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Importance of BRANDING
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Literature Review
The importance of visual branding in music
1.) Album Cover Albums by Vaughan Oliver, Storm Thorgerson & Roger Dean
1992 Dragon’s World Ltd.
This is the 6th volume of a series of books containing the growing history of album covers. It covers some of the most crucial and monumental cover arts from the end of the 20th century. As it was written at a time when CDs were being introduced and Vinyl was being phased out, there are some dramatic changes in themes, design continuity and the use of portraits in album artwork. It sheds light on the increasing use of graphics, and the decreasing use of actual artwork; paintings, drawings etc. It also explains the changes in trends and styles of artwork, often due to the switch between the sizes of vinyl and CD.
2.) Volume: Writings on Graphic Design, Music, Art, and Culture by Kenneth FitzGerald
2010 Princeton Architectural Press
Perhaps the most relevant book the topic chosen for this essay is Volume. Volume is a word used in sound and physical measurement. It is therefore a characteristic of both visual art and graphic design as well as many aspects of music including the production and pop music. This book discusses the large number of links between these two mediums. It looks at graphic design in context with contemporary music and art. The book covers a diverse number of topics including the roles of class in design, design in education, pornography, album cover art, design as a cultural chaos-maker, independent record labels, anonymity and musical identities (stage names, musical collectives etc.).
3.) The Sight of Sound: Music, Representation, and the History of the Body by Richard Leppert
1995 University Of California
In this book, writer Richard Leppert...
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...s apparent throughout the text. As the book was written last year, it looks at very current problems with insecurity within the music industry and how an artists image, whilst onstage, at events, in print and in music videos has become an integral part in a competitive industry.
10.) Brands pump more than £100m into the UK music industry by Tim Jonze
2013 The Guardian Website
This article use facts and figures to show just how much money is put into the music industry and the fact that sponsorships and brands play a very large role in income and success on moth sides (the musicians and the brand). Brands include many technology companies, drinks companies and clothing lines amongst others. being such a colossal industry, music has now become the place to invest for large companies rather than sports, which have been at the forefront of investments for a long time.
Pop Art was a Modern art movement that emerged durring the mid-twentieth century in both England and America. It first began to gain recognition in the early 1950’s, after about twenty years of Abstract, as artists altered their attention and looked to change. In the late 1950’s and early 1960’s, Pop Art became much more popular to the general public and successful for the movement’s artists due to the world growing tired of the repeditive forms of Abstract. Found in the Menil Collection, Seated Woman and Lavender Disaster are two examples of Pop Art. The comparison of these two pieces shows although they differ in medium and subject matter both Seated Woman and Lavender Disaster share common underlying themes possesed by all Pop Art.
"An Artists's Life." Litzmann, Berthold. An Artist's Life. New York: Da Capo Press, 1979. 532. Book.
Sponsorship and advertisement music more or less do good for artists. From loss of money from album sales, advertising and sponsorships in music often put money in the artist's pocket. This is good for most artists struggling from album sales to make a living.
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
Intro: In Steven Connor’s ‘Ears Have Walls: On Hearing Art’ (2005), Connor presents us with the idea that sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes us aware of the continuing emphasis upon division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, because sound spreads and leaks, like odour. Unlike music, Sound Art usually does not require silence for its proper presentation.
Putman, D. (1990). THE AESTHETIC RELATION OF MUSICAL PERFORMER AND AUDIENCE. British Journal of Aesthetics. 30 (4), 1-2.
III. This is the recording industry which even though their sales have been steadily declining due to internet piracy it is still an industry which has great importance in our lives. As college students alone spend about 450 million dollars on music, according to Harris Interactive a worldwide market research and consulting firm. Ever since the birth of recorded music, it has defined our eras and defined each and every one of us. Music has been and always will be the soundtrack of our lives.
The proliferation of graphic scores emerging in Europe and America from the mid-1950s has had a profound impact on musical thought, broadening links between performers and composers, audiences and art forms. Exploration of notational methods based on graphics flourished rapidly and diversely during the fifties and sixties, primarily as a trend amongst young radicals. So many composers producing scores of this kind used a personal vocabulary of symbols – often creating different notation systems for each work – that the effectiveness of their approaches in realising a sonic concept can be assessed only on a case-by-case basis. But the significance of early graphic scores does not depend entirely on how they sound; rather it lies in their capacity to accommodate or even to generate new forms, techniques and mediums, and to challenge notions of what constitutes a musical composition. In addition, these works demonstrate that notation can extend beyond instructional functionality to allow for prominent interpretive and aleatoric elements, and can harbour an intrinsic aesthetic value of its own, apparent before a single note is sounded.
Authenticity within the culture of popular music is an issue that has been discussed for many years as it can be a huge selling point, it can cause society to either loathe or love a performing artist on how 'authentic' their persona and music is. Moore (2002) brings forward this idea in the article ‘Authenticity as Authentication’:
The aim of this report is to explain how the concept album was developed. During the analysis, the ideas, influences and applied production techniques will be discussed in detail. Afterwards, an objective and critical conclusion about the album will be outlined.
The music industry’s history is a convoluted mess. There is no real consensus on what the music industry IS and what paths it has taken. Were the Beatles the greatest band to ever exist? Maybe. Is there a hyper objectification of women throughout the “men’s club” that is the music industry? Probably. It’s this hard to define, frankly confusing business that is worth roughly $130 billion dollars today. With it’s flimsy and opaque edges, can the music industry ever be called into question on its wrongdoings? The racist undertone throughout its history may force it to. With the music industry as an ever growing business that seems to change almost every decade, the one thing that has not changed throughout time is an undercurrent of racism that
This paper deals, in broadest terms, with the questions of how artwork is connected to the changes and dynamics that prevail in a society. To describe these changes, I will investigate how a specific type of art reflects its social content in contemporary societies. My analysis is carried out by closely looking at the Pop Art movement, especially with Andy Warhol, who has come to be known as one of the greatest artists of the 20th century. It will be argued that Pop Art managed to successfully articulate its time, and in so doing, it became a widely influential art movement whose effect is still very much existent in today’s world of art. In order to prove its claim, this paper relies on the theory of “the field of cultural production” by Pierre
Music and the relationships of music have changed drastically in our society. The course of studies and the evaluations of the applications of the technology of music, the making and the listening of music have changed in the way we listen to music, the styles of music in our society and in the media. The importance of the technology in music today, has, over the past century been charted through the study of musical examples and through viewing how human values are reflected in this century's timely music. There are very many different types of music that are listened to. There are readings, writings, lectures and discussions on all the different types of music.
This gallery was not one of taboo songs as much as taboo album covers, giving a new outlook on music-related censorship. The gallery also shows another method censorship could be used to limit creativity.
With the music being the highly profitable, capitalist enterprise that it is today, it is no wonder that it is controlled and regulated by a few large conglomerates that exist is today’s world. It is important to make clear that although evidence is being presented of the positive aspects of globalization through music that there is overwhelming evidence that cultural imperialism is more than it seems on the outside. One must keep in mind that cultural imperialism, globalization and the creation of a global village is a business. People are profiting at other people’s loss of cultural identity, they are sold a culture and heritage. With the every growing N’Sync fan clubs and Britney clones, the world is turning into a stage for pop culture and its glamorous unattainable standards.