1,720,972 research outputs found
The Engagement Imperative : Experiences of Communication Practitioners’ Brand Work in the Music Industry
Full text linkDue 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 Scandinavi
Fluid communication strategies in music online brand building
No full textThis paper sets out to explore Swedish music brand building and how the brands are built and managed strategically. Normally this kind of communication and marketing demands high level strategy, but research shows that the social web rather demands flexibility. It is more important for a brand on the social web to excel in execution, rather than planning. It is equally important to create engaging content that helps content to be shared.The study has a qualitative approach, based on deep interviews with stakeholders in the music industry: artists, communication strategists, management and record companies, both independent and major ones. The music industry is a diversified: from small independent artist without representation or money, to big artists with manager, record company and marketing professionals working for them. Of course these different conditions effect the ways of reaching out with music and reaching audiences. The aim of this study is to understand how the online communication work is created and steered in practice in this industry, and the power relations between the different agents in it. The study shows that social media have changed the ways organisations music brands are communicating with target groups and building brands profoundly: the social channels are central in connecting to customers and fans but hard to navigate and. Therefor strategies are needed to do it in a desirable way, but the execution of the strategies and plans largely.In order to steer the communication in the right direction, there is an experienced need of having a flexible strategy. Everything can happen when communicating with the audience, if you are a communication expert or not. Therefor openness, flexibility and a fluid strategy is absolutely necessary, to be able to follow and react to what happens. How this is done in practice is based on level of professionalization and independence regarding management and also due to personality and interest of the artist. In some case management and the strategists are curating the content in social media, both by using data, listening to and adapting to the target groups. In other case the artist is “let loose” in social media for real, sometimes according to plan and sometimes totally out of this. </p
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Sparking the Nordic music brand
No full textToday, the Nordic countries are successful exporters of popular music and looked upon as influential on the music scene. This chapter examines the role that music plays in building the Nordic nation brands. The study focuses on two cases during 2016 and 2018 at the festival South by Southwest in Austin, US, where the Nordic countries collaborated in branding the region. The work was done by many actors, both public and private organisations, with common branding objects but also with own commercial objects. This chapter investigates the underlying cultural export, branding strategies and the brand management and leadership of the Nordic music brand. It is concluded that in order to succeed, the cooperation between the countries relied on common and clearly defined values, a thorough strategy, successful and shared leadership and not least a collaborative, inclusive modus and an ever-expanding network.</p
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Authenticity and Digital Popular Music Brands
No full textThe question of what is real in social media is highly relevant today. Authenticity is a key concept that is used in many different aspects, as something that comes across as being trustworthy, but also as a strategic tool in order to create relationships with the audience and a “feeling of true.” This chapter investigates the concept of authenticity in popular music—how authenticity is manifested and created, if it is created, on social platforms regarding music brands. The music industry is both highly branded, commercial, and creative and heterogeneous. The communication on digital platforms is getting more alike, regardless of level of independence, professionalism and artistic integrity. At the same time the audience has expectations of music artist relating to genre and image, that not always match the strategic music brand building. Does this strategy focus make authenticity hollow and vulnerable?</p
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Bringing the digital Swedish music brand alive
No full textToday, Sweden is one of the world's most successful exporters of popular music and has become a powerful brand: manifested as "the Swedish music wonder". The brand is built by many actors, for example by the organisations Export music Sweden and Musiksverige. This paper is focusing on cases from 2016 building the Swedish music brand: including the website Swedish affair and digital platform Showcase Sweden, a collection of creative works from Sweden: music, games, clothes, films, advertising or TV-drama. Around the digital platform physical nodes are built, in order to create real meetings with the target groups – which seem to be important in an overloaded and "noisy" social web. For exampel the Nordic Light house was created on the big music festival South by South west in Austin, US, having show cases, workshops and networking for the music industry. During the festival there was also active work to engage audience at the venue in social media; to use the hashtag swedishaffair, create and spread pictures/films of the festival activities. This co-creation was seen as important in the on site brand building and the extension of it. Research shows that a brand gets stronger when it is involving with the audience, and creating first hand experiences and feelings, more than the digital media can do by itself. This study is looking at the implication personal and place bound experience has on a social web campaign, using concepts as digital communication, social imaginary, cultural, place and nation branding.</p
Show me love : Emergent strategic communication practices and fan engagement within the popular music industry
No full textThis 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.
- …
