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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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 & Hospitality, Travel & Tourism Industry. We have over one million books available in our catalogue for you to explore.

Information

Publisher

Goodfellow Publishers

Year

2013

ISBN

9781908999535

Topic

Business

Subtopic

Hospitality, Travel & Tourism Industry

Index

Business

134

Music, 

Markets 

and

Consumption

As

mentioned 

earlier, 

Barker 

(2000) 

deﬁnes 

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) 