This diploma thesis Interaction of media and marketing discourse on the media image of musician Tomáš Klus examines the influence of the corporate agenda through the marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. on the agenda of the media, which represent the work of three full-scale Czech newspaper MF Dnes, Právo a Blesk. The theoretical approach is being built on the basic theses of media construction of reality and construction of media image, the concept of agenda setting and issue of the music industry. Thus, areas involved and influence the marketing and media world and form the basic framework of the theoretical structure of media reality. The empirical part is devoted to a particular process of agenda setting on an example of the media image of a Czech musician Tomáš Klus over three years through marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. sampled for analysis of print media - newspapers MF Dnes, Law and Flash. The goal is to trace how and to what extent the marketing discourse influences the media discourse and how does this interaction influence the musician's final media image.

This master thesis deals with various tools of digital marketing and their usage in the music industry. The aim of my master thesis is an analysis of available tools and then the demarcation extent of use. The main research question is What tools of digital marketing are currently most used in the music industry? I chose research methods such as observation, study documents and written questionnaire for answering this issue applied to the Czech Republic. The contribution of this work is how to make particular tools of digital marketing more effective for musicians of the Czech Republic.

El libro, dividido en dos tomos, tiene como objetivo principal abordar el tema de los negocios musicales desde una perspectiva poco narrada en el Perú. El tomo I introduce la administración, organización de los negocios y narra los casos de artistas y empresarios exitosos del quehacer musical. El tomo II presenta más casos de negocios musicales de compositores, orquestas, emprendedores, directivos de grupos radiales y un análisis sobre el entorno legal, financiero y de las nuevas tendencias en marketing. / The publication’s main objective is to address the subject of the musical business with a new little perspective treated in Perú. The book is divided in two volumes. Volume I introduces the management, organization of business and chronicles the cases of artists and successful entrepreneurs in the musical environment. Volumen II presents more cases of business related to composers, orchestas, entrepreneurs, managers of radio, groups and an analysis of the legal, financial and new trends in marketing.

Digitaliseringen har revolutionerat musikindustrin, alla delar av marknaden har utvecklats, marknadsföring är ett av dem. Sociala medier har blivit centrum för marknadsföringen och konsumenten begär mer relaterbara varumärken och image som ett krav för att konsumera produkter. Syftet med vår studie har varit att undersöka hur dagens artist utvecklar och hanterar sitt varumärke och image genom sociala medier. Vi ville sondera hur detta påverkar artistens karriär. Studien syftar till att tillhandahålla kunskap om hur artister och personer som verkar inom musikbranschen definierar varumärke och image i dagens musikbransch samt hur digitaliseringen har påverkat marknadsföringen av artister. Dessutom ville vi undersöka vilken effekt sociala medier kan ha på byggandet av en artists varumärke. Studien genomsyras av en hermeneutisk forskningsfilosofi som påverkade valet att tillämpa en kvalitativ forskningsmetod och därmed en semistrukturerad intervjumetodologi. Intervjuerna genomfördes med både artister och personer som arbetar med artister och marknadsföring i musikbranschen för att ge synlighet och djup i flera perspektiv. Studien resulterade i en slutsats som visar hur artister saknar engagemang och kunskap kring utvecklingen av deras varumärke. Den genomgående röda tråden studien syftar till att det idag finns ett mediebrus som gör det svårt för artister att nå ut med sin musik till konsumenter. För att lyckas med detta krävs det att artister jobbar aktivt med att skapa ett starkt varumärke och image, något som denna studie visar inte går att åstadkomma genom endast sina sociala medier. Däremot påvisas det att sociala medier är ett av de mest inflytelserika verktygen inom marknadsföring för en lyckad artistkarriär. / The music industry has been revolutionized through digitalisation, almost every corner of the industry has been relocated, marketing is one them. The focal point has moved to social media and the consumer requests more relatable brands and images as a demand to consume products. The purpose of our study has been to investigate how today's artist develops and manage his/hers brand and image through social media. We wanted to explore how this affects the artist's career. The study aims to provide knowledge for how artists’ and industry people define brand and image in today’s music industry and how the digitalisation have affected the marketing of artists. Furthermore, what effect social media can have on an artist’s brand. The study is permeated with a hermeneutic research philosophy which influenced the choice to apply a qualitative research method and accordingly a semi-structured interview guide methodology. The interviews were conducted with both artists and music industry people working with artists and marketing to provide visibility and depth in both perspectives. The result of the study shows a lacking engagement from artists in their practical effort to develop, maintain and present a brand and image through social media. The constant red thread through the study aims to present a media noise that makes it difficult for artists to reach the consumer with their music. To succeed in this, it is required that artists work actively to create a strong brand and image. All though the artists do mention practical factors that imply that they subconsciously labor their brand and image through social media it is not enough to be successful in the theories of brand and image. However, it is proven that social media is one of the most influential tools in marketing for a successful artist career.

Is Czech Spotify gender-biased? Alžběta Křížková Abstract This thesis analyses the gender inequality of music streaming platform Spotify. It focuses on Czech Spotify, ergo, on the Czech music industry between May 2020 and March 2021. The interdisciplinary study covers crucial theoretical concepts from the theory of platforms, popular music, and gender studies. It verifies whether the theory built on Anglo-Saxon tradition can be applied to the local setting. The dataset comprises of songs placed in the "TOP 200" chart and select editorial playlists. The chart illustrates song popularity based on listeners (organic listening), and chosen editorial playlists indicate the platform's promotion of songs (suggested listening). The gender gap analysis is based on a comparison of three gender ratios of songs entering the platform in total, in the playlists, and songs that make it to the chart. The empirical research utilises fundamental statistics and presents various song aspects (genre, record label, band formation, and others) in relation to artists' gender on Spotify, but also in the Czech music industry. The results show a low representation of female artists in the whole industry, while the platform actively promotes female artists via suggested listening. Organic listening endorses gender stereotypes and...

[pt] O objetivo desta tese é contribuir para o debate da relação entre contexto socioeconômico e artes a partir da análise do fenômeno do funk ostentação. Surgido ao longo dos anos de crescimento econômico dos governos do Partido dos Trabalhadores, o funk ostentação foi entendido como uma representação do que se rotulou, à época, de nova classe média, um fenômeno socioeconômico que foi associado ao êxito das políticas econômicas e sociais do PT. À medida que ganhavam destaque na indústria da música, uma parte expressiva dos artistas do funk ostentação passou a defender um discurso explicitamente neoliberal, ressaltando a meritocracia e o empreendedorismo como fatores determinantes de seu êxito (individual), ignorando o papel das políticas para a formação do próprio subgênero. No campo da música, foi dada maior atenção à economia do funk e às inovações de um modelo de negócio engendrado pela produtora Kondzilla destacando a centralidade do audiovisual e das redes sociais digitais, notadamente o YouTube. A tese se detém justamente sobre essa aparente contradição entre os contextos socioeconômico e cultural realizando uma análise interpretativa de conteúdo de entrevistas de alguns personagens mais destacados dentro do subgênero musical postadas na plataforma YouTube entre 2011 e 2015. Ainda que as políticas neoliberais de consumo não produzam necessariamente impactos políticos lineares, totalizantes e homogêneos, verificou-se nas falas dos MCs a recorrência de um discurso marcado pelo individualismo e pela cultura motivacional, aparentemente antitéticos a um contexto econômico de maior socialização do poder de compra via políticas públicas de Estado. / [en] The aim of this thesis is to contribute to the debate on the relationship between the socioeconomic context and the arts based on the analysis of the funk ostentação phenomenon. Emerged over the years of economic growth of the Workers Party governments, funk ostentação was understood as a representation of what was labeled, at the time, the new middle class, a socioeconomic phenomenon that was associated with the success of economic and social policies of the PT. As they gained prominence in the music industry, a significant number of funk ostentação artists began to defend an explicitly neoliberal discourse, emphasizing meritocracy and entrepreneurship as determining factors for their (individual) success, ignoring the role of policies for training of the subgenus itself. In the field of music, greater attention was given to the economy of funk and to the innovations of a business model engendered by the producer Kondzilla, highlighting the centrality of audiovisual and digital social networks, notably YouTube, in this process. The thesis dwells precisely on this apparent contradiction between the socioeconomic and cultural contexts, performing an interpretative content analysis of interviews with some of the most prominent characters within the musical subgenre posted on the YouTube platform between 2011 and 2015. Although neoliberal consumer policies do not produce necessarily linear, totalizing and homogeneous political impacts, it was verified in the speeches of the MCs the recurrence of a discourse marked by individualism and motivational culture, apparently antithetical to an economic context of greater socialization of purchasing power via public State policies.

Background: Being an artist in the Swedish music industry in 2023 has been found to labor relations involving challenges related to health, hope, creativity and inspiration(Rödblom et al., 2023). Previous studies have also examined the working environment of artists, such as challenging work relationships, how artistic expression demands emotional awareness, and how this may impact the mental health of artists. However, what is the actual experience of health among artists, and why?Purpose and Objectives Summary: Through this investigation, I contribute to filling the existing knowledge gap and mapping how artists perceive health, and the reasons for their experiences in the contemporary music industry.Methodology and data collection: This thesis constitutes a qualitative study with an inductive approach. To structure the research study, I have chosen to adopt Grounded theory, which has involved entering the field with an open mind, collecting information,and subsequently compiling, coding and reflecting upon the data. I have conducted unstructured interviews with three artists and three managers to gain insights into how artists perceive health, and later also discuss why they perceive health in that way.Results: The findings reveal that the artists' experience of health is shaped by various challenges such as establishing a balance between work and leisure, motivation, social media and how artists engage with it, and challenges regarding their health. There is no doubt that they have a passion for their profession and that this is truly what they wish to dedicate their time and efforts to. However, the sacrifice involved in doing so encompasses factors that pose challenges to their overall well-being and health in various ways. The reason why the abovementioned themes have been highlighted in my interpretation, is because the artists experience a certain frustration, wherein they perceive a lack of support, structure, sustainability, and health in the mentioned aspects. This complicates the artists'existence, encompassing everything from the working environment to their personal life.Conclusion: The results of the study suggest that a clearer demarcation between work and leisure would be advantageous for both artists and their managers. Furthermore, the conclusion reveals that the primary motivation of artists, linked to "a calling" or "the questfor meaning," is intimately tied to their identity and positively correlated with the experience of good health and well-being. The results also indicate that artists encounter stress related to the use of social media, and managers propose that increased insight and openness to alternative creative solutions are necessary, a proposition supported by relevant theories. The implementation of these solutions may potentially enhance the health of artists by mitigating the stress associated with social media. Ultimately, the results also concludes that health is a crucial and topical discourse within the music industry, particularly as certain artists do not perceive their health in a satisfactory manner today.

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Digitaliseringen, uppkomsten och den ökade populariteten av on-demand musikstreamingtjänster har förändrat musikbranschen i snabb takt. Tidigare studier visar att digitaliseringen har påverkat sättet hur media skapas, publiceras, distribueras och konsumeras. Studier om digitaliseringens effekter på kreatörer och distributörer inom musikbranschen visade sig däremot vara få. Det ansågs därför som en möjlighet att utforska hur artister och oberoende skivbolag uppfattar digitaliseringens effekter för att minimera den nuvarande kunskapsluckan. Den explorativa sekventiella studien bestod av två faser och baserades på en kombination av olika metoder. Den initiala studien utgjordes av tre kvalitativa intervjuer och resulterande arbetsteorier prövades därefter i en kvantitativ enkätundersökning (n=81). Resultatet indikerar att större andelen av oberoende skivbolag har anpassat sina affärsmodeller och utvecklats till s.k. 360°-musikföretag. Resultatet visar vidare att digitaliseringen har till viss grad påverkat sättet hur musik skapas och produceras, med en tendens mot en mer individualistisk och digital process, och vidare medfört en förenkling för artister att publicera sin musik. Artisternas intäkter har däremot inte förbättrats och många upplever att arbetsklimatet har försämrats. Resultatet visar att digitaliseringen sedan uppkomsten av musikstreamingtjänster har medfört omvälvande förändringar, dock verkar dessa inte ha lett till en demokratisering av musikbranschen utan enbart till en förflyttning av makten från skivbolagen till musikstreamingtjänsterna. Både artister och oberoende skivbolag uppfattar att den nära framtidens främsta utmaningar å ena sidan är att uppnå en skälig betalning för artister, samt å andra sidan att framgångsrikt marknadsföra musiken för att nå igenom bruset. Det indikeras vidare att regler och lagar är nödvändiga för att kunna säkerställa en hållbar utveckling av musikbranschen. / The emergence and continuously growing popularity of on-demand streaming music services has changed the music landscape rapidly and new services are entering the market at a high pace. Prior studies show that digitization has affected the way media is created, published, distributed and consumed. The literature review revealed a knowledge gap regarding the effects on music professionals and provided an opportunity to explore how artists and independent record labels perceive the aspects of digitization. The study followed an exploratory sequential mixed-methods approach and consisted of two phases, an initial study including three qualitative interviews, and a quantitative follow-up study, in which working theories that had resulted from the initial study were tested through an online survey (n=81). The results indicate that many independent record labels have changed and adapted their business models and turned into so called 360° music companies. The results further show that digitization developments have to some degree affected the way music is created and produced, with a tendency towards a more individualistic and digital process, and that it has become easier for artists to publish their music; their incomes have however not improved and for many artists the working climate has become harder. The results show that the emergence of on-demand streaming services has disrupted the music industry, instead of having a democratic impact, the power that record labels used to have appears to have shifted to streaming services. Both artists and independent record labels perceive the achievement of fair payments and successful promotion to be the main future challenges. It is indicated that regulations and laws that prevent exploitation are necessary in order to ensure the music industry to be sustainable in the future.

The purpose of the study is to examine similarities between the role as a songwriter with the role as an entrepreneur, as well as the conceptions about working with songwriting. To examine this three questions was asked: What similarities are there between the role as a songwriter and the role as an entrepreneur? What characteristics are described as important to succeed as a songwriter compared to those of an entrepreneur? What conceptions are there about working with songwriting? As a foundation for the thesis the history of the music industry is depicted in its own chapter with focus on the sales of music from the 15th century until today. The chapter describes how the music industry for a long time used sheet music as the main way to distribute new music. In the end of the 19th century the record industry started to emerge with the development of record players. During the 20th century the industry went through a lot of changes where new technology like the radio and the TV became important channels to reach a bigger audience. In the beginning of the 21st century the record sales plummeted as the music market became more and more dominated by different streaming services. The thesis empirical data is based on eight interviews, including a group interview, conducted in Los Angeles with four Swedish and seven American informants. It is also based on a forum thread from a Swedish music forum on the internet. The results from the interviews are first described in an overview and then divided into three categories; aspiring songwriters, songwriters in the music industry and informants working with songwriters. The results from the interviews shows that a songwriter should be a good person to collaborate with, be good at establishing important contacts in the music industry, and pay attention the administrative work of accounting, contracts and agreements. From the forum thread of the music forum disappointment is expressed about how DJ’s do not single handedly write and produce all the music they are attributed to in the media.   The analysis shows that professional songwriters have much in common with entrepreneurs because they both need to take risks, be creative, and start business. The similarities between the conceptions of what is required to succeed as a professional songwriter with what it takes to succeed as an entrepreneur includes having a good idea, having a supportive environment as well as being involved in marketing, sales and administration. Furthermore, the analysis shows that the work of songwriting is often glorified or overlooked, which creates misleading representations of what the work of a songwriter actually consists of.