Academic Paper Sessions
Friday 11:30-12:30
Presentation of Academic Papers 2 (Terrace C)
Kristél Kemmerer, Moderator
Historical
Changes in the Music Industry Supply Chain: A Perception of the
Positioning of the Artist Musician
Stan Renard
Special Lecturer in Music Industry, Adjunct in Management
Providence College
University of Connecticut, Doctoral Candidate
Peter Spang Goodrich
Associate Professor of Management
Providence College
Philip Vos. Fellman
Lecturer in Management
Suffolk University
Stan Renard
Special Lecturer in Music Industry, Adjunct in Management
Providence College
University of Connecticut, Doctoral Candidate
Peter Spang Goodrich
Associate Professor of Management
Providence College
Philip Vos. Fellman
Lecturer in Management
Suffolk University
Abstract
The
present study will explore the historical
changes of the music industry supply chain. It will consider
propositions such as the vertical integration of the historical music
industry, the revolution in technology and the positioning of the
artist within the music industry supply chain. Several questions will
be tackled: What is the positioning of the artist in the new digital
era? And given the changes of position of the major labels and the
positioning of the artist what are the descriptive and prescriptive
possibilities should the majors disappear and be replaced by
alternative elements in the music industry supply chain? Social Netwok
Analysis (SNA) will be utilized as a methodological tool in the
creation of nonlinear and adaptive models.
Stan Renard, D.B.A., recently completed his doctoral dissertation “Unbundling the Supply Chain for the International Music Industry” at Southern New Hampshire University, in Manchester, New Hampshire where he has served as an adjunct faculty from 2006 to 2009. Renard also holds two Masters in Music from the Versailles Conservatory, France and the University of Massachusetts, Amherst as well as an MBA from Providence College. He is the musical director of the Bohemian Quartet and the ensemble NOVA Musica which is in residence at the University of Connecticut, Storrs where he is completing a second doctorate in music performance. Renard is currently the Special Lecturer in Music Industry at Providence College. He has made Romani music and the music business his areas of expertise.
Stan Renard, D.B.A., recently completed his doctoral dissertation “Unbundling the Supply Chain for the International Music Industry” at Southern New Hampshire University, in Manchester, New Hampshire where he has served as an adjunct faculty from 2006 to 2009. Renard also holds two Masters in Music from the Versailles Conservatory, France and the University of Massachusetts, Amherst as well as an MBA from Providence College. He is the musical director of the Bohemian Quartet and the ensemble NOVA Musica which is in residence at the University of Connecticut, Storrs where he is completing a second doctorate in music performance. Renard is currently the Special Lecturer in Music Industry at Providence College. He has made Romani music and the music business his areas of expertise.
Peter
Spang Goodrich is an Associate Professor in the School of
Business, Management Department, Providence College. He teaches
Principles of Management and uses his main research area of
Entrepreneurship in the Folk Music Industry to provide numerous case
studies for his undergraduate students. He is closely affiliated with
Club Passim, in Cambridge, Massachusetts, perhaps the “Hub of the Folk
Music Universe”. He has published numerous research papers in
this
field. In order to facilitate his research, he decided to study music
and perform music under the stage name “Doktor Krankheit” in order to
better understand the artists he was interviewing.
Philip Vos. Fellman is formerly Professor at Southern New Hampshire University/New Hampshire College, Graduate School of Business (1993-2011). He was Visiting Scholar at Harvard University, Belfer Center for Science and International Affairs (1997-2001), Stanford University, Hoover Institution of War, Revolution and Peace (1995-1996), Cornell Law School (1991-1993), and Yale University, Intelligence and Foreign Affairs (1992). He has also served as Visiting Assistant Professor at Dartmouth College in American Politics.
Philip Vos. Fellman is formerly Professor at Southern New Hampshire University/New Hampshire College, Graduate School of Business (1993-2011). He was Visiting Scholar at Harvard University, Belfer Center for Science and International Affairs (1997-2001), Stanford University, Hoover Institution of War, Revolution and Peace (1995-1996), Cornell Law School (1991-1993), and Yale University, Intelligence and Foreign Affairs (1992). He has also served as Visiting Assistant Professor at Dartmouth College in American Politics.
A
Historical Analysis of the Effects of Marketing on Popular Song Lyrics
Storm Gloor
Assistant Professor, Music and Entertainment Industry Studies
University of Colorado Denver
Storm Gloor
Assistant Professor, Music and Entertainment Industry Studies
University of Colorado Denver
Abstract
How much
a song’s lyrics and/or lyrical
structure matters in determining whether it will be a hit has been a
matter of some debate. Some studies of commercially successful
hit songs have indicated that the actual words utilized in songs
matters very little. On the other hand, other research has shown
that lyrics are not only the most memorable aspect of a hit song, but
the language of pop songs might also be useful to marketers of other
products in increasing brand recall.
There is at least some level of importance for lyrics in popular songs, as evidenced by not only their use as marketing devices for the songs themselves, but also by their use in promoting non-music brands as well. Moreover, lyrical patterns and placement within songs could potentially affect a song’s hit potential, a fact that surely figures into the work of songwriters and producers.
How has one aspect of songwriting, the use of lyrics, been affected by marketing strategies? This study analyzes the empirical use and structure of lyrics in hit songs over the last fifty years to determine the effect of marketing from two perspectives. First of all, it’s an investigation into what extent marketing messages have been utilized in popular songs to promote the song and/or artist, or other brands. For instance, what patterns exist in terms of the use of brand names or certain words intended to promote an artist and/or non-music products? Additionally, the study analyzes how general music marketing strategies may have affected the language and lyrical structure of hit songs. Hit songs through the years have, for example, transformed in terms of the sheer number of words utilized, as well as their repetition patterns. What role might marketing activities have played in these variances?
There is at least some level of importance for lyrics in popular songs, as evidenced by not only their use as marketing devices for the songs themselves, but also by their use in promoting non-music brands as well. Moreover, lyrical patterns and placement within songs could potentially affect a song’s hit potential, a fact that surely figures into the work of songwriters and producers.
How has one aspect of songwriting, the use of lyrics, been affected by marketing strategies? This study analyzes the empirical use and structure of lyrics in hit songs over the last fifty years to determine the effect of marketing from two perspectives. First of all, it’s an investigation into what extent marketing messages have been utilized in popular songs to promote the song and/or artist, or other brands. For instance, what patterns exist in terms of the use of brand names or certain words intended to promote an artist and/or non-music products? Additionally, the study analyzes how general music marketing strategies may have affected the language and lyrical structure of hit songs. Hit songs through the years have, for example, transformed in terms of the sheer number of words utilized, as well as their repetition patterns. What role might marketing activities have played in these variances?
Storm
Gloor is
an Assistant Professor in the College of Arts and
Media at the University of Colorado Denver, where he serves as Area
Head of the Music Business program. Along with teaching various music
business courses, Gloor oversees the college’s award-winning record
label, CAM Records. He’s also developed the Music and Entertainment
Marketing and Music and Entertainment in the Digital Age courses at the
college. He holds an MBA degree from West Texas A&M University.
Prior to academia, Professor Gloor spent many years in the retailing of
recorded products industry.
Moderator
Kristél Kemmerer is the
Chair of Commercial Music at Lamar State College Port Arthur. Her
teaching and administrative experience includes stints with several
colleges and public school districts in Pennsylvania, New Jersey, and
New York. Most recently, she was Dean of Students at Alvernia
University (PA); Acting Dean of Undergraduate Studies and Dean of
Students at Albright College (PA); and prior to that was assistant
professor of music (music business) at Albright. She is a board member
of MEIEA and holds membership in AES, ASCD, and NACADA; has published
several articles on music industry curriculum; has been a reviewer for
McGraw-Hill, ACPA, MEIEA, and Houghton Mifflin; and has presented at
many professional conferences. Her undergraduate and masters degrees
are from Ithaca College (NY), teaching certification credits from
Kutztown University (PA), audio forensics credit from University of
Colorado at Denver, and a doctorate in Curriculum and Instruction from
Lehigh University (PA).
© 2012 MEIEA Nashville TN