Is music becoming more visual? Online video content in the music industry

Holt, Fabian

doi:10.1080/1472586x.2011.548489

Cited by 33 publications

(18 citation statements)

References 11 publications

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“…A grounded theory perspective (Charmaz, 2006) informed the design of the research project, which focused on music listening through music streaming services. Streaming services offer a range of music genres, and are a little less visually focused than, for example, video streaming platforms (Holt, 2011), making it more useful in researching several dimensions of imagining place.…”

Section: Methodsmentioning

confidence: 99%

Sharing songs on Hirakata Square: On playlists and place attachment in contemporary music listening

Bolderman

Reijnders

2019

European Journal of Cultural Studies

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This article focuses on the relation between music and place. More particularly, it theorizes and investigates how music leads people to imagine places, sometimes resulting in a 'musical topophilia': the love for a place based on its association with a particular genre, musician or musical activity. This concept is explored through 17 semi-structured, in-depth interviews with Dutch users of music streaming services. The analysis shows how these music listeners connect their love for music to places in four ways: through (1) sound, (2) texts and images, (3) musicians, and (4) places of music production, distribution or consumption. Based on these four mediations, music listening shapes affective geographies.

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Section: Methodsmentioning

confidence: 99%

Sharing songs on Hirakata Square: On playlists and place attachment in contemporary music listening

Bolderman

Reijnders

2019

European Journal of Cultural Studies

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“…Aunque los artistas y las discográficas continúan produciendo en primer lugar el contenido musical y más tarde el visual como apoyo promocional, el balance está cambiando y la tendencia se escora al aprovechamiento de todos los formatos posibles (vídeo expandido, fan vídeo, vídeo expandido, versión breve, versión completa, etc.). Como afirma Fabian Holt (2011), "la industria musical experimenta un giro hacia el vídeo, lo que denota la variedad a veces incognoscible de producciones visuales en torno a una canción, tanto en lo que se refiere a diversos formatos (teaser, promo, etc. ) (Korsgaard, 2013).…”

Section: El Videoclip Contemporáneo: Una Segunda Estéticaunclassified

El videoclip postelevisivo actual. Propuesta metodológica y análisis estético

Valdellós¹,

López²,

Acuña³

2016

RLCS

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Cómo citar este artículo / Referencia normalizadaInternet, medio que permite mayor interactividad, accesibilidad y elección activa por parte del usuario. Como consecuencia, parece necesario retomar el análisis del videoclip actual, que podría denominarse postelevisivo, como textos audiovisuales, en lo relacionado con la letra, los visuales, la presencia del cantante en cuadro, variables clásicas en otros estudios del videoclip. Metodología: Se analizan cuarenta vídeos musicales en torno a dos categorías con una propuesta metodológica basada en la segmentación y medida del ASL (Average Shot Length), las relaciones entre la banda sonora y su representación audiovisual, así como entre la música y la letra, el tipo de videoclip desarrollado y el porcentaje de apariciones y primeros planos del cantante. Resultados y conclusiones: Tras el estudio de la muestra se destacan algunos rasgos básicos como el predominio de la tipología performativa en un grupo de videoclips analizados, y los de la categoría conceptual en el otro, a lo que vienen asociadas ciertos registros de ASL, así como formas de relacionar visuales y música según un tipo de correspondencia kinética o de contenido y letras y visuales mediante una amplificación de lo expuesto en las primeras.

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“…During concerts, audience members attempt to signify presence in an experience of unique activity in time and place (Holt and Wergin 2013, 5), through social media tagging, fan-recorded footage and tour merchandise. Through online communication gigs become part of an expanded virtual community (Holt 2011;Lange 2011, 25;Wergin 2013, 118). Through the interviews conducted for this study, people were reminiscent about who they went to see and with whom they attended gigs, their memories interlocked with the venues and their surrounding landscape.…”

Section: Miranda Mcmullen Band Manager At the Duchess Of York Leedsmentioning

confidence: 99%

The “Toilet Circuit”: Cultural Production, Fandom and Heritage in England's Small Music Venues

Miller

Schofield

2016

Heritage & Society

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In its broadest sense, the Toilet Circuit comprises smaller and independent music venues in the UK that launched many now famous artists and bands, alongside supporting many that are locally known, igniting or sustaining all-important local music scenes and their cultural production. Fuelled by alcohol, drugs and adrenalin, the turbulent atmosphere of Toilet Circuit venues offer escapism for disaffected youth within the seedy aesthetic environment evocative of a recalcitrant culture. These raucous grime-pits play a vital role in the ecology of Britain's music scene and broader cultural sector. Against a backdrop of closures, this paper seeks to explore the significance of these venues and their future , using three iconic examples in London, Leeds and Kent. INTRODUCTION: MUSIC, HERITAGE AND THE CITY 'We are being robbed of our cultural heritage.' Headline of a Time Out magazine blogpost documenting the closure of legendary Soho (London, UK) club and music venue 'Madam JoJos', November 2014. The musical heritage of Britain exists in a myriad of forms, claiming, 'a dominant role in voicing an essential national identity, history and experience' (Morra 2013, 11). Yet contemporary live music performance spaces appear to be undervalued (see Haslam 2015 for an overview) despite live music being integral to identity, lifestyle and culture and to a UK live music industry worth £789 million (UK Music, 2014). These venues are also under threat. A report by the Music Venue Trust (MVT 2015) has revealed independent music venues operating under significant pressures, financial and regulatory, closing down at a substantial rate. Against this background, and using three case studies comprising representative examples of venues on the so-called 'Toilet Circuit', this paper will explore the contested heritage of these venues and their role in the constructions of place, history and identity (Roberts and Cohen 2015, 233). Popular music, its production, marketing and distribution, is largely closely aligned to a drive for nostalgia. For example, 'classic albums' (Baade and Aitken 2008; Weinstein 1998) and music magazines such as Mojo and Classic Rock have sought to establish and reconstruct an 'authentic' musical heritage (Whiteley 2005). Recent years have seen a rise in reunion tours, 'heritage acts' playing classic albums in full (Reinartz 2010) and tribute acts seeking to reconstruct the authentic. Music's commercialistic nostalgia (Chaney 2002; Grainge 2000, 27; Williams 1965) has woven personal memories and identities with consumable music developing a retrospective cultural consecration (Allen and Lincoln 2004; Schmutz 2005). Thus music is ingrained, perhaps unhealthily, with connotations of time and place creating a kind of authorised (and arguably sanitized) heritage of popular music. More healthily perhaps, within contemporary music, many artists incorporate a hybridity of musical sources, evoking the heritage that they represent. Tim Jonze (2006) in the leading music magazine NME described Arctic Monkey's debut album as: ...

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Is music becoming more visual? Online video content in the music industry

Cited by 33 publications

References 11 publications

Sharing songs on Hirakata Square: On playlists and place attachment in contemporary music listening

Sharing songs on Hirakata Square: On playlists and place attachment in contemporary music listening

El videoclip postelevisivo actual. Propuesta metodológica y análisis estético

The “Toilet Circuit”: Cultural Production, Fandom and Heritage in England's Small Music Venues

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