The Sound And Music Industry

2.Now a days, concerts of famous artists are usually held in big stadiums and theaters, which brings a huge crowd of fans for affordable ticket prices and the same time, satisfies the high demanded payment for the top artists and earns a profit for the organizers of the shows. However, there are concert management companies, like Nederlander, that manages to charge higher ticket prices for small theater performances and to deliver a “sellout crowd night after night”(Video Case: Nederlander, p.1). Why is Nederlander able to do that when audiences could pay less at stadium concerts?

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.

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.

It will last for four hours and my goal is to sell as many tickets as possible, as selling every ticket would give me around £20,000, which would greatly contribute towards paying for the costs. Even without reaching this ideal, it allows for a far greater expansion in all areas of the project. The launch party will also provide some advertisement for my product, as the marketing ideas should build up enough attention for people to acknowledge my product. The launch party will also be used as an opportunity to sell merchandise, as people would associate the merchandise to the artist, and the memory of attending the live event. This is a key opportunity to sell merchandise, as it is the beginning of an artist's career, and merchandise from the beginning of an artist's career can be both a sentimental, memorable object, as well as a collectors object, and both hold values in different ways. In order to transport instruments and musicians to and from the venue, travel would cost around £200 to rent a vehicle for a weekend. This would be vital, as it is a cheap and efficient way to get everything to the live performance, and without it, there would be no live

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

In order to get away from the demeaning obligations of the 360deal some artists have signed instead with concert promoters, another

Tour managers make sure that tours go smoothly. They manage the tour finances, deal with ticketing agencies and making sure everyone on tour is on task. They basically manage the people who are on tour. In bigger bands the role of a Tour Manager might be split into three or four people.

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

At Cirque du Soleil, a touring show is a very complex matter. A tour can be treated as a little village of about 150 people, and it needs the best technology to meet their needs which can range from basic bandwidth requirements to ticket sales, payroll and phone systems. And as this is a village that moves every six or seven weeks, which means that it has to be constantly torn down and set up again.

Name:  Steven  Jackson   Email:  mcbsjackson@gmail.com   Advanced  Diploma  in  Event  management     Assessment  no.4     The  legal  and  insurance  implications  of  staging  a  concert.     Before  staging  a  concert  in  a  locality,  there  are  some  areas  that  need  to  be  considered  like:     • Organizational  structure  and  legal  status   • Event  Ownership   • Contracts  and  agreements   • Licences  and  permission   • Insurance     Organizational   Structures     There  are  five  types  of

An event organiser must also be able to have a high negotiation power and a good budget management scheme as this will to reduce costs that would otherwise be unnecessary. Being able to reduce the cost of organizing the event saves funds and hence other details of the event can be obtained and thus guarantee the event to be a success.

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 creation of musical works has always been culminated by several different processes and usually involves many people. The process takes a lot of time delaying the release of music. Advancement in technology has played a significant role in the music production by lowering the length of time it takes to produce recorded material. Artists usually sign a contract with a recording company that markets their music products. The internet and low-cost recording technologies have created a “do-it-yourself” music movement. New artists have gained worldwide recognition without landing a recording contract with a major record label.

In this article, Peterson and Berger show how the organization of the popular music industry affects the music that America hears.

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