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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.
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Roberts, Les. "Marketing musicscapes, or the political economy of contagious magic." Tourist Studies 14, no. 1 (December 29, 2013): 10–29. http://dx.doi.org/10.1177/1468797613511683.
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The economic imperatives that have driven, with various shades of success, urban regeneration initiatives in post-industrial towns and cities in the United Kingdom have sought to capitalise on a music and cultural heritage predicated on an intrinsic embeddedness in the place of the local. Building on discussions around popular musicscapes and local distinctiveness, this article explores the contention that the appeal of popular music heritage from a tourism and place-marketing perspective can in part be attributed to the ‘contagious magic’ factor: the tapping of symbolic value associated with well-known musicians and the interweaving of these narratives into the wider place-myths attached to particular locations as part of boosterist and regeneration strategies. Alongside celebrity-oriented ‘contagion’ as an efficacious tool of alchemical place branding, ‘sympathetic magic’, its anthropological twin, is ritually enacted in embodied and performative iterations of music and place, including music tourism and heritage trails, studio tours, and tribute acts. Drawing on research conducted into popular music heritage tourism in the United Kingdom, this article explores links between cultural heritage, consumption and place by examining the extent to which the ‘rubbing off’ of musical cultural capital can be said to have informed the development of a political economy of contagious magic.
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Ziv, Naomi. "Musical flavor: the effect of background music and presentation order on taste." European Journal of Marketing 52, no. 7/8 (July 9, 2018): 1485–504. http://dx.doi.org/10.1108/ejm-07-2017-0427.
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Purpose In many food marketing contexts products are sampled while music is played in the background. The purpose of this paper is to examine whether changing the pleasantness of background music while tasting two identical products in succession may influence the experience of taste and preference. Design/methodology/approach Two studies were conducted. In Study 1, 60 participants were asked to taste two identical cookies, one with pleasant and one with unpleasant background music, in differing orders. In Study 2, 60 participants tasted two cookies with two unpleasant musical pieces and 60 participants tasted two cookies with pleasant background music. Participants were asked to evaluate each cookie and indicate which cookie they preferred. Findings In Study 1, a main effect of music was found, with cookies tasted with pleasant background music evaluated as better than those tasted with unpleasant background music. In addition, an interaction between presentation order and music was found, with a stronger difference in evaluation between the cookies when the first is tasted with pleasant background music. In Study 2, no main effect of music was found. A primacy effect was found, with higher evaluations for the first tasted cookie. Research limitations/implications The studies considered only one type of product, which in itself is pleasant-tasting. Further studies, using other products, are thus needed to allow generalization. Practical implications A discerning use of background music in consumer settings involving sampling of a sequence of products may aid marketers in maximizing music’s effect on product evaluation and choice. Originality/value Although the effect of music on taste has been previously studied, this is the first research to examine presentation order effects of music pleasantness on the experience of taste. The pleasantness of background music is integrated into the experience of taste, and food marketing strategies should take into account how the order in which different musical pieces are heard may influence consumers’ evaluation and preference for sampled products.
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Hussain, Sharafat, and Mohammed Abdul Azeem. "Sensory Triggers to Drive Sales- Creating Competitive Advantage Through Multisensory Consumption Experience in Restaurants." Restaurant Business 118, no. 11 (November 15, 2019): 167–78. http://dx.doi.org/10.26643/rb.v118i11.9943.
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When foreign fast food restaurants enter the Indian market, their sensory marketing strategies change based on language, culture and taste preferences. Southern India is known for cultural diversity, different languages, spicy taste preferences and varied music; these components directly impact sensory strategies and consumer behaviour. The objective of this paper is to analyse the relationship between time spent in the restaurant and sensory strategies used, leading more consumption. The purpose of the study is to find out whether the sensory cues (colour, music, smell, touch and taste) have any significant role in having customers spend more time at the restaurant leading more consumption. Data was gathered from consumers of Four international fast-food chain restaurants (KFC, McDonald, Domino’s and Subway) across four cities (Mumbai, Chennai, Bangalore and Hyderabad) of India. Chi Square test rejected the null hypotheses; there was statistically significant evidence of an association between time spent in the restaurant leading to more consumption and sensory strategies (the colour used, music played and variety of cuisine offered). However, for scent and touch cues, the results were statically insignificant. This study result has important implications for the fast-food industry in understanding how to create and manage their sensory marketing strategies to attract people who love sitting and spending quality time at the restaurant which ultimately leads to more sales.
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Pier, David. "THE BRANDED ARENA: UGANDAN ‘TRADITIONAL’ DANCE IN THE MARKETING ERA." Africa 81, no. 3 (July 22, 2011): 413–33. http://dx.doi.org/10.1017/s0001972011000246.
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ABSTRACTBrand marketing in its latest global advances offers ideologies of public participation and the audience–‘provider’ relationship that many in the developing world are finding compelling, even when consumer capitalism fails to produce its promised rewards immediately. Strategies of ‘branding’ are being explored in combination with older performance strategies, with new syncretic branded arenas emerging as a result. In Africa, music and dance have always been important for establishing certain arenas and mediating transactions within them. In the era of post-independence nationalism, ‘traditional’ dances were itemized and made more disciplined and spectacular to give new states an aura of inclusiveness, rigour and historical depth. As the image of a powerful African state declines, these same dance traditions are being hitched to commercial brands, and to the globalized consumerist/entreprenurial dream. This article considers the Senator National Cultural Extravaganza, an annual traditional music-and-dance competition sponsored by East Africa Breweries Ltd, which requires participants to compose ‘local’ songs and dances in praise of Senator Extra Lager. It focuses on the spatial and temporal architectures of events and the way these channel, and are complicated by, the energies and significances of dance. The ‘textbook’ brand–consumer relationship does not, it is argued, survive wholly intact.
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Gamble, Jordan Robert, Rodney McAdam, and Michael Brennan. "How User‐centric Innovation is Affecting Stakeholder Marketing Strategies: Exploratory Findings from the Music Industry." European Management Review 16, no. 4 (September 3, 2018): 1175–93. http://dx.doi.org/10.1111/emre.12326.
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Gamble, Jordan Robert. "Marketing madness or financial folly?" European Journal of Marketing 53, no. 3 (April 4, 2019): 412–41. http://dx.doi.org/10.1108/ejm-11-2017-0830.
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Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. Findings The loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. Research limitations/implications The implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. Practical implications The insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics. Originality/value This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.
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Tu, Yanbin, and Min Lu. "A Study of Online Digital Music Evaluation." International Journal of Online Marketing 2, no. 2 (April 2012): 25–43. http://dx.doi.org/10.4018/ijom.2012040103.
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The understanding of digital music consumer behavior and determinants of online digital music evaluation helps music retailers implement online digital music marketing strategies. In this study, the authors investigate the profiles of music consumers on the Internet and explore how consumers use product sampling and customer reviews for online music evaluation. The authors find most people use free radio as their main music source, piracy and digital music remains a problem. The authors also find consumers still depend on traditional word of mouth for their music evaluation. This study shows that many consumers are more likely to trust online sampling than online reviews, and online sampling plays a more important role than online reviews in their music evaluation. The authors also investigate post-sampling results including the music evaluation, willingness to pay (WTP), free rider, enjoyable sampling process, perceived usefulness of online sampling, knowing the true music value, further reading online reviews, using other music evaluation channels, and writing customer reviews after sampling. The authors also conduct coefficient correlation analysis for post-sampling results and provide managerial interpretations.
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COVEY, PAUL MICHAEL. "Selling “The Things Money Can't Buy”: Piano Advertising in the Mid-Twentieth Century." Journal of the Society for American Music 13, no. 1 (February 2019): 54–77. http://dx.doi.org/10.1017/s1752196318000524.
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AbstractThis study explores piano advertising strategies after 1940 by examining ads printed in Etude, the Music Magazine between then and 1957, when it discontinued publication. Aware of the emerging US consumer culture, piano companies experimented throughout this period with more aggressive marketing techniques than they had previously used. Because Etude’s intended audience included musicians and enthusiasts of every skill and experience level, it was approached accordingly by advertisers. Thus, we can trace in its pages the development of methodologies that, owing to an increasingly sophisticated understanding of the contemporary range of consumers and their interests, came to target distinct and different market segments. Examination of strategies aimed at the respective groups illuminates an important chapter in the development of twentieth-century advertising while highlighting the piano's special status among consumer products and its cultural associations. Analysis of the industry's strategies in dealing with the mid-twentieth-century US economy reveals contemporary understandings of such associations and their effect on the implications of piano acquisition.
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Skandalis, Alexandros, John Byrom, and Emma Banister. "Spatial taste formation as a place marketing tool: the case of live music consumption." Journal of Place Management and Development 10, no. 5 (December 4, 2017): 497–503. http://dx.doi.org/10.1108/jpmd-01-2017-0009.
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Purpose The aim of this paper is to explore how spatial taste formation and the interrelationships between place and taste can inform the development of contemporary place marketing and/or place management strategies. Design/methodology/approach The paper draws on previous research conducted within the context of live music consumption and, in particular, within live musical spaces such as festivals and concert halls. Findings This paper illustrates how spatial taste formation can inform the development of topographies of taste which focus on the creation of field-specific experiences. It also offers insights for understanding the phenomenological uniqueness of various places and the role of place users and other stakeholders in the creation of place marketing and branding value. Originality value The paper elaborates upon the potential usefulness of spatial taste formation for place management and marketing research practice and draws out implications for future research. It advances a holistic and phenomenological understanding of place which illustrates how users’ perceptions of place are shaped by their experiences in various places and by the interplay of these experiences with their individual tastes and vice versa.
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Besana, Angela, and Annamaria Esposito. "Memory, Marketing and Economic Performances in Usa Symphony Orchestras and Opera Houses." European Journal of Economics and Business Studies 9, no. 1 (October 6, 2017): 79. http://dx.doi.org/10.26417/ejes.v9i1.p79-89.
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When resources are scarce at crisis times and when competition is intense with other creative supplies, USA symphony orchestras and opera houses memorize and perform their repertoires (or repertories), so that seasons are crucially bundled between tradition and innovation. Since the beginning of the latest financial and real crisis (2007), USA classical music has seen different levels of funding from the federal government and businesses have encouraged more nonconventional programming (Pompe, Tamburri, 2016; Turbide, Laurin, 2009; Ravanas, 2008; Rushton, 2008; Turrini, 2006; Smith, 2007). On one side, fundraisers have stressed bundles (contemporary music with tradition) to sponsors; on the other side, marketing officers have emphasized the repertoire memory to audiences who constantly love Traviata, Boheme and Don Giovanni with echo of famous regisseurs, scenographers, etc. This is quite the same worldwide (Cancellieri, Turini, 2016). Fundraising and marketing affect economic performances of classical music, also thanks to social media and networks. Consumers have access to information about ticketing, rehearsals, present and past performances, etc. Art organizations strive to manage communication via social media to create brand values. Social media support both fundraising and marketing, as they mediate to sponsors and audiences: values, advocacy, videos and photos of the repertoire and nonconventional programming, which continually increase trustworthy relationships and nurture memories.This paper investigates 200 USA symphony orchestras and opera houses according to repertoires, revenues, expenses and gains in 2008 and 2015. With cluster analysis, three profiles emerge with different strategies, performances and emphasis on memory or innovation.
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Hollebeek, Linda D., Edward C. Malthouse, and Martin P. Block. "Sounds of music: exploring consumers’ musical engagement." Journal of Consumer Marketing 33, no. 6 (September 12, 2016): 417–27. http://dx.doi.org/10.1108/jcm-02-2016-1730.
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Purpose Although “engagement” is receiving increasing attention in the marketing literature, the characteristics and dynamics characterizing this concept in specific contextual conditions, including consumers’ selection of particular music and ensuing music-related behaviors, remain nebulous to date. This study aims to develop the concept of consumers’ musical engagement (ME) and explore it within a broader nomological network of conceptual relationships. Design/methodology/approach To investigate the research gap, the authors deploy a survey sampling 2,498 US-based adults to develop and confirm a 25-item ME scale. The authors also test their scale in a broader nomological network of specific theoretical relationships using regression and mediation modeling. Findings The authors identify three ME factors, namely, social identity, transportive and affect-inducing engagements. The authors find ME to exhibit a nonlinear effect on music consumption with increasing returns. Although both social identity and transportive experiences represent significant predictors of music consumption, the effect of affect-inducing experience is non-significant. Further, the social identity experience has a significantly greater association with music consumption than the transportive experience. Research limitations/implications This paper provides a conceptualization and an associated diagnostic tool for ME, in addition to initial insight into the role of ME in a broader nomological network of conceptual relationships. Based on the identified research limitations, the authors also provide key future research directions for ME. Practical implications The insight attained into ME may be used to underpin the design, implementation and evaluation of managerial ME-based tactics and strategies in the music industry. In particular, the authors find that successful appeals to consumers’ social identity engagement are a significant driver of increased future music consumption. The authors provide a number of managerial recommendations to develop this particular ME dimension. Originality/value This paper provides an ME conceptualization and an associated scale and explores ME within a broader nomological network of theoretical relationships. The authors also draw key implications from these analyses.
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Abratt, Russell, and Justine Cullinan. "5FM: youth radio in the digital age." Emerald Emerging Markets Case Studies 7, no. 2 (June 5, 2017): 1–20. http://dx.doi.org/10.1108/eemcs-05-2016-0074.
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Subject area The subject areas are marketing management and brand management. Study level/applicability The study is applicable to post-graduate brand management course and post-graduate marketing management course. Case overview In December 2015, Justine Cullinan, station manager of 5FM – a commercial, national music-radio station – reviewed the listenership and revenue figures for the year. When she took over as station manager in October 2014, 5FM had been through a three-year period of sharply declining listenership and revenue. Since then, by growing 5FM’s online community and adjusting the station’s overall strategy, the tide of decline had slowed. 5FM’s limited marketing budget prevented it from attracting listeners through traditional marketing avenues. Cullinan wondered how she could grow audiences and revenue and forge a new way for radio to benchmark success in a world where online communities were ever more important. Expected learning outcomes At the end of this case, students will understand the following concepts: brand awareness; brand promise; brand communication; and brand revitalisation strategies. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS: 8: Marketing
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Tyler, Linda L. "Commerce and Poetry Hand in Hand: Music in American Department Stores, 1880-1930." Journal of the American Musicological Society 45, no. 1 (1992): 75–120. http://dx.doi.org/10.2307/831490.
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Department stores emerged as central institutions in the expansion of the consumer culture in the United States in the late nineteenth and early twentieth centuries, and music played an unusually prominent and varied role in these new palaces of consumption. Over the half century from 1880 to 1930 a wide range of music was presented in the stores, including elegant evening concerts conducted by such luminaries as Richard Strauss and Leopold Stokowski, afternoon programs given by professional and amateur musicians in large in-store concert halls, performances by choruses and bands made up of store employees, background music played by pianists or string quartets, and phonograph demonstrations. Trade papers published for department store retailers reveal the marketing strategies that largely motivated this impressive patronage of music. Music's range of cultural associations worked to the retailers' advantage by investing the stores with excitement and drama, by imbuing commonplace goods with luxury and status, and by encouraging leisurely shopping among women. The commercial setting, in turn, left indellible marks on the music: in the length of concert programs, in the types of works commissioned by the stores, in the mixing of popular and classical repertories, and in the reduction of music to a commodity. The department stores proved a crucial testing ground for the widescale commercialization of music in twentieth-century America.
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Saragih, Harriman. "Co-creation experiences in the music business: a systematic literature review." Journal of Management Development 38, no. 6 (July 8, 2019): 464–83. http://dx.doi.org/10.1108/jmd-11-2018-0339.
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Purpose Various literature have contextualised value co-creation concept in the music business and how that notion puts into practice in benefitting the actors in this particular business. The purpose of this paper is to review the extant literature to comprehend regarding the applicability of co-creation in music business which can be used to map and evaluate strategies used to stimulate and exercise co-creation experiences; focus from such co-creational activities; stages during which co-creation occurred; channels in which the music as cultural product is delivered; and the co-creative platform used that can be useful for practitioners as well as scholars in the music business. Design/methodology/approach Of the available academic databases that exist on the online platform, this study takes into account six scholarly databases, i.e., Emerald, EBSCO, ISI Web of Sciences, ProQuest, ScienceDirect and Scopus. Findings Having filtered through the initial 113 papers that fulfil the predetermined criteria, this study discovers 33 empirical journal and proceeding papers that have discussed the co-creation concept in the music context from 2011 to 2017. Practical implications The review practically implies that practitioners as well as scholars in the music or marketing field can first begin with planning and understanding the right strategy, focus, stage, channels and platforms before executing co-creational activities in the music business. This paper also speaks to the broader literature, particularly in the creative industries, that value co-creation can serve to be used to obtain monetary, experience or social value in the market using virtual and physical co-creative platforms. Other sectors in the creative industries can also infer that co-creation can be promoted and exercised through various orchestration strategies in several stages of the value chain. Originality/value This paper is the first to integrate five practical criteria as to how co-creation is applied and contextualised in the music business. It also contributes to the academic literature by presenting an exhaustive selective review of the value co-creation concept and its applicability to the music business.
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Jeppsson, Cecilia. "Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts." Nordic Research in Music Education 1, no. 1 (November 17, 2020): 58–80. http://dx.doi.org/10.23865/nrme.v1.2638.
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This study sheds light on music teachers’ perspectives on their chances to disrupt cultural and social reproduction in music education in the Swedish Community Schools of Music and Arts (kulturskolor, sing. kulturskola). Focus group conversations were carried out involving 18 teachers at five such schools. As a point of departure, the analysis of the conversations applied the theoretical perspective of Bourdieu with an emphasis on the concepts explicit versus implicit pedagogy and Bernstein’s corresponding concepts visible and invisible pedagogy. The analysis discusses explicit versus implicit assumptions interwoven in the teachers’ accounts of their efforts. The teachers describe it as difficult to challenge social structures. Based on marketing efforts vis-á-vis families from immigrant backgrounds, the teachers point to differing understandings of the significance of participation in the programmes. The teachers’ descriptions point to opportunities that stem from efforts to facilitate children taking part in music education in cooperation with compulsory schools, teaching practice habits and more general behaviours, and initiatives to reach parents and children from immigrant backgrounds with information. The descriptions show explicit as well as implicit components, often in terms of implicit assumptions embedded in an explicit framing. Reflection upon implicit assumptions is suggested as a means to develop more radical strategies to disrupt cultural and social reproduction in the Swedish kulturskolor.
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Kumar, Prarthana. "Multisensory Marketing: Creating New Sustainability Perspective in Hospitality Sector." Atna - Journal of Tourism Studies 8, no. 1 (January 1, 2013): 43–55. http://dx.doi.org/10.12727/ajts.9.4.
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Synchronic studies in marketing propose that sensory stimulus, like colour, lighting effects, backdrop music, ambient scents or upholstery‘s texture, affect consumers‘ evaluation of the milieu, the wares presented, and affect consumer behavior (e.g., approximate amount spent, time spent at a store). A Customer is frequently attracted towards a brand based on its sensory experience. In toto, the unexpurgated world is experienced through multiple senses. (Lindstrom & Kotler, 2005). Ingenious brands are discovering means to captivate the entire consumer senses to fortify their brand experience, by amalgamating every sense into the marketing strategy, this approach is called Sensory Marketing. Sensory branding is based on the idea that we are most likely to form, retain and revisit memory when all five senses are engaged. Many companies are discovering that when they engage consumers with multiple sensory touch points—not just the traditional sensory channels of sight or hearing—they can enhance customers‘ emotional connection with their products and brands. The multisensory strategies seek to go beyond delivering functionality and value to evoking significant personal identification with products. It aims to fill in the lacuna of the conventional marketing. Technology is one of the main factors driving Sensory marketing to success. Sensory Marketing has made its mark in multiple fields like Automobiles, Airlines, Hospitality, Casinos, Retail stores, Textile, Leather production, Skin Care and Cosmetics at multiple levels. The following are a few examples for multisensory applications: 74% of Europeans and 46% of American recognize the Nokia ringtone (Lindstrom, 2005); Ford has a specific branded aroma since 2000. 27% of US consumers and 37% of Europeans consider ford has a distinct smell. (Lindstrom, 2005); United Airlines has adapted a famous composition, George Gershwin‘s Rhapsody in Blue, and personalized it; Restaurants play slower music as it creates extended dining hours, increasing 29% of average bill according to an experiment; Heinz launched EZ Squirt Blastin‘, Green Ketchup in 2001. They sold over 10 million bottles in the first 7 months. That is the highest sales peak in the history of Heinz, all because of a simple color adjustment. This paper deals with use of sensory marketing in technology and the use of technology to make Sensory Marketing successful.
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Strand, Anna, and Martin Robertson. "An Attitudinal Impacts Analysis of Social Media Platforms And Brand Relationship Quality at Music Festivals." Event Management 24, no. 6 (November 20, 2020): 769–88. http://dx.doi.org/10.3727/152599520x15894679115538.
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The purpose of this study is determination of ways in which music festival organizers can target their social media communication with greater certainty toward younger generations (i.e., Generation Z, also called "digital natives"). This research has two core purposes: the first is to investigate how music festivals' use of social media can affect their brand relationship quality (BRQ) with their audience, and the second is to determine how connecting to online brand communities prior to, during, and after a music festival affects the satisfaction and loyalty of attendees. The research follows a positivist epistemological framework and a deductive research approach. The research design grew from a collected body of e-research and uses asynchronous data from the social media platform Twitter to understand consumers' perception of brands in a music festival context. A social network analysis framework is applied. The findings show that social media does affect brand experience, brand image transfer, and BRQ in a positive way and that social media can, therefore, strengthen BRQ with Generation Z music event attendees. The results indicate that music festivals can strengthen BRQ with young consumers through social networking platforms if digital marketing strategies are utilized to their full potential. Reflection is made of the psychosocial value of this networking for young people at a time of socioeconomic turbulence. The practical implications for these findings are also discussed.
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Wiguna, Nathasya Wiguna, and Nathasya Wiguna Dang Eif Dono Darsono. "Marketing Public Relations Melalui Instagram Screamous." Reputation: Jurnal Hubungan Masyarakat 2, no. 4 (July 9, 2020): 361–80. http://dx.doi.org/10.15575/reputation.v2i4.652.
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ABSTRAK
Nathasya Wiguna, Marketing Public Relations Melalui Instagram Screamous (Analisis Deskriptif pada Instagram @Screamous_55)
Media sosial Instagram media dan seiring dengan berkembangnya zaman, Instagram menjadi salah satu media sosial yang cukup diminati untuk kepentingan komunikasi pemasaran, dengan ciri khasnya mengedepankan pesan visual dan audio visual dengan interaktivitas yang tinggi. Marketing Public Relations Instagram Screamous menjadikan instagram sebagai media atau saluran dalam berbisnis salah satunya di bidang fashion. Screamous dalam hal ini memiliki peran aktif dalam mengelola dan menginformasikan sebuah produk melalui media online.
Penelitian ini bertujuan untuk meraih penyampaian informasi, mengenalkan brand dan produk serta menerapkan bangga akan produk lokal dengan menciptakan opini yang menguntungkan dan berhasilnya pemasaran. Selain itu bertujuan untuk mengetahui pull strategi dalam menarik minat konsumen terhadap konsumen, dengan push strategi yang mendorong berhasilnya pemasaran dan menggunakan pass strategi dalam memberikan opini yang menguntungkan.
Metode yang digunakan dalam penelitian ini adalah Kualitatif dengan pendekatan analisis desktiptif dan menerapkan paradigma konstruktivisme, kemudian teknik yang di gunakan pada penelitian ini adalah teknik pengumpulan data, observasi partisipatori pasif, wawancara mendalam dan studi dokumen. Penelitian ini dilakukan melalui langkah-langkah : menentukan lokasi penelitian, menentukan metode penelitian, menentukan pemilihan informan, menentukan sumber dan jenis data, menentukan teknik pengumpulan data serta mengolah dan menganalisis data.
Hasil penelitian ini menunjukan bahwa dalam mengenalkan dan mempertahankan brand lokal, dalam menunjang berhasilnya pemasaran. Screamous mengajak kepada para konsumen menyatukan suatu pemahaman bahwa sebagai warga negara yang baik, harus bangga akan produk lokal atau produk dalam negeri. Marketing Public Relations Melalui Instagram Screamous dalam mempromosikan suatu produk terdiri dari Pull Strategy dalam menarik minat melalui campaign di produk atau barang Screamous dan melakukan kegiatan promosi melalui media online, dan media sosial. Push Strategy Screamous melalui spesial event, seperti kickfest, expo dalam mendorong berhasilnya pemasaran. Pass Strategy Screamous dalam menciptakan opini yang menguntungkan melalui kegiatan sponsorship seperti acara seminar, edukasi, acara musik dalam menjalin kerjasama dan membantu generasi bangsa dalam berkarya.
Kata Kunci :Pemasaran, Instagram, dan Screamous
ABSTRACT
Nathasya Wiguna, Marketing Public Relations Through Instagram Screamous (Deskriptive analysis on Instagram @Screamous_55)
Instagram media social media and along with the times, Instagram has become one of the social media that is in great demand for marketing communication purposes, with its trademark promoting visual and audio visual messages with high interactivity. Marketing Public Relations Instagram Screamous makes Instagram as a media or channel in doing business, one of them is in the fashion sector. Screamous in this case has an active role in managing and informing a product through online media.
This study aims to achieve information delivery, introduce brands and products and apply pride in local products by creating favorable opinions and marketing success. In addition, it aims to find out the pull strategies in attracting consumer interest to consumers, with push strategies that encourage successful marketing and use pass strategies in providing favorable opinions.
The method used in this study is qualitative with descriptive analysis approach and applying the constructivism paradigm, then the techniques used in this study are data collection techniques, passive participatory observation, in-depth interviews and document studies. This research was carried out through steps: determining the location of the study, determining the research method, determining the selection of informants, determining the source and type of data, determining the data collection techniques and processing and analyzing data.
The results of this study indicate that in introducing and maintaining a local brand, in supporting the success of marketing. Screamous invites consumers to unite an understanding that as a good citizen, they must be proud of local products or domestic products. Marketing Public Relations Through Instagram Screamous in promoting a product consists of Pull Strategy in attracting interest through campaigns on Screamous products or goods and conducting promotional activities through online media, and social media. Push Strategy Screamous through special events, such as kickfest, expo in encouraging marketing success. Strategy Screamous Pass in creating favorable opinions through sponsorship activities such as seminars, education, music events in collaborating and helping the nation's generation in work.
Keywords: Marketing, Instagram, and Screamous
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Sandulli, Francesco D., and Samuel Martín-Barbero. "99 Cents per Song: A Fair Price for Digital Music? The Effects of Music Industry Strategies to Raise the Willingness to Pay by P2P Users." Journal of Website Promotion 2, no. 3-4 (May 20, 2007): 3–15. http://dx.doi.org/10.1080/15533610802174888.
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Venkatesh, R., and Vijay Mahajaim. "A Probabilistic Approach to Pricing a Bundle of Products or Services." Journal of Marketing Research 30, no. 4 (November 1993): 494–508. http://dx.doi.org/10.1177/002224379303000408.
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The authors propose a probabilistic approach to optimally price a bundle of products or services that maximizes seller's profits. Their focus is on situations in which consumer decision making is on the basis of multiple criteria. For model development and empirical investigation they consider a season ticket bundle for a series of entertainment performances such as sports games and music/dance concerts. In this case, they assume consumer purchase decisions to be a function of two independent resource dimensions, namely, available time to attend performances and reservation price per performance. Using this information, the model suggests the optimal prices of the bundle and/or components (individual performances), and corresponding maximum profits under three alternative strategies: (a) pure components (each performance is priced and offered separately), (b) pure bundling (the performances are priced and offered only as a bundle), and (c) mixed bundling (both the bundle and the individual performances are priced and offered separately). They apply their model to price a planned series of music/dance performances. Results indicate that a mixed bundling strategy is more profitable than pure components or pure bundling strategies provided the relative prices of the bundle and components are carefully chosen. Limitations and possible extensions of the model are discussed.
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Hsu, Liwei, and Yen-jung Chen. "Music and wine tasting: an experimental neuromarketing study." British Food Journal 122, no. 8 (September 6, 2019): 2725–37. http://dx.doi.org/10.1108/bfj-06-2019-0434.
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Purpose Music has a priming effect on product selection. The purpose of this paper is to extend the current understanding on this issue using an experimental design incorporating behavioural and brainwave data. Design/methodology/approach An experiment with 40 participants was conducted to explore how and why wine tasting preferences would be primed by different genres of musical stimuli. Electroencephalographic measurement was adopted to measure participant brainwave activity in two experiments, each involving two rounds of wine tasting, and the treatment was administered between the two rounds. Findings Significant associations between the musical stimulus genre and participant change in wine selection were found, and the musical stimuli resulted in different brainwave activities because participant β and γ wave activities significantly differed in the first and second wine tasting rounds. Correlational analyses indicated that α, β and γ wave activities generated by the musical stimuli were significantly but negatively correlated with α wave activity. α wave activity in the musical stimulus phases was significantly negatively correlated with β wave activity in the second round of wine tasting, and the other associations were significant and positive. Originality/value This study highlighted the priming effect of musical stimuli in wine tasting. Empirical evidence derived from experimental research was analysed with behavioural and brainwave data. This study’s original contribution is that it explored wine tasting preferences from a neuromarketing perspective. The results of this study can provide empirical evidence on how to effectively use music in marketing strategies.
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Setiarini, Agnes Tika. "STRATEGI POSITIONING DAN DIFERENSIASI DALAM UPAYA MEMBANGUN BRAND, STUDI KASUS NGAYOGJAZZ." JURNAL TATA KELOLA SENI 1, no. 2 (May 8, 2017): 54–67. http://dx.doi.org/10.24821/jtks.v1i2.1641.
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Ngayogjazz adalah salah satu festival musik jazz yang diselenggarakan rutin setiap satu tahun sekali di Yogyakarta. Festival ini mengalami peningkatan jumlah penonton yang signifikan setiap tahunnya. Keberhasilan Ngayogjazz ini adalah salah satu hasil dari strategi pemasaran yang dijalankan. Strategi pemasaran yang baik akan menjadi penentu suksesnya pemasaran sebuah produk. Segitiga positioning, diferensiasi, brand (PDB) adalah salah satu pengembangan dari konsep pemasaran oleh Kertajaya. Teori ini dapat menjadi landasan untuk menentukan strategi positioning dan diferensiasi yang tepat bagi sebuah produk. Penelitian ini difokuskan pada penerapan teori segitiga PDB dalam Ngayogjazz. Metode penelitian menggunakan metode kualitatif pendekatan studi kasus. Pengumpulan data dilakukan melalui indepth interview. Hasil dari penelitian ini adalah rumusan upaya-upaya strategi positioning dan diferensiasi dalam festival Ngayogjazz. Kesimpulan yang dihasilkan, penerapan segitiga PDB dalam Ngayogjazz penting dilakukan agar penyelenggara mengetahui sejauh mana maksudnya tersampaikan pada masyarakat. Hasil dari analisis menggunakan segitiga PDB, Ngayogjazz telah membentuk sebuah brand sebagai festival musik jazz yang memiliki karakter kota Yogyakarta. Ngayogjazz is one of the jazz festivals held regularly in Yogyakarta. The number of audiences in this festival has increased significantly every year. The success of Ngayogjazz is one of the results of its marketing strategy. A good marketing strategy will determine the success of the product and will also build a strong brand for itself. Positioning, differentiation, and brand (PDB) is one of the developments of Kertajaya's marketing concept. PDB Triangle could be the basis for determining the appropriate positioning and differentiation strategies for a product. The research focuses on the application of PDB triangular theory in Ngayogjazz, using qualitative method with case study approach. Data is collected through in-depth interview. These methods can measure to which extent does Ngayogjazz applies marketing theory (in this case, positioning and differentiation). The results from this study is the formulation of positioning and differentiation strategy in Ngayogjazz festival. This study concludes that the application of the PDB triangle in Ngayogjazz is important so that the organizers know to which extent the intention is conveyed to the public. The results of the analysis using PDB triangle shows that Ngayogjazz has formed a brand as a jazz music festival that wears the characteristics of the city of Yogyakarta.
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LYNCH, CHRISTOPHER. "Cheryl Crawford'sPorgy and Bess: Navigating Cultural Hierarchy in 1941." Journal of the Society for American Music 10, no. 3 (August 2016): 331–63. http://dx.doi.org/10.1017/s1752196316000237.
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AbstractThis article analyzes the revisions producer Cheryl Crawford and her team made toPorgy and Bessfor a revival that opened in Maplewood, New Jersey, in 1941 and moved to Broadway in early 1942. Crawford's revisions addressed criticisms of the opera that had first been issued at its premiere in 1935, especially complaints about its dramatic viability and the appropriateness of African American performers in opera. The revisions distancedPorgy and Bessfrom the practices of the Metropolitan Opera House, which the press routinely criticized as antiquated and dull. They also reduced the amount of operatic recitative, which Crawford saw as “out of keeping with the black milieu,” strategically reserving the device for specific moments that played into the stereotype of African Americans as naturally musical. In her marketing of the show, Crawford reframed the critical discussion ofPorgy and Bessby deflecting attention away from disputes over genre and race and toward the structural and formal qualities of the work. These strategies, which were aimed at attracting a broad audience with divergent values and aesthetic preferences, proved successful. Whereas the 1935 production was a commercial failure, Crawford'sPorgy and Bessbecame a hit, marking a crucial step toward the establishment of the work in the American operatic repertoire.
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Uli, Vincenzo. "Co-evolutionary dynamics in the music industry." International Journal of Organizational Analysis 26, no. 2 (May 14, 2018): 296–311. http://dx.doi.org/10.1108/ijoa-10-2016-1073.
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Purpose What effects does radical innovation produce on the dialectical relationship between enterprises and their environment? In this paper, by adopting the dynamic adaptation matrix methodological framework, the author addresses this research question by discussing the evolution of the music industry in the period of 1999-2013. The purpose of this study is to identify possible co-evolutionary adaptation paths, namely, virtuous or contradictory adaptation cycles. Design/methodology/approach The paper is presented as a descriptive comparative case study about the major changes that have occurred in the sector, and this could be of interest to the industry stakeholders. The paper also contributes to the debate about co-evolution as it is an empirical implementation of the adaptation matrix and sheds light on the main environmental dynamics. Findings The author found that for a low level of environmental determinism and moderate degree of strategic choice, cost leadership strategy dominates other strategic options. For moderate levels of environmental determinism, differentiation-marketing strategy ensures a better performance than differentiation-innovation strategy. Finally, for a high level of both environmental determinism and strategic choice, differentiation-innovation strategy is the best strategic option among differentiation strategies. Practical implications The adaptation matrix, especially in its dynamic form, can be applied to understand the changes within a sector with a co-evolutionary lens and to analyze critically the strategic choices enacted by the market’s incumbents. Originality/value This study may have useful implications for both scientific research and managerial practice. In fact, it is intended for all scholars and practitioners interested in exploring the nature of organizational adaptation, especially in industries affected by major technological changes, such as the music industry, which only recently has been considered as a fertile ground for research.
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Ryu, Jungyop, Erik Paolo Capistrano, and Hao-Chieh Lin. "Non-Korean consumers’ preferences on Korean popular music: A two-country study." International Journal of Market Research 62, no. 2 (August 28, 2018): 234–52. http://dx.doi.org/10.1177/1470785318796951.
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This research employs a mix of theoretical and data-driven approaches to understand how Korean pop music (KPop) consumption, despite physical and social barriers, is currently at unprecedented levels. The stimulus-organism-response (S-O-R) model was used as a basis to examine factors regarding influencing KPop’s popularity on non-Koreans, focusing on production and consumer-based factors inducing their attitudes and preferences. Data gathered from 951 Taiwanese and 949 Philippine survey respondents were analyzed through structural equation modeling (SEM), in which 13 of the hypothesized 16 direct, mediating, and moderating relationships were supported. This research demonstrates how, through appropriate theoretical lenses supported by empirically tested data, production-based factors of visual and audio components can sway favorable attitudes and preferences under customer-based contextual factors, including peer pressure, self-efficacy, and media. This guides producers to appreciate cultural nuances affecting KPop’s global popularity, and the importance of deciding the product mix strategies best suited for different markets.
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Kopplin, Dave. "Arthur Bernstein, Naoki Sekine, and Dick Weissman. The Global Music Industry: Three Perspectives; Tad Lathrop. This Business of Global Music Marketing: Global Strategies for Maximizing Your Music’s Popularity and Profits." Journal of the Music and Entertainment Industry Educators Association 8, no. 1 (2008): 159–64. http://dx.doi.org/10.25101/8.9.
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Sembiring, Bebas, Mauly Purba, and Ishbir Mujahid Adha. "Empowering Huruk Gabe Aeksorseang Musical Studio as Bataknese Musical Instrument Craftman in Lintongnihuta Village, Samosir." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 2 (December 2, 2020): 248–58. http://dx.doi.org/10.32734/abdimastalenta.v5i2.5029.
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Huta Gabe Aeksorseang studio is a traditional art studio that helped preserve traditional culture, especially the Batak Toba. The presence of this art studio has stimulated creative economy activities within the region. The problems currently being faced by the Huta Gabe Aeksorseang studio have not been made optimal yet. Products that had been sold nationally but had not well known to many other Indonesian consumers due to there is no product brand. The daily activities of this art gallery cultivate traditional music. This community services is carried out with a focus on solving partner problems by providing appropriate science and technology for the local community, especially for the management of the Studio. The method of making traditional musical instruments is still not optimal so that the resulting sound quality is not correctly produced. Science and technology has been given to partners related to production and marketing techniques that have been carried out. We also provided online marketing strategies to assist the online marketing activities of the Huta Gabe Aeksorseang studio. Technical equipment is also provided to help partners improve product quality and product competitiveness with lower production costs. Heavy equipment such as welding machines in the area makes production costs high. With the help of the equipment provided, partners will be more efficient in production, thereby increasing partner competitiveness.
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Triantafillidou, Amalia, George Siomkos, and Eirini Papafilippaki. "The effects of retail store characteristics on in-store leisure shopping experience." International Journal of Retail & Distribution Management 45, no. 10 (October 9, 2017): 1034–60. http://dx.doi.org/10.1108/ijrdm-07-2016-0121.
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Purpose The purpose of this paper is to investigate the impact of store characteristics (i.e. product availability, product quality, store layout, employee politeness, décor, music, lighting, and aroma) on the various dimensions of in-store leisure shopping experience (i.e. hedonic, flow, escapism, challenge, learning, socialising, and communitas). Design/methodology/approach In order to achieve the study’s objectives, a quantitative on-site survey was conducted. Respondents were interviewed upon exiting fashion retail stores. Findings Findings indicate that not all store characteristics impact the various dimensions of experience in the same way. Product quality and in-store music were found to be the most important in-store characteristics that affected the majority of experience dimensions. Other important store attributes that emerged were store layout and ambient scent. Conversely, product range actually had a negative impact on in-store experience. Practical implications By orchestrating the most influential in-store characteristics, fashion retailers could be delivering unique in-store experiences to their customers. This research shows that they would benefit from designing experiential strategies that focus on merchandise quality, price, and availability while simultaneously carefully managing ambient (music and scent) alongside design factors (store layout and décor). Careful consideration should be paid to merchandise variety in order to avoid potentially negative effects on customers’ shopping experience. Originality/value Until now most studies that document the relationship between store elements and shopping experiences have examined the effects of store characteristics on a limited number of experience dimensions. This study adds to the body of research into in-store leisure shopping experience in two ways: by shedding light on its multi-dimensional nature, and by analysing the effect of the different store elements on the various components of the in-store experience.
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Romero, Sergio Ospina. "Ghosts in the Machine and Other Tales around a “Marvelous Invention”: Player Pianos in Latin America in the Early Twentieth Century." Journal of the American Musicological Society 72, no. 1 (2019): 1–42. http://dx.doi.org/10.1525/jams.2019.72.1.1.
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Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s. As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.
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Bartolome, Sarah J. "“We sing to touch hearts”: Choral musical culture in Pretoria East, South Africa." Research Studies in Music Education 40, no. 2 (May 8, 2018): 265–85. http://dx.doi.org/10.1177/1321103x18768101.
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The purpose of this study was to explore the culture of choral singing among children and youth in Pretoria East, South Africa. The philosophical underpinnings of the choirs, the roles of choirs within local and national communities, and the perceived values and benefits of participation were examined. This collective case study required the integration of standard ethnographic strategies employed over the course of a month-long period of fieldwork and two shorter follow-up visits. I observed approximately 40 hours of rehearsal and 25 hours of performance, focusing on five choirs in and around the University of Pretoria. I also conducted 22 semi-structured interviews with choristers, directors, staff members, and parents. Participants identified a philosophy of “message bearing” as the primary goal of choral performance. Innovation and diversity in programming and competition were additional emergent themes related to this philosophy. Choirs were found to have multiple roles, including recruiting and marketing, promoting diverse South African musical cultures, and cultivating a national, South African identity. Participants described a wide range of musical, social, educational, and personal benefits associated with participation, with choristers most commonly alluding to choir as a means of “relaxing.” Choir emerged as a source of bridging social capital, encouraging cooperation among participants from diverse racial and cultural backgrounds, promoting intercultural understanding and trust, and cultivating a broadened sense of national South African identity.
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Gbadamosi, Ayantunji, Robert E. Hinson, Eddy K. Tukamushaba, and Irene Ingunjiri. "Children's Attitudinal Reactions to TV Advertisements: The African Experience." International Journal of Market Research 54, no. 4 (July 2012): 543–66. http://dx.doi.org/10.2501/ijmr-54-4-543-566.
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This paper is aimed at exploring African children's attitudinal reactions to television advertisements. A total of 65 children from four African countries - Ghana, Nigeria, Kenya and Uganda - participated in 12 focus group discussions on the subject matter. Findings suggest that they like television advertising in relation to its entertainment features - especially when the messages feature children characters, cartoons, music, celebrities and humour - and those promoting foods. They also derive excitement from advertising messages that are presented in Pidgin language and/or humorously integrated with local languages. However, they have an aversion to messages that terrify them and those they consider boring. This paper supplements the existing literature on the attitudes of children to advertising, but from Africa as a different contextual platform. It also suggests directions for the effective use of marketing communications strategies in relation to television advertising for marketers and other bodies with special roles in communicating with children such as government agencies and NGOs.
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Hracs, Brian J., and Johan Jansson. "Death by streaming or vinyl revival? Exploring the spatial dynamics and value-creating strategies of independent record shops in Stockholm." Journal of Consumer Culture 20, no. 4 (December 6, 2017): 478–97. http://dx.doi.org/10.1177/1469540517745703.
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The contemporary retail landscape is in flux, and there is a growing perception that shopping at bricks and mortar stores is more expensive and time-consuming than shopping online. For music, illegal downloading and streaming have restructured the retail landscape and put thousands of record shops out of business. Yet, some retailers remain attractive consumption spaces. Drawing on a qualitative case study of independent record shops in Stockholm, this article considers three value-creating strategies that sustain these physical retailers in the digital age: cultivating in-store consumer experiences, creating value through curation, and tapping into global markets by going online.
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Monti, Alessandro. "Mozart und seine Subskription der drei Klavierkonzerte KV 413-415 von 1783." Jahrbuch für Wirtschaftsgeschichte / Economic History Yearbook 61, no. 2 (November 25, 2020): 297–318. http://dx.doi.org/10.1515/jbwg-2020-0013.
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AbstractThe research on the history of pricing strategies and decisions by companies and individuals has not received much attention up to now. This is surprising, as pricing is the most important profit driver, and thus an inquiry into the historic origins of price-related decisions by the early modern market operators can yield important insights for both historians and current practitioners on successful marketing strategies. The following article contributes to the research on business history by proposing, first of all, a framework for the conceptual definition between a revenue and a price model. Furthermore, it is shown that subscription-based revenue was generated as early as 1617. The revenue model of the subscription – an early antecedent of today’s crowdfunding scheme – will then be covered in detail by investigating the case of Wolfgang Amadeus Mozart’s piano concertos KV 413-415. The influential composer decided to appeal to a broader target group by using a subscription-based pricing scheme for these three piano concertos in 1783. The subscription however was unsuccessful, and the major reason for this failure as well as Mozart’s probable economic reasoning are elaborated. Finally, the rising modern market forc es, that steered the Viennese music market of the late 18th century towards modern*structures, made sure that market operators at that time tried to adapt to these forces by offering modern and innovative revenue and price models, such as highly differentiated, content-based and time-definite subscriptions.
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Raposo, Ana, and Russ Bestley. "Designing fascism: The evolution of a neo-Nazi punk aesthetic." Punk & Post-Punk 9, no. 3 (November 1, 2020): 467–98. http://dx.doi.org/10.1386/punk_00039_1.
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This article explores the design strategies of four record labels associated with the growth of an explicitly far-right sub-genre of punk in the United Kingdom between 1979 and the early 2000s: Rock-O-Rama Records, White Noise Records, Rebelles Européens and ISD Records. While Rock-O-Rama saw the inclusion of the genre as simply an extension of their existing business model, the other labels were established specifically to support the activities of a small number of explicitly far-right groups who were blacklisted by mainstream producers and distributors within the music industry. These labels were also able to develop independent, do-it-yourself approaches to marketing, promotion and distribution that bear striking similarity to other sub-genres of punk and post-punk in the United Kingdom and Europe, particularly the politically activist hardcore and anarcho-punk scenes. Earlier examples of record covers that employed ambiguous visual metaphors to evoke a mythical Aryan identity were eventually superseded by the emergence of a more extreme form of visual communication that utilized overtly racist images alongside symbols with specific coded meanings to demonstrate a commitment to the white nationalist cause. These visual strategies were to become more explicit as far-right punk scenes moved to embrace fascist ideologies in the 1990s and beyond, as connotations of brotherhood, persecution, endurance, Norse mythology and the nation eventually gave way to direct calls-to-arms and pledges of allegiance with White Power and neo-Nazi terrorist groups.
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Leng, Yan, Alejandro Noriega, and Alex Pentland. "Tourism Event Analytics with Mobile Phone Data." ACM/IMS Transactions on Data Science 2, no. 3 (August 31, 2021): 1–22. http://dx.doi.org/10.1145/3479975.
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Tourism has been an increasingly significant contributor to the economy, society, and environment. Policy-making and research on tourism traditionally rely on surveys and economic datasets, which are based on small samples and depict tourism dynamics at a low granularity. Anonymous call detail record (CDR) is a novel source of data with enormous potential in areas of high societal value: epidemics, poverty, and urban development. This study demonstrates the added value of CDR in event tourism, especially for the analysis and evaluation of marketing strategies, event operations, and the externalities at the local and national levels. To achieve this aim, we formalize 14 indicators in high spatial and temporal resolutions to measure both the positive and the negative impacts of the touristic events. We exemplify the use of these indicators in a tourism country, Andorra, on 22 high-impact events including sports competitions, cultural performances, and music festivals. We analyze these touristic events using the large-scale CDR data across 2 years. Our approach serves as a prescriptive and a diagnostic tool with mobile phone data and opens up future directions for tourism analytics.
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Suhr, Hiesun-Cecilia. "Understanding the emergence of social protocols on MySpace: Impact and its ramifications." Comunicar 17, no. 34 (March 1, 2010): 45–53. http://dx.doi.org/10.3916/c34-2010-02-04.
Full textAbstract:
Over the recent years, MySpace has been vital to fostering the growth of independent musicians’ followings and have played critical roles in helping mainstream artists maintain fan communities. The popularity of MySpace has been accompanied by the establishment of social protocols which allow musicians to network with one another in an efficient and successful way. These protocols have inspired the publication of various books (such as «MySpace Music Profit Monster!: Proven Online Marketing Stra - tegies!» by Nicky Kalliongis devoted to providing tips and strategies for musicians. While some of these protocols pertain to being savvy with the technological aspect of MySpace, other protocols are directly related to learning a particular manner to network on MySpace. Furthermore, these practices are considered a serious work as they require a lot of time and networking skills to achieve a certain level of success, i.e. increasing the number of friends on one’s network. Thus, this article examines the emerging social protocols on MySpace as a form of affective and immaterial labor. The author argues that the implementation of various tips as provided by MySpace expert will possibly have a regressive effect on musicians’ social networking practices as these could become a standardized and repetitive practice. As a whole, this article traces the evolution of MySpace, especially in regards to the decreasing popularity of the site as a current trend. En los últimos años, MySpace ha sido crucial para promover el aumento de los seguidores de músicos independientes y ha representado un papel muy importante a la hora de ayudar a artistas populares a mantener las comunidades de fans. La popularidad de MySpace ha ido acompañada del establecimiento de protocolos sociales que han permitido a los músicos establecer vínculos entre ellos de una manera eficaz y exitosa. Estos protocolos han servido de inspiración para publicar varios libros (como «MySpace Music Profit Monster!: Proven Online Marketing Strategies!» de Nicky Kalliongis) con consejos y estrategias para los músicos. Si bien, algunos de estos protocolos pretenden conocer el aspecto tecnológico de MySpace, otros protocolos están directamente relacionados con el aprendizaje de una manera particular de conexión en red a través de MySpace. Además, estas prácticas son consideradas un trabajo serio, ya que requieren mucho tiempo y habilidades de conexión en red para lograr un cierto nivel de éxito, es decir, aumentar el número de amigos en la red personal. Así que, en este artículo, se analizan los protocolos sociales emergentes en MySpace como una forma de trabajo afectivo e inmaterial. La autora sostiene que la implementación de algunos consejos, como los proporcionados por expertos en MySpace, posiblemente pueda tener un efecto regresivo en las prácticas de los músicos en redes sociales, ya que podrían estandarizarizarse y volverse repetitivas. En conjunto, este artículo describe la evolución de My - Space, sobre todo en lo que respecta a la decreciente popularidad del sitio como una tendencia actual.
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Rodríguez-Medina, María Jésus. "The Use of Anglicisms in Spanish Television Commercials of Cosmetics, Hygiene and Personal Care Products." HERMES - Journal of Language and Communication in Business, no. 55 (August 29, 2016): 157. http://dx.doi.org/10.7146/hjlcb.v0i55.24295.
Full textAbstract:
This paper analyses the use of English in Spanish television commercials, since no scientifi c studies have been carried out so far in this fi eld. Although there are a few similar studies of print media, our review of the literature has shown some gaps in the research on Anglicisms used in advertising. English seems to be widely present in television commercials in Spain for different reasons. Marketing and cost-saving strategies of multinational companies together with the prestige of the English language and Anglo-American culture in Spain are some of the primary causes. In our study, we have focused on a corpus of pure Anglicisms (English words which have not been adapted to Spanish) and pseudo-Anglicisms (terms that do not exist in English, though they are similar to English words), found in commercials related to cosmetics, hygiene and personal care products, as part of the research project “Globalisation and Impact of the Anglo-American Culture on Spain”. Five hundred and thirty one commercials of the three main private national television channels in Spain (Tele5, Antena3, LaSexta) and children’s Disney Channel (Spain) were compiled in 2013. The results confi rm a considerable presence of pure Anglicisms, English-Spanish code switching, pseudo-Anglicisms and Anglo-American imagery and music in the advertising of products related to cosmetics, hygiene and personal care on Spanish television. Consequently, the link of these products to the prestige of the English-speaking world is reinforced.
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Rodríguez-Medina, María Jesús. "The Use of Anglicisms in Spanish Television Commercials of Cosmetics, Hygiene and Personal Care Products." HERMES - Journal of Language and Communication in Business, no. 55 (August 30, 2016): 157. http://dx.doi.org/10.7146/hjlcb.v0i55.24308.
Full textAbstract:
This paper analyses the use of English in Spanish television commercials, since no scientific studies have been carried out so far in this field. Although there are a few similar studies of print media, our review of the literature has shown some gaps in the research on Anglicisms used in advertising. English seems to be widely present in television commercials in Spain for different reasons. Marketing and cost-saving strategies of multinational companies together with the prestige of the English language and Anglo-American culture in Spain are some of the primary causes. In our study, we have focused on a corpus of pure Anglicisms (English words which have not been adapted to Spanish) and pseudo-Anglicisms (terms that do not exist in English, though they are similar to English words), found in commercials related to cosmetics, hygiene and personal care products, as part of the research project “Globalisation and Impact of the Anglo-American Culture on Spain”. Five hundred and thirty one commercials of the three main private national television channels in Spain (Tele5, Antena3, LaSexta) and children’s Disney Channel (Spain) were compiled in 2013. The results confirm a considerable presence of pure Anglicisms, English-Spanish code switching, pseudo-Anglicisms and Anglo-American imagery and music in the advertising of products related to cosmetics, hygiene and personal care on Spanish television. Consequently, the link of these products to the prestige of the English-speaking world is reinforced.
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Sebastiani, Valentina, and Wendell Ricketts (translator). "Froben Press Editions (1505–1559) in the Holdings of the Centre for Reformation and Renaissance Studies Library: A Brief Survey." Renaissance and Reformation 37, no. 3 (March 5, 2015): 213–34. http://dx.doi.org/10.33137/rr.v37i3.22463.
Full textAbstract:
Analysis of the material aspects of books has opened new fields for historical enquiry that connect humanist learning, theology, and the press. The collaboration between Erasmus of Rotterdam and the printers Johannes and Hieronymus Froben of Basel between 1514 and 1536 offers itself as a vantage point from which to observe the making of written culture for humanists, allowing investigations into the media strategies and marketing communication tools employed to produce and disseminate humanist books in early modern Europe. This contribution provides a brief survey of Froben’s editions held in the collections of the Centre for Reformation and Renaissance Studies (CRRS) at Victoria University in the University of Toronto. A deep scrutiny of some of the CRRS library’s copies sheds light on the technical and economic aspects of Froben’s printing activity, while supplying significant information on Erasmus’s readership.
L’analyse des aspects matériels des livres a initié de nouvelles avenues de recherche historique mettant en lien la formation humaniste, la théologie et les milieux de l’imprimerie et de la publication. La collaboration entre Érasme de Rotterdam et les imprimeurs Johannes et Hieronymus Froben de Bâle entre 1514 et 1536 constitue un cas idéal à partir duquel observer la fabrication de la culture écrite des humanistes, ouvrant la porte à des études des stratégies médiatiques et de la communication de marketing utilisées pour produire et disséminer les livres humanistes en Europe au début des temps modernes. Cet article effectue un survol des éditions de Froben présentes dans les collections du Centre for Reformation and Renaissance Studies (CRRS) à la Victoria University in the University of Toronto. Un examen minutieux de quelques uns des livres de ces collections met en lumière certains aspects techniques et économiques de l’activité de Froben, et donne également des informations importantes au sujet du lectorat d’Érasme.
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Santika Krisna Diari, Ni Made, and Luh Putu Mahyuni. "Strategi Sukses K-Pop Memasuki Pasar Musik Mainstream: Bighit Entertainment, BTS, dan ‘Army’." Jurnal Manajemen Bisnis 16, no. 3 (July 15, 2019): 31. http://dx.doi.org/10.38043/jmb.v16i3.2231.
Full textAbstract:
ABSTRACTThe purpose of this study is to identify the differentiation strategy of K-pop agency in the digital economic era, as well as the role of fans in their application. The focus of this research is on BigHit Entertainment the agency that manages the current phenomenal K-pop group, namely BTS; as well as the behavior of their fans. This descriptive qualitative research uses secondary data collected from articles and videos related to the agency, the group, and their fans; as well as observational data from social media, like Twitter. This research use Miles and Huberman model of analisys techniques which include data reduction, data presentation, and conclusion drawing. The results of analysis show that BigHit Entertainment applied the strategies of product differentiation, marketing channel differentiation and image differentiation in order to obtain competitive advantage. Those differentiation strategies is in line with the tactical steps of digital marketing that begin with an understanding of consumer behavior, and then continued with human-oriented marketing for brand attractiveness, content marketing for brand recognition, omnichannel marketing for brand commitment, and engagement marketing for brand affinity. During the process of strategy implementation, fans that mostly consist of young people and women played a major role as a good brand advocate and contents distributors.