Understanding Popular Music

Shuker, Roy

doi:10.4324/9780203188019

Cited by 45 publications

(31 citation statements)

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“…Musicians, and their musical products, are in contact with their audiences in three ways: through media exposure, sales of their recordings and live performances (e.g. Longhurst, 2007;Shuker, 2001;Toynbee, 2000). These also represent the three most important ways for musicians to gain an income with their musical activities.…”

Section: Methodsmentioning

confidence: 99%

How are young music artists configuring their media and sales platforms in the digital age?

Leenders

Farrell

Zwaan

et al. 2015

Journal of Marketing Management

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Research on how music artists generate sales from their content through different platforms is scant. In this study, configuration theory is used to show that different market access configurations are viable simultaneously and that young musicians differ significantly in how they generate revenues. Using data on the media and sales performance of 338 young musicians in the Netherlands, we show that there is an 'Emerging Star' group (7-13% of artists depending on regional scope) and that record labels play an important role in this configuration providing broad media access on all platforms, both old and new. Digital age 'Independents' (14% of young artists), mostly without a record label, seem to benefit from the use of social media while exploiting synergies around live music. All artists in the remaining groups 'Question Marks' and 'Hobbyists' experience low to very low performance on all platforms. This study shows that configuration theory can provide detailed insight into viable and unviable marketing strategies. In particular, it shows that the globally declining music CD platform can still be very important for specific artists that exploit synergies between live performances, on-site CD sales and social media fan relationship management. The implications for marketing theory and young music artists are discussed.

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Section: Methodsmentioning

confidence: 99%

How are young music artists configuring their media and sales platforms in the digital age?

Leenders

Farrell

Zwaan

et al. 2015

Journal of Marketing Management

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show abstract

“…Conventionally, heritage has been regarded as something apart from the 'popular', as exemplified in government support targeting primarily high arts (Bennett 2009). As Shuker (2001, 68, cited in Bennett 2009) remarked, 'popular culture' is constructed in opposition to this, as commercial, inauthentic and so unworthy of government support. Others have noted the juxtaposition of an official, standardised national heritage to its vernacular counterpart, characterised by the unofficial, diverse expression of individuals and the local (Ashworth and Tunbridge 2004, p. 216).…”

Section: Introductionmentioning

confidence: 92%

Popular music as cultural heritage: scoping out the field of practice

Brandellero

Janssen

2013

International Journal of Heritage Studies

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“…Roy Shuker (2001) has proposed a number of reasons why bands may be willing to undergo the process. He claims that: one reason, probably the dom inant one, behind the willingness of so many rock musicians to enter the Darwinian struggle for commercial success, is the ulti mate possibility of stardom, with its allure of a lifestyle of glamour and influ ence.…”

Section: Jimmymentioning

confidence: 99%

The making of identity and its relation to place and success

Sheather¹,

McIntyre²

2015

POMH

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This article reports on findings from research into the development of ‘mainstream’ popular music in one Australian city, that of Newcastle, NSW, in the period 1973–88. This period became known more generally as the Oz/pub rock era and coincides approximately with the period during which the national music programme Countdown was televised (1974–87). It is argued here that the formation of a musical identity is strongly connected to a local habitus, which includes the cultivation of social, symbolic, economic and cultural capital that are built up over time, such as connecting musicians with audiences and venues in Newcastle. Given Newcastle’s proximity to Sydney and the attempt by local bands to achieve success there, it was found that these accumulated capitals were not easily transferrable to other areas. What Newcastle came to offer local musicians, as a result, was the ability to recognize and use to its full extent the social, symbolic and cultural capital available to them in their home town.

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Understanding Popular Music

Cited by 45 publications

References 0 publications

How are young music artists configuring their media and sales platforms in the digital age?

How are young music artists configuring their media and sales platforms in the digital age?

Popular music as cultural heritage: scoping out the field of practice

The making of identity and its relation to place and success

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