Music, Markets and Consumption
eBook - PDF

Music, Markets and Consumption

  1. 246 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

Music, Markets and Consumption

About this book

This is one of the first academically rigorous texts covering the whole topic of popular music as a major market, and its marketing and in the contemporary connected world. There are books written by popular music commentators but Music, Markets and Consumption aims to give a fully international and scholarly analysis integrating the unique popular music sector both within arts marketing and current marketing and consumption theories. It will give the student and specialist a full overview and coverage of music, marketing and cultural policy, and the emerging academic study of the sector. It will collect and analyse a range of key issues in the field including: * The increasing engagement with marketing and consumer studies theory; * The analysis of music as 'product'; * The economics, branding and commercialisation of music globally; * The impact of technology and evolution of venues on music consumption; * The consumer- fans and fandom; * The fast developing international literature. It will be a much needed new perspective for students and researchers of music and arts marketing, cultural consumption and consumption theories and those in the fields of Marketing, Arts, Music and Cultural Studies. The book will also be essential reading for those professionally involved in music marketing and cultural policy.

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Information

Publisher
Goodfellow Publishers
Year
2013
Print ISBN
9781908999528
9781906884017
eBook ISBN
9781908999535
Topic
Business
Subtopic
Customer Relations
Index
Business
134
Music, 
Markets 
and 
Consumption
As 
mentioned 
earlier, 
Barker 
(2000) 
denes 
text 
as 
‘all 
practices 
which 
signify’. 
One 
may 
theorize 
that 
the 
interaction 
between 
and 
amongst 
band 
members 
and 
fans 
is 
textually 
(discursively) 
constructed. 
The 
kinds 
of 
texts 
which 
are 
constructed 
by 
bands 
and 
fans, 
or 
third 
parties, 
include 
lyrics, 
art, 
merchandise 
(T-shirts), 
tangible 
packaged 
products 
(CDs, 
vinyl, 
Blu-ray 
discs), 
interviews, 
documentaries, 
reviews, 
tattoos, 
body 
piercings, 
publicity 
photographs, 
articles, 
the 
music 
sounds, 
videos, 
live 
performances, 
website 
graphics, 
social 
media 
content, 
and 
band 
members’ 
physical 
features 
and 
appearances, 
footwear 
and 
clothing 
in 
general. 
These 
text 
categories 
constitute 
both 
objects 
of 
analysis 
in 
themselves, 
and 
sources 
of 
data 
constructing 
the 
phenomenon 
under 
investigation. 
They 
also 
have 
their 
own 
intertextuality, 
providing 
links 
to 
texts 
via 
other 
musical 
performers 
or 
brands 
in 
other 
times 
and 
places.
The 
music 
production-
consumption 
circuit
F
igure 
2, 
adapted 
from 
O’Reilly 
(2010) 
illustrates 
how 
brand 
meanings 
are 
constructed 
and 
negotiated 
along 
cultural 
circuits 
between 
stakeholders 
in 
a 
musical 
project.
PRODUCER 
CONSUMER 
CONSUMER 
PRODUCER 
P2C 
P2P 
C2P 
C2C 
Texts 
BRAND 
Discursive 
Resources 
Figure 
2:
The 
music 
production-consumption 
circuit
Source
:
adapted 
from 
O’Reilly 
(2010) 

Table of contents

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    Yes, you can access Music, Markets and Consumption by Daragh O'Reilly,Gretchen Larsen,Krzysztof Kubacki in PDF and/or ePUB format, as well as other popular books in Business & Customer Relations. We have over 1.5 million books available in our catalogue for you to explore.