Σκοπός της παρούσας διπλωματικής είναι η μελέτη της πειρατείας στην μουσική βιομηχανία και η συμπεριφορά του «καταναλωτή» απέναντί της. Θα ξεκινήσει με την ανάλυση του Μάρκετινγκ και την ανάλυση του περιβάλλοντος της μουσικής βιομηχανίας σήμερα. Θα αναφέρει τους τρόπους και τις τεχνικές προώθησης και το πως εφαρμόζεται το Μάρκετινγκ στην συγκεκριμένη βιομηχανία. Θα παρουσιάσει την ιστορία της πειρατείας και την φιλοσοφία που κρύβεται πίσω από αυτή. Στο τέλος θα συνδέσει το ρόλο της πειρατείας στα παραπάνω, με έρευνες που έχουν γίνει στο παρελθόν. Επιπλέον, θα εξετάσει την συμπεριφορά του καταναλωτή γενικότερα και στην συνέχεια θα παρουσιάσει τα αποτελέσματα της έρευνας που έγινε, η οποία εξετάζει την συμπεριφορά του καταναλωτή απέναντι στην διαδικτυακή αγορά της μουσικής, νόμιμα ή παράνομα, στην πειρατεία της μουσικής βιομηχανίας και την συμμετοχή του σε αυτήν καθώς στους λόγους που το κάνει. Τέλος, θα παρατεθούν τα συμπεράσματα της έρευνας, προτάσεις πάνω στο θέμα της πειρατείας και θέματα προς συζήτηση. / The purpose of this paper is to study the piracy in music business today, and to examine the consumer behaviour towards music piracy.

Syftet med denna uppsats är att undersöka och analysera hur relationer ser ut mellan musikbolag och fans och hur de olika parterna upplever dem. För att uppfylla detta syfte har vi formulerat två forskningsfrågor: Vad kan fans uppfatta som värdeskapande i en relation med musikbolagen och vilka effekter kan detta få på relationen? Vad karaktäriserar musikbolagens arbete för att skapa och utveckla relationen mellan artist och fans? Uppsatsen är ett resultat av en kvalitativ metod med en induktiv ansats. Vi har genomfört semi-strukturerade intervjuer via telefon, Skype samt chattmeddelanden för att få en djup empiri från relevanta personer inom musikbranschen samt fans. Uppsatsens resultat visar att musikbolagens arbete med att skapa och utveckla relationer till stor del bygger på att identifiera vilka sociala plattformar som olika målgrupper befinner sig på. Utifrån detta skapas strategier för att kommunicera med fans och därmed kan relationer med dessa skapas och utvecklas och värdeskapande processer kan erbjudas till fansen. Vad fans uppfattar som värdeskapande är bland annat erbjudanden om tävlingar och förmåner så som förköp av konsertbiljetter. Fansen vill även känna sig uppskattade, sedda och behövda av musikbolagen. Om dessa värdeerbjudanden skulle upphöra att existera kan relationen med musikbolagen påverkas negativt, vissa fans menar även att uppror gentemot artisten kan uppstå. / The purpose of this paper is to investigate and analyze the characteristics of relationships between music companies and fans and how these parties experience the relationships. To fulfill the purpose we have based the paper on the following questions: What does fans appreciate as value creation in the relationship with music companies and what effects does this have on the relationship? What characterize the work of the music companies regarding the creation and the development of relationships between artists and fans? The paper is a result of a qualitative method with an inductive approach. We have conducted semi-structured interviews over the phone, Skype and chat messages to get a deep empirical data from relevant people in the music industry and from fans. The result of the paper shows that the work of the music companies regarding the creation and development of relationships emphasizes an identification of the social platforms where different target groups are active. Based on this the companies can create different strategies to communicate with the fans and the relationships can thus be created and developed, and the music companies can offer the fans different value propositions. We have also identified what the fans perceive as value creating and this is for example different competitions and benefits like presale of concert tickets. The fans also want to feel appreciated, seen and needed by the music companies. If these value propositions would cease to exist, the relationship between the music companies and the fans may be negatively affected; some fans even proclaim that a revolt against the artists may occur.

Diss. (sammanfattning) Uppsala : Uppsala universitet, 2002. / Härtill sju uppsatser.

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Könsstereotyper är något som finns i alla kulturer och påverkar både män ochkvinnor redan från barnsben. Inte minst musikindustrin kantas avkönsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Menmycket lite tycks vara skrivet om hur artister framställs på sina skivomslag medkönsstereotyper som utgångspunkt.Syftet med föreliggande studie var därför att analysera och jämföra skivomslagför kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, medvikt på vilka könsstereotyper som förekommer. Syftet var även att se om någonförändring har skett med tiden vad gäller utformningen av skivomslag samtundersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer ochgenrer.En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varjeår var för kvinnliga respektive manliga artister.Resultatet visade att en del av de könsstereotyper som är vanliga vidfotograferandet av män och kvinnor även förekom på skivomslag. Men på endel punkter frångick omslagen traditionella könsstereotyper. Resultatet visadeäven att förekomsten av stereotyper har förändrats en del under tioårsperioden.En del skillnader kunde också identifieras vid en jämförelse av amerikanska ochsvenska artister, samt vid en jämförelse av olika genrer.Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnaderi hur manliga och kvinnliga artister porträtteras på sina skivomslag. Menskivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andrasammanhang när män och kvinnor fotograferas. / Gender stereotypes exists in all cultures and affects both men and women froman early age. The music industry is not an exception and stereotypes can be seenand heard in everything from lyrics to music videos. However, very little seemsto be written about gender stereotypes on album covers.Therefore, the purpose of this study was to analyze and compare how albumcovers for female and male artists differ, with focus on gender stereotypes. Thepurpose was also to examine whether a change over time have occurred when itcomes to gender stereotypes present on album covers. Additionally, this studyexamined how gender stereotypes takes form in different cultures and genres.A visual analyze were made on 100 album covers. Half of them were releasedin 2006/2007 and the other half was released in 2016/2017. The number of maleand female artist were equally divided across the different years.The result showed that some of the gender stereotypes that normally occurwhen males and females are photographed, also occurred on album covers.Other gender stereotypes were uncommon on album covers. Some changescould be seen over the ten-year period. Moreover, the result showed somedifferences when comparing Swedish and American artists’ album covers, andwhen comparing different genres.The conclusions that could be drawn from the result was that there aredifferences in how male and female artists are portrayed on their album covers.However, album cover pictures differ to a certain extent from how males andfemales are photographed in other situations.

Könsstereotyper är något som finns i alla kulturer och påverkar både män och kvinnor redan från barnsben. Inte minst musikindustrin kantas av könsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Men mycket lite tycks vara skrivet om hur artister framställs på sina skivomslag med könsstereotyper som utgångspunkt. Syftet med föreliggande studie var därför att analysera och jämföra skivomslag för kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, med vikt på vilka könsstereotyper som förekommer. Syftet var även att se om någon förändring har skett med tiden vad gäller utformningen av skivomslag samt undersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer och genrer. En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna 2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varje år var för kvinnliga respektive manliga artister. Resultatet visade att en del av de könsstereotyper som är vanliga vid fotograferandet av män och kvinnor även förekom på skivomslag. Men på en del punkter frångick omslagen traditionella könsstereotyper. Resultatet visade även att förekomsten av stereotyper har förändrats en del under tioårsperioden. En del skillnader kunde också identifieras vid en jämförelse av amerikanska och svenska artister, samt vid en jämförelse av olika genrer. Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnader i hur manliga och kvinnliga artister porträtteras på sina skivomslag. Men skivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andra sammanhang när män och kvinnor fotograferas. / Gender stereotypes exists in all cultures and affects both men and women from an early age. The music industry is not an exception and stereotypes can be seen and heard in everything from lyrics to music videos. However, very little seems to be written about gender stereotypes on album covers. Therefore, the purpose of this study was to analyze and compare how album covers for female and male artists differ, with focus on gender stereotypes. The purpose was also to examine whether a change over time have occurred when it comes to gender stereotypes present on album covers. Additionally, this study examined how gender stereotypes takes form in different cultures and genres. A visual analyze were made on 100 album covers. Half of them were released in 2006/2007 and the other half was released in 2016/2017. The number of male and female artist were equally divided across the different years. The result showed that some of the gender stereotypes that normally occur when males and females are photographed, also occurred on album covers. Other gender stereotypes were uncommon on album covers. Some changes could be seen over the ten-year period. Moreover, the result showed some differences when comparing Swedish and American artists’ album covers, and when comparing different genres. The conclusions that could be drawn from the result was that there are differences in how male and female artists are portrayed on their album covers. However, album cover pictures differ to a certain extent from how males and females are photographed in other situations.

Made available in DSpace on 2014-06-11T19:35:17Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-06Bitstream added on 2014-06-13T18:46:50Z : No. of bitstreams: 1 toledo_hms_dr_arafcl.pdf: 3494951 bytes, checksum: 8f1d3f54a47fa0c64b292a12abf612c8 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O objetivo desta tese é a análise da trilha sonora das telenovelas da TV Globo como meio privilegiado de difusão da canção nacional e também internacional no mercado fonográfico brasileiro. Produzida e divulgada pela TV Globo e por sua gravadora Som Livre, a trilha sonora se constituiu, desde o início de sua produção por essas empresas das Organizações Globo, em um produto específico da indústria fonográfica e, ao mesmo tempo, em um espaço de divulgação, por excelência, de artistas, canções e segmentos musicais que, em casos específicos, duraram apenas o tempo em que a respectiva novela da qual eram tema foi exibida. A proposta aqui é, justamente, analisar os impactos dessa relação entre dois dos mais importantes setores da indústria cultural – televisão e indústria fonográfica - ao redor de duas das mais significativas manifestações culturais brasileiras – novela e música, demonstrando como tal relação influenciou significativamente o mercado fonográfico nacional. Dessa forma, a pesquisa aborda o período compreendido entre 1969 (ano de divulgação da primeira trilha sonora produzida pela TV Globo) e 2005, quando, então, a gravadora Som Livre passa a diversificar sua atuação depois de quase duas décadas concentrada quase que exclusivamente na divulgação das trilhas sonoras. Definidos os segmentos, artistas e canções que compuseram o fundo musical da novela em todo esse período, a análise buscou cruzar essas informações com as listagens de discos mais vendidos (elaboradas pelo NOPEM e ABPD) e de músicas mais executadas anualmente nas rádios (de acordo com o ECAD), visando identificar a correlação entre a presença da canção e do artista na trilha com as outras formas de difusão da música. A pesquisa enfatiza, ainda, a importância da trilha sonora como meio de renovação... / The objective of this thesis is analysis of the soundtrack of TV Globo‟s soap operas as a means for promoting the national and also international songs in the Brazilian music industry. Produced and disseminated by TV Globo and its record company, Som Livre, the soundtrack is constituted, since the beginning of its production by such companies of Globo Organizations, in a specific product in the music industry and the same time, in a space for the promoting, par excellence, of artists, songs and musical segments that, in specific cases, lasted only the time that the soap opera, which they were subject of, was displayed. The proposal here is precisely to analyze the impacts of this relationship between two of the most important sectors of the cultural industry - television and music industry – the two of the most significant cultural events in Brazil – soap opera and music, demonstrating how this relationship significantly influenced the National Music Industry. The survey covers the period from 1969 (year of the release of the first soundtrack produced by TV Globo) to 2005, when then Som Livre starts to diversify its operations after nearly two decades focusing exclusively on the dissemination of soundtracks. Defined the segments, artists, and songs that made up the soap opera‟s background music throughout this period, the analysis sought to cross this information with the listings of the best selling albums (produced by NOPEM and ABPD) and the most played songs on the radio during the year (according with ECAD), to identify the correlation between the presence of the song and the artist on the soundtrack with other forms of dissemination of music. The study emphasizes the importance of the soundtrack as a means of renewing musical segments already consolidated and at the same time it also functions as a strategic field of intense diffusion of segments and ephemeral genres.

Submitted by Eduardo Felipe Cangemi Da Cruz null (eduardofccruz@yahoo.com.br) on 2016-11-15T16:18:08Z No. of bitstreams: 1 _DISSERTACAO_PRONTA_REVISADA.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-11-21T14:30:12Z (GMT) No. of bitstreams: 1 cruz_efc_me_fran.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) / Made available in DSpace on 2016-11-21T14:30:12Z (GMT). No. of bitstreams: 1 cruz_efc_me_fran.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) Previous issue date: 2016-10-11 / Não recebi financiamento / A presente pesquisa tem como foco central de análise a produção fonográfica da gravadora independente Discos Marcus Pereira, entre os anos de 1974 e 1978. Este período foi marcado pelo processo de consolidação do mercado de discos no Brasil e pelas discussões em torno de elementos que viriam redimensionar o campo da música popular brasileira, a partir de valores e comportamentos vinculados a certas categorias de apreciação e consumo. A empresa Discos Marcus Pereira lançaria no mercado fonográfico 142 elepês, todos voltados exclusivamente para o registro e divulgação da “autêntica música popular brasileira”. Deste universo discográfico estão sendo considerados como fontes desta investigação, àqueles dedicados à música popular instrumental, mais especificamente o choro. A década de 1970 demarcaria um importante momento de rearticulação e de revitalização deste gênero musical. Se de um lado ocorre a “redescoberta” do gênero e de seus artífices, por outro, concorre uma nova safra de compositores e instrumentistas que passam a pensar o choro para além dos modelos “tradicionais” de composição e execução. Essa tensão entre “preservação” e “revitalização” dos repertórios do choro é amealhada ao longo do trabalho, compondo parte do cenário em que circulariam os discos da gravadora. Essas discussões tangenciariam toda a década de 1970, marcada pela necessidade da afirmação da identidade nacional brasileira, para a qual colaborou de forma significativa a esfera da música popular. A escolha dos repertórios e artistas realizados pela gravadora iriam dialogar com a construção de uma tradição musical nacional, negociada e elaborada por memorialistas, musicólogos e folcloristas ao longo do século XX, através de práticas sociais que se constituíram, produzindo representações específicas acerca de uma determinada tradição musical a ser salva e preservada das influências deletérias dos gêneros musicais estrangeiros. Essa concepção em torno da cultura popular compõe e identifica a atuação da Discos Marcus Pereira nos anos de 1970. Tais posicionamentos em diálogo com um ideário estético e político onde, povo e nação, seriam tomados como elementos centrais de nossa identidade, são discutidos aqui, a partir da produção fonográfica da gravadora. / This research has the central focus of analysis the record production of the independent record label Discos Marcus Pereira, between the years 1974 and 1978. This period was marked by record market consolidation process in Brazil and the discussions on elements that would resize the field of Brazilian popular music, from values and behaviors related to certain categories of appreciation and consumption. The company Discos Marcus Pereira launch in phonographic 142 LPs market, all geared exclusively for the recording and disclosure of "authentic Brazilian popular music." This discographic universe are being considered as sources of this investigation, those dedicated to the instrumental popular music, specifically crying. The 1970s demarcate an important moment of re-articulation and revitalization of this musical genre. On the one hand there is the "rediscovery" of the genre and its creators, on the other, contributes a new crop of composers and instrumentalists who spend thinking crying beyond the "traditional" models of composition and performance. This tension between "preservation" and "revitalization" of the choro repertoire is accumulated throughout the work, forming part of the scenario in which circulate the recording disks. These discussions They crossed throughout the 1970s, marked by the need for affirmation of Brazilian national identity, which contributed significantly the sphere of popular music. The choice of repertoire and artists performed by the label would dialogue with the construction of a national musical tradition, negotiated and drafted by witnesses, musicologists and folklorists throughout the twentieth century, through social practices that constitute, producing specific representations about a particular musical tradition to be saved and preserved from harmful influences of foreign musical genres. This conception around the popular culture composes and identifies the role of Marcus Pereira discs in the 1970s Such positions in dialogue with an aesthetic and political ideas where people and nation, would be taken as central elements of our identity are discussed here, from the record production label.

Made available in DSpace on 2017-07-10T17:55:38Z (GMT). No. of bitstreams: 1 Deivid_Fernando_Franco.pdf: 3208393 bytes, checksum: 1a8a7db81460ccb7639ec2cd2c8e8817 (MD5) Previous issue date: 2015-08-31 / The research starts from the premise that the Rock music of the 1980s served as a cultural practice, as a critical tool, nonconformity and reflection on the political, social and economic situation of Brazil. The work takes as a research subject the Rock music of that time, considering the many rock bands that emerged in the period, but restricting analysis to the songs composed by Renato Russo, a musician who has appeared both in solo and in the bands Aborto Eletrico and Legião Urbana. So, the analysis was performed on some compositions focusing on the speech diffused by the musician, in order to realize his political positioning. The period which is being covered in the research takes as its starting point the year 1978, when the first compositions from the musician aroused, until 1990, when was released the album called "As Quarto Estações". Our sources are the songs and speech found in Renato Russo s compositions and the interviews he granted to the music press / A pesquisa parte da premissa de que o rock da década de 1980 serviu, enquanto prática cultural, como instrumento de crítica, inconformismo e reflexão acerca da situação política, social e econômica do Brasil. O trabalho toma como objeto de pesquisa o rock daquela época, considerando as inúmeras bandas de rock que surgiram no período, mas restringe as suas análises às canções compostas por Renato Russo, músico que atuou em carreira solo e nas bandas Aborto Elétrico e Legião Urbana. Para tanto foram realizadas análises de algumas composições com foco no discurso propalado pelo músico, procurando perceber o seu posicionamento político. O período que a pesquisa abrange toma como ponto de partida o ano de 1978, data em que surgem as primeiras composições do músico, depois indo até 1990, quando do lançamento do disco As Quatro Estações . As nossas fontes são as canções e o discurso de Renato Russo, encontrados em suas composições e entrevistas cedidas à imprensa especializada em música

The diploma thesis deals with the marketing communication of Czech musicians, concretely how musicians should effectively communicate with their audience. The aim is to analyse and to create the optimal way to develop the communication of musicians within the Czech music sphere. The theoretic part aims to define the fundamental terms of this thesis. It explains terms relating to the marketing communication, communication mix, communication and media channels used in the music industry and it also defines the Czech music industry. The practical part consists of two qualitative researches regarding the communication of musicians and the audience in the Czech music industry. The results are used for creation the methodology of marketing communication including the advices and recommendations for beginning musicians. The benefit of this thesis is the application of the methodology as the reference how to communicate with the audience for a purpose of gaining and building up the audience of the musicians.