The DIY Musician #Berklee #cdbaby

IMG_0593.jpgThis week I’m at Berklee’s campus in Valencia, Spain. There will be some regular work-related meetings while I’m out here, talking about our study abroad options, and the four Masters programs. And this weekend, Berklee Valencia is hosting the DIY Musician conference, with speakers from the College itself, and from various parts of the music industry, including co-sponsors CDBaby (full list of speakers).

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Digital natives in the music industry? #iaspm2017

Koos Zwaan, Sabine de Lat and Mark van Everdinck: Inholland University of Applied Sciences (presenter: Koos Zwaan)

Digital natives in the music industry? How the Internet ecosystem is creating value for artists

DJ Angerfist

The Netherlands’ DJ Angerfist – he shares social media platforms with the Royal Concertgebouw Orchestra.

ABSTRACT: We will report findings from a large scale online research project looking at the value of online income streams for Dutch pop musicians. We have performed an analysis of the online activities of a diverse group of about 1100 Dutch artists, stretching the entire scope of popular music genres. By using cluster analysis we have identified a number of different archetypical artist strategies for using online possibilities for marketing, promotion and interaction with the audience. These quantitative findings have been enriched by doing interviews with a number of artist managers of artists who can be identified in one of these artist clusters. From our analysis we can conclude that different types of artists have strategic reasons for choosing a specific type of online strategy. Both theoretical and practical implications of this study will be discussed.

Koos opens with a quiz – who is back, and where? The answer, of course, is Taylor Swift is back on Spotify. Koos quotes from Swift’s 2014 Time interview:

“I’m always up for trying something. And I tried [Spotify] and I didn’t like the way it felt. I think there should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” Taylor Swift, 2014

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Crowdfunding and Amanda Palmer #iaspm2017

Beatriz A. Medeiros and Natalia Dias: Universidade Federal Fluminense

Crowdfunding is not for everybody: Performance in the Art of Asking

Palmer

Amanda Palmer: previously signed to Roadrunner, and now an independent crowdfunded artist.

ABSTRACT: This paper had as main goal to understand the importance of performance inside a process of crowdfunding, from the video produced by the independent musician Amanda Palmer, for the platform Kickstarter, to promote the project for launching her album, Theater is Evil. One of Kickstarter’s main requirements are audiovisual productions that assist in the dissemination of artists and their projects. Such videos seem to be the leading engagement products to attract “backers”. However, the hypothesis is that this is not the ultimate persuasion of this model. Resorting to Reception Studies as methodological basis and using internet ethnographic as inspiration, comments relating the video of Palmer’s project, present at the Youtube and Kickstarter platforms, were analyzed. Thus, it was possible to observe that not only the audiovisual performance is important to move “backers”, but also there’s a need of previous knowledge of the artist by these financers.

[Beatriz presents this jointly-authored paper on behalf of both authors].

The research subject is Amanda Palmer, a US-based independent artist who started her career in a piano/drums punk duo (signed to Roadrunner until 2011) and is now a solo independent artist. Her first album ‘Theatre is Evil” was crowdfunded via Kickstarter and later Patreon; Beatriz shows us a screenshot of the funding page, which shows pledges of $1,192,793 against a target of $100,000. [Read more…]

Berklee’s Fair Music report

music20in20the20digital20ageMy first full session today at the CMS conference is presented by Berklee faculty members Peter Alhadeff and Luiz Augusto Buff. They are, today, analysing and critiquing Berklee’s Fair Music Report.

Peter begins with some caveats; he comments that the report deals particularly with the recording industry (and does not cover other music industries – e.g. live music and music education).  Second, he notes the support from Kobalt Music, whom he notes are a very particular type of publisher, with a particular interest in digital and many very large-scale song catalogues in their portfolios. [Read more…]

Opening panel – Recorded Music In the Internet Age (download presentation) #arpOslo2014

GraphHere are my own slides from today’s presentation in Oslo.

JB slides (pdf)

Citations as follows:

Adorno, Theodore W. “On Popular Music.” Studies in Philosophy and Social Science IX (1941): 17–48.

Degusta, Michael. “The REAL Death Of The Music Industry – Business Insider,” February 18, 2011. http://www.businessinsider.com/these-charts-explain-the-real-death-of-the-music-industry-2011-2

Gordon, Steve. “Why Apple’s Acquisition of Beats Is Bad for Indie Labels, Artists, and the Industry.” Digital Music News, June 6, 2014. http://www.digitalmusicnews.com/permalink/2014/06/06/apples-acquisition-beats-bad-indie-labels-artists-industry.

Image: Australian War Memorial http://www.awm.gov.au/collection/010872/

IASPM 2014: Glasgow is a Village: Social Enterprise in the Popular Music Scene

Glasgow is a Village: The Role of Social Enterprise in Propagating the City’s Popular Music Scene

Monorail records – an influential part of the scenes that Bob discusses in his paper

Robert Anderson

ABSTRACT: In 2004 US Time magazine named Glasgow as Europe’s capital of rock music and likened it to Detroit in its Motown heyday (Porter, 2004). In August 2008 the city was named UNESCO City of Music and the application dossier submitted in support of this title notes the importance of rock and pop for the city’s musical reputation. Given Glasgow’s recent accolades, and the number of critically and commercially successful rock/pop artists to emerge from the city over the last thirty years, there has been little research into the ways in which Glasgow has maintained such a vibrant and productive popular music scene.

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