Week 11: Does the Music Industry create the Market?

On one hand, music labels are now part of the larger global media corporation; large labels such as Sony or Universal own and create successful television and film productions. It could be suggested that due to this corporations use artists on their own labels to appear and market in their own productions. Therefore this idea of cross promotion illustrates a massive integration of the whole process and illustrates that the music industry certainly does create the market through these means.
Likewise, the music industry controls the consumer by trying to make a song successful by overplaying it on the radio or television music stations through to creating songs using a formulated and standardised method.
On the other hand, according to ibid, ‘…the audience focused approach emphasises the resistance of individuals and groups to the ideological dominance of the culture industries and of mainstream culture in general.’ Therefore, the audience makes up their own mind on what musically they are attracted to, although the music industry satisfies this need for music they do not have all the control on the market as every individual is different and not every song is a hit even though they are heavily marketed.
In conclusion, it is not realistic to suggest that popular music exists unmediated by the music industry, although the audience depends on the music industry for access to the music, from the purchase of records and concert tickets, it is the control of the music industry and the consumer that equally create the market. The music industry controls the market through promotion and distribution but it is the consumer who has the most important role to play; the romance comes from the audience themselves.

Week 10: Review a music magazine in the style and language of the chosen music magazine.

If you like nothing better then checking out the newest dance floor crazes from around the country and informative question and answer articles from the best and biggest artist around, ‘Mix Mag’ is for you. This dedicated clubbing slash music magazine is full of information, not only the hottest house and trance music for the clubber in us all; built-in is a run down of the latest acts in the world of Soul, Electronic, R&B, Garage and Indie Rock. And if that wasn’t enough most issues arrive complete with a free CD.
There is something in this magazine for both sexes; whilst the women will be attracted to the mountainous number of fashion pages, the men can ponder the newest available gadgets to relish their taste spuds. The adverts included issue you the various up-and-coming festivals and events appearing in your local area and around the world another chance for you to spend your good earned money!
The many pages showcasing new bands and artists state what we should be listening to and are an interesting eye opener for any present raver or potential clubber out there.
As you can see this monthly magazine has it all, for both males and females alike and if you still what more you can check out their webpage and daily blogs for all your musical needs.

Week 9: Are Blackness and Whiteness useful concepts in the study of Popular Music?

This question could be said to be problematic, in a sense it is difficult to classify just how this concept helps ones understanding of popular music, as different genres within popular music express different issues, environmental and cultural values.
On one hand, it could be seen to be easy on the surface to define which musical genres are associated race wise, yet it is difficult to break down exactly which race dominates and derives from popular music, as popular music in itself is a combination of various musical influences and genres. The musicological concept suggests that no definitions of any terms are provided within the distinction of ‘blackness’ and ‘whiteness’ in the study of popular music. (John Tagg, 1989.)Likewise, it is rather the class and economical background that are the important factors to analyse.
Similarly one could question cultural music such as Asian and oriental music; how do these fit in within the study of blackness and whiteness in the study of popular music?
Although, blackness and whiteness may not be useful concepts in the study of popular music, through this analysis one receives the historical perspectives, influences and issues at the heart of ‘white’ and ‘black’ music which does aid a certain understanding to this study. However it is important to note that this concept does not explain how the future of popular music is affected by this theory or the whole story behind this concept.