Street teams are grassroots efforts built from the ground up by people who have a vested interest in promoting a band or event. They are also made up of people who are passionate about what they do. This study investigated the socialization process of street team members from the investigation stage to obtaining full membership. It also identified the outcomes of socialization. In this study, 15 street team members were interviewed and observations were made at concerts and street team events over an 11-month period. Results indicated that although there are similarities in the socialization process among street team members, they actually belong to three different types of street teams.

This report contains the details of internship completed at the National WWII Museum in New Orleans, Louisiana. It will discuss the structure and practices of the Museum’s Entertainment Department through a 480 hour internship. Alongside Victoria Reed, the Director of Entertainment, I assumed the role of Entertainment Production Assistant in June of 2015. I completed this internship with the purpose of earning an Arts Administration degree at the University of New Orleans. The Entertainment Department at the National WWII Museum is but a fraction of what makes this organization a successful attraction in the city of New Orleans and the country. The Museum is a rapidly growing institution and there is much potential to expand past traditional museum exhibits with its Entertainment Department. This report will concentrate on the internship roles and responsibilities, strengths, weaknesses, opportunities, and threats of this specific department. It will also address best practices and recommendations specific to the Entertainment Department.

No description available.

The process by which the classical music business operates in the UK changed significantly through the marketing of a classical music recording which took place in 1989. EMI’s recording of Vivaldi’s work Four Seasons with the violinist Nigel Kennedy was given a unique marketing campaign for a classical music recording. Instead of the traditional marketing approach for a classical music release, pop marketing techniques were employed. In a different but related development, in 1990, the first of the Three Tenors concerts was held in Rome to mark the final match of the 1990 Fédération Internationale de Football Association’s (FIFA) world cup competition. The success of this second record campaign lay in the novelty of three tenors performing together at a football competition. The result was classical music achieving worldwide exposure through global radio and television broadcasts. Both case studies help further classical music as a form of popular culture. Earlier precedent demonstrates pieces of classical music being used for adverts or films and becoming popular. For example Ravel’s Bolero was used in a seduction scene in the film 10 between Bo Derek and Dudley Moore in 1984, and by ice-skaters Torvill and Dean in the same year for the final of the 1984 Winter Olympics. Another example is Orff’s Carmina Burana sections of which have been used for aftershave and lager adverts as well as being sung at football matches. Because the reach of the audience is larger than that in a traditional classical music setting, the pieces achieve a mass cultural perspective in this context. My thesis examines the impact that the success of the Four Seasons and Three Tenors releases had on the classical music business and the development in marketing and selling techniques that emanated from their success. Examples of marketing campaigns post the Four Seasons are included to show the extent of non-traditional classical marketing techniques used subsequently by the classical music industry, some of which I devised and implemented. My research also analyses how trading over the internet has had an impact on the music business as a whole, and how the classical music sector has followed the pop area of the music industry in creating different ways of selling to traditional and new consumers through online trading. This part of the thesis focuses on the period between 2000-2010, especially from 2006 when developments in this field progressed. My study will draw on a Case Study approach using multiple data collection methods. Also employed is descriptive analysis using a combination of qualitative and quantitative techniques, in particular through industry reports. The reasons for the sales success of both recordings are examined in my thesis. The Four Seasons achieved 2 million sales and an entry into the Guinness Book of Records as the best-selling classical music recording of all time at that point. The recording of the 1990 Three Tenors concert and the successive recordings of similar concerts in 1994 and 1998 led to these albums becoming the all-time best-selling classical recordings. For example, worldwide sales for the 1990 recording reached over 12 million CDs, cassettes and videos combined and 23 million for the 1990, 1994 and 1998 Three Tenors recordings. These projects not only gave increased exposure to the classical music genre by expanding its traditional consumer reach, they also created a force for change in business models affecting the marketing and visibility of classical music since 1989. A further significant factor in the success of these vocal recordings (as well as the chance for classical music to be heard outside its traditional boundary) was the use of the arresting aria Nessun dorma from Puccini’s opera Turandot. This was sung by Pavarotti and used by the BBC for all its programmes broadcasting the 1990 football matches in the competition. The effect of internet selling and downloading on the music business was encouraged by the creation of Apple’s iTunes program in 2001. The invention of the iPod in 2002 and the legal entity of Napster in 2004 led to much increased accessibility of music. For classical music with its long movements and being part of a slow-moving market (compared to pop music), this area of the business only witnessed an increase in activity through the expansion of Broadband nationally during 2006 and 2007, reaching 70% in 2009 (discussed on page 90, chapter 4). Since then, the growth of classical music e-tailers has forged a new way of operating in the classical music field. The thesis will give examples of the leading companies trading over the internet and their influence on the classical music market. Contributions from practitioners in the music business inform my thesis through their own witnessing of changes in the classical music business since the Four Seasons campaign. My own experience as a former Head of Press and Promotion for both Decca Classics and EMI Classics, and also currently as a marketing and business consultant for classical music organisations, offers a useful and relevant addition to my research. My contribution to knowledge is to identify the adaptation of pop music marketing tools by the classical music industry over a 20 year time frame. My close involvement in the EMI Four Seasons campaign places me in a unique position to identify and evaluate the significance of the publicity campaign of that recording not only at that time but in the years that followed.

The music industry has undoubtedly seen accelerated change over the past decade. Standard practices in the industry have been turned upside down, leaving record label executives, managers, and other personnel behind the scenes working to develop new and innovative ways to cope with this change. Music publicists are not immune to these changes and have seen a tremendous shift in their roles and responsibilities. With the advent of the digital age, the role of music publicity is getting stronger and is arguably one of the most vital components of a successful music career. The demand and necessity for a well-executed music publicity campaign is growing as modern technology reduces the need for a record deal. However, external forces resulting from technological changes are making the job of a music publicist difficult. Despite its importance, little has been said about the field of music publicity in scholastic literature, and the few in-depth texts and articles on the subject are grossly outdated rendering them irrelevant. The majority of recent comment on music publicists and their duties have come from journalists and music publicists themselves. Further, the average person knows little about the practice of music publicity and what a publicist does. Independent publicists are often highly criticized and looked down upon merely because artists, managers, media personnel, and even record labels may not fully grasp what a publicist does. This poses a slew of issues, including the publicist not feeling completely part of the artist’s team, despite being one of the most essential components of the artist’s successful career. The author of this thesis is an independent senior publicity manager for a boutique music publicity firm. The purpose of this thesis is to define music publicity, bring to light essential issues in music publicity, and provide a thorough understanding of the role and responsibilities of a music publicist. Through analysis of the available literature and qualitative interviews with industry professionals, this paper will address what music publicity is, how the digital age has changed music publicity, and finally will provide suggestions for best-practices when working with indie artists and mid-level campaigns. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

El presente proyecto sobre nuestra agencia de marketing musical para artistas del género urbano nos muestra la viabilidad de su ejecución, en base a la investigación realizada en Lima Metropolitana de los NSE “A” y “B”, que permitió detectar una demanda insatisfecha debido a la necesidad que tienen para promocionar su música en el mercado local. Actualmente existen agencias de marketing musicales que no están enfocadas en el género urbano, sino en música de todos los tipos, lo que genera frustración en los artistas urbanos que tratan de llegar a todo su público objetivo sin éxito debido a la falta de información y de prácticas de promoción. Nuestro proyecto contempla la venta del servicio de plan de marketing dirigidos a músicos del género urbano, que contiene: el brief, la investigación del mercado, la conceptualización, estrategias de marketing, así como su implementación tanto en la elaboración de piezas graficas como la coordinación y seguimiento del cumplimiento de las estrategias propuestas. Para la implementación de este proyecto se requerirá la inversión de S/ 56 116 financiado en un 100% con aporte de los accionistas, descartando requerimiento de préstamos bancarios por las tasas altamente elevadas para pequeñas y primerizas empresas, que se estima recuperar al tercer año de operación. / The present project about our musical marketing agency for artists of the urban genre shows us the feasibility of it’s execution, based on the research carried out in Metropolitan Lima of the socioeconomic level "A" and "B", that allowed to detect an unsatisfied demand due to the need that they have to promote their music in the local market. Currently there are music marketing agencies that are not focused on the urban genre, but on music of all types, which generates frustration in urban artists who try to reach all their target audience without success due to lack of information and promotion practices. Our project includes the sale of a marketing plan service to musicians of the urban genre, which contains: the brief, market research, conceptualization, marketing strategies, as well as the implementation of the promotional content, additionally coordination and monitoring the fulfillment of the proposed strategies For the implementation of this project the investment will be required the amount of S /56 166, financed in a 100% with contribution of the shareholders, discarding requirement of bank loans for the highly elevated rates for small and first companies, which is estimated to recover in the third year of operation. / Trabajo de investigación

El presente plan de negocios e investigación desarrolla un plan de trabajo para el proyecto musical femenino Aranae en el contexto peruano y latinoamericano. El proyecto se justifica en diferentes aspectos, tales como la democratización de la producción y distribución de música, la existencia de mercados que permiten el desarrollo de proyectos musicales independientes, nuevas tecnologías, entre otros. Los antecedentes del proyecto demuestran que, si bien este tiene potencial para ser económicamente viable, se necesita de un plan de acción para conseguir dicha viabilidad. Para el desarrollo de este plan se ha realizado un análisis del entorno que permita conocer el estado actual del mercado; de la misma forma, se ha realizado un análisis de las fortalezas y debilidades del proyecto en la actualidad para identificar las estrategias a realizar. Así también, el análisis de casos peruanos y latinoamericanos realizado en el presente plan ha permitido reconocer herramientas que puedan beneficiar al proyecto, como posibles colaboraciones, uso de merchandising, etc. Luego de este análisis, se ha establecido un plan de acción con fechas y recursos determinados que permitan la rentabilidad del proyecto en un periodo máximo de tres años, además, se han establecido mecanismos de evaluación para comprobar que los objetivos trazados se estén cumpliendo, y mecanismos de control para saber qué acciones tomar de acuerdo a diferentes posibles escenarios. Finalmente, las conclusiones y recomendaciones para la correcta ejecución del proyecto brindan una última guía de apoyo para el correcto desarrollo del plan presentado. / The following business and research plan develops a work plan for the Aranae musical project in a Peruvian and Latin American context. The project is justified in aspects such as the democratization of music production and distribution, the existence of markets that allow the development of independent musical projects, new technologies, and more. The background of the project shows that, although it has the potential to be economically viable, an action plan is needed to achieve this viability. For the development of this plan, an analysis of the environment has been carried out, this has allowed us to know the current state of the market; also, an analysis of the current strengths and weaknesses of the project has been done to identify the strategies to be made. Likewise, the analysis of cases of success from artists in the Peruvian and Latin American context has allowed us to recognize tools that can benefit this project: collaborations, use of merchandising, etc. After this analysis, an action plan has been established with specific dates and resources that allow the profitability of the project in a maximum period of three years. In addition, this plan establishes evaluation mechanisms to verify that the objectives set are being met, and control mechanisms to know what to do according to different possible scenarios. Finally, the conclusions and recommendations for the correct execution of the project provide a final support guide for the correct development of the presented plan. / Trabajo de Suficiencia Profesional

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.

Musikindustrin ställs idag mot en utmaning när innehåll på sociala medier ses utan ljud, vilket kan ha en negativ inverkan på effektiviteten av budskap och annonsering. Denna studie har undersökt hur marknadsförare inom den svenska musikindustrin förhåller sig till ljudlös uppspelning av rörligt innehåll på sociala medier och vilka strategier de använder för att nå ut med rörligt innehåll på sociala medie-plattformar. Fem marknadsförare inom svensk musikindustri deltog i kvalitativa intervjuer. Tre av respondenterna representerar arrangörer för liveevent och två respondenter representerar skivbolag. Resultatet visade på varierat förhållningssätt till fenomenet om ljudlös uppspelning. Några marknadsförare såg på ljudlös uppspelning som problematiskt, medan några inte såg ljudlösa förhållanden som ett problem. En möjlig förklaring kan vara ökad användning av ljudbaserade plattformar, såsom TikTok. Resultaten identifierade ett flertal strategier relaterade till ljud i rörligt innehåll på sociala medier. De flesta instämde med strategier som identifierats i tidigare studier och källor, medan ett fåtal kunde betraktas som ett nytt tillägg till det nuvarande kunskapsläget. Studien bidrar till befintlig forskning om ljudlös reklam och musikmarknadsföringsstrategier i sociala medier. / The music industry faces challenges when content on social media is consumed without sound, potentially making messages and advertising less effective. This study examined how marketers within the Swedish music industry relate to soundless video play on social media, and what strategies they use relating to sound on social platforms. Five marketers within the Swedish music industry participated in qualitative interviews – three of the participants work at concert and event organizers and two participants work at record labels. The interviews showed varied approaches to the phenomenon of soundless videos. Some marketers regarded muted conditions as problematic, whereas some did not consider soundless play an issue. A possible explanation might be the increased utilization of sound based platforms such as TikTok. The results identified several strategies relating to sound in video marketing on social media. Most concurred with strategies identified in previous studies and sources, whereas a few could be considered a new addition to the current state of knowledge. This study contributes to research on soundless advertising and music marketing strategies in social media.

by Tsai Yee-Ah, Eva. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1997. / Incldues bibliographical references (leaves 108-112). / ABSTRACT --- p.iii / ACKNOWLEDGEMENTS --- p.vi / TABLE OF CONTENTS --- p.vii / LIST OF TABLES --- p.ix / LIST OF FIGURES --- p.x / CHAPTER / Chapter I. --- INTRODUCTION --- p.1 / Objectives --- p.2 / Chapter II. --- MARKET ANALYSIS --- p.4 / Overview of the Music Industry in Hong Kong --- p.4 / Hong Kong Classical Music Market and the Trends --- p.6 / Definition of Classical Music --- p.6 / Classical Music Becomes More Popular --- p.8 / More Record Stores in Hong Kong Selling Classical CDs --- p.10 / New Ways of Promoting Classical Music --- p.13 / New Classical Music Repertoires and the Trends --- p.15 / More Young Classical Performers --- p.16 / Major Classical Companies in Hong Kong --- p.17 / Bertelsmann Group --- p.17 / EMI --- p.19 / HNH Internationa] Ltd --- p.22 / PolyGram --- p.25 / Sony --- p.28 / Warner --- p.32 / Chapter III. --- RESEARCH METHODOLOGY --- p.37 / Secondary Data --- p.37 / Primary Data --- p.38 / Experience Survey --- p.38 / Sample Survey --- p.38 / Limitations of the Research --- p.42 / Research Design --- p.42 / Data Collection --- p.43 / Data Analysis --- p.44 / Chapter IV. --- RESEARCH FINDINGS AND DATA ANALYSIS --- p.48 / Response Rate --- p.48 / Outcome of Self-Administered Questionnaire Survey --- p.48 / Data Analysis --- p.49 / Editing --- p.49 / Coding --- p.50 / RESEARCH FINDINGS --- p.50 / Demographic Information of 200 Successful Respondents --- p.50 / Respondents' Opinions of HMV --- p.53 / Respondents' Usage Patterns of Classical CDs --- p.55 / Brand Name of the Record Company --- p.55 / Price --- p.60 / Selection Criteria in Buying Classical CDs --- p.61 / places for Buying Classical CDs --- p.72 / Reasons for Buying Classical CDs --- p.74 / Opinions of Sony's Classical CDs --- p.77 / Preferred Promotional Methods --- p.81 / Information Channels in Receiving Information about Classical CDs --- p.84 / Maximum Price Willing to Pay --- p.88 / Preferred Tangible Changes or Improvements --- p.89 / Conclusion --- p.91 / Competitive Profile --- p.91 / Market Profile --- p.92 / Customer Profile --- p.93 / Product Profile --- p.94 / Company Profile --- p.95 / Chapter V. --- "MARKETING PLAN FOR SONY'S CLASSICAL DIVISION, 1997-1998" --- p.97 / Target Markets --- p.97 / Marketing Objectives --- p.98 / Product Objectives --- p.98 / Pricing Objectives --- p.99 / Communication Objectives --- p.100 / Distribution Objectives --- p.105 / Monitoring System --- p.107 / Conclusion --- p.108 / APPENDIX --- p.110 / BIBLIOGRAPHY --- p.133