Relevant bibliographies by topics / Popular music – Marketing

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Popular music – Marketing'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Popular music – Marketing"

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Cockrill, Antje, and Yang Liu. "Western popular music consumption by highly involved Chinese music fans." Journal of Retailing and Consumer Services 20, no. 3 (2013): 263–71. http://dx.doi.org/10.1016/j.jretconser.2013.01.008.

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Gordon, Ian, and Jeff Smith. "The Sounds of Commerce: Marketing Popular Film Music." Journal of American History 87, no. 2 (2000): 758. http://dx.doi.org/10.2307/2568918.

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Kraft, James P., and Jeff Smith. "The Sounds of Commerce: Marketing Popular Film Music." American Historical Review 106, no. 1 (2001): 189. http://dx.doi.org/10.2307/2652297.

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Garofalo, R. "Culture Versus Commerce: The Marketing of Black Popular Music." Public Culture 7, no. 1 (1994): 275–87. http://dx.doi.org/10.1215/08992363-7-1-275.

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Stilwell, Robynn Jeananne. "The Sounds of Commerce: Marketing Popular Film Music (review)." Notes 57, no. 1 (2000): 163–64. http://dx.doi.org/10.1353/not.2000.0053.

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Eckhardt, Giana M., and Alan Bradshaw. "The erasure of antagonisms between popular music and advertising." Marketing Theory 14, no. 2 (2014): 167–83. http://dx.doi.org/10.1177/1470593114521452.

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Davis, Rob. ": The Sounds of Commerce: Marketing Popular Film Music . Jeff Smith." Film Quarterly 53, no. 3 (2000): 55–56. http://dx.doi.org/10.1525/fq.2000.53.3.04a00090.

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Bragg, M. A., A. N. Miller, J. Elizee, S. Dighe, and B. D. Elbel. "Popular Music Celebrity Endorsements in Food and Nonalcoholic Beverage Marketing." PEDIATRICS 138, no. 1 (2016): e20153977-e20153977. http://dx.doi.org/10.1542/peds.2015-3977.

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Roberts, Les. "Marketing musicscapes, or the political economy of contagious magic." Tourist Studies 14, no. 1 (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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Allan, David, and Stephanie A. Tryce. "Popular music in Super Bowl commercials 2005-2014." International Journal of Sports Marketing and Sponsorship 17, no. 4 (2016): 333–48. http://dx.doi.org/10.1108/ijsms-11-2016-019.

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Purpose The purpose of this paper is to quantify and qualify the commercials in the Super Bowl. Design/methodology/approach This study is a content analysis of the placement of popular music in Super Bowl advertisements over a ten-year period (2005-2014). Findings More than a quarter of the commercials analyzed contained popular music. Although the use of popular music in commercials vacillated from year to year, popular music was most often observed in the product category of beverages; the music treatment most often used was original vocals; and song lyrics were most often relevant to the narrative of the commercial, rather than the brand. Originality/value This study extends the growing body of Super Bowl advertising research to popular music in commercials and provides a benchmark for all future research in this area.
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Dissertations / Theses on the topic "Popular music – Marketing"

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Butler, Patrick Denis. "By popular demand : marketing change in the arts." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342307.

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O'Reilly, Daragh. "Marketing and consumption of popular music : the case of New Model Army." Thesis, Sheffield Hallam University, 2008. http://shura.shu.ac.uk/4231/.

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English rock band New Model Army has survived for nearly thirty years without a conventional marketing strategy or mass media support, and for much of that time without major record label support. This inquiry set out to explore the reasons for the durability of this independent band. The study required an engagement with a range of literatures from marketing, consumer studies, popular music studies and cultural studies. The key notions of "circuit of culture" and "text" were adapted to help guide the inquiry, and combined with social identity theory and branding theory. A broadly ethnographic approach, harnessed to a combination of social constructionist, hermeneutico-semiotic and discourse-analytical perspectives was used for the study. A range of data collection methods was used, including participant observation, interviews with band and fans, and photography. In three empirical chapters, data on three sites of cultural production and consumption site are presented: cyberspace, museum spaces and gig spaces. The chapters deal with, respectively, the construction of the New Model Army "Family" as a framing interpretative resource for the band-fan community; the curation by the band of an exhibition of its art and artefacts in order to create a Family heritage; and the importance of live performances as Family "gatherings". Data analysis helps to show how the band and fans together construct the musical project that is New Model Army, while also pointing to some underlying tensions and how these are managed by the band and fans., The implications of these findings are then drawn out for the conceptualisation of tribes and brand communities, and the marketing and branding of popular music groups. The combination of circuit of culture, text, and social identity theory with detailed empirical evidence offers a thickly descriptive and analytical answer to the question about the durability of New Model Army's appeal. This thesis also contributes to the development of theory in the areas of arts marketing, arts branding, cultural studies and popular music studies.
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Kazadi, Kanyabu Solomon. "A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018933.

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The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes within the music industry. The concept of ‘fields’ usefully framed an explanation of the struggles and connections within the various fields in the industry and a view of the Zambian music industry in relation to the international industry. To gather the data necessary for this research a qualitative approach was utilised involving semistructured in-depth questionnaires from twenty-three interviewees. These interviewees were selected from various sectors of the music industry in an attempt to gain a holistic perspective of the industry in the 21st century. There were four subgroups: the artists (singers, rappers and instrumentalists), managers, radio DJs, and a miscellaneous group made up of the remaining participants, a Sounds Arcade manager, a music journalist, the National Arts Council Chairperson, a Zambia Music Copyright Protection Society (ZAMCOPS) administrator, and the then President of the Zambia Association of Musicians (ZAM). With the limited exposure to formal musical, instrumental and production training, musicians, instrumentalists, managers and studio production personnel interviewed had had to learn their craft on-the-job. This limited knowledge appears to add to the hindrance of the development of careers and the industry, particularly in terms of how to register and distribute music correctly to earn royalties and protect their intellectual property against piracy. From an institutional level piracy is being addressed more forcefully with the introduction of holograms and the tightening of policies and structures to do with the music industry.
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Lieb, Kristin J. "Pop tarts and body parts an exploration of the imaging and brand management of female popular music stars /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1408927501&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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Dauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.

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In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.
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Ångström, Hugo. "Populärmusik i TV-reklam : En kvalitativ undersökning av musiken som betydelsebärande teckensystem." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5359.

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This paper examines a popular music song (Heartbeats by Jose Gonzalez) as a sign system in television advertising. The study was conducted through qualitative questionnaires in connection to an audio-visual method of analysis called Masking. The method facilitates the analysis of isolated parts in the audio-visual spectrum by masking/hiding parts of the audio-visual totality.The survey had seven respondents where a hermeneutic epistemological approach was used. For the analysis Cooper's theory of brand identity (Practical and Symbolic Attitudes to Buying Brands) was used together with an interaction model for music in audio-visual advertising called "Modes of music-image interaction”. The results showed that the music was associated with values as genuine, honest, responsibility, purity, independence and innovation. The music's symbolic values helped to position the brand in a lifestyle context. The music also helped to express the target group’s identity and attitudes by being innovative and independent. It also enhanced the perception of the visual colour rendition in the film. In general the television advertisement perceived more positive and entertaining when the music was present. In other words the music's social and cultural position contributed to raise the film's credibility. A deeper social and cultural value was created in the movie through resonance between symbolic values of the music and symbolic values of the film.
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Lee, Yi Hsin, and 李逸歆. "A Study of the Marketing Strategy of Popular Music in Taiwan." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/48754591285532630866.

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Shen, I.-Jung, and 沈宜蓉. "A study of Integrated Marketing Communications Strategy of Popular Music Market in Taiwan." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/37061565097863384673.

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碩士<br>世新大學<br>傳播管理學研究所(含碩專班)<br>93<br>The popular(pop) music is very closed to young students' life. By means of the channels of communication, the pop music can be spread anywhere. However, the appearance of MP3 platform and pirates behavior affect the whole market environment. Under the tide of globalization and industrial centralization, local record companies adopt the management model from multinational corporations -- high advertisement. In addition to high advertisement, pop music also has short and highly uncertainly product life cycle. Therefore, how to maximum the disseminative effect is the record companies have to keep an eye on in the future. Integrated Marketing Communications(IMC) is based on the database which contains consumer's information .According to the database, planers can confirm the market's target and establish the communication ways to touch consumers. In the meantime, IMC also corrects the data of database through communication with consumers. As we known, IMC is one way to make the communication effect maximum and to reach synergy by limited resources. This study will focus on how to plan IMC strategy and operate it in the pop music industry. This research uses "deeply interviews" to visit nine relevant persons who are engaged in the distribution of pop music marketing. This way will be helpful to explain more about the operation of integrated marketing communication by Understanding relevant key elements and focused points they care about. This research also uses a case study to proof those key opints are common characters in the real market. The result of this study shows that the company in Taiwan adopts IMC strategy emphasizes on how to using difference channels to spread the messages in order to catch the eyes of consumers. However, they do not pay attention to set up of the channel of interacting with consumers, or try to make the feedback of consumers' opinions into useful data. Consequently, building a contact system to collect consumers' opinions will make consumers easily accept the pop music, and increase the sales volume.
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施韻茹. "From beats to entertainment: the transformation of production and marketing in popular music industry." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/15670159972448583266.

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碩士<br>國立交通大學<br>傳播研究所<br>93<br>The economy logic of popular music industry is production, distribution and consumption. “Market” is always the central concern in this capital procedure, and also the key factors of production and marketing. With the changes of consumption habits and market recession, recording companies found the legal music downloading mechanism, re-version albums, change talents strategies and authorize the digitalization of music. Besides, the overseas market, especially mainland China, is getting more and more important. The transformation of popular music production and marketing shows that the industry is in a turning point. This research starts from the mechanism of production and marketing of popular music, found in the internationalization process of 1990s. It examines how the industry adjusts its capital structure to overcome the market slump since 1998 and the competition of mainland China market. Production, circulation and retail are the three main economy activities of popular music. Framed by the tree activities, this research divide the development of popular music industry into two ages:1990~1997 and after 1998. Also, the discussion of market format will be included. In this way, this research aims to conclude the strategy o of contemporary production and marketing, and its overall effect to popular music industry.
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LAI, YING-LI, and 賴映里. "A Study to Explore the Popular Music Company Using Facebook as Social Network Service Website for Marketing." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/24065451974558608820.

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碩士<br>國立臺灣師範大學<br>圖文傳播學系<br>101<br>In the digital era of Web 2.0, the innovation and development of internet technology was changed very fast. And Social network service (SNS) of the technology became more and more popular, therefore, because of the web sites had many abundant functions and characteristics, it would become the important media of people for using exchanging the message and social interaction. In the past, the popular music industry used the physical channels and advertising to their product promotion. Now, they had begun to use websites, Facebook, YouTube and other social network service websites to create their awareness and exposure of products. They hoped that they could by the different types of social network service websites for more product information and multi-media communications, and decreased the distance of interaction with fans. Interactive communication relationship between people is the mutual transfer and sharing of the message or emotion. In this study, the use of interpersonal interaction and communication related concepts in depth explore about the domestic singer how to use the characteristics of Social network service sites, aggregation crowd and to establish the stickiness of adhesion between closely with fans, and to enhance the relationship of the close interaction between the singers and fans, through this phenomenon and to understand how to maintain the relationship between the singer and fans. In addition to seeking more social support, whether also achieve additional value, and speculated that such a link the way they have the possibility of more development or evolution. By in-depth interviews, we can learn more and more about the different situations of the music company in operating social network service sites from the scholars and popular music staffs through in-depth interviews, and using Facebook Pages to interact with fans, and know about what are the different effects in the singer how will through these situations affect the stickiness of adhesion between the individual and the fans to get more support or encourage, even the impact on. The sites of social network services are in the mature stage of development, and less to discuss the title of popular music industry using social network service sites to market with the academic literature in Taiwan. So, this study hope to discuss a new issue of research and provide the research results to the popular music industry and academia. Finally, this study wish social network services may have more development opportunities and value in this era of rapidly changing technology.
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Books on the topic "Popular music – Marketing"

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The sounds of commerce: Marketing popular film music. Columbia University Press, 1998.

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Knab, Christopher. Music is your business: A FourFront music marketing handbook. 2nd ed. FourFront Media and Music, 2003.

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Mahonin, Valerie. Market your songs: A how to publication for contemporary songwriters & performers. Songsmith Publications, 1986.

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Stafford, William. The song marketing FACS kit. Stafford-Dallam Music, 1993.

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Pop brands: Branding, popular music and young people. Peter Lang, 2010.

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Carah, Nicholas. Pop brands: Branding, popular music and young people. Peter Lang, 2010.

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Jonathan, Feist, ed. Music marketing: Press, promotion, distribution, and retail. Berklee Press, 2009.

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This business of music marketing & promotion. 2nd ed. Billboard, 2003.

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Jim, Pettigrew, ed. This business of music marketing & promotion. Billboard Books, 2003.

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Carah, Nicholas. Pop brands: Branding, popular music, and young people. Peter Lang, 2010.

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Book chapters on the topic "Popular music – Marketing"

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Bahn, Kenneth D. "Popular Musicin Advertising: Does Popular Music In Advertising Influence Consumption Choices?" In Proceedings of the 1994 Academy of Marketing Science (AMS) Annual Conference. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13162-7_68.

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"The marketing of popular music." In Arts Marketing. Routledge, 2007. http://dx.doi.org/10.4324/9780080472058-6.

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"‘Shop Around’: Marketing and mediation." In Understanding Popular Music Culture. Routledge, 2012. http://dx.doi.org/10.4324/9780203094358-14.

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"‘Shop Around’: Marketing and mediation." In Understanding Popular Music Culture. Routledge, 2016. http://dx.doi.org/10.4324/9781315694870-15.

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Sylvester, Ray, and Daragh O’Reilly. "Re-Mixing Popular Music Marketing Education." In The Routledge Research Companion to Popular Music Education. Routledge, 2017. http://dx.doi.org/10.4324/9781315613444-24.

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O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Marketing and Music." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2255.

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The purpose of this book is to contribute to discussions about the music business from a marketing point of view. Arts marketers have long argued that marketing thinking needs to be substantially adapted to deal with the complexities and particularities of the creative and cultural industries. There are a number of books which take a practical approach to the marketing of music (e.g. Baker’s (2012) Guerilla Music Marketing Online), or provide an overview of the music industry (e.g. Kusek and Leonhard’s (2005) The Future of Music: A Manifesto for the Digital Music Revolution and Wikstrom’s (2009) The Music Industry: Music in the Cloud), or comment on economic aspects of the business from the point of view of popular music studies. This book, in contrast, deals with the application of marketing and consumer studies theory to the business. As far as the authors can establish, this has not been attempted before.
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"Japan beating: The making and marketing of professional taiko music in Australia." In Popular Culture, Globalization and Japan. Routledge, 2007. http://dx.doi.org/10.4324/9780203029244-12.

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Renfro, Evan, and Jayme Neiman Renfro. "“We'll Put a Boot in Your Ass, It's the American Way”." In Advances in Educational Marketing, Administration, and Leadership. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4072-5.ch005.

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Since before the founding of the United States through slavery, the extermination of the native populace, war after war, regime overthrow, and more wars, popular media have been used to stir resentments and produce violent fantasies in the general citizenry that often allow for policies of actual violence to be applied against “the other.” This chapter will analyze the affective coordinates of this system in the post-9/11 context, focusing especially on how nationalist-jingoism has now triumphed in the age of the Trump Administration. Crucial interrogations addressed in this chapter include: Why are white southern/rural males particularly susceptible to popular culture induced affective violence? What are the mechanics of profit and neoliberal imperatives of this structure? What is new about the linkage of these phenomena with the first Twitter-President? In pursuing these questions, the authors will use case studies involving the popular media vectors of television, film, and music.
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Renfro, Evan, and Jayme Neiman Renfro. "“We'll Put a Boot in Your Ass, It's the American Way”." In Advances in Educational Marketing, Administration, and Leadership. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4072-5.ch005.

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Since before the founding of the United States through slavery, the extermination of the native populace, war after war, regime overthrow, and more wars, popular media have been used to stir resentments and produce violent fantasies in the general citizenry that often allow for policies of actual violence to be applied against “the other.” This chapter will analyze the affective coordinates of this system in the post-9/11 context, focusing especially on how nationalist-jingoism has now triumphed in the age of the Trump Administration. Crucial interrogations addressed in this chapter include: Why are white southern/rural males particularly susceptible to popular culture induced affective violence? What are the mechanics of profit and neoliberal imperatives of this structure? What is new about the linkage of these phenomena with the first Twitter-President? In pursuing these questions, the authors will use case studies involving the popular media vectors of television, film, and music.
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O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Music as Product." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2261.

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n order to develop a more holistic and integrated understanding of the relationship between music and the market, and consequently of music production and consumption, it is necessary to examine the notion of music as a product. The very act of exploring the relationship between music, markets and consumption immediately frames music as a ‘product’. In the marketplace, music is ‘produced’ and ‘consumed’ rather than made and heard. But the language and practices of the market and of marketing go far beyond the labelling of music making and listening in this way. They are pervasive and, as such, mediate our everyday engagement with music, regardless of the role we play in the market. The way the quality of music is evaluated is dominated by measures of sales success: songs ‘top the charts’, artists ‘sell out’ stadiums and tours, and recording companies sign ‘the next big thing’ to contracts in the expectation of future sales. Even a particular market can be held up as measure of success: in popular music, many bands, such as the Beatles, have been deemed to be successful only after they have ‘broken America’ by reaching high positions on the US music charts.
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