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Copywriting in the music industry
Different forces driving the changing landscape of music industry
Different forces driving the changing landscape of music industry
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In a day and age where getting noticed or receiving recognition within the music industry is a struggle, upon releasing material musicians enter a battlefield. For established musicians, those with a loyal fan base, recognition isn’t necessarily a problem but for musicians attempting to “make it”, it is. There are a number of ways in which a budding musician can increase their chances of gaining recognition and one of the most common attempts comes in the form of the remix. Musicians, primarily working in dance, electronic or hip-hop genres remix tracks of already established musicians in a bid to target and get recognition from the audience of the already established musician. This is not to say that this is the only reason for the remix; I will expand on different reasons later. The term remix, for some, conjures up certain connotations and too much of the time these connotations are bad ones, often centring on plagiarism and theft or perhaps more pointlessly based on arguments of unoriginality. These arguments aside, releasing remixes is clearly an acceptable way for any up-and-coming musician to gain notoriety, particularly in the blogosphere.
Looking back at previous musical generations, to a time before the remix, in its place one would have been presented with the notion of recomposition. More often than not recomposition of another composer’s work took place to pay homage to the composer, although in some cases recomposition was practiced as a form of analysis. This is not to say that modern-day remixes are never there to pay homage to the artist being remixed, because in many cases they are.
So, is there a difference between remix and recomposition? Are they not purely nomenclature or terms for what is essential...
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...mix and recomposition being synonyms. I feel that I have demonstrated that Four Tet, a musician who dubbed his track a remix, has done no less composing than a musician who has dubbed his, a recomposition. And secondary to this I hope I have demonstrated one of the main reasons a musician reworks pieces of the past; the desire for a musician to explore the past and at the same time express themselves.
Even though both musicians treated the existing pieces in infinitely different ways, I think it is apparent what both musicians were trying to achieve; self-acceptance. Both musicians were searching for an affirmation of their own individual style. By looking back at musicians previous to them they were able to satisfy their need to pay respect, not only, to what others have done but at the same time develop their own style and, even if subtly, push the envelope.
Many say that music has evolved over the years. This essay shall explore the elements of two versions of one song. It shall discuss the correlations and disparities of these songs and confer how it has been revolutionised to entertain the audiences of today.
Ferguson focuses on the importance of creativity and how much we can build off of each others ideas. Remixing is using tools already invented to build new products, it opens a door to an on going process of new inventions and ideas. Ferguson shows the importance and the huge effect remixing has on our music industry and even technology on today’s market. Remixing gives
These articles depict the controversies of the hip hop industry and how that makes it difficult for one to succeed. Many of these complications and disputes may be invisible to the population, but these articles take the time to reveal them.
“I wanted from music a freedom which it possesses perhaps to a greater degree than any other art, not being tied to a more or less exact reproduction of Nature but to the mysterious correspondences between Nature and Imagination”
...he connection between the composer and the music. Since composers generally write about events that had an impact in their lives, this analysis receives support.
When one thinks of a remix, usually they are reminded of the Music Industry’s practice of slightly changing and re-releasing a single multiple times in order to capitalize on the popularity of a song. It is pretty much a given that m...
Composition music theory has a longing history of how it was brought up and the way it has evolved into new cultures. “Musical Composition, the act of conceiving a piece of music, the art of creating music, or the finished product. These meanings are interdependent and presume a tradition in which musical works exist as repeatable entities. In this sense, composition is necessarily distinct from improvisation.” (Crossley-Holland, Peter)
These travails point to an underlying critical malaise, namely the comprehensive prejudice that reason and cognition are inherently discursive: to understand is plainly the ability to describe what one has understood. Therefore his failure to nail down musical profundity amounts to a tacit acknowledgement of the ‘ineffability’ of instrumental masterpieces — resulting in musical ‘truths’ being consigned to its sensory modality or else to a demand for marshalling verbal paraphrase for explicit decoding.
Standardisation is one of the three specific ways that popular music is transliterated to its audience, according to Adorno. This technique, as Adorno points out, is where one successful song becomes interchanged with another, which ‘extends from the most general features to the most specific ones’ (Adorno 1941). He states that the structure of popular music is standardised, from the structure of the chorus, to the harmonic progressions and melodic range. He suggests that popular music follows a set of rules and schemes given, in order for the ...
By the end of its regin (*Disco music) was also responsible for the commericial creation of the 12 inch single to be made available for the general public and Dj's alike. The "remix"that has become standard practice within dance music, and a new set of studio techniques were available for imaginative dance music producers that heralded from the Disco Craze.
Becoming a music producer can mean discovering and helping make the careers of artists. However, it takes time, effort, training and contacts. That's because a music producer has plenty of responsibilities during an album's production, both on the creative and the business looks sides. The producer supervises all aspects of the recording process, from helping to select songs to contracting with session players and deciding the sound of the song, selecting the studio and engineers, booking studio time and overseeing the recording budget.
Translating a song involves a certain amount of interpretation; it isn’t just about what the writer intended. Translating a song is about how I, as the listener, feel about the song, and what the song makes m...
What is one job that can combine a love for music and a strong work ethic? Although there are numerous answers, a music producer seems to fit the bill perfectly. The job description of a music producer is a long list of responsibilities and obligations that prove to be well worth it when the paycheck arrives. If one desired to pursue this career field, he or she would have to be extremely committed and resourceful. The journey to become a successful producer can be long and competitive, but it has been and can be done time and time again by anyone willing to put in the effort. To achieve this goal, it is essential to understand the education level required, the career path one must take, any special skills that might be beneficial to the job, the earning potential one might expect from this career, the job outlook, and the work environment surrounding this occupation.
Music Business Music Business Exam Number One Question 1 - What is The music publishing industry at a glance would seem to be those who print sheet music, method books, lead sheets, and all of the texts or notated music that musicians (and those aspiring to be musicians) use. Years ago, this was what most music publishers did, but as the industry has evolved, the process has become much more complex. Music is not just ink and paper, intellectual material and property to the individual who writes it. Therefore, the song does not become "a song" when it is written down. This is not an easy concept to grasp because the song itself has no physical makeup.
In today’s modern world the DJ has become a musician; the turntable, his instrument. It took fifteen years for this amazing resolution. DJ's have actually been around for years; mixing and scratching however, it did not come along until the late 70's or early 80's (“Disc Jockey 1”). A lot of people were doing this. But the main front line man was and still is Granmasterflash. Granmasterflash, one of hip-hop's founding fathers and the creator of the Quick Mix. He was the first person to change the arrangements of songs by using duplicate copies of records and manually editing/repeating the climatic part by rubbing the record back and forth (“Grandmaster Flash”). But now the DJ has changed. The kinds of DJ’s are different, the equipment is different, and the scratching is different.