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field of music publicity in scholastic literature, and the few in-depth texts and articles on the subject are grossly outdated rendering them irrelevant.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

As the oldest recording industry in the world, the United States has set industry standards regarding record labels, publishing, live entertainment and music services. Since the beginning of the 20th century, American music has become a staple in worldwide pop culture, spreading to all four corners of the world. Indeed, the U.S. music industry has held the number one position in the ranking of the world’s top 10 largest music markets since its first record label, Columbia Records, was founded in 1887. However, a relatively new genre of music is rapidly taking over the world’s pop music scene: South Korean pop music, otherwise known as K-pop. This thesis analyzes the similarities and differences between the two diverse music industries – with an emphasis on pop music – by first delving into the copyright and recording aspects of the business, followed by identifying key differences in each industry’s standards and aesthetics, and finally examining media consumption and marketing implications in the two countries. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection