thesis music business

Thesis Music, LLC.

Product for the Creator Class

Our Mission

Quality Products For Creators

Thesis Music, LLC. is a product innovation company that was built for the creator class - podcasters, YouTubers, streamers, music producers, and influencers. We offer innovative, high-quality products that are designed to help creators take their creations to the next level, always at an affordable value because we believe in supporting the next generation of content creators.

For Creators, By Creators

We started out as content creators ourselves. Our cofounder produces music as a hobby (soundcloud.com/seanshine), and realized that there wasn't a brand that really represented creators as a whole. He noticed there are plenty of large brands that sell production equipment, but in a lot of cases, in order to get a quality product, he had to pay pro prices. He knew there had to be a better way, so he left his job and started Thesis Music in order to build a brand that creators would be proud to support.

The Thesis Music Philosophy

Creators first - We keep creators in mind at all times.

Shitty first drafts - We get to the first draft as quickly as possible.

Polish, not perfection - Perfection is impossible, polish is perfect.

Make a lot of pottery - test, learn, and then iterate, iterate, iterate.

Always be progressing - Get better or die trying.

Thesis Music Products

AudiGlow™ LED-Lighted Sound Absorption Panels

Music Business and the Experience Economy

The Australasian Case

• © 2013
• Peter Tschmuck   ORCID: https://orcid.org/0000-0002-2571-3520 0 ,
• Philip L. Pearce 1 ,
• Steven Campbell 2

Performing Arts Vienna, Institute for Cultural Management, University of Music and, Vienna, Austria

You can also search for this editor in PubMed   Google Scholar

, School of Business, James Cook University Townsville, Townsville, Australia

, school of creative arts, james cook university townsville, townsville, australia.

• It is the first book on the Australasian music business
• It brings together academics from different disciplines focusing on the music business
• It highlights the role of music business in the experience economy and in the digital era
• Includes supplementary material: sn.pub/extras

31k Accesses

24 Citations

7 Altmetric

This is a preview of subscription content, log in via an institution to check access.

Access this book

• Available as EPUB and PDF
• Read on any device
• Instant download
• Own it forever
• Compact, lightweight edition
• Dispatched in 3 to 5 business days
• Free shipping worldwide - see info
• Durable hardcover edition

Tax calculation will be finalised at checkout

Other ways to access

Licence this eBook for your library

Institutional subscriptions

Table of contents (13 chapters)

Front matter, from discord to harmony: connecting australian music and business through the experience economy.

Philip L. Pearce

Australian Copyright Regimes and Political Economy of Music

• Phil Graham

New Music Production Modes and Indigenous Music in North Queensland and the Torres Strait

• David Salisbury

Australian Independent Music and the Experience Economy

Steven Campbell

Recorded Music Sales and Music Licencing in Australia, 2000–2011

Peter Tschmuck

P2P File-Sharing: How Does Music File-Sharing Affect Recorded Music Sales in Australia?

• Jordi McKenzie

Digital Distribution Models Reviewed: The Content Provider’s Perspective

• Philipp Peltz

The Landscape of Music Festivals in Australia

• Breda McCarthy

The Influence of Dirty Pool on the Australian Live Music Industry: A Case Study of Boy & Bear

Building brands with music: australian cases.

• Laurie Murphy, Andrea Schurmann, Gianna Moscardo

Australian Music and Aussie Team Sports: How the Experience Economy and the Score Interact

The valuation of music in australia: a chart analysis 1988–2011, enterprise learning in australasian tertiary music education: the status quo.

• Ryan Daniel
• Australasia
• digital era
• experience economy
• music business

About this book

Editors and affiliations, about the editors.

Professor Philip Pearce supervises doctoral students, conducts research and teaches at all levels in the tourism field. He is particularly interested in components of the experience economy as a way of developing sustainable tourism.

Dr Steven Campbell lectures in music and sound at James Cook University, Australia. As a musician/composer his creative practice is primarily in music technologies within sound art installations, while his scholarly pursuits include topics such as sound art, sound in television and experimental film sound.

Bibliographic Information

Book Title : Music Business and the Experience Economy

Book Subtitle : The Australasian Case

Editors : Peter Tschmuck, Philip L. Pearce, Steven Campbell

DOI : https://doi.org/10.1007/978-3-642-27898-3

Publisher : Springer Berlin, Heidelberg

eBook Packages : Business and Economics , Business and Management (R0)

Copyright Information : Springer-Verlag Berlin Heidelberg 2013

Hardcover ISBN : 978-3-642-27897-6 Published: 27 April 2013

Softcover ISBN : 978-3-642-42693-3 Published: 21 May 2015

eBook ISBN : 978-3-642-27898-3 Published: 16 April 2013

Edition Number : 1

Number of Pages : IX, 229

Topics : Media Management , Music , Regional and Cultural Studies , Cultural Management , Law and Economics , e-Commerce/e-business

• Publish with us

Policies and ethics

• Find a journal
• Track your research

Music business education in the new music industries

Principal supervisor, year of award, department, school or centre, degree type, campus location, usage metrics.

• Other education not elsewhere classified
• Entertainment and gaming

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Digital Transformation in Music Industry A Multiple Case Study of Finnish Record Labels MSc program in Information and Service Management Master's thesis

Related Papers

2013 46th Hawaii International Conference on System Sciences

David Tilson

Andra Leurdijk

This report offers an in‐depth analysis of the major economic developments in the music industry. It looks at music companies, and covers the production and distribution of recorded music, including online distribution, and the competition which these companies face from other online music providers. It also looks at the organisation of live performances and the exploitation of music copyright, though data on how these activities contribute to revenues in the sector are less systematically available. The analysis integrates data from this project’s statistical report and includes a database of the major music publishing companies plus two company case studies (EMI and Spotify). The report is divided into six chapters. Following the introduction in Chapter 1, Chapter 2 introduces the sector and its main economic and technological features. Chapter 3 analyses the value network of the music industry, identifying the transformations taking place in the value network and business model as a result of the on‐going digitization process. Chapter 5 identifies the main regulatory issues affecting the economic position of the EU music publishing industry. Finally, Chapter 6 weighs the strengths and weaknesses of the European music publishing industry against the opportunities and threats posed by digitization and the internet. The study is based on a review and synthesis of the available literature and reports and on official (Eurostat) and unofficial (trade organisations and consultancies) data on the music publishing industry.

Esra Poryalı

The Internet and modern-day technologies have changed the way people connect with the world around them. The music industry is one of the areas that is undoubtedly affected by the Internet. Music technologies have faced a drastic reorganization process due to the digital revolution that changed the way people consume, source, listen, purchase, discover, experience, produce, read and learn music. These technological advancements have induced great changes for artists, listeners, and producers. This study will attempt to investigate the business models of digital music that can be profitable in the future. As previous studies suggest (Arditi, 2017), with the introduction of the technological revolution the whole revenue mechanism has shifted. This study attempts to give insight into the changing revenue mechanism of how musicians, record labels, make money from digital music by analyzing the digital music business models from the perspective of the consumer, the record labels and the artists. The fundamental questions this study attempts to address are a) how technology has changed by presenting an overview of the music industry, b) what kind of digital music business models exist by analyzing their effects from the perspective of the listeners, artists and record labels, and c) what happens if the business model does not meet the demand of the users by explaining the ‘piracy’ phenomenon. The present research seeks to identify where digital music services in the contemporary era are heading, to investigate the effectiveness and operation of digital music services and to offer implications about what can be expected in the future. To answer the given research questions, the literature on related topics suggests that both a quantitative and a qualitative approach are considered as the necessary methods for the present study. In the first phase, drawing on relevant literature review qualitative analysis is used to present the theoretical background for the thesis. In the second phase quantitative analysis is utilized. The primary tool is the questionnaire, which contains three sections of questions. The first section focuses on the personal background of the participants, determining the type of the person under examination. The second section includes questions regarding music consumption habits. The last section analyzes listeners’ perception towards piracy phenomenon. As an artist, I will also myself make empirical analysis based on my observations and experiences during my work with Sony Music Turkey in 2015 in the conclusion.

Andreas Rauh

Information, Communication & Society

Robert Prey , Leslie Zwerwer

It has been widely recognized that platforms utilize their editorial capacity to transform the industries they intermediate. In this paper, we examine the intermediary role of the leading audio streaming platform – Spotify – on the recorded music industry. Spotify is often called the ‘new radio’ for the influence it has on breaking songs and artists, and for the role it plays in music discovery and consumption. Our purpose is to determine whether Spotify is leveling the playing field or entrenching hierarchies between major labels and independent labels. We attempt to answer this question through a longitudinal analysis of content owners (major labels or ‘indies’) and formats (albums, tracks, or playlists) promoted by Spotify through its global Twitter account: @Spotify. As a carefully curated venue for corporate speech @Spotify provides a window into continuities and changes in Spotify’s corporate strategy. By using @Spotify as a proxy through which to track patterns of promotion between the years 2012 and 2018, this paper offers a novel empirical examination of how Spotify is shaping the consumption of music, and in turn the structure of the recording industry. In doing so, we provide evidence for speculating about the future of the recorded music industry in a platform era.

Social Media and Society

David Hesmondhalgh , Ellis Jones , Andreas Rauh

We examine two 'producer-oriented' audio distribution platforms, SoundCloud and Bandcamp, that have been important repositories for the hopes of musicians, commentators and audiences that digital technologies and cultural platforms might promote democratisation of the cultural industries, and we compare their achievements and limitations in this respect. We show that the emancipatory elements enshrined in SoundCloud's 'bottom-up' abundance are compromised by two elements that underpin the platform: the problematic 'culture of connectivity' of the social media systems to which it must remain integrally linked, and the systems of intellectual property that the firm has been increasingly compelled to enforce. By contrast, it seems that Bandcamp has been relatively stable in financial terms while being at odds with some key aspects of 'platformization', and we explore the possibility that some of the platform's apparent success may derive from how its key features makes it attractive to indie musicians and fans drawn to an independent ethos. Nevertheless, we argue, even while in some respects Bandcamp acts more effectively as an 'alternative' than does SoundCloud, the former is also congruent economically and discursively with how platforms capitalise on the activity of self-managing, self-auditing, specialist, worker-users.

Laura Immonen

Digital technologies and processes have changed the landscape within the music industry by altering ways in which revenue is generated, thus opening new possibilities for marketing and sales. New marketing strategies and ways to identify and communicate with prospects and existing customers had to be found. In Finland, during the latter part of the last century, many small IT and digital services companies appeared, and therefore this thesis seeks to describe the degree to which these two types of companies are co-operating with each other within the music industry. The research began by investigating existing digital marketing tools available for music industry. Next, a qualitative research approach was employed to explore insights provided by eight notable professionals in the Finnish music industry and digital service companies. The combination of secondary and primary data enabled to discover in both broad and deep contexts the digital marketing tools and strategies now available and the level of collaboration within the researched companies. In addition, the thesis focuses on explicating the use of web 2.0 applications by Finnish music and digital service companies.

Heikki Uimonen , vesa kurkela

The relationship between radio and music has drawn particularly little attention from scholars in the field of communications and media studies, considering the prominence that music has in today’s radio programming. This lack of research may be due to theoretical and methodological shortcomings – music may not be approached with the same scholarly toolkit as other radio content. This collection of writings is an attempt to contribute to the obvious lack of scholarly literature on the topic – all the essays in this anthology focus first and foremost on music.

Sırma Karasu

Philipp Peltz

RELATED PAPERS

Opportunities for Canadian Independent Companies in Latin and South America

Simon Palominos Mandiola

Dennis Collopy , Hyojung Sun

Networked Music Cultures

Juho Kaitajärvi-Tiekso

Andreas Perikles Metaxas

Gourav Sathish

Katarzyna M. Wyrzykowska

Popular Communication

Arnt Maasø , Anja Nylund Hagen

Terje Colbjørnsen

Vienna Music Business Research Days 2013 - Young Scholars’ Workshop

Francisco Bernardo , Luis Martins

The Handbook of Music and Virtuality

Daniel Nordgård

Basheer Anani

Graham Vickery , Sacha Wunsch-Vincent

Patrick Burkart

J. Ignacio Gallego

Pierre-Jean Benghozi

Vincenzo Uli

Robert Prey

Revista Contracampo Brazilian Journal of Communication

Revista Contracampo Brazilian Journal of Communication , Leonardo De Marchi

Dennis Collopy , Martin Lücke , Fangjun Li

David Hesmondhalgh

Christopher Cwynar

Dennis Collopy

Paul Flanders

josep valor

Nicola Searle

Lenka Dohnalová

Denis Sickert

Christiaan De Beukelaer , Andrew J Eisenberg

Scholarbank@NUS

Peng Sing Tan

American Music

Charles Fairchild

Aram Sinnreich

Media, Culture & Society

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Home > USC Columbia > Music, School of > Music Theses and Dissertations

Music Theses and Dissertations

Theses/dissertations from 2023 2023.

Comprehensive Method for Clarinet Latin American Music Heritage Case Study – Venezuela , Carmen Teresa Borregales

A Pedagogical and Analytical Study of the Carnatic Saxophone Performance Tradition of Kadri Gopalnath , Caleb James Carpenter

Symphony No. V: Elements (Julie Giroux, 2018); An Overview Of Programmatic Elements and Performance Devices , Zackery Augustus Deininger

A Conductor’s Guide to Lucrecia Roces Kasilag’s Misang Pilipino (1965) , Denise Ysabel Ellis

The Theory of Intonation: Boris Asafiev and the Russian Piano School Tradition , Polina Golubkova

A Comparative Analysis of Samuel Barber’s Third Essay for Orchestra, Op. 47 , David Abrams Gordon

Injury Prevention Exercise Guidelines for Flutists , Ziqing Guan

Luis Abraham Delgadillo: A Rediscovery of His Piano Music , Fanarelia Auxiliadora Guerrero López

A Holistic Approach for Neurodivergent Learners In the High School Choral Classroom , Peter Allen Haley

An Analysis of Selected Vocal Works by George Walker , Ginger Sharnell Jones-Robinson

An Investigative Analysis of Fernando Sor’s Introduction and Variations on “O Cara Armonia” From Mozart’s The Magic Flute , Luke James Nolan

The Film Score Music of John Williams: A Guide to Selected Works for the Principal Percussionist , Andrew Charles Crozier Patzig

Appalachian Dreams: Traditional Folk Songs in Concert Literature for Classical Guitar , Jackson Douglas Roberson

“Everything Old Is New Again”: The Rise of Interpolation in Popular Music , Grayson M. Saylor

How Do They Do It: A Narrative of Disabled Public School Instrumental Ensemble Conductors and Their Positive Working Relationships With Their Administrators , Lia Alexandria Patterson Snead

The Post-Tonal Evolution of David Diamond: A Theoretic-Analytical Perspective , William John Ton

Fourth-Grade and Fifth-Grade Cover-Band Classes: An Action-Research Project Inspired By Popular Music Education and Music Learning Theory , Julia Turner

Theses/Dissertations from 2022 2022

Social Music Interactions and Vocal Music Improvisations in a Serve and Return Music Community , Kathleen Kaye Arrasmith

Comfort Food for the Ears: Exploring Nostalgic Trends in Popular Music of the Twenty-First Century , April K. Balay

A Performance Guide to “Four Piano Pieces, Opus 1” By Evgeny Kissin , Andrew Choi

Timeless Light: A Singer’s Compendium of Art Songs for Tenor By Black Composers , Johnnie J. Felder

Negotiating Nationalism: Camille Saint-Saëns, Neoclassicism, and the Early Music Renaissance in France , Joshua Arin Harton

An Analysis of the Compositional Technique and Structures Of Nikolai Kapustin’s Piano Sonata No. 6, Opus 62 , Hyun Jung Im

Adapting North American Fiddle Bow Technique to the Double Bass , Spencer Jensen

Approaches to Teaching Music Counting to Piano Students with Autism Spectrum Disorder , Sunghun Kim

Redefining Ornamentation as Formal Functions in 21 st -Century Popular Music , Matthew Kolar

Lost in Translation: The Largely Unknown Life and Contributions of Johann Joachim Quantz , Kayla Ann Low

Broadway Quodlibets as Hybrid Music , Spencer Ann Martin

Redistributing Cultural Capital: Graduate Programs In Wind Conducting at Historically Black Universities; Toward an Alternate Future , Jamaal William Nicholas

Analysis of Selected Pieces Influenced by Taiwanese Aboriginal Music for Solo Violin and String Quartet , Isabel Hsin-Yi Ong

Margaret Rowell: Pedagogical Approach and Teaching Style , Robert-Christian Sanchez

A Performance Guide to Hyo-Geun Kim’s Art Pop for Korean Art Songs , Taeyoung Seon

Examining Sixth-Grade Students’ Music Agency Through Rhythm Composition , Robert Zagaroli Spearman

Theses/Dissertations from 2021 2021

Pedagogical Solo Piano Nocturnes: A Progressive Leveling With Annotations on Stylistic, Technical, and Musical Challenges and Benefits , Michaela Anne Boros

Disparities in Programming African American Solo Vocal Music On College Campuses Across the United States , Ramelle Brooks

Quantitative Data Collection on the Fundamental Components Of Saxophone Tone Production , Matthew Troy Castner

Music as Complementary and Alternative Medicine (CAM) Therapy: An Exploratory Literature Review , Amy Arlene Clary

The Music Festival: A Case Study on the Establishment, Development, and Long-Term Success of an Instrumental Music Education Event From a Logistical Perspective , Dakota Corbliss

An Orchestral Conductor’s Guide to the James/Daehler Edition Of The Hinrichs and Winkler Compilation Score to the 1925 Silent Film The Phantom of the Opera , Hayden Richard Denesha

An Annotated Bibliography of Flute Repertoire by Iranian Female Composers , Roya Farzaneh

Composers and Publishers of Parlor Songs and Spirituals from Civil War Richmond: 1861 – 1867 , Michael Gray

A Comparison of Approaches to Pianoforte Technique in the Treatises of Lhevinne, Leimer, and Neuhaus , Louis S. Hehman

The History and Influence of Tim Zimmerman and The King’s Brass , Eric Tyler Henson

A Stylistic Analysis of Edvard Grieg’s Slåtter , Norwegian Peasant Dances, Op. 72 , Zhiyuan He

Transcribing Baroque Lute to Marimba: Viability, Techniques, and Pedagogical Possibilities , Cory James High

One Elementary General Music Teacher’s Uses of and Experiences With Gordon’s Music Learning Theory: A Case Study , Allison Elizabeth Johnson

Cancion Y Danza, Fetes Lointaines, Paisajes By Federico Mompou: A Stylistic Analysis , Qiaoni Liu

The Apprenticeship Structure and the Applied Pedagogical Methods Of the Holy Roman Empire Imperial Trumpeters’ Guild During The 17 th and 18 th Centuries , Noa Miller

Survey of Four North American and Malaysian Theory Methods for Young Pianists , Wen Bin Ong

A Conductor’s Guide to J. N. Hummel’s Forgotten Oratorio: Der Durchzug Durchs Rote Meer , Rebecca J. Ostermann

A Practical Approach for the Applied Voice Instructor Utilizing Limited Piano Skills in the Studio Setting , Lee Whittington Ousley

Adele Aus Der Ohe: Pioneering Through Recital Programming At Carnegie Hall, 1895 , Grace Shepard

Ten Years of Japanese Piano Pedagogy (2009-2018) Through a Survey of Educational Resources , Natsumi Takai

A Comparative Analysis of Selected Works by Chen Qigang: Wu Xing, L’éLoignement, and Luan Tan , Isaac Ormaza Vera

A Pedagogical Analysis of Henglu Yao’s Microkosmos From Chinese Nationalities , Yanting Wang

A Stylistic and Pedagogical Analysis of Select Classical Pieces In Alicia’s Piano Books by Ananda Sukarlan , Karen Kai Yuan Yong

Co-Constructive Music Improvisers: An Ethnographic Case Study , Emma Elizabeth Young

Theses/Dissertations from 2020 2020

Performance History of Mahler’s Das Lied Von Der Erde Focusing on Bruno Walter and Leonard Bernstein , Nisan Ak

The Mathematics of Rubato: Analyzing Expressivetiming in Sergei Rachmaninoff’s Performances of Hisown Music , Meilun An

Electronic Learning: An Educator’s Guide to Navigating Online Learning in a Collegiate Horn Studio , Michelle Beck

The Clarinet Music of Dr. Austin Jaquith: A Performance Guide , Zachary Aaron Bond

Young Children’s Behaviors During Favorite-Music Repertoire And Other-Music Repertoire , Vanessa Caswell

Five Pieces for Piano by Isang Yun and Piano Etude No.1 by Unsuk Chin: An Analysis , Inhye Cho

Natural Reed Enhancement: Establishing the First Universal Reed Break-In Process Through Hydro-Stabilization , Steven Isaac Christ

Performance Edition of Franz Simandl’s 30 Etudes for the String Bass With Critical Commentary , Austin Gaboriau

A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister , Peter M. Geldrich

An Index of Choral Music Performed During the National Conventions of the American Choral Directors Association (1991-2019) , Jonathan Randall Hall

A Stylistic Analysis of Reinhold Glière’s 25 Preludes for Piano, Op. 30 , Sunjoo Lee

The Singing Voice Specialist: An Essential Bridge Between Two Worlds , Rebecca Holbrook Loar

A Pedagogical Analysis of DvořáK’s Poetic Tone Pictures, Op. 85 , Nathan MacAvoy

Focal Dystonia Causes and Treatments: A Guide for Pianists , Juan Nicolás Morales Espitia

Cultivating Socially Just Concert Programming Perspectives through Preservice Music Teachers' Band Experiences: A Multiple Case Study , Christian Matthew Noon

The Clarinet Repertoire of Puerto Rico: An Annotated Bibliography of Compositions Written for the Clarinet During the Twentieth and Twenty-First Centuries , María Ivelisse Ortiz-Laboy

A Stylistic Analysis of Alexander Tcherepnin's Piano Concerto No. 4, Op. 78, With an Emphasis on Eurasian Influences , Qin Ouyang

Time’s Up: How Opera Is Facing Its Own Me Too Reckoning , Craig Price

A Trumpet Player’s Performance Guide of Three Selected Works for Trumpet, Cello, and Piano , Justin Wayne Robinson

The Early Piano Music of Richard Wagner , Annie Rose Tindall-Gibson

A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall , Jantsen Blake Touchstone

Composition of Musical and Visual Devices to Create Moments of Resolution in Marching Arts Production Design , Ryan John Williams

Romanticism in Nineteenth-Century Russian Nationalistic Music: Case Studies of Glinka’s Ruslan and Lyudmila and Cui’s Mystic Chorus , Jeffrey Crayton Yelverton Jr.

Theses/Dissertations from 2019 2019

Communicative Language in the Compositional Output of Kirke Mechem , Kirstina Rasmussen Collins

Vladimir Pleshakov: A Historiography And Analysis of his Liturgy of St. John Chrysostom , Andrew Cameron Pittman

An Analysis of the Compositional Technique and Structures of Howard Hanson's Symphony No. 1 in E Minor, Op. 22 “Nordic” , Eunseok Seo

Theses/Dissertations from 2018 2018

Serial Techniques in Works for Unaccompanied Trumpet , William Anonie

Examining Professional Music Teacher Identity: A Mixed Methods Approach with Stringed Instrument Teachers , Elizabeth A. Reed

Guided Music Play Between 2-Year-Old Children and a Music Play Facilitator: A Case Study , Kathleen Kaye Arrasmith

Parents’ Observations Of Their Young Children’s Music Behaviors During Music Classes After Completing The Children’s Music Behavior Inventory , Julia Beck

A Theoretical and Stylistic Analysis of Paul Ben-Haim’s Five Pieces for Piano, Op. 34 and Piano Sonata, Op. 49 , Rachel Bletstein

The Influence Of Mindful Movement On Elementary Students’ Music Listening Enjoyment And Comprehension , Jean Louise Boiteau

Delphine Ugalde: Defying Gender Norms Both On And Off The Stage In 19th Century Paris , Michael T. Brown

A Guide for Playing the Viola Without a Shoulder Rest , Chin Wei Chang

Tertian Relationships In Three Choral Selections By Dan Forrest: A Conductor’s Analysis , Lindsey Cope

Translucent Voices: Creating Sound Pedagogy And Safe Spaces For Transgender Singers In The Choral Rehearsal , Gerald Dorsey Gurss

Seventeen Waltzes For Piano By Leo Ornstein: A Stylistic Analysis , Jared Jones

The Kingma System Flute: Redesigning The Nineteenth-Century Flute For The Twenty-First Century , Diane Elise Kessel

The Effects Of Learning By Rote With La-Based Minor Solmization On Memory Retention For Pre-College Piano Students , Duong Khuc

Diction For Mandarin/Chinese Singers: A Methodology To Achieve Resonant Tone And Vowel Unification In Western Choral Music , Chien-Yi Li

Attitudes And Thoughts On Tone Quality In Historic Piano Teaching Treatises , Jeongsun Lim

A Conductor’s Guide to Camille Saint-Saëns’s Messe de Requiem Op. 54 , Thomas R. Matrone

The Tie That Binds: The History, Conductors, And Music Of The Mystic Area Ecumenical Choir Festival , Mark Daniel Merritt

Advanced Search

• Notify me via email or RSS
• Collections
• Disciplines

Submissions

• University Libraries

Home | About | FAQ | My Account | Accessibility Statement

Privacy Copyright

• USF Research
• USF Libraries

Digital Commons @ USF > College of The Arts > School of Music > Theses and Dissertations

Music Theses and Dissertations

Theses/dissertations from 2023 2023.

A Novel Jazz Music Curriculum for Young Children: Results of A Pilot Study , Jazmin D. Ghent

Theses/Dissertations from 2022 2022

Where We Live and Learn to Know: An Oral History of the Rochelle High School Music Program , John Sargeant

Theses/Dissertations from 2021 2021

School Music Administration During the COVID-19 Pandemic: Trauma, Loss, Meaning, Change, and Innovation , Christopher Burns

Development and Validation of a Scale to Measure Songwriting Self-Efficacy (SSES) with Secondary Music Students , Patrick K. Cooper

Measuring Parental Involvement as Parental Actions in Children’s Private Music Lessons in China , Cancan Cui

Instrumental Music Instruction and Executive Functions: A Cross-Sectional Study of Romanian Children (10-12 Years) , Adrian Sorin Iordache

Racial and Ethnic Difference in Music Performance Self-Efficacy Among Undergraduate Students , George W. Shannon Ii

Theses/Dissertations from 2020 2020

Vocal Health of Choral Singers from Kenya and the United States: Dysphonia and Vocal Fatigue in Relation to Musical Genres , Morgan Jolley Burburan

Theses/Dissertations from 2019 2019

Two Phenomena in Contemporary Music Education: Mental Toughness and the Law , Jason R. Sivill

Theses/Dissertations from 2018 2018

The Making of a Nationally Recognized Band in a Small, Private Liberal Arts University: The Historical Significance of the Bobby L. Adams Years, 1987-2012 , Joshua David Blair

The Effects of a Self-Regulated Learning Music Practice Strategy Curriculum on Music Performance, Self-Regulation, Self-Efficacy, and Cognition , Kimberly N. Mieder

Music Software in the Compositional Learning Process , Daniel L. Nevels

Behavioral, Affective, and Cognitive Engagement of High School Music Students: Relation to Academic Achievement and Ensemble Performance Ratings , Joel E. Pagán

Theses/Dissertations from 2017 2017

Re-envisioning Music Teacher Education: A Comparison of Two Undergraduate Music Education Programs in the U.S. , Jonathan Ross Kladder

Music Ensemble Participation: Personality Traits and Music Experience , Tracy A. Torrance

Theses/Dissertations from 2016 2016

Influence of Musical Engagement on Symptoms of Tourette’s Disorder , William Christopher Brown

Motivation of Adult, Auditioned Community Choirs: Implications toward Lifelong Learning , David James Redman

The Effects of Technical and Imagery-based Instruction on Aspiring Performing Artists’ Acquisition of Learning Newly Composed Pieces and Improvisation and on Listeners’ Perceived Expressivity , José Valentino Ruiz-Resto

Theses/Dissertations from 2015 2015

Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera , Hong Chen

Secondary Band Participation and Executive Function , Dakeyan Cha' Dre' Graham

Theses/Dissertations from 2014 2014

An Examination of Cooperating Teachers' Observations of Their Student Teachers in the Areas of Personal, Teaching, and Musical Skills in the Elementary Classroom , Mark Remsen Cole

I Did That Wrong and It Sounded Good: An Ethnographic Study of Vernacular Music Making in Higher Education , Victor Ezquerra

Creativity-Based Music Learning: Modeling the Process and Learning Outcomes in a Massive Open Online Course , Nicholas Michael Stefanic

Theses/Dissertations from 2012 2012

The Relationship between Death Depression and Death Anxiety among Cancer Patients in Saudi Arabia , Doaa A. Almostadi

World Percussion Approaches in Collegiate Percussion Programs: A Mixed-methods Study , Patrick Michael Hernly

The Impact of Arranging Music for the Large Ensemble on the Teacher: A Phenomenological Exploration , James Teodor Lindroth

Listening in Action: Students' Mobile Music Experiences in the Digital Age , Rebecca Marie Rinsema

Theses/Dissertations from 2011 2011

The Performance Production Process of an Outstanding High School Choir , Kathy K. Rolsten

Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy: An Exploratory Study of Challenges, Solutions, Resources, Reflections, and Suggestions for the Future , Melissa Maccarelli Slawsky

Self-Efficacy in Music Performance: Measuring the Sources Among Secondary School Music Students , Michael S. Zelenak

Theses/Dissertations from 2008 2008

Analytical Perspectives of Thematic Unity: Applications of Reductive Analysis to Selected Fugues by J.S. Bach and G.F. Handel , Adam C. Perciballi

Theses/Dissertations from 2007 2007

Expanded Tonality: The Treatment of Upper and Lower Leading Tones As Evidenced in Sonata "Undine,” IV by Carl Reinecke , Joshua Blizzard

Theses/Dissertations from 2005 2005

The Compositional Style of Francesco Geminiani: a Reflection of Theory and Practice in His Music and Guida Armonica Treatise , Valerie R. Weber

Theses/Dissertations from 2004 2004

An Application of the Grundgestalt Concept to the First and Second Sonatas for Clarinet and Piano, Op. 120, No. 1 & No. 2, by Johannes Brahms , Devon Burts

The French Art Song Style in Selected Songs by Charles Ives , Christy Jo Talbott

Theses/Dissertations from 2003 2003

Music Programs that Engage Our Communities: Making a Stronger Connection , La Gretta Snowden

Advanced Search

• Email Notifications and RSS
• All Collections
• USF Faculty Publications
• Open Access Journals
• Conferences and Events
• Theses and Dissertations
• Textbooks Collection

Useful Links

• School of Music Homepage
• Rights Information
• SelectedWorks
• Submit Research

Home | About | Help | My Account | Accessibility Statement | Language and Diversity Statements

Privacy Copyright

• Bibliography
• More Referencing guides Blog Automated transliteration Relevant bibliographies by topics
• Automated transliteration
• Relevant bibliographies by topics
• Referencing guides

Dissertations / Theses on the topic 'Music marketing'

Create a spot-on reference in apa, mla, chicago, harvard, and other styles.

Consult the top 50 dissertations / theses for your research on the topic 'Music marketing.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

Sousa, Carla Manuela Martins Costa de. "Plano de marketing para a produtora "Music"." Master's thesis, Instituto Superior de Economia e Gestão, 2015. http://hdl.handle.net/10400.5/11684.

Wittschen, Lauren R. "Music as a Marketed Commodity: Strategies of Past, Present, and Future." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619112503178514.

Turesson, Eric. "STRATEGIC INTERNET MARKETING FOR MUSIC FESTIVALS IN OSLO : A qualitative case study on two music festivals practise of strategic Internet marketing." Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17979.

Furtado, Wilderson Moisés. "Music in services marketing: an investigation about the roles music plays in service environments." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/12/12139/tde-08012019-164007/.

Rocha, Luciana Ramos Soares da. "Plano de marketing 2019 para a empresa Mufyn Music." Master's thesis, Instituto Superior de Economia e Gestão, 2018. http://hdl.handle.net/10400.5/17272.

Lee, Erin Gilligan. "New Audiences for New Music: A Study of Three Contemporary Music Ensembles." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1240423668.

Dugan, Brett M. "Effective Uses of Social Media Marketing in the Music Industry." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308958604.

Woermann, Niklas. ""Knowing about music" Trendsetting im Marketing : Ethnographische Untersuchung eines Musikgeschäftes /." St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/04608865002/$FILE/04608865002.pdf.

Richmond, Jessye. "Opera Marketing| Rebranding the Genre." Thesis, American University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10786455.

This paper reviews current and historical opera marketing practices and analyzes the marketing mix (product, place, promotion, price, and people) of major opera companies in the United States. The purpose of this paper is to determine methods to attract and build sustainable, less homogenous audiences. Surveys were conducted to determine public perceptions about the art form from both opera-goers and non-opera buyers and interviews with leaders within the field of opera marketing revealed current trends. The paper provides insights about changes within the field in recent years and offers suggestions for improvement based on the success of other opera companies and other artistic organizations.

Carboni, Marius Julian. "Marketing strategies in the UK classical music business : the significance of 1989." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5740.

Voroňáková, Veronika. "Marketing osob." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-85119.

Gould, Jackson S. "The Changing Business of Bands: How New Groups Start, Grow, and Succeed Using Social Media." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340989959.

Rymeš, David. "Zhodnocení online marketingových aktivit hudebního e-shopu Music-City." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-359690.

Johansson, Tobias, and Oskar Wallin. "Winds Of Change : Marketing effects of the Internet at Universal Music." Thesis, Uppsala University, Department of Business Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9451.

The internet has fundamentally changed our society during the past decade with considerable ramifications for business practices in all types of industries. The music industry is arguably one where the effects have been most evident with a drastic decline in record sales as a result of piracy and increased competition for customers’ attention. Thus, record companies must find new ways of satisfying music consumers’ needs by restructuring their promotion and distribution processes. Therefore, this paper investigates how the internet has affected the promotion and distribution of music at major Swedish record companies by performing a case study at Universal Music AB. To analyse the effects of the internet, a resource based view of the firm is adopted with special focus on market based assets. The analysis indicates that the most significant changes brought about by the internet regarding the distribution of music are the transition from brick and mortar retailers to online equivalents and the creation of alternative means of distribution, such as digital sales. The internet also contributes with new channels for music promotion, which not only increase competition for customers’ attention but also encourage the search for new marketing partners, particularly evident in the demise of MTV and the emergence of online channels such as Youtube and Myspace. Finally the Internet also induces a need to capture all the revenue streams music has to offer, ranging from ring tones to concerts.

Liljeqvist, Fredrik. "Live-streaming as a marketing channel in the Swedish music industry." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-188961.

Caillet, Maxence, and Daniel Yamba-Guimbi. "The state of the digital music market in France and its tendencies." Thesis, Halmstad University, School of Business and Engineering (SET), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-5002.

The digital music market is a dynamic market which keeps evolving all the time, as it is the case in France.

The purpose is to explore what the state of the current digital music market in France is and its trends.

Thus, we exhibit the tools implemented by companies to act in this market.

Pavlů, Kristýna. "Marketing hudebního festivalu Dvořákova Praha." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-124594.

Oesterle, Ulf. "Organizational influence on recorded music a look at the independents /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1354131191&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

Burkhalter, Janee N. "'Check the Rhyme': A Study of Brand References in Music Videos." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/marketing_diss/14.

Richardson, Neil Andrew. "The adoption of sustainable marketing practices within the UK music festivals sector." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13578/.

Love-Tulloch, Joanna K. "Marketing American identity : the role of American classical music in television advertising /." abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1440922.

O'Reilly, Daragh. "Marketing and consumption of popular music : the case of New Model Army." Thesis, Sheffield Hallam University, 2008. http://shura.shu.ac.uk/4231/.

Butler, Patrick Denis. "By popular demand : marketing change in the arts." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342307.

Aguirre, Lopez Nicolas Enrique, Echeverria Carlos Augusto Garrido, Giannotti Haris Giordano Papadelis, Castro Enrique Sebastian Robles, and Chueca Flavio Cesar Rodriguez. "Modelo de negocio para validar el emprendimiento de una agencia de marketing musical en Lima Metropolitana." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626507.

Hedström, Joakim, David Högqvist, and Christian Piri. "Sensory Marketing - Does music influence customers? : Effects of music on customer behaviour, emotions and perceived atmosphere towards a specific product category." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44083.

Wernick, Jacob. "There’s No Shortcut to Longevity: A Study of the DifferentLevels of Hip-Hop Success and the Marketing Decisions Behind Them." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556189262423471.

Špak, Richard. "Marketing v hudebním průmyslu se zaměřením na elektronickou taneční hudbu." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-264408.

Gustafsson, Märta. "”We are you. You are us. TOGETHER we are The Fooo Conspiracy” : En fallstudie av The Fooo Conspiracys användande av sociala medier i marknadsföringssyfte." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-119125.

Lieb, Kristin J. "Pop tarts and body parts an exploration of the imaging and brand management of female popular music stars /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1408927501&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

Rosner, Elizabeth. ""It's the Real Thing": The Marketing of an African Identity in a West African Dance Class." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1336761459.

Cary, Melissa A. "Making Music Sustainable: The Case of Marketing Summer Jamband Festivals in the U.S., 2010." TopSCHOLAR®, 2012. http://digitalcommons.wku.edu/theses/1206.

CHAPPLE, LAURA MARY. "FUNDING AND MARKETING TRENDS FOR NONPROFIT ARTS ORGANIZATIONS: CASE STUDY, THE BERKSHIRE MUSIC SCHOOL." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092977568.

Dubinas, Andrius. "Muzikos atlikėjų marketingas internetu: iššūkiai ir galimybės." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130805_104604-20719.

Mamaril, Crystal Desquitado. "A comparative analysis of the use of music in advertisements within the car industry." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2296.

Törnmarck, Oskar, and Johannes Wikström. "Music For Sale? : Umeå Open & Umeå International Jazz Festival - A Study in Event Marketing." Thesis, Umeå University, Umeå School of Business, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-25536.

Umeå is a city that is known for its music scene. Credible bands and artists have consequently sprung out and put the city on the map for as long the authors of this paper can remember. The city has a specific image and this study seeks to shine a light on how this came to be. Has there been a conscious marketing strategy in order to gain the reputation that Umeå has, or is the city’s music scene so prominent that it speaks for itself? Data for the study were collected through conducting qualitative interviews with the producers of the two music festivals Umeå Open and Umeå International Jazz Festival. The results show that cultural visions and marketing are constantly interacting, but to the authors’ knowledge, no conscious decisions have previously been taken to market Umeå as a city of music. Still, with current acts like Deportees, David Sandström and Frida Hyvönen just to mention a few, the image of Umeå is more justified than ever.

Chapple, Laura. "Funding and marketing trends for non-profit arts organizations case study, the Berkshire Music School /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1092977568.

Söderström, Albin, Miller Emanuel Rinaldo, and Anderberg Theodor Mörse. "Don't Scroll Past! : Exploring how independent music artists can adapt their digital content marketing strategy to attract new listeners." Thesis, Internationella Handelshögskolan, Jönköping University, IHH, Företagsekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49033.

Henning, Emelie, and Martin Palmcrantz. "Tacongruity : Impact of congruent music on sales of tex-mex products in a Swedish grocery store." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-176778.

Kazadi, Kanyabu Solomon. "A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018933.

Langham, Christina P. "Finding the gimmick: Identifying brand identities and creative marketing strategies in the Brisbane independent music market." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122228/1/Christina_Langham_Thesis.pdf.

Emanski, Julianna. "Early Music Audiences: A Survey and Analysis of Early Music Consumers in Texas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707272/.

Salvatore, Andrea Maria. "Entertaining the global consumer the role of the festivals in marketing West African film and music /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457045398/viewonline.

Sepúlveda, Filipa Maria da Cruz Filipe. "O efeito da musica ambiente no comportamento do consumidor : o caso dos restaurantes." Master's thesis, Instituto Superior de Economia e Gestão, 2011. http://hdl.handle.net/10400.5/10292.

Bhovichitra, Phunpiti. "Music CD in development and consumer value in the Thai music industry." Thesis, University of Stirling, 2017. http://hdl.handle.net/1893/26302.

Sewald, Ronda L. "The darker side of sound conflicts over the use of soundscapes for musical performances /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380130.

Laver, Mark. "Jazzvertising: Music, Marketing, and Meaning." Thesis, 2011. http://hdl.handle.net/1807/31826.

Chuang, Wan-Chien, and 莊宛蒨. "A Research on Christian Children Music Marketing." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/34314366243296141195.

(9807665), Elisabeth Jensen. "Cross-genre marketing of Australian Roots music." Thesis, 2008. https://figshare.com/articles/thesis/Cross-genre_marketing_of_Australian_Roots_music/13462907.

"Marketing in Music Therapy: A Survey of Self-Employed Music Therapists to Identify Methods of Marketing Planning, Positioning, Promotion, and Implementation." Master's thesis, 2014. http://hdl.handle.net/2286/R.I.24900.

FANG, LIN PING, and 林苹芳. "Pop Music Marketing Models over the Digital Music Platform -- Researches and Application Practices." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/22158787422490501809.

What to Know About the Music Business, According to the Lawyer Who Wrote the Definitive Book

It's been more than 30 years since legendary music lawyer Don Passman first wrote All You Need to Know About the Music Business , and the latest edition includes topics that no one would have dreamed of back in 1991: artificial intelligence, streaming and the reemergence of vinyl, to name a few.

Passman saw a need for a how-to guide that could help artists, execs and others trying to break into the music industry. The book, which is used as a text in both business and law school courses, covers everything from finding the right team of advisers to navigating record deals and understanding copyrights, touring, merchandising and more.

"The idea was to try to break it down into very simple terms and digestible pieces and then explain a very complicated business so that pretty much anyone can understand it." Passman tells The Hollywood Reporter . "It's easier to get details here and there than it is to get the whole big picture. I wrote All You Need to Know About the Music Business to make sure that people could get the big picture somewhere."

Ahead of the 11th edition's release on Oct. 24, Passman spoke with THR about how the industry has evolved, using a pregnant bulldog analogy to explain royalties and what he might need to change for a future edition.

What have been some of the biggest things that you've had to add or change since the first edition came out in 1991?

There have been quite a lot of changes, as you might imagine. Of course, the most massive upheaval was streaming, because it changed the way music was monetized. If somebody bought a CD and they played it 1,000 times or they used it as a doorstop and never took it out of the shrink wrap, the artist got paid the same thing. But, that's not true in a streaming age. Now the artists are paid based on the number of plays, so it completely upended the ecosystem and changed all the practices and economics.

How do you explain these things in a way that you get across what people really need to understand, but also make it readable to somebody who's on the creative side of the business?

I usually use analogies, because I think those are easier to understand. So, for example, in the book when I talk about how royalties work, I use an example of someone who's got a bulldog that's pregnant and wants someone else to raise the puppies and sell them. The idea is that the puppies are records, and the person selling them is like a record company, and the person who owns the bulldog is the artist. So, they get a share of the money from selling the puppies, and that's sort of an analogy. When I'm explaining a more complicated topic, like cross collateralization, I use illustrations.

I also spend a lot of time figuring out how to organize the book. When I talk about publishing, I start with copyrights because the whole publishing business is based on the rights you get from owning a copyright. I go through what is a copyright and what are the rights you get when you create something, and then how do you get money from it? It's a matter of breaking it down into smaller concepts and then putting them in order so that someone can build on what they've read before to understand it in more detail. I also have sections where you can skip forward because some people aren't interested in that much minutia. So, there'll be instructions, "If you want to go through this on a fast track, skip ahead to page X."

What are some of the topics that you updated in the most recent edition?

I talk about why artists have more power than they've ever had in history. It's basically because the artists are learning how to market themselves and creating a buzz, and the companies are all following the buzz. It means that when somebody's really breaking out, a number of companies know about it and they all chase them and they bid each other up. So [more] artists are now getting deals that used to be reserved for superstars. On the other hand, there are over 100,000 new tracks uploaded every day. So the question is how do you break through it?

There's also a section on artificial intelligence and on TikTok, which has become a major force in the business in terms of moving music. I talk about the mega-million-dollar catalog sales that have made the headlines and some not-so-mega ones that haven't, and whether that's a good idea for artists. And then I just generally update the trends and try to keep everything current.

What are the most interesting developments on the AI front?

There are a couple of important things. One is that the current state of the law is that you cannot get a copyright on AI created material, which means that if an AI creates something, unless there's a substantial amount of human input, it may not be copyrightable and anybody can use it or copy it.

The other issue has to do with the way streaming royalties are calculated in that streams are based on how many plays I get versus how many plays there are that month. So, for example, if I have 100,000 plays and there's a million streams - there are obviously billions, but just to make the math easy - I'd get 10 percent of the money and the other 90 percent goes to everybody else who got plays.

If the digital service providers throw in a bunch of AI music that they don't have to pay anybody for because there's no copyright, and those get a number of plays, can they keep that money? Let's say another 10 percent is AI. So, they'd only distribute 90 percent and put 10 in their pocket because the AI money belongs to them. Suddenly, the people that made the human streams are not getting as much money allocated to them and they're getting diluted. The record companies are all over this to make sure that doesn't happen, but that's just one example of why it could be a problem.

AI has the potential to disrupt almost every business in one way or another, probably including yours and mine. Certainly, there will be virtual writers and certainly there will be virtual lawyers, and there will be all kinds of things coming down the road. It's a fascinating area. We're not going to put the genie back in the bottle. It's too late for that. It's evolving faster than even the AI people thought it would. Obviously both the writers and the actors have that as an issue in their negotiations [with the AMPTP]. I think the best we can do is just try to deal with what's in front of us now and then, as it evolves, we'll have to continue.

It's hard to predict, especially given the rapid pace of change, but what do you anticipate you will have to address the next time you do an edition of this book?

Well, that's a really good question. "I don't know" is the short answer. I don't expect as radical a change as has happened over the last few years. I think streaming will remain dominant for a period of time. Vinyl is interesting because a lot of people buy vinyl and don't even take it out of the shrink wrap, meaning they treat it more like merchandise. If you think about it, you haven't got a way other than a T-shirt to show you're a fan of somebody, because nobody sees your digital playlist. If you've got vinyl in your home sitting out, people go, "Oh, that's cool." It's still less than 10 percent of the business but [it's] growing rapidly, constrained in large part because there aren't enough vinyl facilities to keep up with the demand for it.

I don't think there will be a massive change, but I think AI will be more settled by then and there will be parameters around it that we can't quite predict today, which is a defensive move, not an offensive move.

Perhaps there will be more advanced marketing techniques than exist today in terms of how to reach consumers and how to build a base. There's a disturbing trend that in the Billboard Top 100 charts over the last almost 20 years, there has been a decline in the number of new artists breaking into the top 100 every year. Nobody quite knows why, but the theories are [there is a] short attention span and people are more into songs than artists, but it's getting more and more difficult to build a real artist career in today's world than it ever was in the past. Hopefully there will be some breakthroughs in that area, as well.

This interview has been edited for length and clarity.

More from The Hollywood Reporter

• Mary Lou Retton Is Home and "In Recovery Mode" Following ICU Stint Due to Pneumonia
• Writers Guild East Explains Why It Hasn't Made a Statement on Israel and Gaza
• LeBron James, Peyton Manning and the Obamas Planning 'Quarterback'-Style NBA Docuseries

Small Business Trends

16 business ideas for musicians.

For musicians looking for opportunities within the industry, there are a lot of small business ideas that are worth pursuing. In addition, there are many businesses that keep the music industry running as a whole, and these music businesses be an excellent fit for musicians with an entrepreneurial streak. In this article, we’ll go through some of the best business ideas for musicians and how to get started.

The Music Industry in 2022

The music industry has seen a serious boom with the introduction of streaming services. The live music industry, record labels, and the event industry are all witnessing a demand for musicians and different types of music businesses.

• READ MORE: Small Business Ideas for Beginners

Why You Should Consider Starting a Music-related Business

Music aficionados endowed with an entrepreneurial spirit stand at a crossroads of possibilities. Here’s why the allure of launching a music-related business deserves your attention:

• Diverse Ventures for Music Enthusiasts: The realm of music-related business ventures offers a kaleidoscope of options to explore. Whether it’s orchestrating music events, delving into music publishing, or engaging in ventures tangential to the industry, a plethora of avenues await your creative touch.
• Unlocking Lucrative Potential: The convergence of your passion for music and the intricacies of business can yield substantial rewards. Lucrative opportunities abound, ensuring that your venture aligns with your interests while fueling your financial aspirations.
• Trailblazing Entrepreneurial Prowess: Just as music producers have carved their own paths, you too can embark on an independent journey. By establishing your own business, you can harness your expertise to collaborate with budding talents, shaping the landscape of the music industry itself.
• Harmonizing Creativity and Commerce: The world of music-related business is a harmonious blend of creativity and commerce. This synergy empowers you to channel your artistic inclinations while building a robust foundation for financial success.

In a world where music resonates as both an art and a commodity, venturing into music-related businesses offers a dynamic platform to orchestrate your aspirations and financial endeavors.

Choosing the Best Business Ideas for Musicians: Our Methodology

When musicians look to expand their careers into business ventures, it’s crucial to consider various factors that not only align with their musical talents but also ensure sustainable growth and profitability. Here’s a breakdown of key criteria that we considered when making our list, along with some for you to consider while selecting your own business idea. Each factor is rated on an importance scale of 1 to 10, with ten being of utmost importance:

• Importance: Essential (10/10) Any business idea should resonate with the musician’s skills and passion. It ensures authenticity and long-term commitment.
• Importance: High (9/10) Understanding the target audience and market demand is crucial for success. Musicians must identify niches where their skills are in demand.
• Importance: Moderate to High (8/10) The business idea should have the potential to grow and adapt to changing market trends without losing its core essence.
• Importance: High (9/10) It’s vital to have a clear, viable revenue model that ensures profitability and sustains the business in the long term.
• Importance: Moderate (7/10) The business should align with the musician’s lifestyle, allowing a balance between personal life and professional growth.
• Importance: Variable (5-8/10) Consideration of the initial investment and ongoing expenses is crucial. The scale varies based on the musician’s financial situation.
• Importance: Essential (10/10) Compliance with legal norms and ethical practices is non-negotiable, especially regarding copyrights and intellectual property.
• Importance: Moderate (7/10) A unique selling proposition sets the business apart in a crowded market, attracting attention and building brand value.
• Importance: Moderate (6/10) The ability to adapt to industry changes and audience preferences is important for long-term sustainability.
• Importance: Moderate to High (8/10) The idea should allow for networking and collaborations, which are vital in the music industry for growth and exposure.

Top Business Ideas for Musicians

There are many great business ideas for those with musical talents and business acumen. We’ll review some of the top music industry businesses you can consider pursuing.

1. Music video director

The music industry comprises many individuals who go behind the camera to direct music videos. You can work with emerging talent as a music video director and bring their vision to life, including the creative direction. This is a highly creative job, with tons of flexibility and opportunities to collaborate with various musicians.

2. Music Producer

Music production could be a good fit for you if your musical talents lie in not just melodies but also in putting together songs. You can work with musicians to produce songs from start to finish, including putting together the lyrics and the beat.

• READ MORE: How to Make Money Listening to Music

3. Music School

If you’re looking to teach the next generation of musicians and artists, you could start your own music school. This could include classes on music theory, instruments, vocal lessons, and other areas of music.

4. Music Blogger

If you love listening to music and are trying to figure out how to make money listening to music , becoming a music blogger could be a great fit. You could start a music blog with reviews, a music podcast, or write for a reputed music review site to share your opinion on the latest releases and music news. This can be a highly flexible yet scalable venture.

5. Recording Studio Owner

If you’re willing to put up the initial investment to build your own recording studio, you could start your own recording studio. Recording artists can rent it out for specific periods of time for recording sessions for their music. There’s lots of market demand for this type of business, especially in areas with an active music scene.

6. Music Therapy

Another growing area for musicians is music therapy for both adults and children. You can work with clients to provide therapy services through music, and this can look different based on your skills and talents, such as writing songs together, learning instruments, dancing, and more. This is becoming a more in-demand service in many areas.

7. Record Label Owner

For music fans looking for the next big thing, starting your own record label could be a great fit. You can sign different recording artists or a musical act based on the genres you’re interested in or where you see the most potential.

• READ MORE: How to Start a Record Label

8. Music Teacher

Many music schools are looking for qualified teachers for their students. You could become a music teacher for instruments, singing, and vocals, or even run some business classes that older students might be looking for. This is a flexible option that can be run full-time or on the side and align with a variety of musical talents and interests.

More Profitable Music Business Ideas

There are many other music careers that you can pursue if you would like to play music. We’ll go through some more profitable music business ideas that could be a good fit.

9. Songwriter

If you like to write songs, you can become a professional songwriter. As a songwriter, you could write your own songs that you could pitch and sell to other musicians and record labels looking for new music to license and produce.

10. Music Store Owner

If you’re looking for ways to make music more accessible and available, consider starting your own music store. You could sell musical instruments or even start a music instrument rental service as well as records and music CDs.

11. Music Publicist

For those who are good at networking, a music publicist could be the right fit. You would work with journalists and record labels as a music promoter for recorded music and artists, including facilitating interviews, PR, and other efforts.

12. Recording Artist

For musicians that want to put themselves out there, becoming a recording artist has become a more viable option thanks to streaming music services. You can record and add music to music streaming platforms to gain new listeners. Here’s a resource on how to make money streaming on music platforms and other online video channels.

13. Video Game Audio Creator

Video games are all about the background music; they need talented audio creators to help set the scene and create that ambiance with theme songs. You can work with video game publishers to create the audio for the game, such as a theme song and other audio content. This is a highly in-demand niche, and it’s likely to continue growing.

14. Session Musician

Session musicians work with bands and vocalists that temporarily need a musician for their performance. For example, a band could need a drummer for a few nights to play a gig or a guitarist to add to their recording sessions. Based on your skills and talent, you could work with recording studios to work with their musicians.

15. Voice Coach

Many vocalists are looking for ways to strengthen their voices and train for a specific performance or event. You could become a vocal coach and provide private lessons to vocalists and musicians to prepare them for stage events.

16. Local Event Artist

Many local events seek musicians to perform, such as weekend concerts and seasonal festivals. You can also collaborate with local businesses in the area, such as a wedding band business or a mobile DJ business, to book more gigs.

• READ MORE: How to Make Money Streaming

What Can Musicians Do to Make Money?

For musicians eager to monetize their talents, a multitude of avenues beckon. Beyond traditional gigs, the realm of entrepreneurialism opens up new doors. Venturing into your own business, such as delving into blogging, directing music videos, music distribution, running a song licensing enterprise, and engaging in other facets of the recording industry, can be immensely rewarding.

What Business Can you Start As an Artist?

As an artist, the entrepreneurial landscape presents enticing possibilities. Stepping into the role of a session musician, collaborating with music publishers to market your songwriting, or pioneering your own record label to unearth and nurture fresh talents are all within your grasp. By capitalizing on these opportunities, you not only explore your creative potential but also forge a unique path to financial prosperity within the dynamic world of music.

Frequently Asked Questions (FAQs)

Why should musicians consider starting a music-related business.

Musicians looking to tap into entrepreneurial opportunities within the industry can find various small business ideas worth pursuing. Additionally, businesses that support the music industry as a whole can be a perfect match for musicians with an entrepreneurial spirit. This article delves into some of the top business ideas for musicians and offers guidance on how to kickstart these ventures.

What’s the state of the music industry in 2022?

The music industry has witnessed a significant surge with the advent of streaming services. Live music, record labels, and events are all experiencing a demand for musicians and diverse music-related businesses.

Why should I start a music-related business?

For music enthusiasts with a penchant for business, the options are plentiful. Whether you’re interested in music events, publishing, or something closely related, numerous lucrative business ideas await. From collaborating with emerging talent to venturing out on your own as a music producer, opportunities abound.

What are some top business ideas for musicians?

Several promising business ideas cater to those with musical talents and a business flair. This article explores top music industry businesses, including roles like music video director, music producer, owning a music school, becoming a music blogger, starting a recording studio, and offering music therapy services, among others.

What other profitable music business ideas are there?

Beyond the previously mentioned ideas, there’s a range of additional music careers you can pursue. These include becoming a songwriter, opening a music store, working as a music publicist, recording artist, creating audio for video games, being a session musician, providing voice coaching, and performing at local events.

How can musicians make money?

Musicians have various avenues to generate income, from starting their own businesses, offering services within the recording industry, blogging, music video direction, song licensing, and more.

What businesses can artists start?

Artists can embark on diverse entrepreneurial paths. They can become session musicians, sell their songwriting through music publishers, or establish their record labels to nurture and promote new talent.

Image: Envato Elements

If you are a musician, you might assume that your best option is to sign up for as many gigs as you can (and get paid in beer and other promotional items). After all, every duo or band has to start somewhere, and for most musicians, that “somewhere” is playing at an open mic night or similar music event.

You can promote your business with app development. An app helps people to reach out to you.

Your email address will not be published. Required fields are marked *

© Copyright 2003 - 2024, Small Business Trends LLC. All rights reserved. "Small Business Trends" is a registered trademark.

Professional Essay Writer at Your Disposal!

Quality over quantity is a motto we at Essay Service support. We might not have as many paper writers as any other legitimate essay writer service, but our team is the cream-of-the-crop. On top of that, we hire writers based on their degrees, allowing us to expand the overall field speciality depth! Having this variation allows clients to buy essay and order any assignment that they could need from our fast paper writing service; just be sure to select the best person for your job!

Constant customer Assistance

1555 Lakeside Drive, Oakland

Extra spacious rarely available courtyard facing unit at the Lakeside…

For expository writing, our writers investigate a given idea, evaluate its various evidence, set forth interesting arguments by expounding on the idea, and that too concisely and clearly. Our online essay writing service has the eligibility to write marvelous expository essays for you.