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Myspace var under många år den primära webbplatsen för att exempelvis skriva meddelanden till vänner, upptäcka ny musik samt dela med sig av den. Den mest populära föregångaren till dagens sociala medier som under många år uppmuntrade artister att använda webbplatsen för att nå ut till en bredare publik. Webbplatsens funktioner ansågs under tiden för webbplatsens storhet som någonting nytt och relativt ovanligt men sociala medier har under de senaste åren tagit över MySpace som det primära kommunikationsverktyget där webbplatsens funktioner idag anses vara en självklar del av alla sociala medier överlag. Detta har i sin tur har lett till att artister har börjat utforska diverse möjligheter för att kunna integrera in marknadsföring i deras kanaler på sociala medier. Eftersom sociala medier lockar med kostnadseffektiva lösningar har nu alltfler mindre etablerade artister också börjat använda sociala medier i hopp om att kunna sprida sin musik på diverse vis. Artister använder de olika sociala medierna för att nå ut till så mycket konsumenter som möjligt där denna användning tillämpar olika metoder beroende på vilken plattform de publicerar innehåll på. Det som tidigare främst gick att hitta i en webbläsare på sin dator i form av Myspace går nu att hitta som appar i sina telefoner och läsplattor vilket har gjort att en stor mängd artister med varierande grad av etablering nu måste samsas om alltfler konsumenter och tillika fans. Tack vare den stora mängden användare på sociala medier så uppstod det ett behov av att kategorisera inlägg för att enklare kunna hitta det innehåll man söker, där hashtags skapades för att bistå med detta. Funktionen består av att man skriver ett eller flera ord ihopsatt med ett #-tecken i början. Mindre etablerade artister använder denna funktion för att nå ut till en större publik men på grund av att ett stort antal inlägg, av varierande innehåll, använder samma hashtag blir detta svårare och de mindre etablerade artisterna får därför svårar

Background: Being an artist in the Swedish music industry in 2023 has been found to labor relations involving challenges related to health, hope, creativity and inspiration(Rödblom et al., 2023). Previous studies have also examined the working environment of artists, such as challenging work relationships, how artistic expression demands emotional awareness, and how this may impact the mental health of artists. However, what is the actual experience of health among artists, and why?Purpose and Objectives Summary: Through this investigation, I contribute to filling the existing knowledge gap and mapping how artists perceive health, and the reasons for their experiences in the contemporary music industry.Methodology and data collection: This thesis constitutes a qualitative study with an inductive approach. To structure the research study, I have chosen to adopt Grounded theory, which has involved entering the field with an open mind, collecting information,and subsequently compiling, coding and reflecting upon the data. I have conducted unstructured interviews with three artists and three managers to gain insights into how artists perceive health, and later also discuss why they perceive health in that way.Results: The findings reveal that the artists' experience of health is shaped by various challenges such as establishing a balance between work and leisure, motivation, social media and how artists engage with it, and challenges regarding their health. There is no doubt that they have a passion for their profession and that this is truly what they wish to dedicate their time and efforts to. However, the sacrifice involved in doing so encompasses factors that pose challenges to their overall well-being and health in various ways. The reason why the abovementioned themes have been highlighted in my interpretation, is because the artists experience a certain frustration, wherein they perceive a lack of support, structure, sustainability, and health in the mentioned as

Denna kvalitativa studie undersöker effekten av generativ artificiell intelligens (AI) på marknadsföringsstrategier inom musikindustrin. I takt med att digitala plattformar alltmer dominerar landskapet utforskar marknadsföringsavdelningar innovativa sätt att engagera publiken, vilket gör integrationen av generativ AI avgörande. Genom intervjuer med marknadsförare inom den svenska musikindustrin belyser denna forskning den nuvarande användningen, de upplevda fördelar och utmaningar med generativ AI för att förbättra arbetsflödeseffektiviteten och marknadsföringstaktiken. Resultaten visar att även om generativ AI avsevärt effektiviserar skapandet av innehåll och interaktion med konsumenter, kvarstår oro för dess tillförlitlighet och etiska implikationer av dess användning. Studien bidrar till en djupare förståelse för generativ AI:s transformerande roll i musikmarknadsföring och erbjuder värdefulla insikter för praktiker som strävar efter att utnyttja teknologin som konkurrensfördel., This qualitative study examines the impact of generative artificial intelligence (AI) on marketing strategies within the music industry. As digital platforms increasingly dominate the landscape, marketing departments are exploring innovative ways to interact with audiences, making the integration of generative AI pivotal. Through interviews with marketing professionals in the Swedish music industry, this research sheds light on the current use, perceived benefits, and challenges of generative AI in enhancing workflow efficiencies and marketing tactics. The study reveal that while generative AI significantly streamlines content creation and consumer interaction, concerns about its reliability and the ethical implications of its use persist. The study contributes to a deeper understanding of the transformative role of AI in music marketing, providing valuable insights for practitioners aiming to leverage technology for competitive advantage.

Higher Music Performance Education, as taught and learned in universities and conservatoires in Europe, is undergoing transformation. Since the nineteenth century, the master-apprentice pedagogical model has dominated, creating a learning environment that emphasises the development of technical skills rather than critical and creative faculties. This book contributes to the renewal of this field by being the first to address the potential of artistic research in developing student-centred approaches and greater student autonomy. This potential is demonstrated in chapters illustrating artistic research projects that are embedded within higher music education courses across Europe, with examples ranging from instrumental tuition and ensemble work to the development of professional employability skills and inclusive practices. Bringing together diverse and experienced voices working within Higher Music Education but often also as professional performers, this edited collection pairs critical reflection with artistic insight to present new approaches to curricula for teaching interpretation and performance. It calls for greater collaboration between Higher Education and professional music institutions to create closer bonds with music industries and, thereby, improve students’ career opportunities. Teaching Music Performance in Higher Education will appeal to scholars, performers, teachers, but also students whose interests centre on innovative practices in conservatoires and music departments., Full text license: CC BY-NC

PurposeIn this study, we applied the strategy-as-practice (SAP) framework to analyse strategic communication practices. SAP implies approaching strategy as something that organisational members do and is useful for understanding the tensions between emergence and formalisation and between planning and improvisation that characterise the everyday communication work of communication practitioners.Design/methodology/approachThe paper is based on an ethnographic study of a record company and on qualitative interviews with various actors from the music industry.FindingsTensions exist between the emergence of inputs from active consumers that require flexibility and attempts to strategically formalise and continuously adapt plans and encourage consumers to act in anticipated ways. The findings revealed five strategic communication practices-meetings, working in the office, gathering and analysing consumer engagement and related data, collaboration and storytelling-that practitioners used to conduct strategic communication and navigate the tensions.Originality/valueThe study contributes to understanding the role of strategic communication practices in contemporary organisations and how practitioners manage the tensions within them. The study shows that an SAP approach can account for improvisation and emergence, as well as planning and formalisation. It also shows how SAP resonates with emergent and agile strategic communication frameworks., Downloads before file update (240709): 52

[Resumo]: Neste traballo de fin de grao desenvolvese unha ferramenta que leva a cabo a integración de dúas fontes de datos da industria musical: Spotify, ofrece para os artistas a súa discografía completa e unha serie de atributos de valor e MusicBrainz, enciclopedia que complementa a información anterior. A mestura de ambas permite ter un conxunto de datos amplo cunha visión completa do panorama musical. A través de procesos ETL extráese, prepárase e cárgase nun almacén de datos (DW), deseñado en concreto para que se reflicta de maneira eficiente e acorde ca realidade a información correspondente. Para simplificar o proceso de inserción ao usuario implementase unha simple interface. Por último, lévase a cabo unha serie de análises e mostras de información, empregando gráficos, filtros e dashboards interactivos que son de axuda para identificar tendencias ou curiosidades nos datos, permitindo que o coñecemento sexa máis accesible para os usuarios., [Abstract]: In this final degree project, a tool that integrates two data sources from the music industry is developed: Spotify which offers the complete discography of artists along with a series of interesting attributes, and MusicBrainz, an encyclopedia that complements the previous information. The combination of both provides a comprehensive dataset with a complete view of the musical landscape. Through ETL (Extract, Transform, Load) processes, data is extracted, prepared, and loaded into a Data Warehouse, specifically designed to efficiently and accurately reflect the corresponding information. To simplify the insertion process for the user, a simple interface is implemented. Finally, a series of analyses and data presentations are done using interactive graphs, filters, and dashboards, in order to help identifying trends or curiosities in the data, making knowledge more accessible to users.

[Resumen] Introducción: El desempeño ocupacional de las personas que ejercen la profesión de Disc Jockey y sus múltiples contextos son un ámbito poco investigado desde la visión de Terapia Ocupacional. En el siguiente trabajo se propone llevar a cabo un análisis de la profesión del Disc Jockey, con el objetivo de promover el rol del terapeuta ocupacional en este ámbito para favorecer su funcionalidad y calidad de vida. Objetivo: La finalidad de este estudio es analizar el desempeño ocupacional de las personas que desempeñan la profesión de Disc Jockey. Metodología: Se plantea un estudio descriptivo trasversal de metodología mixta. La investigación se dirige a personas que trabajan de Disc Jockey. La técnica de recogida de información es: herramienta no estandarizada, cuestionario en línea., [Resumo] Introdución: O desempeño ocupacional das persoas que exercen a profesión de Disc Jockey e os seus múltiples contextos son un ámbito pouco investigado dende a visión de Terapia Ocupacional. No seguinte traballo proponse levar a cabo unha análise da profesión do Disc Jockey, co obxectivo de promover o rol do terapeuta ocupacional neste ámbito para favorecer a súa funcionalidade e calidade de vida. Obxectivo: A finalidade deste estudo é analizar o desempeño ocupacional das persoas que desempeñan a profesión de Disc Jockey. Metodoloxía: Exponse un estudo descritivo transversal de metodoloxía mixta. A investigación diríxese a persoas que traballan de Disc Jockey. A técnica de recollida de información é: ferramenta non estandarizada, cuestionario en liña., [Abstract] Introduction: The occupational performance of people who exercise the profession of Disc Jockey and its multiple contexts are an area little investigated from the Occupational Therapy vision. In the following work we propose to carry out an analysis of the Disc Jockey profession, with the aim of promoting the role of the occupational therapist in this field to promote its functionality and quality of life. Objective: The purpose of this study is to analyze the occupational performance of people who perform the profession of Disc Jockey. Methodology: A descriptive cross-sectional study with a mixed methodology is proposed. The research is aimed at people who work as disc jockeys. The data collection technique is: non-standardised tool, online questionnaire.

Studiens syfte var att undersöka relationerna kopplade till svenska gangsterrappare och musikindustrin och på så sätt identifiera viktiga aktörer i nätverket. Ytterligare en del av syftet var att studera hur gangsterrapparnas eventuella gängtillhörighet speglades i nätverket. Detta gjordes genom en social nätverksanalys av data från Spotify. Studien utgick från två teoretiska perspektiv, vilka var teorin om differentiella associationer och social nätverksanalys. Resultatet visade att det främst var ursprungsaktörerna som hade högst centralitet, men att även flera skivbolag hade höga värden. Av detta kunde slutsatsen dras att skivbolagen hade en viktig roll i att binda samman nätverket. Angående gängmiljön kunde en viss polarisering ses, där en av de två gängkonflikterna som visade sig i materialet även speglades inom musikindustrin, medan detta inte var lika tydligt i den andra. Av detta kunde slutsatsen dras att gängkonflikterna inte alltid speglas inom musikindustrin., The purpose of this study was to investigate the relationships linked to Swedish gangster rappers and the music industry, and thus identify important actors in the network. The aim was also to examine how the possible gang connections of the gangster rappers were reflected in the network. The method that was used was social network analysis and the data was collected from Spotify. The study was based on two theoretical perspectives, which were the theory of differential associations and social network analysis. The results showed that it was mainly the original actors that had the highest centrality values, but that several record companies also had high values. From this, the conclusion could be drawn that the record companies had an important role in binding the network together. Regarding the gang environment, polarization could be seen to some extent, where one of the two gang conflicts that appeared in the material was also reflected in the music industry, while this was not as evident in the other. From this, the conclusion could be drawn that the gang conflicts are not always reflected in the music industry.

Popular music is a powerful and complex transmedia narrative form, composed by songs, performances, videos, movies and digital platforms. One of the most interesting expressions of musical transmedia narratives is the so-called dystopic concept album: a group of songs with recurring characters and connected events, used to represent dehumanized societies. In the song-centric digital landscape of streaming platforms, artists still produce concept albums: their narrative complexity shows the relevance of popular music in today’s media landscape. The concept album was born in the Sixties, and it was explored by those musicians who wanted to push forward the boundaries of a single song, by means of narratives that included recorded performances but also theatrical ones, movies, videos, and so on. The paper will focus on dystopian societies narrated by popular music through concept albums, analyzing examples such as Pink Floyd’s “Animals” (1977, based on George Orwell’s “Animal Farm”) and “The wall” (1981) and, more recently, Muse’s “Drones” (2015).

I mitt examensarbete 2023 på 15hp för programmet Medie- och kommunikationsvetenskap: Medieaktivism, strategi och entreprenörskap analyserade jag kopplingarna mellan unga aspirerande musikskapares syn på artificiell intelligens (AI) och musikindustrin och deras estetiska upplevelser. Detta utfördes genom att hålla en fokusgrupp där deltagarna blev introducerade till AI-generad musik och AI-programmet Soundraw samt fick diskutera om deras åsikter om AI, estetiska upplevelser och musikindustrin. Materialet från studien analyserades sedan utifrån Actor Network teorin. Utifrån min studie uttryckte deltagarna att de hade svårare att skapa estetiska upplevelser av den AI-generade musiken. Det fanns tecken på att detta kan kopplas till att musiken enligt dem hade en låg estetisk och emotionell kvalitet, men även att detta kan vara kopplat till den erkända partiskheten emot AI inom industrin. Studien visade också på att ingen av deltagarna var mot AI:s utveckling inom industrin, något som blev intressant då AI var kritiserat under studien. Däremot är detta något som kommer behöva fortsättas studeras för att få en djupare förståelse över hur dessa aktörer är kopplade till varandra, samt vilka andra aktörer och egenskaper som går att koppla., In my final exam project 2023 for 15hp in the Media and Communication Studies I studied the connections between young aspiring music creators’ view of artificial intelligence (AI) and the music industry and their aesthetic experience. This study was based on a focus group where the participants were introduced to AI-generated music and the AI-program Soundraw, along with being able to discuss their opinions of AI, aesthetic experiences, and the music industry. This focus group was later analyzed through the Actor Network Theory. Through my study participants voiced that they have a harder time creating aesthetic experiences through AI-generated music. There were signs that this was connected to what the participants saw as low aesthetic and emotional quality of the music, but it can also be connected to the admitted bias against AI in the music industry. The study also showed that no of the participants had much against AI’s involvement in the industry, which was interesting given that AI was still criticized through out the study. But this is something that still needs to continue to be studied to gain a lager understanding of how these actors are connected to each other and what other actors and factors are connected.

CM.com is a conversational commerce company specialised in offering solutions in CPaas (Communication Platforms as a service). One of the industries to which they point their ‘software as a service’ is music event ticketing. With their General Admission (GA) Ticketing product, CM provides event organizers with a platform to set-up their ticket sales process, sell tickets, handle event registrations, communicate with visitors, and support other event logistics. The recent COVID-19 pandemic has had a significant effect on consumer behaviour related to music events and festivals. Event organizers must innovate in their offering to stay relevant to consumers within the overcrowded market. This has led to changes in organizer’s needs and priorities regarding their ticketing platform. CM needs to respond in their service offering to stay relevant in the market and fulfil their client’s needs. In combination with the desire to leverage the potential of their product portfolio better, CM seeks to identify new opportunities in the way their ticketing product is designed and delivered to their client. The project involves creating a holistic perspective of the project context and involved stakeholders through gathering extensive qualitative data, taking a service design perspective. The gathered information serves as fundamental knowledge to co-create towards a new strategic service proposition, combining user-research, industry trends and strategic competitive positioning with CM’s technological potential. The results conclude CM’s ticketing product should be developed towards “Facilitating the Easy creation of Rich & Effective omni-channel communication touchpoints for event organisers.” This proposition aims to facilitate organisers to adopt a progressive, data-driven approach to communication between organiser and consumer. Data allows for effectively targeting consumers in a personalized way, boosting the conversion of communication touchpo, Strategic Product Design

Most elementary schools provide music education to all students at least once a week. Music education has been proven to be beneficial to all students. After elementary school, this benefit is no longer afforded to all students. Many secondary schools only offer music education in the form of ensembles such as band, orchestra, or chorus. Students who do not have the finger dexterity to play an instrument or the aural accuracy to match pitch have no place to receive music education after elementary general music class. Non-traditional music courses such as music technology or music media and industry provide all of the elements of music without requiring students to have any prior musical knowledge. This case study examined the benefits and barriers of offering nontraditional music courses in secondary schools. The study gathered information through district data from two of the largest school districts in Georgia. One of the key findings from the study is the substantial increase in overall enrollment in music education courses. Although the results may suggest that nontraditional music courses are beneficial to music education in secondary schools, there are districts that still have not implemented nontraditional courses to provide a comprehensive music education to all students. The study shows one secondary school that implemented non-traditional courses and saw the same benefits as a neighboring district who chose to offer these courses in all secondary schools. Music education was available to all students. Keywords: traditional music course, nontraditional music course, enrollment, comprehensive music education.

In the landscape of the contemporary entertainment industry, Taylor Swift and Dolly Parton stand out as iconic figures with enduring influence and widespread acclaim. This paper explores the parallel trajectories of these two white, blonde, Christian, and country-rooted female artists, each known for their advocacy in women's issues in addition to their careers as influential musicians. They each attempt to project an apolitical image in their work to maintain broad appeal, but lack a commitment to more nuanced and intersectional concerns. I will utilize a variety of media sources coupled with academic texts that center feminism to critically discuss a few key aspects of the careers of Parton and Swift. I explore their respective rises to fame, philanthropic works, political actions (and inactions), portrayals in the media, and romantic relationships. This exploration of white feminism through the lens of Taylor Swift and Dolly Parton's careers illuminates a nuanced narrative of successes, challenges, and the intricacies of their feminism, urging a critical examination of influence, responsibility, and the evolving dynamics of popular feminist narratives.

In December 1971, the British rock band Deep Purple recorded Smoke on the Water, which became a global hit and significantly contributed to the band’s popularity. This study aims to investigate the reasons behind the song’s success, such as its inherent values, composition, lyrics, or music production design, as well as other potential explanations. We also study Smoke on the Water’s impact on music education. We interviewed music teachers, producers, students, and musicians from different countries to accomplish this. The study also relies on insights from interviews with Deep Purple members, observations made during concerts and study visits, and external sources. The study finds its theoretical basis in cultural psychology, education, economics, sociology, and musicology theories. The findings highlight the significance of understanding the fundamental elements of a song, which aspiring artists, musicians, and music producers should consider if they want to reach a broader audience.

Building, maintaining, or scaling a sustainable music ecosystem business can be challenging due to a lack of resources to improve business operations, a lack of consistent goals, or know-how to capture and enhance customer value in an oversaturated and competitive music industry. According to Amy Wang, most musicians in the United States make $25,000 a year or less, and Next Big Sound follows up by stating that approximately 91 percent of artists go undiscovered. This study interviewed twelve independent musicians and used four common themes of the business of music, access to resources, digital technology, and performing rights organizations to examine perceived barriers to profitability and understand why they have an unworkable business model. The findings will teach students and assist musicians on how to implement the domains associated with Daniel Isenberg’s entrepreneurial ecosystem framework so they can work towards establishing a sustainable music ecosystem and reducing perceived barriers to profitability. Educators, leaders, and individuals concerned with the music and entertainment industry, or the education side will be able to analyze the musicians’ imbalanced resource allocation.

I denna presentation undersöker vi dragspelaren och artisten Calle Jularbos tidiga karriär och hur hans verksamhet var sammanflätad med den tidiga musikindustrins utveckling. Jularbo dök upp som ett ”underbarn” och var tidigt turnerande artist. Som 20-åring var han redan professionell musiker. Vid den här tiden lockade revyer storpublik: populära sånger från dem spelades in och spreds i både nottryck och på grammofonskivor. Revykungen Ernst Rolf på 1920-talet är ett tidigt nav i den svenska musikindustrin, som likt ett svenskt Tin Pan Alley snart genererade mängder av “örhängen” eller “schlagers”. Calle Jularbo, som samarbetade med Rolf, påbörjade sin musikaliska karriär mitt i den här utvecklingen som en ”kulturell entreprenör” – han tog alla chanser han fick att spela och spela in sin musik, på sin väg mot att bli en ”rockstjärna innan konceptet uppfanns”. Jularbo var mångsidigt aktiv, och vi presenterar några nedslag i några av hans viktiga arenor: dansbanor och kulturinstitutioner som Folkets Park och Folkets Hus, den tidiga biografscenen, dragspelstävlingar samt hans på fonogram mångfaldigt inspelade och medialiserade låtar – som han ibland var upphovsman till och ibland inte – men som han gav sitt omisskännliga sound som dragspelare: sånger som ”Livet i Finnskogarna” och ”Drömmen om Elin” blev svenska evergreens som även satte avtryck internationellt. Han var samtidigt en musikalisk pionjär som utvecklade Gammaldans-genren och spred den till en bred publik när den tidiga musikindustrin växte fram. Hans kompositioner, exempelvis "Drömmen om Elin," exemplifierar det för musikern Jularbo komplexa samspelet mellan inspiration från tidigare låtar och tradition, omarbetande och re-interpretation. Vi utvecklar diskussionen om Jularbos bidrag som ”entreprenör”, inte bara framstående dragspelare, arrangör och kompositör, utan som en konstnärlig kraft som aktivt utvecklade musikliv och tidig musikindustri. Hans tidiga engagemang i olika medier och arenor illustrerar, Calle Jularbo och gammeldansen: musik, nätverk, medialisering

Digitaliseringen har förändrat stora delar av musikbranschen med nya programvaror, tjänster och hjälpmedel för att skapa och släppa musik själv. Detta har fått mig att vilja undersöka hur och i vilken utsträckning gymnasieskolan tagit hänsyn till digitaliseringens utveckling och anpassar undervisningen efter dagens kunskapsläge kring musikbransch och det som kallas independent. Independent betyder i musiksammanhang att yrkesmusiker och upphovspersoner självständigt har ansvar över samtliga delar i sin musikkarriär. Tre verksamma gymnasielärare i Stockholms län har intervjuats och resultatet i detta arbete visar deras förhållningssätt till independent i gymnasieskolan. Arbetet har använt en kvalitativ metodologi och insamlat material har analyserats utifrån ett fenomenologiskt perspektiv. Resultatet redogör lärarnas åtskilda förhållningssätt till gymnasiets kursplaner och dess centrala innehåll med hänsyn till independent. I och med digitaliseringen och internets utveckling är independent redan förankrat hos gymnasieeleverna enligt intervjuade lärare. Resultatet visar även att det kollaborativa är essensen av independent där samarbetsmöjligheterna utgör det största syftet. Att verklighetsförankra undervisningen gör att elever begriper kontentan av musikbranschens krav och är förberedda när de väl ger sig ut i sina musikkarriärer. Med verklighetsbaserade uppgifter, samarbeten och det kollaborativa skapas verktyg för att vara independent., Digitization has changed large parts of the music industry by enabling music creators to make and release music independently with new software, services, and tools. This has made me interested in how upper secondary schools have kept up with the digitization and knowledge of today’s music industry. Independent in a musical context means that you are responsible for all parts of your music career. Three working teachers in Stockholm County have been interviewed and the result shows their perspective on independent in upper secondary school. The work has used a qualitative methodology, and collected material has been analysed based on a phenomenological perspective. The result describes the teachers' divided approach to the high school curriculum and its central subject concerning independent. According to the interviewed teachers, the development of the internet and digitization independent already is embedded in high school students. The result also shows that collaboration is the essence of independent where the opportunity for collaboration is the purpose. Reality-based teaching means that the students understand the content of the music industry's demands and are prepared when they embark on their music careers. Reality-based tasks and collaboration creates tools to be independent.

It is our contention that the music industries in Canada exhibit an oligopoly structure, formed of a handful of non-competitive, non-Canadian firms, which gravely harms both the livelihoods of Canadian musicians and the long term sustainability of Canadian music. Our research concludes the problem is not a consequence of anything unique to music as a cultural product, but partially a function of how competition is regulated in this country, or, more accurately, not regulated. Along with more rigorous enforcement of competition, we recommend that the Competition Act be updated to center the concerns of workers and consumers, which would have ripple effects on the health of many sectors in Canada, including music.

Based on the coverage published in 2022 about gender inequality in the music industry, where men often have the upper hand compared to their female counterparts, the aim of this study is to achieve a deeper understanding of what motivates women to pursue a career as music artists despite the current inequality. Four female music artists who make a living of their music artistry were interviewed regarding their motivation to pursue such a career. The empiric results were analyzed by performing a thematic content analysis of recurring themes present in the interviewees responses. To get a better understanding of the themes, the women's motivation and what aspects affect their motivation, Hedegaard Hein’s four motivation-archetypes (Primadonnan, prestationsjägaren, pragmatikern and lönetagaren) were used in combination with theories of gender studies. The aim was to achieve a deeper understanding of the women’s motivation through these archetypes which were presented by Hedegaard Hein to be used as a tool to analyze highly specialized creative workers. The theories of gender studies were used to achieve an understanding of the women’s actions and responses from the music industry. The analyzes found that the music artists mainly corresponded to the archetype Primadonnan, however two distinct categories of inner motivation were found. These are the emotional calling and the intellectual calling, where the emotional calling acts as an inner drive to channel emotions, thoughts and values through artistic expression which results in a feeling of relief for the artists. The intellectual calling instead acts as the driving force behind the devotion to achieve specific results and goals. Like becoming an inspiring role model, a skilled composer, a big star or to be an authentic music artist. Even though the artists had different intellectual callings, they searched for similar ways in achieving both the emotional and the intellectual callings. By listening to and following bo

Purpose– This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences. Design/methodology/approach– The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift’s album Reputation as an illustrative case. Findings– The study demonstrates how strategically curated activities encompass platforms’ affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences. Originality/value– By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era, Music ecosystems (MECO)

Marketing researchers have neglected the study on digital social viewing strategies of online concerts, leading to a significant research gap and consequently withholding possible implications from labels and artists for enhancing revenues. Thus, drawing predominantly on social impact theory (SIT), this thesis investigates how label-initiated digital social viewing strategies (DSVS) in the form of online concerts influence the intention to purchase a ticket to a future in-person live concert. Furthermore, this thesis aims to examine if there is a difference between the DSVS (live-streaming vs. pre-recorded) in the effects on consumers' perception, -attitude, and -behavior. To examine said effects, a scenario-based experiment was conducted with 128 respondents. The experiment was conducted by showing the participants a 30-second stimulus of an online concert of Stromae. 75 participants were shown a live-streaming stimulus, while 53 were shown a pre-recorded stimulus. The gathered data was subsequently analyzed using linear regression, serial mediation- and moderation models in SPSS. The results of the thesis demonstrate that social presence and synchronicity impact consumers' purchase intention, whereas the impact is fully and serially mediated by the perception of an authentic viewing experience and brand attachment, and subsequently by subscribe intention, eWOM, and search intention. However, no differences between the DSVS (live-streaming vs. pre-recorded) were found in the effect of the social influence cues on consumers' perception, -attitude, and -behavior. Nonetheless, this thesis provides valuable insights, as the findings contribute to theory by supporting and expanding Ang et al.'s (2018) proposed mediation model, implying the validity across different contexts of DSVS and providing researchers with new insights on influencing variables in DSVS. Most importantly, the findings provide important managerial implications, demonstrating that offering online conc, Adin Steinmann, Masterarbeit Universität Innsbruck 2023

Objective: To propose a genealogy of the practices and discourses that have shaped the New Colombian Music, one of the most relevant musical and cultural phenomena of recent decades in Colombia. The article analyzes the musical and discursive practices of pioneering rock groups in Colombia in the sixties and seventies and finds clues in the historical repertoire of Colombian rock to better understand today’s “novelties”. Methodology: This is done through the review of primary sources such as songs, album covers, interviews with Colombian musicians, and the review of specialized press. Originality: This article contributes to fill a gap in the studies on popular music in Colombia, particularly NMC, showing connections between groups and musicians of various generations, thus controverting the discourses that present it as an absolutely new and unprecedented phenomenon. Conclusions: After evidencing connections between musical repertoires from different eras, this research argues that the “new” label has been a constant in the Colombian music market, frequently used to refer to “fusions”, which are by no means exclusive to NMC. Likewise, it shows the influence that groups from the seventies, such as Banda Nueva and Cascabel, had on musicians and groups that shaped nmc at the end of the 20th century and the beginning of the 21st century., Objetivo: propor uma genealogia das práticas e discursos que moldaram a nova música colombiana, um dos fenômenos musicais e culturais mais relevantes das últimas décadas na Colômbia. Para isso, são analisadas as práticas musicais e discursivas de grupos de rock pioneiros na Colômbia nos anos sessenta e setenta, com a intenção de encontrar pistas no repertório histórico do rock colombiano para melhor compreender as “novidades” de hoje. Metodologia: isto é feito a partir da revisão de fontes primárias como músicas, capas de discos e imprensa especializada, e a través de entrevistas com músicos colombianos. Originalidade: este texto contribui para preencher uma lacuna nos estudos sobre música popular na Colômbia, em particular sobre a NMC, mostrando conexões entre grupos e músicos de várias gerações, com as quais são controversos os discursos que a apresentam a como um fenômeno absolutamente novo e sem precedentes. Conclusões: após evidenciar conexões entre repertórios musicais de diferentes épocas, argumenta-se que o selo “novo” tem sido uma constante no mercado musical colombiano, frequentemente usado para se referir às “fusões”, que não são de forma alguma exclusivas do NMC. Da mesma forma, são mostradas as influências que grupos dos anos 70, como Banda Nueva e Cascabel, tiveram nos músicos e grupos que formaram a NMC no final do século XX e início do século XXI., Objetivo: proponer una genealogía de las prácticas y los discursos que le han dado forma a la nueva música colombiana, uno de los fenómenos musicales y culturales más relevantes de las últimas décadas en Colombia. Para ello se analizan las prácticas musicales y discursivas de grupos pioneros del rock en Colombia en los años sesenta y setenta, con la intención de encontrar en el repertorio histórico del rock colombiano pistas para entender mejor las “novedades” de hoy. Metodología: lo anterior se realiza a partir de la revisión de fuentes primarias, como canciones, carátulas de discos y prensa especializada y mediante entrevistas a músicos colombianos. Originalidad: este texto contribuye a llenar un vacío en los estudios sobre música popular en Colombia, en particular sobre la NMC, mostrando conexiones entre grupos y músicos de varias generaciones, con lo cual se controvierten los discursos que la presentan como un fenómeno absolutamente novedoso y sin antecedentes. Conclusiones: tras evidenciar conexiones entre repertorios musicales de diferentes épocas, se argumenta que la marcación con la etiqueta “nuevo” ha sido una constante en el mercado musical colombiano, empleada con frecuencia para referirse a las “fusiones”, que de ninguna manera son exclusivas de la NMC. Así mismo, se muestran las influencias de grupos de los setenta, como Banda Nueva y Cascabel, en músicos y grupos que dieron forma a la NMC a finales del siglo XX y principios del XXI.

This thesis studies how the music industry’s strategic communication practices interplay with and steer audience and fan engagement. Relationships with, and expectations on, “active”, “prosuming” or “co-creative” music audiences make it imperative for communication practitioners to produce engagement. The music industry has adapted its promotional strategies accordingly, and data-driven processes and algorithms have become ever more central to understanding and controlling audience practices. Currently, we are witnessing the emergence of new strategic communication approaches to follow, foster, steer, track and commodify audience engagement, via big data. Applying qualitative and ethnographic approaches and socio-cultural perspectives, the thesis explores how strategic communication practices are enacted and designed to cater for, interplay with and steer fan engagement. Drawing on practice and structuration theory, critical questions are asked about the social consequences of communication engagement and an engagement imperative – for both individuals and organisations involved in the strategic communication around a music brand. Results indicate that the contemporary, digitalised music industry demands communication practices that are at the same time strategic, professionalised, agile and co-creative. The study highlights important implications of such practices, in terms of changing professional competences and ethics as well as context-specific articulations of the power relations that support and are (re-)produced through the engagement imperative. In sum, the thesis is aimed at extending our understanding of how strategic communication practices respond to, and change in, a seemingly liquid, yet at the same time carefully orchestrated, communicative context., For the music industry, audiences’ engagement around music artists is central to building and communicating artist brands. Currently, we are witnessing new communication approaches to track, foster and commodify audience engagement, partly via data-driven processes. This thesis studies how the music industry’s strategic communication practices interplay with and steer audience and fan engagement. The thesis applies qualitative and ethnographic approaches and socio-cultural perspectives. Drawing on practice and structuration theory, critical questions are asked about the social consequences of communication engagement and an engagement imperative – for both individuals and organisations. Results indicate that the contemporary, digitalised music industry demands communication practices that are at the same time strategic, professionalised, emergent, agile and co-creative. The study highlights implications of such practices, in terms of changing professional competences, ethics and power relations that support and are (re-) produced through the engagement imperative. In sum, the thesis is aimed at extending our understanding of how strategic communication practices respond to, and change in, a seemingly liquid, yet at the same time carefully orchestrated, communicative context.

This paper presents the conclusions of the mapping of the digital music sector in Spain, ordering these intermediation processes as a contribution to the communication studies. Starting from the concept of diversity, and with a view from the political economy of communication and culture, it evaluates a key sector within the cultural industries and whose transformation is a reference, and antecedent, for other sectors., Este trabajo presenta las conclusiones del mapeo del sector de la música digital España, ordenando estos procesos de intermediación como aporte para los estudios de comunicación. Partiendo del concepto de diversidad, y con una mirada desde la economía política de la comunicación y la cultura, evalúa un sector clave dentro de las industrias culturales y cuya transformación es un referente, y antecedente, para otros sectores, This paper presents the conclusions of the mapping of the digital music sector in Spain, ordering these intermediation processes as a contribution to the communication studies. Starting from the concept of diversity, and with a view from the political economy of communication and culture, it evaluates a key sector within the cultural industries and whose transformation is a reference, and antecedent, for other sectors.

Thesis Purpose: This study examines how parasocial relationships between music artists and fans foster a plethora of different consumer attitudinal outcomes, with the purpose to provide clarity through the shaping of distinct consumer archetypes, while offering in this way practical insights for marketers and industry professionals. The context of K-pop is used to delve deeper into the understanding of the use of the parasocial sphere in the music industry scenario. Methodology: The thesis is based on a relativistic ontology and social constructivism epistemology, which led to the use of an abductive and qualitative approach. The data collection was made through the use of three focus groups with a total of 22 participants. Subsequently, the data was analysed with the use of thematic analysis. Theoretical perspective: This thesis offers a comprehensive theoretical framework for studying parasocial relationships and consumer archetypes in the music industry. It explores the impact of digitalisation and social media on content creation and emphasises the significance of personal branding. The role of fan-artist engagement, informed by reciprocity theory and the communication involvement theory, is examined. The concept of parasocial relationships is discussed as a key factor in strengthening the artist-fan bond. The K-pop industry serves as an exemplar, showcasing strategic choices and the expansion of the Parasocial Interaction theory to understand diverse consumer archetypes. Main Findings & Theoretical Implications: The study findings have identified different archetypes ("The Enjoyer," "The Top Fan," "The Hero Friend," and "The Dreamer") that reveal diverse consumer attitudinal patterns. The theoretical implications first present parasocial nuances through consumer archetypes, a theory that highlights that the strength of parasocial relationships does not always align with monetary contributions. Second, reasoned support theory emerges as fans justify consumption

[spa] La industria musical en Corea del Sur se ha convertido en una de las industrias más potentes a nivel mundial, seguida por millones de personas de todo el mundo. La industria musical es uno de los negocios más importantes, obteniendo una de las mayores ganancias económicas del país asiático y posicionándose, a nivel musical, entre los países más importantes del mundo. El objetivo de este análisis es conocer cómo esta industria, más concretamente la empresa HYBE junto a BTS, ha conseguido alcanzar la posición que tiene actualmente a nivel mundial, analizando las estrategias de marketing que han utilizado, para que los artistas de esta industria hayan alcanzado tal éxito y dar a conocer la Korean Popular Music, más conocido como el Kpop, convirtiéndose así en uno de los estilos musicales más importantes del mundo., [eng] The music industry in South Korea has become one of the most powerful industries worldwide, followed by millions of people around the world. The music industry is one of the most important businesses, obtaining one of the highest economic profits in the Asian country and positioning itself, at a musical level, among the most important countries in the world. The objective of this analysis is to know how this industry, more specifically the company HYBE together with BTS, has managed to reach the position it currently has worldwide, analyzing the marketing strategies they have used, so that the artists of this industry have achieved such success and publicize the Korean Popular Music, better known as K-pop, thus becoming one of the most important musical styles in the world.

What does it mean, in a polarized political climate, that feminism is popular in mainstream popular music during the 2010s? Engaging with feminist theory and previous research about gender and music, this book investigates the meaning of current trends relating to gender, feminism and woman-identified artists in mediated popular music. The examples discussed throughout the book include Netflix documentaries by Beyoncé, Lady Gaga and Taylor Swift, the Swedish music industry #MeToo petition #närmusikentystnar, music streaming service's gender equality work and the project Keychange striving to bring underrepresented genders to the stage. The volume discusses the media specificity of the different examples; introduces and explains feminist theories and concepts; and analyses the position of women, gender politics and feminisms in popular music.

Due to societal trends, such as digitalisation, platformisation, and active and co-creative audiences, new organisational practices have surfaced. This study examines how communication practitioners experience their changing work in a new communication environment in which participatory cultural norms are becoming standard in strategic communication. I argue that the requirements to produce audience engagement affect the communication work and the communication workers. This study uses the popular music industry as a case, and is based on interviews with communication practitioners as well as on the qualitative text analysis of reports and newsletters from the music marketing firm Music Ally to the music industry. The study shows that communication practitioners within the industry experience a duty to create audience engagement-an engagement imperative. Although the practitioners are highly skilled in digital communication and social media, they often see the development of digital promotional culture as a challenge and express a lack of a deeper understanding of engagement. This study highlights implications for their professional roles, competences, and identities as well as ethical implications regarding the exploitation of audiences in communication work., MECO – Music Eco-systems Inner Scandinavia

This article analyzes the main impacts of the COVID-19 pandemic on the trajectory of digital transformation in the Music Industry. Before the pandemic, the Music Industry had recovered its revenues, due to the diffusion of business models based on streaming. Based on documentary research of articles collected between March 2020 and June 2021, we suggest that the digital transformation could take two different 'paths'. In one path, Digital Transformation in the industry is expected to increase the centrality of streaming services, accompanied by increased concentration in the industry. Another path includes the emergence of business models that promote greater direct interaction between musicians and audience, increasing innovation and decreasing concentration in the industry. We conclude the article with suggestions for contributions to the literature., Esse artigo analisa os principais impactos da pandemia COVID-19 sobre a trajetória de transformação digital na Indústria da Música. Antes da pandemia, a Indústria da Música mostrava recuperação de faturamento a partir da difusão de modelos de negócio baseados no streaming. Com base na pesquisa documental de artigos coletados entre março de 2020 e junho de 2021, sugerimos que a transformação digital poderá tomar dois ‘caminhos’ distintos. Em um caminho, espera-se que a transformação digital na indústria aumente a centralidade dos serviços de streaming, acompanhado de aumento na concentração na indústria. Um outro caminho inclui o surgimento de modelos de negócio que promovam maior interação direta entre músicos e fãs, aumentando a inovação e diminuindo a concentração na indústria. Concluímos o artigo com sugestões de contribuições à literatura.

Studien syftade till att förena begreppsuppfattningar av black boxfenomenet, genom att härleda vad black box är enligt branschkunniga och undersöka vad de anser att problematiken grundar sig i. Problemområdet innefattar distribution av ekonomiskt kapital som inte fördelas korrekt. Bakgrunden till studien vilade i viljan att forma en hållbar musikindustri för mig och mina branschkollegor. Studien utformades av fyra forskningsfrågor som besvarades med metoden semistrukturerade intervjuer genom ett strategiskt urval av branschkunniga aktörer. De fem respondenterna intervjuades genom videosamtal för att skapa den deskriptiva empiriska data som studien eftersökte. Det övergripande resultatet påvisar att uppfattningarna består av orsakskedjor som ingrips av flera delkomponenter. Uppfattningarnas grund vilar i fenomenets uppkomst/historia, dess bakomliggande orsaker och vilket ekonomiska kapital som omfattas. Komponenterna bildar tillsammans begreppsuppfattningar som delvis handlar om att begreppet växt i och med det digitala skiftet som i sin tur påverkat hur data och information hanteras mellan kunder, rättighetsorganisationer, företag och aktörer i musikbranschen. Studiens resultat har bidragit till djupare förståelse av begreppet blackbox och kunskap om hur branschkunniga uppfattar problematiken, samt hur musikbranschen arbetar för en förbättring.

The advent of music streaming has made it increasingly important for actors in the music industry to understand if tracks are going to succeed or not. This study investigates if it is possible to accurately classify the growth of the listener base of a music track based on multivariate time series with listener behavior data. 18 popular time series classification algorithms were used to build predictive models which were evaluated in a 10-fold cross-validation. We also examined the algorithms’ potential to deliver business value for a record label. Lastly, the possibilities and challenges of applying a data-driven business model in the music industry were investigated by performing a comparative analysis of a modern and traditional record label. Six algorithms were found to significantly outperform the baseline. Two algorithms based on convolutional kernels, RR and AMini, were found to present the biggest business value because of their accuracy and low time complexity. While it may be necessary for record labels to adopt data-driven business models to flourish in the modern market, there are difficulties regarding the competitiveness of digital solutions and complications in moving the focus from networking to developing technology., Spridningen av musiktjänster har gjort det alltmer viktigt för aktörer i musikbranschen att förstå vilka låtar som kommer att lyckas och inte. Denna studie undersöker om det är möjligt att klassificera tillväxten av en låts lyssnarantal baserat på multivariata tidsserier innehållandes data om lyssnarbeteende. 18 populära algoritmer för tidsserieklassificering användes för att bygga prediktiva modeller som utvärderades med 10-delad korsvalidering. Vi undersökte sedan algoritmernas potential att skapa affärsvärde för ett skivbolag. Slutligen studerades möjligheter och utmaningar som datadrivna affärsmodeller presenterar i denna bransch genom en komparativ analys av ett modernt och traditionellt skivbolag. Sex algoritmer visade sig signifikant överträffa en baslinjeklassificerare. Vi fann att två algoritmer baserade på faltningskärnor, RR och AMini, kunde skapa störst affärsvärde på grund av deras noggrannhet samt låga tidskomplexitet. Det verkar vara nödvändigt för skivbolag att anamma datadrivna affärsmodeller för att frodas i den moderna marknaden, men det finns svårigheter som måste beaktas vad gäller konkurrenskraften för digitala lösningar samt förflyttandet av fokuset från nätverksbyggande till teknologiutveckling.

La artista infantil Miley Cyrus, que comenzó su debut como actriz y cantante en la serie Hannah Montana, producida por Disney Channel, se convirtió en un icono de la música a la pronta edad de ocho años. Su éxito ha ido incrementando exponencialmente hasta la actualidad, siendo ya adulta y manteniendo su popularidad y su fama. En primer lugar, se han planteado los objetivos del trabajo, entre los cuales se encuentran un objetivo general y cuatro objetivos específicos. Además, se ha realizado un análisis de diez videos musicales de la discografía de la artista Miley Cyrus, estrenados entre 2006 y 2020, basado en diez ítems con el objetivo de observar sus cambios tanto físicos como musicales durante su vida como cantante en orden cronológico. Para el análisis se han estudiado y descrito los tipos de plano, iluminación, colores, movimientos de cámara, indumentaria, maquillaje, movimientos de la artista, temática del videoclip y visualizaciones en YouTube de cada tema escogido. En cuanto a los videoclips de Miley Cyrus, se han registrado bastantes similitudes entre ellos, sobre todo entre los pertenecientes a la misma etapa temporal. También se han observado diferencias conforme se avanza en el tiempo y cómo la artista se ha ido creando una seña de identidad personal. Desde estas consideraciones, se puede afirmar que estos videoclips evidencian la evolución estética y musical de esta cantante desde la adolescencia a la etapa adulta., The child artist Miley Cyrus, who started her career as an actress and singer at Hannah Montana’s series, produced by Disney Channel, became a music icon at the early age of eight years old. Her success has been increasing until today, being now an adult and keeping her popularity and fame. In the first place, the objectives of the work have been set, including one general objective and four specifics objectives. In addition, an analysis of ten musical videos of Miley Cyrus’ discography has been carried out, based on ten items in order to notice her physical and musical changes during her life as a singer in chronological order. The analysis contains the study of shots, lighting, colours, camera movements, costume, make up, artist movements, music video theme and views on YouTube of each single. Regarding to Miley Cyrus’ musical videos, similarities have been identified, especially between the ones that belong at the same temporary period. Also, some differences have been seen over time and how the artist has created an identity sign by herself. It is safe to say that these musical videos evidence the aesthetic and musical evolution of this singer from adolescence to adult stage.

In the 21st Century, just two decades in, the number of groups comprising women and gender dissidents devoted to electronic music has increased exponentially on a global level. They share an ongoing intent: to overcome the technological gap, facilitate access to training for new generations, and acknowledge the need for, and the importance of, queer feminist activism in the current electronic music scene. In this article, we briefly review the historical causes that have separated women from music technologies and the current actions being taken to break this chain of exclusions. In turn, we will survey the work and research of the founders and collaborators of some of the national and international groups that are currently being developed that share a common drive toward sisterhood and non-hierarchical organizational structures to create safe and inclusive spaces., En apenas dos décadas de este siglo XXI la suma de colectivos formados por mujeres y disidencias de género afincados en la música electrónica ha ido aumentando exponencialmente a nivel global. La intención común a todos ellos sigue siendo superar la brecha tecnológica, facilitando el acceso a la formación a las nuevas generaciones, mientras dan cuenta de la necesidad e importancia de un activismo feminista queer en la escena de la música electrónica actual. En este texto haremos un breve repaso de las causas históricas que han separado a las mujeres de las tecnologías de la música y de las acciones presentes para romper con esta cadena de exclusiones. A su vez, recogeremos el trabajo e investigación de las propias fundadoras y colaboradoras de algunos de los colectivos nacionales e internacionales que se están desarrollando en la actualidad con el empuje común de la sororidad y las estructuras no jerárquicas de organización para crear espacios seguros e inclusivos.

In today’s music industry, many female workers live experiences of injustice and inequality that, whether perceived or not, are caused by and simultaneously affect both the system of music production relationships and daily their lives. These experiences are already evident from the state of ignorance associated with the absence of databases and records of economic activities by disaggregated by sex in this industry. This article attempts to answer a question: how can we investigate the possible experiences of gender injustices and inequalities when there are no official records to shed light on the basic structures that order the relationships of production affecting daily life? This is even more true now that there is ample evidence of the historical inequality of women compared to men in most labour fields. Therefore, the mixed methodology we used here responds to the injustice and epistemic ignorance underlying the present structure of labour relations and family reconciliation. This approach allowed us to undertake an exploratory and descriptive analysis of the situation of women in the music industry from this initial premise. The aim of this work arose from the need to present and justify the use and procedures of a mixed qualitative and quantitative methodology as a necessary tool to research the situation of female workers in the music industry in Spain.

The objective of this exploration is to investigate, describe and understand the current management, development and consumption processes of the Argentine Music Industry; mediated by digital platforms and social networks, framed and influenced by the global, multicultural and diverse context; structured by the logic of the market and technological innovation.In this context, the different elements that make up the symbolic construction that it ex-erts on consumers, the impact that it generates on creators and the changes in habits that have occurred in audiences going through the enormous transformations that the indus-try of music has suffered since the creation of the internet a few decades ago but focusing mainly on the present with the emergence of new platforms and technological supports that significantly modified the modes of creation, production and consumption reaching unexpected places with the appearance of the SARS virus -CoV-2 that led to a pandemic, with the enormous consequences that it brought about for the cultural sector as well as in all areas of daily life., Esta exploración se plantea como objetivo indagar, describir y comprender los procesos de gestión, desarrollo y consumo en la actualidad de la Industria de la Música Argentina; mediada por plataformas digitales y redes sociales, enmarcada e influenciada por el contexto global, multicultural y diverso; estructurada por las lógicas del mercado y la innovación tecnológica. En este contexto se irá recorriendo y analizando los distintos elementos que componen la construcción simbólica que ejerce sobre los consumidores, la incidencia que genera en los creadores y los cambios de hábito que se han dado en las audiencias atravesados por las enormes transformaciones que la industria de la música ha sufrido desde la creación de internet hace algunas décadas pero haciendo foco principalmente en la actualidad con la irrupción de las nuevas plataformas y soportes tecnológicos que modificaron significativamente los modos de creación, producción y consumo llegando a lugares insospechados con la aparición del virus SARS-CoV-2 que derivó en una pandemia, con las enormes consecuencias que trajo aparejadas para el sector cultural al igual que en todos los ámbitos de la vida cotidiana., O objetivo desta exploração é investigar, descrever e compreender os processos atuais de gestão, desenvolvimento e consumo da indústria musical argentina; mediada por plataformas digitais e redes sociais, enquadrada e influenciada pelo contexto global, multicultural e diverso; estruturada pela lógica do mercado e da inovação tecnológica.Nesse contexto, os diferentes elementos que compõem a construção simbólica que exerce sobre os consumidores, o impacto que gera nos criadores e as mudanças de hábitos ocor-ridas nas audiências passando pelas enormes transformações que a indústria da música sofreu desde a criação da internet há algumas décadas mas focando principalmente no presente com o surgimento de novas plataformas e suportes tecnológicos que modifica-ram significativamente os modos de criação, produção e consumo chegando a lugares inesperados com o aparecimento do vírus SARS -CoV-2 que levou a uma pandemia, com as enormes consequências que trouxe para o sector cultural, bem como em todas as áreas da vida quotidiana.

Since the middle of the second decade of this century, artists and specialized journalists in music, as well as professionals from the music industry business, have com-mented on the death of rock music, blaming a whole range of business, socio-cultural or musical factors. Consequently, and perhaps with an inherent curiosity of a music lover, someone might ask: what are the reasons used to argue such a claim? What are the impli-cations? This research paper initially seeks to compile and bring to light the fundamental explanations that are used to discuss the death of rock as a musical genre and raise some questions and hypotheses that respond to this problem., Desde meados da segunda década deste século, artistas e jornalistas especia-lizados em música, além de profissionais da indústria da música, comentam a morte do rock, culpando toda uma gama de fatores empresariais, socioculturais ou musicais. Con-sequentemente, e talvez com uma curiosidade inerente a um amante da música, alguém poderia perguntar: quais são as razões usadas para argumentar tal afirmação? Quais são as implicações? Este artigo inicialmente procura compilar e trazer à luz as explicações fun-damentais que são usadas para discutir a morte do rock como gênero musical e levantar algumas questões e hipóteses que respondem a esse problema., Desde mediados de la segunda década de este siglo, artistas, periodistas especializados, así como también profesionales del negocio de la industria musical, han comentado sobre la muerte de la música rock, responsabilizando a toda una serie de factores de negocio, socioculturales o musicales. Consecuentemente, y tal vez con una curiosidad inherente de un melómano alguien podría preguntarse ¿Cuáles son las razones que se esgrimen para argumentar semejante afirmación? ¿Cuáles son las implicancias? Este trabajo de investigación busca inicialmente recopilar y sacar a luz las explicaciones fundamentales que se emplean para debatir la muerte del rock como género musical y plantear algunas preguntas e hipótesis que den respuesta a esta problemática.

This is a comparative study between two strands of Brazilian rock in the 1980s, the mainstream and the underground, undertaken through the study of the individual and collective trajectory of Brazilian rockers of the period, in dialogue with Pierre Bourdieu's concepts, seeking to identify the capitals held by rock exponents who received the preference of the music industry of the period (mainstream), compared to a second group, which was on the fringes of the music industry (underground). The research points out that the different capitals (social, cultural and economic) held by the first group facilitated their recruitment by the music industry, catapulting them to commercial success and musical consecration, to the detriment of the second group, which did not have the same material and symbolic assets., Trata-se de um estudo comparativo entre dois polos do rock brasileiro dos anos 1980 – o mainstream e o underground –, empreendido por meio do estudo da trajetória individual e coletiva dos roqueiros brasileiros do período, em diálogo com conceitos de Pierre Bourdieu, buscando identificar os capitais detidos pelos expoentes do rock que receberam a preferência da indústria fonográfica do período, em comparação com um segundo grupo, que ficou à margem da indústria da música. A pesquisa aponta que os distintos capitais (social, cultural e econômico) detidos pelo primeiro grupo foram condicionantes importantes para o recrutamento destes pela indústria da música, catapultando-os para o sucesso comercial e a consagração artística, em detrimento do segundo grupo, que não dispunha dos mesmos trunfos materiais e simbólicos., Se trata de un estudio comparativo entre dos vertientes del rock brasileño de la década de 1980, el mainstream y el underground, realizado a través del estudio de la trayectoria individual y colectiva de los rockeros brasileños de la época, en diálogo con los conceptos de Pierre Bourdieu, buscando identificar los capitales en manos de exponentes del rock que recibieron la preferencia de la industria musical de la época (mainstream), frente a un segundo grupo, que se encontraba al margen de la industria musical (underground). La investigación señala que los diferentes capitales (social, cultural y económico) que ostentaba el primer grupo facilitaron su captación por la industria musical, catapultándolos al éxito comercial y la consagración musical, en detrimento del segundo grupo, que no contó con la mismos bienes materiales y simbólicos.

Coopetition may help firms to respond collectively to technological change, and compete against disruptive innovation. Yet, coopetition often creates tensions, as coopetitors need to engage in persistently contradictory activities. While existing research focuses on dyadic coopetition, we know much less about multilateral coopetition; specifically, how tensions in multilateral coopetition arise and how they are managed in response to disruptive innovation. We use an in-depth case study of nine Dutch firms, who respond to digital disruption by introducing a new digital music platform, to analyse how tensions evolve in a multilateral coopetition entity. Our findings reveal two coopetitive tensions: a novel multilateral generalist–specialist contribution tension, and the well-known value creation–capture tension. The generalist–specialist contribution is an actor-activity-based tension that originates from the variable contributions of different vertical and horizontal coopetitors over time. Coopetitors try to resolve or balance this tension constantly via commensuration and orchestration of individual coopetitors' contributions, but the tension remains dormant and therefore re-appears. The second tension appears to stabilize over time as the coopetitive entity manages to balance the value creation–capture tension through an iteration of cooperation-inducing, competition-inducing and attendance to redirecting external events. The tensions are interlinked: the generalist–specialist contribution tension triggers subgroup coalition formation, which spurs the value creation–capture tension. We contribute to the coopetition literature by explaining how tensions emerge and are managed in multilateral coopetition, pointing to a new tension inherent in multilateral coopetition. Furthermore, we show how disruptive innovation uniquely shapes multilateral coopetition by inducing cooperative behaviour.

Introduction. Nowadays, professional women do not receive the same support as their male counterparts in the music industry, even though they can prove the same level of professionalism and experience in that sector. Objectives. This paper aims to give visibility to the feminist movement within the music sector, which is advancing steadily thanks to the commitment of associations and platforms, which work for a common goal: to focus on the incomprehensible gender inequality that women suffer on a daily basis and empower them in their fight against these unfair dissidences in pursuit of the end of all gender gaps. Methodology and conclusions. The time has come to condemn those mind-sets that advocate silencing women’s voices and building synergies to end the lack of parity, the pay gap, unequal opportunities, glass ceilings and sticky floors in the music business., Introducción. A día de hoy, es un hecho que las mujeres profesionales no reciben el mismo tratamiento que sus homónimos masculinos en la industria de la música, aun pudiendo acreditar el mismo nivel de profesionalidad y experiencia en dicho sector. Objetivos. El presente artículo persigue dar visibilidad al movimiento feminista dentro del sector musical que avanza a paso firme gracias al compromiso de colectivos y plataformas, que trabajan conjuntamente por un objetivo común: otorgar una mayor visibilidad a la desigualdad de género que sufren las mujeres a diario y empoderarlas en su lucha contra estas injustas disidencias en pos de la eliminación de toda brecha de género. Metodología y conclusiones. Llegó el momento de reprobar aquellas mentalidades que aboguen por silenciar las voces de las mujeres y construir las sinergias necesarias para acabar con la falta de paridad, la brecha salarial, la desigualdad de oportunidades, los techos de cristal y los suelos pegajosos en el negocio global de la música.

The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of cross-promotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist's identity with the film's iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern.