmed. Furthermore, a relationship between genre preferences and flow has been found. In summary, a managerial strategic orientation on facilitating flow to concert attendants can significantly contribute to solving the problem of concert attendance.
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Buzila, Elena. "Partnering strategies of music media and commercial brands: the case of Boiler Room x Ballantine’s True Music." Master's thesis, 2020. http://hdl.handle.net/10071/22594.
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The study focuses on brand partnership types in general, and the case of Boiler Room and
Ballantine's in particular as an example of prolonged collaboration between a media and a
commercial brand. The research question is what the possible types of collaborations between
music media and a commercial brand in are general and particularly in the specific case of the
mentioned brands and, based on that, what results could be achieved within it for both the media
and the brand and what are its possible further opportunities.
The main aim is the creation of a proposal of classification of the communication-oriented
alliances of brands and case-based relative characteristics.
The first part is achieved through the systematization of the existing academic literature on
partnerships. The second part is focused on the specific partnership. It consists of a case-study,
grounded on semi-structured interviews of the representatives of both brands and content
analysis of social media communications of Boiler Room and Ballantine's (Global and Russian
department) over the period of the last seven years – 19563 social media posts.
As main results, the research showed that the specific case of partnership is a co-branding
example and not a sponsorship or cause-related marketing, although the function of the values
endorsement may position it differently. The main functions of such partnership are not only
the reach of a new audience, awareness and recognition growth but also image transfer, target
audience rejuvenation and content generation for both brands.O estudo centra-se nos tipos de parcerias de marcas em geral, e em especial, no caso da Boiler Room e Ballantine’s. O objetivo principal da pesquisa é descobrir quais os tipos de colaborações possíveis entre os media e uma marca comercial e, em particular, das marcas mencionadas. Com base nisto, interessou aprofundar a questão de quais os potenciais resultados que poderiam ser alcançados com a colaboração e quais as possíveis oportunidades futuras. O objetivo principal é a criação de uma proposta de classificação, baseada neste caso empírico, das alianças orientadas para a comunicação de marcas com características específicas. A primeira parte consiste numa sistematização da literatura académica existente sobre parcerias. A segunda parte foca-se na parceria específica, sob a forma de um estudo de caso, alicerçado em entrevistas semiestruturadas com representantes de ambas as marcas e a análise de conteúdo das comunicações em rede nos social media da Boiler Room e da Ballantine’s (departamento global e russo) ao longo dos últimos sete anos, resultando num corpus empírico de 19563 publicações. Como principais resultados, a pesquisa mostrou que o caso específico de parceria é um exemplo de co-branding, e não tanto um patrocínio ou marketing de causa, embora a função de endosso de valores possa posicioná-lo de forma diferente. As principais funções dessa parceria não são apenas o alcance de um novo público, o crescimento da conscientização e do reconhecimento, mas também a transferência de imagem, o rejuvenescimento do público-alvo e a geração de conteúdo para ambas as marcas.
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Xiao, Shi Ping, and 蕭世平. "A study on Usability and Marketing Strategies of Online Music in Taiwan." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/66480186545901675689.
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碩士南台科技大學
資訊傳播系
95
This study is to explore the marketing strategies of online music business and users’ demand in Taiwan. With the support of fee-paying members, and P2P users, this industry is growing rapidly and dramatically. This thesis also tries to compare two big enterprises (ezPeer+ and KKBOX) in Taiwan in order to improve the online music marketing strategies. The research method has two dimensions. Firstly, the P2P users’ behavior of downloading Chinese songs questionnaires was designed. 220 P2P users’ (88 are the females, 132 are the males) were randomly selected and carried out. The age ranges from 18 to 31 years old. Secondly, the in-depth interview with the marketing manager KKBOX(Skysoft Co., LTD) on 27th March, 2007, following by interviewing 10 members(6 are females, 4 are the males) of users according to investigate online music industry’s marketing strategies by marketing 8P and 4C theory. The youngest member is 19 and the oldest is 30 years old. The major findings are: 1. The number of songs, including main stream and no-main stream music is the key to success. 2. Youths are the main consumer markets. 3. To make an attractive package focusing on a new popular song constantly are the points on online music industry. 4. To make special and independent partition of every music types is convenient to members. 5. That the businesses develop the exclusive DRM MP3-PLAYER is one of a tendency on mobile music industries. 6. Adding the function of instant messenger on online music communities can improves members’ usage rate. 7. To focus on the software’s personalized developments, supplying members’ own pages and intelligent song lists.
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Cheng, Ling Tze, and 林弈辰. "Research Of Integrated Marketing Communication Strategies For Pop- Music- A Case of Pop Chinese Music In Taiwan –." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/02065828482021337860.
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碩士國立臺北大學
國際企業研究所
103
Pop music is an integral part of many aspects of modern life and can be considered an important part of many people's everyday lives. The impetus for this research is how incorporating integrated marketing communications (IMC) strategies may affect present and future consumer behaviors in the Chinese pop music industry. The research also seeks to emphasize that, in addition to the need of the Chinese music industry to further integrate IMC strategies; the industry must also tailor to possible different values and benefits (emotional, enjoyment, and personal ( interests and experiences in music) of the music consumer in order to spur a rebound in music sales. The basis of this research involved "in-depth interview" of key persons in major music labels and proponents of IMC in order to explore how IMC may promote greater consumers’willingness to purchase music. Through the interviews, this research sought to understand the difficulties, strategic planning needed and the important guidelines associated with the implementation of IMC strategies in the music marketplace. The results of the empirical study are of practical use in terms of the creation of marketing communication strategies for pop-music. Furthermore, suggestions are also useful for popular music industry.
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Hsia, Shang Wei, and 夏尚瑋. "The Marketing Strategies of Korea Music Industry - A Case Study of Hallyu Band." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/5chru5.
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Hsu, Wei-Chun, and 徐偉峻. "A Study on Digital Music Marketing Strategies from Viewpoints of Providers and Consumers." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/28126436693562046648.
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碩士南台科技大學
資訊傳播系
94
Due to the popularization of computer networks, digital music has become a major device that most of consumers approach music today. Nowadays, the scale ofdigital music market becomes huge. The form of music products is carried out anddramatically changed from physical media platform to service provision in terms of listening and experience over digital platform. More and more music corporations are shifting their profit gains from producing actual music products to providing digitalmusic enjoyment and service. Since music industry paradigm is shifting from traditional market platform to a whole digital platform, how to promote to benefit from the major marketplace of digital music becomes an important issue. This research mainly takes shapes in terms of conducting case studies andquestionnaire surveys through viewpoints of the provider and consumer, respectively.Strategies on how to promote the digital music service market are analyzed and concluded using the STP (i.e., segmentation, targeting, and positioning) strategy and the Marketing Mix by product, price, place, and promotion (abbreviated by 4P). First, the thesis chooses two digital music companies, i.e., KURO and KKBOX,as investigation targets, and concentrates on their marketing strategies. Information is collected by means of questionnaires and conducting interviews. Then, the thesis brings up findings about how different consumers with various characteristics and behaviors respond to the value at marketing mix. Finally, analyzing two parts of comparison to carry out the marketing strategies compounded with consumer-preference, the thesis highlights marketing factors to be neglected by music industry and addresses concrete suggestions on marketing strategies concrete for developing digital music service. According to the various needs of consumers and concluding the result form ourresearch and case studies, our suggestions for the overall marketing strategies are as follows. KURO should appropriately and occasionally adjust their marketing mix in order to meet those needs. KKBOX should also consider the demographic variables while doing the market segmentation to look for a more precise marketplace and to promote their valid marketing mix effectively. According to the result of the analysis mentioned above, five concrete promotion strategy suggestions related to engaged marketplace of digital music are made as follows：1) providing variety of products composed of popular and alterative product categories to increase the product marketplace, 2) providing diverse pricing strategies to meet with various needs of consumers, 3)adopting the multi-segmentation marketing strategy, 4)building up brand and image trust-worthy with high quality, 5) doing cooperation in alliance of marketing promotion.
Books on the topic "Music marketing strategies"
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Rosell, C. A. M. Marketing strategies in the music industry. Oxford: Oxford Brookes University, 1996.
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Schwartz, Daylle Deanna. Start & run your own record label: Winning marketing strategies for today's music industry. 3rd ed. New York: Billboard Books, 2009.
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Schwartz, Daylle Deanna. Start & run your own record label: Winning marketing strategies for today's music industry. 3rd ed. New York: Billboard Books, 2009.
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Start & run your own record label: Winning marketing strategies for today's music industry. 3rd ed. New York: Billboard Books, 2009.
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Guerrilla music marketing online: 129 free and low-cost strategies to promote and sell your music on the Internet. St. Louis, MO: Spotlight Pub., 2011.
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Marketing cultural organisations: New strategies for attracting audiences to classical music, dance, museums, theatre, and opera. Dublin: Oak Tree Press, 2000.
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Jon, Samsel, ed. Interactive music handbook: The definitive guide to Internet music strategies, enhanced CD production, and business development. New York: Allworth Press, 1998.
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Kalliongis, Nicky. MySpace Music Profit Monster: And All Proven Online Music Marketing Strategies! BookSurge Publishing, 2007.
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Lathrop, Tad. This Business of Global Music Marketing: Global Strategies for Maximizing Your Music's Popularity and Profits (This Business of). Billboard Books, 2007.
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Kolb, Bonita M. Marketing for Cultural Organisations: New strategies for attracting audiences to classical music , dance, museums, theatre and opera. 2nd ed. Int. Cengage Business Press, 2004.
Find full textBook chapters on the topic "Music marketing strategies"
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Moreno-Gavara, Carmen, and Ana Jiménez-Zarco. "Strategies for Luxury Fashion Brands' Targeting the Young Audience." In Advances in Marketing, Customer Relationship Management, and E-Services, 155–92. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9958-8.ch008.
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The purpose of this chapter is to analyse luxury fashion brands' interactions with consumers, especially on social media. In this sense, we firstly propose a hypothesis relative to how luxury fashion brands can use celebrities (in general, and particularly music and TV idols) and social media to influence on young consumer behaviour. Lately, we try to response this question through a case study based on one of the most South Korean luxury fashion brands. Using members of social media has been a constant in brand strategy. Especially when targeting the young audience. They big consumers and fans of music and audio-visual entertainment products, show a high level of loyalty. This leads them to copy the behaviour and consumption of the same products and brands of their idols. They are big users of social media and the Internet, where they express their feelings, experiences and opinions about their music idols as well as the brands and products they use. This being the case, technology offers empowerment to young people. This allows them not only access to more information but allows the possibility to create their own new content. Thus both roles are important regarding branding. We can use the example of how Korean luxury fashion brands and how they use young music idols to establish a strong emotional relationship with their consumers. They do this by increasing their participation and involvement with their brands in social networks.
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Quevedo, Marysol. "Communication and Marketing." In Voices of the Field, 121–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0008.
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This chapter explains the author’s familiarity with the cultural values from within the communities that produce the various musical styles and genres promoted through events and recordings in work as a music scholar. The chapter presents some of the very practical steps one can take to become proficient in the basics of graphic design and marketing strategies, but also the ways in which most ethnomusicology students are already developing skills and knowledge to design and implement successful marketing campaigns and use social media to increase an organization or project’s visibility in their community. What the chapter proposes is not an overhaul of curricular offerings, but rather a reframing of specific course assessments in which the learning objectives emphasize not only the acquisition of cultural and musical knowledge and the development of critical thinking skills, but also the practical and applicable skills that professionals can list in their résumés (their toolkit, if you will) when they enter the job market.
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Goldschmitt, K. E. "Constructing a New Music Industry." In Bossa Mundo, 170–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0007.
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In place of a large-scale fad, boom, or trend, the Brazilian artists who have found Anglophone publics in the 2010s have done so through a more dispersed approach than the watershed moments that characterized Brazil’s breakthroughs of the past. Brazilian artists utilize new strategies of co-branding and marketing to break through to Anglophone publics, due in part to an explosion of musical diversity over the last few decades. As a result of new mediation and distribution paths, Brazilian artists have upended old expectations for how to find success abroad, resulting in the looser iteration of the country’s musical brand. Yet old stereotypes of what counts as Brazilian music have adapted to a new music marketplace, emphasizing Brazil’s links to a new iteration of Afro-diasporic music.
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Vander Wel, Stephanie. "Domestic Respectability." In Hillbilly Maidens, Okies, and Cowgirls, 175–90. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.003.0008.
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Chapter 7 positions the commercial success of female country artists and the narratives of honky-tonk music against the marketing strategies of 1950s country music. As the country music industry strove for commercial acceptance in the popular music market, it promoted its male (including Hank Williams and Webb Pierce) and female performers (such as Kitty Wells, Jean Shepard, and Goldie Hill) as examples of middle-class propriety. This chapter argues that the contradictions between the lyrical themes of honky-tonk music and the 1950s tropes of domesticity used in marketing individual country artists spoke of and assuaged the anxieties and tensions of social class and geographical migration for an audience of displaced white southerners.
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Jakelski, Lisa. "Epilogue." In Making New Music in Cold War Poland. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292543.003.0008.
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The epilogue begins with a concise overview of the aesthetic, political, and economic shifts that have affected the festival since 1968. It then considers how “new music” is being defined and disseminated at the Warsaw Autumn today. The epilogue demonstrates that, although the old East-West divisions no longer apply in post-socialist Poland, new music at the Warsaw Autumn continues to be defined relationally. Some of these connections are with the present: festival organizers are increasingly willing to admit links between new music, society, and politics. Other relationships are with the past: the Warsaw Autumn is actively engaged in a self-reflexive exploration of its own history. The festival also continues to define contemporary music by what it is not: its marketing strategies and programming maintain a clear division between elite conceptions of new music and commercialized forms of popular culture.
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Stubbs, Andrew. "Spike Jonze, Propaganda/Satellite Films, and Music Video Work: Talent Management and the Construction of an Indie-Auteur." In ReFocus: The Films of Spike Jonze, 213–30. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0012.
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This chapter critically evaluates the status Jonze has earned as indie-auteur, a label placing him alongside filmmakers such as Jim Jarmusch, the Coen Brothers and Steven Soderbergh. Jonze’s filmmaking career began in part thanks to his music video work, particularly for Propaganda Films; Stubbs analyses Propaganda Films’ talent management practices and their role in helping to develop Jonze’s brand and industry profile. The chapter investigates the economic and industrial strategies underpinning Jonze’s cultural and commercial profile, synthesizing textual analyses of Jonze’s music videos with marketing and critical discourse analysis. Stubbs aims to reconfigure Jonze’s authorial profile while considering the cultural implications of the indie-auteur label in general.
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Moreda Rodríguez, Eva. "Consuming and collecting records in Spain, 1896–1905." In Inventing the Recording, 143–62. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552063.003.0008.
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This chapter draws upon the five major surviving collections of Spanish early recordings in order to attempt to reconstruct who bought wax cylinders in Spain around 1900, what their motivations were and what their listening and collecting practices looked like. It discusses how record buyers were still a small, privileged minority in Spain at the time, and examines how collecting might have helped developed ways of listening focused on music appreciation rather than on purely replicating a collector’s live music experience. It also analyzes home recording practices, which were a significant part of phonograph marketing strategies at this time.
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Karavdic, Munib, and Gary D. Gregory. "Internet Commerce and Exporting." In Internet Commerce and Software Agents, 24–42. IGI Global, 2001. http://dx.doi.org/10.4018/978-1-930708-01-3.ch002.
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A host of new products and services are now available to more than a half-billion consumers. Firms now have greater opportunities to customize their product/service offerings as well as rely on standardized offerings as a preference. Global firms have the opportunity to customize their advertising and sales promotion messages to specific customer segments without the significant cost once involved in developing numerous messages for numerous markets. This communication segmentation strategy allows firms to achieve real dissemination strategies because of the elimination of wasted audience coverage and better-targeted messages aimed at the core benefits sought by various consumer segments. This is the new business world created by the Internet. As a result of recent technological advances in market entry, many firms are now beginning to increase their marketing and export functions. An emerging part of new technologies development involves electronic transactions over the open network, the Internet. An important Internet characteristic is its global coverage. Using the Internet as an access to the international market, firms generate significant revenues. For example, the music CD distributor CDNow, as a pure on-line company generated 21 percent of its total revenue from international markets in the first quarter of 1998; Dell, a computer manufacturer, generated 20 percent; and FastParts, an electronic components distributor, generated 30 percent. With other numerous examples of generating international revenue on-line, the Internet has already been proven a strategic tool in the exporting process. In this chapter we examine Internet marketing strategy for exporting and possible implications for firms using electronic technologies. The first part of this chapter presents Internet commerce as a specific entry mode to global markets using advanced technologies, represented by the Internet. Part Two introduces a model for Internet exporting strategies utilizing key components in the marketing mix (i.e., product, promotion, place, and price). The focus of this model is on the interaction between Internet commerce activities and software agents, and the potential impact on the exporting process. Applying the model of Internet-based exporting strategy to businesses, Part Three develops a strategic matrix that classifies firms based on the degree of product transferability and their capitalization on Internet technologies in exporting. Particular emphasis is given to the role of software agents in the electronic exporting process at different stages in strategy development. Finally, we summarize the impact of Internet commerce on exporting activities and highlight the benefits of incorporating new technologies into an exporting strategy.
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O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Music Brands." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2249.
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Fender Stratocasters, Steinway grand pianos, Marshall amplifiers, the iPod – these are all brands associated with the music business in one way or another. However, in addition to these product brands, there is regular talk within the music industry of pop idols, rock icons, pop stars, jazz greats, rock gods, legendary opera singers, cult bands, guitar heroes, stellar performances, trademark sounds, signature tunes, classic albums, breakthrough singles, rock ‘n’ roll myths, anthemic songs, breakout/ breakthrough recordings, and – of course – hype. These terms have in common the signification of some kind of, or some claim to, cultural distinction. From a marketing point of view, this kind of talk fits very easily into the strategic notion of positioning, as well as the discourse of branding.
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Didry, Nico, and Jean-Luc Giannelloni. "Emotional interactions in festivals How do consumers build a collective emotional experience." In Sustainable and Collaborative Tourism in a Digital World. Goodfellow Publishers, 2021. http://dx.doi.org/10.23912/9781911635765-4858.
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Music festivals are factors of attractiveness for territories. As such they are part of their tourism strategies (Getz, 1991). In France, 84% of the 2018 music festivals took place during the touristic summer season. They sometimes even become a tourist product in itself like Tomorrowland Winter in Alpe d’Huez, a ski resort in the French Alps. During seven days, the ski resort is only accessible for the festival-goers. In 2019, Alpe d’Huez was fully filled with 23,000 tourists from 131 different countries who booked their holidays to enjoy skiing and concerts during that special event, and 36,000 people were on the waiting list. Provoking a spatio-temporal rupture with everyday life (Chaney, 2011), significant in leisure or tourist practices, festivals allow experiencing a real re-enchantment of the world and everyday life. According to the postmodern approach, the phenomenon of society around festivals, illustrated by the growth in festival demographics (in the number of participants but also in the number of events) (Négrier et al., 2013), can be considered in the global context of a return to festive alchemy and the cult of pleasure, with a powerful return to affect and emotion. This festival craze is significant for the “triumph of the collective will to live over the individual” (Maffesoli, 2012: 115). However, this collective dimension of emotions has received limited attention in marketing (Didry & Giannelloni, 2019). In addition, although accompaniment has often been analyzed in consumer behavior (Debenedetti, 2003), few studies consider the collective context in which consumers are immersed in their experience. If a festival experience is lived in a collective way, which behaviors do festival consumers develop to engage in emotional interactions with others? The challenge here is to bring a new reading of the experience of collective consumption through emotional transfers to fill a gap in the marketing literature. More specifically, it is a question of assessing how the need for emotional interactions will influence the festival-goer’s behavior.