Essay On Music Business Practices

With the fast rising technology and the closer world community, the music industry has changed dramatically in this modern world. In this case, I will choose an American rock band Paramore as a case study. I will first start with an overview and a brief history of the band, afterwards I will focus on the main four music business areas, which are Artist Management, Record Companies, Music Publishing and Live Performance, examining how they operate in the industry and their relationship between each area and with the band. Finally, I will finish up with a conclusion and my own views.

Following this through, take pop phenomenon, Justin Beiber, for instance; Justin was found on YouTube by Atlanta based manager, Scooter Braun (Kaufman, 2010). As stated by Gladwell, “Mavens are people who have a strong compulsion to help others” (69). A manager in music is somewhat similar; a manager’s job is to handle the business of an artist, making sure the labels are doing their job and helps the artist keep their focus on music (About.com: Music Careers). Continuing on, manager Scooter Braun insisted on meeting the soon to be pop sensation, so he set up a meeting with Justin and his mom where Justin would have then accidentally run into R&B superstar Usher (Kaufman, 2010). Usher, in this case would be referred to as the connector, an individual who has many ties in many realms and act as the passage between them. Ushers role would be connector since he landed Justin a professional deal and formed a joint-venture label with Braun and Antonio L.A. Reid, the

For new bands, one of their first major steps into getting into the business is usually finding a record label. A record label is commonly known by most people as someone who simply signs a band and sells their music. What most people do not know is that they do much more than that. A label does do all the things that people believe they do, however, they also do much more to help an artist. A label is one band’s contact to other artists or promotors that will help further their popularity and reach out to more businesses who could potentially seek endorsement deals to support an artist while also advertising their own product (Lindvall). However, some bands have had negative experiences with labels. There are many negative outlooks on record labels recently and their work with certain artists.

Within industry there is revolution. Innovation for development and a burning desire for further progression must be realized or risk of failure increases exponentially. Does consistent hard work not correlate with well earned success? Does perseverance parallel evolution? The music industry is not impervious to failure and its institutes must evolve to survive in an ever-changing world of technological advancements. These advancements are utilized and implemented industry wide, including via event promotion to solidify the future of music as a whole. Event marketing, albeit not a “modern term”, has proved vital to the music industry time and time again as it constantly evolves as the music industry business model is redefined. Event marketing and promotion has been defined and consistently redefined as use of technologies upturn.

Concertgoers complain about the "convenience charges" as well as parking and facility fees that Ticketmaster tacks on, which can account for more than thirty per cent of the cost of a ticket. Promoters worry that, as the top-grossing touring acts - the Rolling Stones, the Eagles, Paul McCartney, Bruce Springsteen, U2, Madonna - get older, very few younger acts are popular enough to fill stadiums and arenas on the two-year-long tours that superstar rock bands undertake. (Forty per cent of the seats at all Live Nation concerts go unsold.) Most galling to the four stakeholders involved in putting on a concert - the artist, the promoter, the venue operator, and the ticket seller - is the loss of billions of dollars in revenue to the "secondary market": the Internet-driven business of ticket reselling, in which ticket brokers and scalpers profit, while the people who take the artistic and financial risks hardly participate at all. Bill Graham did not live to see "the future" become the live experience; he died in a helicopter crash after a Huey Lewis and the News concert in Concord, California, in 1991. But if you go back to that night on Howard Street and try to understand what Graham saw, it seems obvious that the success of rock shows will always be measured not in box-office revenues and beer sales but in the quality of the party. Records are commodities; concerts are social

The festival which already receives funding from major companies, can seek out new music focused company sponsorship's that will provide aid for the costs of the concerts. The last opportunity for the festival includes the role it can provide in educating the local youth about local cultural music, theater, and arts. Many may grow up to have a strong appreciation towards their own communities’ festival.

After a rapid development over the past 10 years, the music market is currently undergoing significant changes. These changes are caused not only by marketing competition but also by the challenges from external marketing environment.

The ever-changing landscape of music distribution, due to constant advancements in technology, is sometimes hard to keep up with for artist, producer, and consumer alike. New editions of textbooks in Music Business classes are issued each year, and changes are made in the industry before the semester is even over. Because of this, it is vital for the industry to not only not only be aware of what is currently going happening, but also be able to foresee the direction that the music business is heading in. In this aspect, it seems that we are at a turning point where consumers and artists are taking

The popular music industry in the late 1990s was dominated by a small number of integrated corporations with headquarters in Europe, the United States and Japan. This music market starts simply with an artist and moves along through many steps to the consumer. Everything has its start when a musician presents his music to a music manager, and if he/she finds the music promising, a contract is signed between the two, recordings are made and a marketing plan is drafted for the

The music industry has changed in very quickly in so many ways it almost seems impossible. Thomas Edison recorded the first voice in 1877 and now we listen to hundreds of different types of music on devices that hold more information than the computers that sent the first astronaut to the moon. People have been getting music in tons of ways for the past hundred plus years and when the internet came into the picture, the music industry sky rocketed. People could get their own music out and be heard just by clicking a few measly buttons and using the internet to stream millions of songs with high speed. But even though the internet has helped the music industry by making it easier to distribute, advertise, and produce music, it still has its disadvantages.

Madonna is known to invite famous celebrities to open her international tour. She had DJs Diplo, Lunice, Amy Schumer, Mary Mac and Rejjie Snow open for her North American and European tours.

Nowadays, teenagers are living constantly surrounded by technology. Even if the younger generation may not see it, technology has had an impact on different factors. The widespread use of digital technology in the music industry has allowed consumers to reproduce digital versions of copyrighted songs inexpensively, with the help of many software and websites. There has been an increase in digital copying activities and those are most of the time claimed responsible for producers’ loss in revenues. While some people claim that the increase of digital technology has killed the music industry, in fact it has lead to innovation and new ways of consuming and sharing music, such as

The music industry has been around for over two centuries (PBS). Its volatility can be measured by its ability to shift and change according to its time period, the technologies that arise through the ages and the public’s shift in musical taste. The music industry is comprised of many different components, organizations and individuals that operate within it. Some of these components include the artists who compose the music themselves, the producers that engineer the sounds created by the artists, the companies that handle distribution and promotion of the recorded music, the broadcasters of the music such as radio

Ultra Music Festival (UMF) is a yearly open air electronic music celebration that happens in March in the city of Miami, Florida, United States (DURAN, 2013).In this report I have analysed about the ultra-Miami festival event in USA and what is behind the success of the event. Events rarely succeed or fail it is totally depending on the scheduling and who all are the stakeholders are supporting the particular event. For a successful event there are several potential goals to satisfy and a plethora of stakeholders to involve (Presenza, 2012). Festivals are mostly unique in the events sector how the stakeholders are involved in the events. Media is mainly involved in a group way in television and

The evolution of the music industry follows the familiar pattern of digitization. Innovation began with the introduction of the vinyl record, transitioned from the cassette tape to the compact disc and landed us in an era of digital downloads. The emergence of music streaming services like Spotify has progressed the industry even further, giving consumers the ability to access music on demand using download-free online platforms. Spotify faces criticism from artists as a result of the overlap of creativity and commerce. They argue that business activities corrupt creativity, transforming it into a tool for profitability rather than an outlet for expression. Artists insist that Spotify deters album sales, favors established artists and fails to support them financially. However, Spotify was created for consumers. It delivers an accessible alternative to purchasing and downloading music. The interplay between creativity and commerce is changing the nature of the music industry. Spotify has adapted to this change, providing a platform that supports both artists and consumers. Through analysis of the market, artist’s revenue, record labels and consumers, I will argue that artists should accept the evolution of the industry and support Spotify.