I denna studie har jag undersökt min låtskaparprocess när mina känslor för låtens cover art blev utgångspunkten och det jag förhöll mig till under låtskapandet. Fyra cover arts och fyra låtar har skapats, där varje cover art var utgångspunkten för en låt. För att neutralisera utgångpunkten för låtarna utgick jag ifrån AI-genererade bilder. Mina tankar och de idéer jag redan hade för låtar påverkade då inte resultatet för mina cover arts, som jag piffade upp och gjorde en enkel semiotisk analys av. I detta arbete skriver jag bland annat om min arbetsprocess, från cover art till slutresultat av färdiga demos, för att sedan diskutera mina tankar och upptäckter. Arbetet resulterade i fyra demoproduktioner där jag tycker alla hade en tydlig koppling till respektive cover art. Jag har kommit fram till att cover arts i många fall kan vara en bra utgångspunkt för att föda inspiration och kreativitet. Jag tyckte också dessa cover arts uppvisade tydliga ramar och gav en typ av yttre lyssnares perspektiv under låtskaparprocessen. Att skapa musik utifrån cover arts är ett låtskaparverktyg som passar mig och är något jag tar med mig för att använda i framtida lägen det passar.

Esta investigación tiene como objetivo principal determinar la influencia de la digitalización en el diseño de las portadas de álbumes y sencillos discográficos del rock peruano desde 2015 hasta 2019. Es por esto que se planteó como hipótesis que la digitalización no tiene una influencia directa con respecto a la creación del concepto y elección de elementos o técnicas para el desarrollo del diseño de carátulas discográficas. La presente investigación corresponde a la categoría de enfoque qualitativo, debido a que se centró en un análisis de contenido de un total de 20 portadas discográficas, diez de ellas pertenecientes al marco temporal delimitado y las otras diez fueron carátulas elaborabas antes de la fecha seleccionada. Además, se realizaron entrevistas a dos informantes claves para obtener más información que complemente los resultados alcanzados a partir de los análisis. Entre los principales resultados podemos encontrar que el diseño discográfico del rock peruano presenta un nivel de literalidad en sus diseños, tanto en la era digital como en los diseños que fueron elaborados previamente. También se logró evidenciar que hay una diferencia con los elementos indispensables en el diseño de discográfico realizado en la era digital en comparación con el anterior a este. Por último, se logró concluir que a pesar que la función original de vestir el empaque ya no es la más importante, el rol de la portada de un álbum sigue siendo relevante, ya que sirve como una herramienta publicitaria para dar a conocer la existencia de producción musical. / The main objective of this research is to determine the influence of digitalization on the design of album covers of peruvian rock bands from 2015 to 2019. This is why it was hypothesized that digitalization does not have a direct influence on the creation of the concept and choice of elements or techniques for the development of the design of album cover artwork. This research corresponds to the category of qualitative design, because it focused on a content analysis of a total of 20 record covers, ten of them belonging to the defined time frame and the other ten were covers that were made before the selected date. In addition, two key informants were interviewed to obtain more information to complement the results obtained from the analysis. Among the main results, we can find that the peruvian rock record cover artwork presents a level of literalness in their designs, both in the digital age and in the designs that were previously elaborated. It was also possible to show that there is a difference with the indispensable elements in the record design carried out in the digital age compared to the previous one. Finally, it was concluded that although the original function of dressing the packaging is no longer the most important, the role of an album cover is still relevant, as it serves as an advertising tool to publicize the existence of every music production. / Trabajo de investigación

M. Tech. (Department of Visual Arts and Design: Graphic Design, Faculty of Human Sciences), Vaal University of Technology. / The way in which people consume music has changed over recent times, and the relationship between music and graphic design, once dominated by the ubiquitous album cover, has evolved. Along with cover art, musicians make use of branding, marketing, and promotion for all aspects of their published image, music performances, and products. The graphic designer working with musicians has had to adapt artwork to new formats, and build entire branding systems, which are prevalent in pop music, but seemingly less overtly utilised in classical music, which the study concentrates on. Due to waning attendance at live classical music concerts and increased streaming activity, both in audio and video, an opportunity exists within classical music, the focus of this study, to develop new audiences and nurture existing ones. The many tangential points that exist for graphic designers to consider in the music industry can be described as musicking, which pertains to all activities, processes, products and people involved in music-making, listening, recording, performing, producing and so forth, as explained by Elliott (1995) and Small (1999). This theoretical framework provides a lens for the graphic designer to view the totality and elements of the music industry and reconsider opportunities for collaboration and involvement. The goal of this study was to explore how one can use the principles and dynamics of graphic design to engage with and capture the dynamics of musicking in a branding project. In order to accomplish that, the main aim was to triangulate graphic design theory, musicking theory, and insights gleaned about and from a case-study client, to culminate in a practical case study using graphic design to support or capture the client’s musicking, so that the potential for refocusing the branding onto the musicking approach could be explored and interrogated. The literature revealed challenges and opportunities within the context of global consumption of music classical music and graphic design. The case study provided insights into a classical musician that records, teaches and performs, and his needs in terms of a practical project. The practical design project emanating from the exploration of musicking as an approach served as a culmination of insights gleaned from literature, the musician himself, and action research that may be transferable to designers working within the field of music branding, or musicians wishing to brand themselves. Findings showed that graphic design elements have the potential to echo the character of music, can act as a bridge to the artist and his or her stature, play an identifying and/or expressive role, and experientially transport listeners into meaningful engagement with the music. Recently, activities such as streaming have stripped music somewhat of the special, tactile context of physical packaging, but honouring audience expectations in a similar way in performance through graphic communication and artwork (including programs, screens, video and installations) offers other channels for reference points, as do online platforms for branding and engagement, that serve an interactive, dynamic interchange between artist and listener, promoting loyalty and support. As both the classical music industry and graphic design fields experience new demands brought about by technological advances, consumer behaviour and the vast options available to those digitally connected, great opportunity lies in the field of branding musicking. Classical music could potentially benefit from adopting a more audience-centric approach and consideration of a multisensory experience, as audiences have become spoiled for choice not only in music options available, but within the broader entertainment arena clamouring for their attention in a visually branded and captivating world. It simply is not enough anymore to believe that “[i]f you build it, he will come” (from the film Field of Dreams, in Parr 2015:4) and meaningful engagement with listeners through various touch points, builds lasting relationships and supportive fan bases that can ultimately affect a musician’s livelihood.