1. Revise title. To what extent has the British Music Industry changed in recent years?
2. Rewrite proposal based on new title.
3. Identify a band/artist/album release as a case study.
- Well established
- Breakthrough/Underground
4. Analyse a music video in-depth from the well-established artist using MIGRAIN.
- Still a major marketing tool?
- Music videos in decline?
5. Pick a music video from the breakthrough artist and analyse using MIGRAIN for comparison and reference between the two.
6. Articles: Guardian, Factor-Tech, Independent.
7. Academic links
8. SHEP
Social: Less important for youth. Other entertainment.
Historical: Mid-late 20th century: Music decided peoples sub-culture.
Economical: Decline of industry? - piracy.
Political: Politicians - laws passed
Monday 13 October 2014
Friday 10 October 2014
RELOADED Critical Investigation Proposal
Do Spotify and other developing new and digital media services have an impact on the current music industry? By Harpal
Angle:
He looks at if and how Spotify has had an effect on the music industry through allowing free online streaming. Therefore, taking power away from some artists, producers and labels.
Hypothesis:
The popularity of Spotify may have allowed audiences more opportunity for uses and gratifications because of the increased availability of music online. Also, Spotify may have had a big hand in the supposed downfall of the music industry.
MIGRAIN:
Representation:
Spotify by artists and the industry itself. May not be typically fair as the artists are only telling thier side of the argument.
Issues and Debates:
Angle:
He looks at if and how Spotify has had an effect on the music industry through allowing free online streaming. Therefore, taking power away from some artists, producers and labels.
Hypothesis:
The popularity of Spotify may have allowed audiences more opportunity for uses and gratifications because of the increased availability of music online. Also, Spotify may have had a big hand in the supposed downfall of the music industry.
MIGRAIN:
Representation:
Spotify by artists and the industry itself. May not be typically fair as the artists are only telling thier side of the argument.
Issues and Debates:
- Representation and stereotyping
- Ownership and control
- Regulation and censorship
- Media technology and the digital revolution – changing technologies in the 21st century
- The effect of globalisation on the media
Theories:
- Audience Theories
- Semiotics
- Marxism and Hegemony
- Genre Theories
Research Plan:
Other media texts: Youtube, Napster
Monday 6 October 2014
1st Draft Critical Investigation Proposal
Working Title: To what extent and how has "Later...with Jools Holland" played a part in the British Music Industry, specifically up-and-coming artists?
How have audiences' attitudes towards the British Music Industry changed in the last 10 years/15 years/ 20 years?
Angle:
How (If it has) has the British Music Industry (BMI) played a part/changed (Has it changed?) due to television music programs such as "Later...With Jools Holland"?
Are the views and values towards up-and-coming (UAC) artists changed in any way compared to the last 10/20 years? And have any of these programs played a part in this?
Need to make a list of a few artists from a mixture of genres to focus on throughout the investigation.
Hypothesis:
The way UAC artists are now represented through these music programs may have had an effect on how the artists are popularised. This could have had an effect on the industry as a whole by bringing a lot more UAC artists into the limelight, making it harder for established artists to stay in said limelight.
Linked Production Piece (Initial Ideas):
Short film showing the different perceptions of these UAC aritsts:
1st part: showing the public perception of UAC artists.
- a waking up scene
- artist has gone straight alcohol and drugs to take his worries away
- flashbacks showing a label dropping the artist when he doesn't make enough money
- need to expand on this
2nd part: focuses on showing the real side of things.
- UAC artist is trying to get his music out there through multiple means
- Meets his old partner from his duo who has made the big time. This old partner left the protagonist on his own once he got an opportunity. The protagonist stills holds a grudge. (Adds some drama)
3rd part: His opportunity comes.
- His old label sees the new take the artist has and gets a spot for him on jools holland.
- Ends with the artist on stage deciding to play an 'oldie': his old style of music.
Music video: Backstabber by The Kooks
Documentary style film on British Music Industry, specifically UAC artists:
- An interview with an "UAC artist"
- Maybe some words from a "Producer"
- not interviewing real artists and producers but using these people as a means to get the information out there to educate the audience on what actually happens.
MIGRAIN:
Representation:
- Who: The Industry as a whole first, but then focusing on the UAC artists specifically.
- By Whom: The labels, the programs. Social Media (One persons opinion on an artist can affect the opinions of a lot of the audience)
- Why: Labels (May see more business opportunities in these artists) Programs (May feel that these artists need more recognition for their hard work as they are typically not of the song-writing factories for most pop artists)
- Fair and accurate? Sometimes. The representation can be distorted at times which may have a negative effect on the artist, which can, sometimes, not be fair or accurate.
- Opportunities for self-representation? Social media now provides a massive opportunity for this compared to even 10 years ago (need to look into how UAC artists got there music out there back then/T.v. and radio play mainly). Websites such as spotify and soundcloud allows an even wider audience reception.
Media Languages and Forms:
- Connotative: Something new that is out of the audiences comfort zone. May be something familiar but slightly different to what they're used to.
-Non-verbal structures of meaning: Clothing is more synced to the kind of music they play/more modern. Artists can be known to set fashion trends. UAC can be seen as very passionate for their work (can be seen through facial expressions and hand gestures).
- Mise-en-scene: Lighting plays a very important part: If the artist is on their own then the light focuses on just them with maybe just a spotlight. When it is a band, depending on the style of music, the light be very low-key orientated.
Narrative:
-Follows specific format: Usually around five bands positioned in a circle around the studio to perform to each other and a small studio audience (positioned in-between each artist)
SHEP:
Issues/Debates:
- Representations/stereotyping: The industry and the UAC artists specifically as well.
- Media Effects: Effects of the media on these artists. How far these effects go and how much of an effect the media has (influence).
- Regulation and censorship: How are these artists limited due to regulation? (not a major part of the investigation.
- Media technology and the digital revolution - changing technologies in the 21st century: Which specific technologies have played a part in the industry and artist lives.?
- The effect of globalisation on the media: How globalisation has affected artists and how their music can reach a world-wide audience now and how this has a had an effect on the media, if it has.
Theories:
- Audience theories
- Genre Theories
- Marxism? and Hegemony?
- Semiotics?
Research Plan:
Media Texts: Later...With Jools Holland From The Basement, Mercury Awards Presents?, The Later Show, Old Grey Whistle Test.
Other Media Texts: Spotify, Soundcloud, YouTube,
Books:
The Music Industry: Music In The Cloud - talks about the future of the music industry due to the digital revolution. (Patrik Wikstrom/2010)
The Death and Life of the Music Industry in the Digital Age - (Jim Rogers/2013)
Internet Links/Articles:
HAS THE DIGITAL REVOLUTION REALLY CHANGED THE MUSIC INDUSTRY? By Charlotte Richardson Andrews
Academic Texts:
Popular Culture and History: Representations of the Past in British Popular Music of the 2000s -
popular music in the early 2000s. Changes in the music industry associated with the emerging
and wide dissemination of new media has affected the search for new musical decisions,
reformatting attitudes to the past in general, and to the musical past in particular. In this regard,
questions of historical representations in popular music and their relationship with cultural
heritage are closely interrelated. This paper analyses the mechanisms and formats of ‘working’
with the past in British popular music of the 2000s using examples from the London rock band,
the Libertines. The author draws conclusions about structure of historical representations in
popular music and their typology. The use of popular music studies approach is suggested to
analyze mechanisms of representation of the past and broaden the concept of popular music.
The Young Audience - Stuart Hall and Paddy Whannel:
How have audiences' attitudes towards the British Music Industry changed in the last 10 years/15 years/ 20 years?
Angle:
How (If it has) has the British Music Industry (BMI) played a part/changed (Has it changed?) due to television music programs such as "Later...With Jools Holland"?
Are the views and values towards up-and-coming (UAC) artists changed in any way compared to the last 10/20 years? And have any of these programs played a part in this?
Need to make a list of a few artists from a mixture of genres to focus on throughout the investigation.
Hypothesis:
The way UAC artists are now represented through these music programs may have had an effect on how the artists are popularised. This could have had an effect on the industry as a whole by bringing a lot more UAC artists into the limelight, making it harder for established artists to stay in said limelight.
Linked Production Piece (Initial Ideas):
Short film showing the different perceptions of these UAC aritsts:
1st part: showing the public perception of UAC artists.
- a waking up scene
- artist has gone straight alcohol and drugs to take his worries away
- flashbacks showing a label dropping the artist when he doesn't make enough money
- need to expand on this
2nd part: focuses on showing the real side of things.
- UAC artist is trying to get his music out there through multiple means
- Meets his old partner from his duo who has made the big time. This old partner left the protagonist on his own once he got an opportunity. The protagonist stills holds a grudge. (Adds some drama)
3rd part: His opportunity comes.
- His old label sees the new take the artist has and gets a spot for him on jools holland.
- Ends with the artist on stage deciding to play an 'oldie': his old style of music.
Music video: Backstabber by The Kooks
Documentary style film on British Music Industry, specifically UAC artists:
- An interview with an "UAC artist"
- Maybe some words from a "Producer"
- not interviewing real artists and producers but using these people as a means to get the information out there to educate the audience on what actually happens.
MIGRAIN:
Representation:
- Who: The Industry as a whole first, but then focusing on the UAC artists specifically.
- By Whom: The labels, the programs. Social Media (One persons opinion on an artist can affect the opinions of a lot of the audience)
- Why: Labels (May see more business opportunities in these artists) Programs (May feel that these artists need more recognition for their hard work as they are typically not of the song-writing factories for most pop artists)
- Fair and accurate? Sometimes. The representation can be distorted at times which may have a negative effect on the artist, which can, sometimes, not be fair or accurate.
- Opportunities for self-representation? Social media now provides a massive opportunity for this compared to even 10 years ago (need to look into how UAC artists got there music out there back then/T.v. and radio play mainly). Websites such as spotify and soundcloud allows an even wider audience reception.
Media Languages and Forms:
- Connotative: Something new that is out of the audiences comfort zone. May be something familiar but slightly different to what they're used to.
-Non-verbal structures of meaning: Clothing is more synced to the kind of music they play/more modern. Artists can be known to set fashion trends. UAC can be seen as very passionate for their work (can be seen through facial expressions and hand gestures).
- Mise-en-scene: Lighting plays a very important part: If the artist is on their own then the light focuses on just them with maybe just a spotlight. When it is a band, depending on the style of music, the light be very low-key orientated.
Narrative:
-Follows specific format: Usually around five bands positioned in a circle around the studio to perform to each other and a small studio audience (positioned in-between each artist)
SHEP:
Issues/Debates:
- Representations/stereotyping: The industry and the UAC artists specifically as well.
- Media Effects: Effects of the media on these artists. How far these effects go and how much of an effect the media has (influence).
- Regulation and censorship: How are these artists limited due to regulation? (not a major part of the investigation.
- Media technology and the digital revolution - changing technologies in the 21st century: Which specific technologies have played a part in the industry and artist lives.?
- The effect of globalisation on the media: How globalisation has affected artists and how their music can reach a world-wide audience now and how this has a had an effect on the media, if it has.
Theories:
- Audience theories
- Genre Theories
- Marxism? and Hegemony?
- Semiotics?
Research Plan:
Media Texts: Later...With Jools Holland From The Basement, Mercury Awards Presents?, The Later Show, Old Grey Whistle Test.
Other Media Texts: Spotify, Soundcloud, YouTube,
Books:
The Music Industry: Music In The Cloud - talks about the future of the music industry due to the digital revolution. (Patrik Wikstrom/2010)
The Death and Life of the Music Industry in the Digital Age - (Jim Rogers/2013)
Internet Links/Articles:
HAS THE DIGITAL REVOLUTION REALLY CHANGED THE MUSIC INDUSTRY? By Charlotte Richardson Andrews
Academic Texts:
Popular Culture and History: Representations of the Past in British Popular Music of the 2000s -
Alexandra Kolesnik:
National Research University Higher School of Economics:This paper investigates the basic mechanisms of representation of the past in Britishpopular music in the early 2000s. Changes in the music industry associated with the emerging
and wide dissemination of new media has affected the search for new musical decisions,
reformatting attitudes to the past in general, and to the musical past in particular. In this regard,
questions of historical representations in popular music and their relationship with cultural
heritage are closely interrelated. This paper analyses the mechanisms and formats of ‘working’
with the past in British popular music of the 2000s using examples from the London rock band,
the Libertines. The author draws conclusions about structure of historical representations in
popular music and their typology. The use of popular music studies approach is suggested to
analyze mechanisms of representation of the past and broaden the concept of popular music.
The Young Audience - Stuart Hall and Paddy Whannel:
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