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In this article I argue that the longstanding practice of depicting Italian Americans as opera lovers stems from a tradition associating Italian immigrants with mechanical music devices. As a growing number of Italian unskilled labourers entered the United States in the second half of the nineteenth century, they were stereotyped as street musicians, and especially as organ grinders, in mainstream popular culture. Beginning in the 1900s, recording manufacturers strove to make home phonographs appealing to the middle class by breaking the chain of mechanical, social and racial associations that connected the phonograph with earlier musical devices such as the barrel organ, and with those who played them. Because of the prominent marketing role that record labels assigned to Italian opera, this commercial strategy had important consequences for the genre as well as for Italian immigrants, who leveraged opera's renewed visibility and audibility into an effective vessel for social and political empowerment. [ABSTRACT FROM AUTHOR]

Technology is radically transforming the music industry through the use of big data, artificial intelligence and machine learning algorithms. This paper presents a pilot study that examines the impact of data-driven approaches in creating, predicting, and marketing music. A machine learning algorithm is used to determine the optimal characteristics of the most popular songs and is used as the basis for creating the next song. Next, an AI technique is used to generate the inspiration of the instrumentation and lyrics of the song. Finally, a listener survey is used to determine the trend which includes the mood, preference, and context for the song. The song is then released on Spotify. The success of the song is determined by comparing the number of streams to two songs released the previous without the use of data. The results show that creating and marketing a song using AI models, Spotify listener data analysis, and listener questionnaires strongly positively impact a song's streaming success. While this is a pilot study, the findings of this study can be used more extensively to determine success of music videos and releases and serve as a guidance to artists with more quantitative insights. [ABSTRACT FROM AUTHOR]

Copyright of Revista FACE is the property of Universidad de Pamplona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article proposes a framework for studying how a brand, firm, or individual can use networking activities to manage a social network and drive its success. Using data from ego networks of music artists, the article models how artists can enhance their social networking presence and stimulate relationships between fans to achieve long-term benefits in terms of music plays. The authors use a Bayesian modeling framework to model the heterogeneous and dynamic impact of networking activities on network structure and on music popularity, while relying on instrumental variables from another independent online social network to handle potential endogeneity. The results imply that artists can shape network structure via marketing activities and thereby achieve a long-term impact on success that far exceeds the direct and short-term impact in magnitude. Specifically, improving the density of ego networks enables long-term effects beyond those that stem from growth in network size. [ABSTRACT FROM AUTHOR]

TikTok's meteoric rise in recent years is unparalleled by any other social media platform. From a music standpoint, TikTok differs from other social media as sound lies at the center of its user experience. Unknown artists have used the platform's democratized algorithm to get their music in front of fans; one viral song trend can catapult an artist into a massive chart and commercial success. This has led to TikTok becoming responsible for the bulk of new music discovery, from breaking new artists to resurrecting older ones. While studies have shown the link between how smaller artists have used TikTok to find a following, little research has been done to show how major labels should leverage TikTok in their marketing rollouts. Certainly, digital marketing's peer-to-peer or co-creation between larger artists and their fans has been part of music marketing for some time, and this strategy worked well for Harry Styles and Lizzo on TikTok in the summer of 2022. Yet, music virality on the platform is more often than not being dictated by the users over the strict marketing intent of the labels. This paper shows how TikTok's music virality eschews the co-creation of traditional social media marketing in favor of user-generated content. In other words, users don't merely comment or circulate content; they become the content. TikTok is changing music marketing from a co-creative ecology to a user-generated medium using micro-influencers and agile marketing methods. [ABSTRACT FROM AUTHOR]

Carrie Sutton is a freelance directors’ representative working with independent creatives as well as music video directors signed to Biscuit Filmworks, Blindeye Films, Good Co., Kode Media, Rankin and The Graft. In her role as Music Video Commissioner, she has commissioned videos for Blur, Tina Turner, Pet Shop Boys, Snow Patrol and Robbie Williams amongst many others, with artists picking up 3 Brit Awards for Best Video, an MTV Award and a D&AD Yellow Pencil Nomination. In 2018, she was awarded the ‘Outstanding Achievement’ award at the UK Music Video Awards in recognition of her career as a Creative Commissioner, Directors’ Rep., Executive Producer and Producer

In 1816, Beethoven and Steiner agreed on a publishing contract that was at the time unique in the history of music publication. They decided to issue three of Beethoven’s newest orchestral works—Wellington’s Victory, and the Seventh and Eighth Symphonies, opp. 91–93—in arrangements for various combinations of chamber group, simultaneously, and concurrent with the original orchestral edition, which was issued in parts and full score. I discuss how and why this particular enterprise came about, and how it represents circumstances of the time. I then consider how, why, and to whom Steiner marketed the new musical wares. And I set this joint venture within a larger context, to suggest how the study of musical arrangements offers us a unique window on the development of Viennese musical culture in the early nineteenth century, especially as it concerns women.

As a phenomenon of great social relevance between 1900 and 1930, the graphic advertising of the pianola must be considered as one of the first great mass media platforms linked to musical activity and, therefore, the analysis of its discourse offers valuable information about the social construction of the musical world during the first decades of the twentieth century. This article shows the results of an analysis of 200 historical advertisements through which it is possible to trace the origins of some of the current advertising rhetoric and also some of our current ideas about musical activity. In this way, the advertisements studied show some interesting links to the mindset and aesthetic and social conventions of the time but also show us to what degree these discourses are, to a large extent, still valid today. [ABSTRACT FROM AUTHOR]

In recent years a good deal of attention has been paid to the role of music in marketing, and to the marketing of music. Mass marketing is endemic in music, its techniques having now spread from popular forms to classical music and jazz. Yet, despite their integral part in the production and consumption of music, little has been written about how musicians themselves view the marketing of what they consider to be 'their art'. The research involved interviewing over a dozen musicians about their beliefs about the ways in which modern marketing was affecting classical music and jazz. The results showed an emphatic divide between those who blamed marketing for undermining the artistic integrity of musicians and those who felt that marketing was already contributing to the well-being of music and needed to be better understood. Both groups, though, used similar ethical arguments to justify their positions. [ABSTRACT FROM AUTHOR]

The Rolling Stones, Scorpions, Aerosmith or Kiss - all these bands are still alive. This is remarkable, because their members are all in the age of 60 up to 80. They are still recording songs and playing live shows, and this not only because they would need to do so for a living. In 1991, one of Germany's most popular rock artists, Udo Lindenberg (born in 1946), earned the “Echo"-Award (the so called German Grammy) for his impressive life's work. Actually, this category is given to artists standing at the end of their career. But in 2017 he received the Echo-Award for the “Album of the Year" and another one for “National Artist of the Year". Pop music is no longer music for younger generations. This article is dealing with the question how important older artists are for the music industry. How useful could it be to have a long-term career in terms of brand building and what are the differences in marketing strategies compared to younger artists. Therefore, the article is illustrating the different target groups and how they listening to music. [ABSTRACT FROM AUTHOR]

This article explicates the assemblage of devices, software, and human action that enabled the riotous success of BEYONCÉ, a "visual album" released in December 2013 without prior fanfare. Drawing on concepts of media and bodily "techniques," this study posits the networks and planes of social media as key sites of circulation, discourse, and meaning-making for the album. However, despite the novel apparatus of the album's circulation, I push against a reading of the BEYONCÉ release as a wholly groundbreaking rupture, demonstrating instead the deft ways in which viral logics and pathways were co-opted into extant industry frameworks. [ABSTRACT FROM AUTHOR]

Record Shop MKG127, Toronto, June 30 – August 11 [ABSTRACT FROM AUTHOR]

The article discusses studies pertaining to the U.S. marketing of disco in the 1970's. Many large U.S. record labels refused to define certain albums as disco and marketed them as "up beat." Record companies employed the use of disco coordinators to ensure that disc jockeys in primary radio markets would receive copies of promotional albums. Mailing lists of U.S. disco deejays were compiled and then utilized to send promotional albums from record companies. In metropolitan areas of the U.S. disc jockeys formed record pools to facilitate the quick and regular release of albums.

This special issue presents both empirical and conceptual papers on music, culture, and heritage as a discursive site of human action and social interaction. The theme of this special issue of music, culture, and heritage are aspects symbolically embedded throughout the market, as well as within cultural and ritualistic practice. The work featured in this special issue captures the essence of the 2015 Heretical Consumer Research Revival conference held 28-30 September in New Orleans, LA (partially funded by Association of Consumer Research). This diverse gathering of critical thinkers and consumer researchers considered various avenues to enrich future directions for consumer culture research. In line with that conference, this special issue is oriented towards generating innovative, radical, and even heretical schools of thought in consumer culture research surrounding markets, music, culture, and heritage in a nonconventional, nonconformist manner. [ABSTRACT FROM AUTHOR]

Young people investing themselves in DIY cultures have to negotiate the complex but now normalised nexus of employment, unemployment and underemployment to make ends meet, while maintaining space in their lives to pursue their creative and artistic passions. This article presents research with young people in an underground music scene across Australia who are balancing economic pressures with their desires to generate and uphold DIY and punk-influenced activities in a networked community of likeminded friends and collaborators. Many of the participants actively ‘choose poverty’, that is, they knowingly and strategically make decisions that ‘keep overheads low’ to free up temporal and mental space to continue to be creative. Their ideas of being successful are not expressed in material terms, but are contingent upon a future where they continue to have the opportunity to invest themselves in their interests even if that means living in relative poverty. Using the oft-ignored Bourdieusian concepts of illusio, struggle and strategy, this article provides a case study of some of the ways young people deal with the risks and opportunities of a precarious existence. In this case, living an ethical life trumps material concerns, projecting a hopeful attitude towards the future. [ABSTRACT FROM AUTHOR]

Only recently have researchers begun thoroughly examining the role of youth music cultures and subcultures in participants’ ‘adult’ lives, suggesting that participation does not end with an abrupt transition to adulthood. Significantly, how subcultural experience translates into work skills and job opportunities needs further investigation. Based upon interviews and participant observation with older straight edgers – clean-living punks associated with the hardcore music scene – over the course of five years, this article examines subcultural entrepreneurs, in particular straight edgers, who have used DIY experiences to start businesses or advance careers. I first examine how involvement in DIY scenes can influence choice of career; many participants chose work reflective of their DIY values and/or created their own career. Next, I discuss how participants’ DIY dispositions influence their work, including tolerance for risk, confidence, self-reliance, and adaptability. I then demonstrate how participants translate scene experience into useful and marketable skills, including management, organization, marketing, and job-specific proficiencies. [ABSTRACT FROM AUTHOR]

Gig posters and flyers have remained a reliable means of promoting musical performances well into the digital age. Although the primary function of posters is publicity for both musical acts and venues alike, they are often retained as memorabilia of a performance long after the last note has rung out. They are, however, an under-examined aspect of popular music’s culture and heritage. While posters have been included as part of the material items that make up popular music heritage when studies of this have been undertaken, the particular roles that they can play in this area have not yet been examined. However, when taken as an aspect of music heritage posters are significant as representations of an ephemeral ‘moment’ within local music history for both audiences and performers. Furthermore, as venue décor they align performance sites with a range of musical and aesthetic identifiers that act as visual representations of heritage. We argue that the posters are a form of heritage-as-praxis that helps to create a sense of identity and community in the venue, giving punters a clear idea of what the venue provides musically, and signifying the space as representative of a certain subsection of the city’s broader music scene. [ABSTRACT FROM PUBLISHER]

The article discusses electronic dance music trio Major Lazer's use of transmedia animation to promote its music, philosophy and reality perception. Topics covered include the power of animated cartoons to attract people of all ages interested in transforming into agents of change and players inside of contents, and the emergence of fan art in which individuals recreate settings, recreate albums' cover art, and facilitate downloading of stickers. Also noted are samples of these activities.

Over decades, music labels have shaped easily identifiable genres to improve recognition value and subsequently market sales of new music acts. Referring to print magazines and later to music television as important distribution channels, the visual representation thus played and still plays a significant role in music marketing. Visual stereotypes developed over decades that enable us to quickly identify referenced music only by sight without listening. Despite the richness of music-related visual information provided by music videos and album covers as well as T-shirts, advertisements, and magazines, research towards harnessing this information to advance existing or approach new problems of music retrieval or recommendation is scarce or missing. In this article, we present our research on visual music computing that aims to extract stereotypical music-related visual information from music videos. To provide comprehensive and reproducible results, we present the Music Video Dataset, a thoroughly assembled suite of datasets with dedicated evaluation tasks that are aligned to current Music Information Retrieval tasks. Based on this dataset, we provide evaluations of conventional low-level image processing and affect-related features to provide an overview of the expressiveness of fundamental visual properties such as color, illumination, and contrasts. Further, we introduce a high-level approach based on visual concept detection to facilitate visual stereotypes. This approach decomposes the semantic content of music video frames into concrete concepts such as vehicles, tools, and so on, defined in a wide visual vocabulary. Concepts are detected using convolutional neural networks and their frequency distributions as semantic descriptions for a music video. Evaluations showed that these descriptions show good performance in predicting the music genre of a video and even outperform audio-content descriptors on cross-genre thematic tags. Further, highly significant performance improvements were observed by augmenting audio-based approaches through the introduced visual approach. [ABSTRACT FROM AUTHOR]

Copyright of Romanian Journal of Marketing is the property of Rosetti Educational s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To understand the role of the market in the promotion of nationalism, this article focuses on Chinese popular music and examines how nationalism is promoted in China through patriotic songs. It applies Althusser's theory of “Ideological State Apparatus” and argues that China has a long history of nationalist mobilization through patriotic songs, which claims both Chinese artists and consumers as subjects of nationalism. As the Chinese popular music industry is now marketized, the market becomes the primary platform where the state, the artist, and the consumer interact, collaborate, and negotiate in the production and consumption of patriotic songs. In implementing their marketing strategies, artists help enhance the reach and effectiveness of Chinese patriotic education by tailoring their songs to well-defined, diverse market segments. [ABSTRACT FROM AUTHOR]

In recent years, online social networks have raised the attention of scholars and practitioners to study different aspects of these huge data resources to provide useful insights. In this study, a novel framework for segmentation of fan page users in online social networks is proposed based on the features of post popularity including Likes, Comments, and Polarity. Authors have used different methods including data mining, sentiment analysis and CRM to develop the proposing framework. A case study has been conducted and a set of 100 post’s data is extracted from a music band fan page in Facebook to evaluate the framework. Results show that user segmentation led to formation of 4 groups of users having interesting interpretations namely, The Apathetic, Staunch, Ordinary, and Lazy fans. Outcomes of this research are useful for every business owner for improving marketing and customer engagement strategies on social networking sites such as Facebook. [ABSTRACT FROM AUTHOR]

Content analysis of the top 50 hip hop songs from Billboard's Year-End Charts from 2008 to 2011, for a total analysis of 200 songs, was conducted for this study. Using Hegemonic Masculinity to guide our theoretical perspective, songs were coded for multiple items including gender of rapper(s), number of brand mentions and kinds of products mentioned. Results revealed that there are significant differences in the number of products and brands mentioned based on the gender of the artists, especially important when paired with the finding that women are significantly underrepresented in hip hop music. Songs performed by male artists had a significantly higher number of brands mentioned than did songs by female singers. Researchers also found differences in the types of products mentioned in hip hop music based on the gender of singers. Male singers mentioned brands and products in the categories of vehicles, alcohol, fashion, and entertainment categories while female artists mentioned more brands and products in the travel and entertainment categories. [ABSTRACT FROM AUTHOR]

In the 1990s, clubs in Western Europe featuring remixed Romani music began to drawn large crowds of young people. This article analyzes the production of this soundscape, often trademarked as "Balkan Beats, " by a growing DJ subculture, comprised of dozens of performers on five continents. Focusing on the most famous DJ, Shantel, I explore musical marketing via issues of representation and political economy. I highlight the tenuous position of Roma in this music scene where non-Roma dominate as artists, producers, and consumers. Appropriation provides a critical lens to investigate Shantels claims to hybridity and multiculturalism via his mythical personal history. [ABSTRACT FROM AUTHOR]

The article presents review of Music Industry Data (Music ID), which was previously known as Academic Charts Online.

In the fourth quarter of 2013 two entertainment industry blockbusters were released: the film Anchorman 2: The Legend Continues and a release by recording artist Beyoncé Knowles titled Beyoncé. While the Anchorman 2 team spent months promoting the December 18 release by traditional (and some very non-traditional) means, the Beyoncé album was cloaked in secrecy until it was issued by surprise on December 13. These two completely different strategies both proved successful, as the film sold US$122 million in tickets within its first month of release and Beyoncé sold 1.4 million albums during this time. This paper describes the marketing tactics used by both camps and the market and critical reactions to those tactics, and shows how sales success is not dependent upon one single strategy but rather upon a strategy that works best for a particular release at a particular time, both on the calendar and during an artist's career. Implications for music labels, managers, and artists are discussed. [ABSTRACT FROM AUTHOR]

Artists have become decidedly more accustomed to partnering with product marketers. Typically, though, the relationships have involved tour sponsorships, endorsements, or the use of the artist's music in commercials. There are plenty of examples of using popular music in advertising. However, how often has there been advertising in popular music? Artists are in a sense "brands." Many of them appear to promote or acquaint audiences with their lifestyles through the music they create. Popular songs can serve not only as a mechanism for the subtle marketing of commercial consumer products, but also as a platform for marketing artists. Three types of branding devices are typically employed by songwriters: the mention of specific product brands, geographical places including cities and states, and well-known people (e.g., celebrities, cultural icons, and politicians). The aim of this study is to identify just how often these three types of lyrical references have occurred in popular songs through the years. How frequently have popular songs employed lyrics that may be serving the purpose of branding or advertising consumer products or the artists themselves, and are there observable trends regarding the practice over time? [ABSTRACT FROM AUTHOR]

A content analysis of 2004 and 2010 song lyrics from popular music genres was conducted to identify the extent of product mention in music as well as the nature of the mentions. Overall, product mention in music increased from 2004 to 2010. Likewise, incidence of product mention was most prevalent in rap across both time periods. Additionally, vehicles and fashion top the references with luxury brands dominating rap. Country mentions consistently centered around nonluxury brands. [ABSTRACT FROM PUBLISHER]