I asked a series of people from the public (15) if they had the time to complete my questionnaire. By asking a diverse set of people created a fair investigation that will influence our main music video production. From having the questionnaire completed we were able to take in peoples opinions and incorporate them into our own. The completing of primary research helps to indicate what the audience believes is used to produce the 'best' music video. Not only do these answers influence us to produce the most preferred music video but they also tell us what the audience doesn't like therefore our music video can gain a wider demographic implicating we as a production group aren't restricting ourselves to the audience we target.
From looking at how the current top Pop artists decide to dress, it influenced my idea's of how our artist can look. It was essential our artist matched the stereotypical trends of the Pop industry to ensure the audience understand our artist. Apart from this our artist is based around a very relaxed, simplistic and modern look.
Mood Board: "an arrangement of images, materials, pieces of text, etc. intended to evoke or project a particular style or concept"
The Mood Board above consists of key various artists of whom are current trending artists or who were previously. The creation of this mood board indicates, to us, the artists representation towards their audience; in their style and body language. By gaining an insight into some of the most popular artists, provide our artist with conventions to conform or abide by. Constructing an interpretation the audience will prefer.
After numerous research investigations and discussions as a group, we came to the conclusion of choosing Pop as our specific genre to conduct our music video on. This initially went against our original idea's of choosing between Grime and House. Although we were more confident of producing a Grime or House music video, Pop gave us a chance to conform our music stereotypes. Not only this but Pop, in comparison with Grime and House, has a diverse set of songs created by various artists (meaning the genre has a wider demographic) all of which have lyrical narratives that we can expand on. From realising all this information, we overall concluded to focus our music video on "James Arthur - Get Down" purely down to the fact that the song conveys multiple narratives for us to expand on all of which implicate different emotions and atmospheres.
As a group our initial idea's of artists came from a select few genre's, including Grime, R&B and Pop. We began to listen to a diverse set of artists across all three genre's to further our understanding in their production. We quickly concluded that Pop would be the most suited genre to our production. This was simply because of the wide range of artists there was choose from, with the ability to reach out onto a wide audience but also because by choosing Pop it will conform our typical intellect of music as its one of the few genre's our group rarely listens to.
By deciding to do Pop, we each individually found a few artists within the Pop genre that we personally thought would be suitable for creating a narrative in our production. Afterwards we came together and listened to everyones selected artists, therefore having a discussion on what we preferred. Our choices narrowed down to Coldplay, Passenger and James Arthur. From here on we looked more in-depth into each artists songs, looking for the song with the best lyrics that can construct a narrative for our music video.
Overall we made a conclusion on doing our music video production on the song 'Get Down' by James Arthur. This was due to the fact, we believed it was a lyrically good song that is capable of targeting a wide spread audience that would not only be recognised but also remembered.
Gender: Male/Female ABC/CDE Class: ABC1 and CDE2 allows us to provide a more populated viewing while producing a media product of which is relatable to everyone. Age:10+ Produces a wide demographic.
Dyer's Utopian Solutions / Uses and Gratification are similar in how their theories work. Therefore by having such a wide age range of 10+ allows us to incorporate various features that can potentially help someone of a young age with social tension or whether it be someone, who is a young adult, to help lessen their work as a grind.
Being that these two theories give each individual, no matter of their age, an escape from negativity. The audience is capable of climbing Maslow's Hierarchy of Needs pyramid as they build confidence and motivation through the media product itself. Encouraging an experience they will enjoy yet also creating the highest level of self-fulfilment and satisfaction.
Maslow wanted to understand what motivates people. Maslow stated people are motivated to achieve specific needs, although some take priority over others. Being the theory is psychological, it argues while some people aim to meet basic needs, they seek to acquire successively higher needs (progressing up, in a state of a pyramid).
The earliest and most widespread version of Maslow's Hierarchy Of Needs includes five emotional needs, often depicted as a hierarchy pyramid.
The first four levels are considered to be deficiency needs in that their lack of satisfaction motivates people to meet these needs.
The highest level is self-fulfilment. Behaviour in this case is not driven/motivated by deficiency but rather a person's desire for personal growth.
However many critics have criticised Maslow's Hierarchy to lack the in-depth understanding that is to be considered a "deficiency". For example what a "deficiency" is for one, might not be a "deficiency" for another.
Dyer believes that audiences consume media products with a clear set of enjoyments to draw from the experience.
Three reasons Dyer believes why audiences choose to consume media products include;
Social Tension
Absence
Inadequacy
These three reasons are generated by reality therefore by the audiences consuming media products, it gives them an escape - an "Utopian Solution".
His theory links with the "Use and Gratifications Theory". They both suggest that the audience consume media to satisfy their needs of escaping reality and that reality is full of negativity/fulfilment therefore presenting the media world as an escape root.
Throughout the various amounts of research conducted so far, we have discovered a diverse range of conventions and features from many different music video genres. This secondary research enabled us to gather information about what creates a successful music video but also how representation, sound, editing and mise-en-scene has an impact on the audience. This put our group in a position to understand key stereotypical traits in a genre yet showed us forms of traits that can be used to conform their specific genre.
Furthermore we conducted textual analysis' based on various genre's. This allowed me to get an in-depth, strong and detailed concept of the chosen music video viewed. By analysing music video's it gave us a good idea of how a successful music video is made.
From doing this research and textual analysis', we will be able to apply these ideas into our own production.
The whole of the music video is located in the rural area of Hollywood, California, and set inside a house for the majority of the music video until the end, of which the artist ventures out in one of several luxurious vehicles. Even though the music video is filmed during the night, very little lighting is used thereby they're able to portray as much realism as possible. The only lighting seen to be used in these locations would be the lamps around the house, until the artist begins to drive of which then the only lighting is from the vehicle itself but also the street lights in the far distance. From having these type of locations alongside low-key lighting it helps to portray the narrative of the music video and the theme of mystery.
Considering the beat is fast and rythmic, the concept of the music video is focused on the beat of the song because instead of including non-diegetic sounds of glass smashing, the performers action is matched to the beat therefore as the glasses smashes, a crash sound is played in the beat. This helps to drive the destructive narrative of the scenes but also provides the music video with continuity rather than an imbalance of any sound effects to the soundtrack.
Throughout the music video, the lighting incorporated is low-key natural lighting with aspects of numerous lamps to make the audience aware of the artist surroundings, although by implementing several lamps into the scenes, a theme of mystery is conveyed through the shadows and area's of darkness constructed. In addition, this theme is further supported with strobe lighting; essentially imitating lightning and thunder. However, as the music video progresses the less lamps are used as the artist begins to carry a a large red neon cross. This neon cross therefore illuminates the artist and his surroundings without the need of other sources of lighting. Not only does this prop incorporate lighting but it also reinforces the concept base of the music video as its colour reveals its significance, being the prop represents the reincarnation.
Numerous camera angles are included to portray the narrative of the music video. Mostly long-shots, close-ups and mid-shots - due to their ability of conveying the setting, emotions and actions. Close-ups have been integrated to showcase the artists emotion and passion whilst lip-syncing. Mid-shots highlight the artists performance without eluding the luxury background. Lastly, long-shots are included towards the end of the music video and are intertwined with tracking shots as the footage shows the audience the whereabouts of the artist while he drives down the road.
In addition, the camera angles provided help to reveal representations of several significant scenes but also to help keep the audience informed. For example, a zoomed in pan shot is included to give recognition to co-producers Daft Punk because they're not seen in the video other than in a painting on the wall. Therefore showing their impact on the music, itself, and making the audience aware of their participation. Besides this an extreme close-up is used to exhibit an eye with the red neon cross reflected in the iris. As the video progresses, the extreme close-up begins to slowly zoom in, giving importance to the red neon cross but sharing the idea that the neon cross is bowed down to as it implies the feeling and phrase 'Love at first sight'.
The artist, The Weeknd, is represented in two different ways. At the beginning of the music video he is represented vulnerable and weak as he is zip tied to the chair, later to be suffocated. Whereas for the rest of the music video he is perceived as dangerous and dominant. However as the music video continues, it is unveiled that the 'new' and reincarnated artist is the same performer whom killed the 'old' artist. In connection to this, we as an audience are able to see the 'new' Weeknd to be destroying his previous trophies and evidence of himself. This therefore creates a narrative based around the idea of the artist killing of a weaker version of himself to then be able to evolve into a greater, much stronger version. Furthermore, by the artist dressing in all black secludes him to mystery yet when entangled with the scenes showing him to be destroying numerous objects, portay the artist to carry a criminal aura; linking with the luminous red cross and black panther to help convey a theme of danger and supremacy.
Jump cuts and match on action shots are used in time with a specific beat of the instrumental and at times specific strobe lighting's to keep a continuous flow. Even more so, the jump-cuts begin to quicken, the same time the instrumental speeds up due to the music video being at its peak resulting in fast pace action. Purposely emphasising the chaos and destruction of the scene.
Use of The Male Gaze Theory: Ariana Grande - Side To Side ft. Nicki Minaj
The setting's throughout the music video are varied however each setting has a common interest. Each settings revolve around one location, being a 'Fitness Centre'; whether its being the gym, the sauna or the changing/shower rooms - all of which are previewed. Although these rooms of a 'Fitness Centre' are stereotypical of a males interest, the women in this music video adapt it to their own. This therefore shows the Male Gaze Theory to being associated, considering the 'Fitness Centre' is a place of workout but also a place for people, especially these performers, to wear less clothing. Revealing more of their body features and essentially gaining a sweat whilst admiring themselves in the mirror - Forcing the audience to watch through the heterosexual male perspective as the women are shown to be of a sex appeal.
The music video is primarily a performance based video, implying the majority of the video finds the artist to be lip-syncing and dancing. This therefore puts sound to be important to the music video as it allows the artists and the cast to be choreographed to the beat, for their performance. As they're dancing throughout by looking at their body language, we can begin to see how it applies to the Male Gaze Theory; for example maneuvering hips and flickering their hair, all creates an image of being sexual and flirtatious. Unaccordingly impacting the audience because they give more attention towards the music video itself, rather than the lyrics. Essentially driving the narrative sexual intentions and provoking the Male Gaze Theory.
Initially, the lighting of the music video is low-key however it incorporates around the room lighting. Although gradually through the music video high-key lighting is used in the locker room, pretending to be the sunshine piercing the windows. By the music video deliberately using both of these light settings and bright colours, it allows the audience to easily identify the Pop genre but it also promotes the performers body definition within their dancing, inspiring the Male Gaze Theory.
A variety of camera angles are used, namely long-shots, mid-shots and close-ups, due to the fact of how the institution is wanting to represent the artist and their song. Long-shots in this music video integrate the whole cast to allow the audience to see their performance. Mid-shots embody the cast dancing yet it focuses more on the movement of their bum and breasts - stimulating the Male Gaze Theory, showing women to be viewed as a sex object. Lastly the close-ups surround the artists face and gestures because it can show the audience who the main features are of the music video by their persistent viewing of lip-syncing.
The representation of this music video is stereotypical of both the artists and the genre. All the performers, men and women, are dressed lightly and sexually. It can be seen as a Pop genre characteristic for females to be dressed revealingly and provocatively, evident from this music video; their dress code is shown to be limited. Furthermore a few individual performers, including Ariana Grande, are noticeable very tanned. The idea behind being this tanned allows the performers to exhibit a better looking physique, ultimately associating and driving the Male Gaze Theory as the music video is suggesting its predominately looking for attention, more so from the male audience than the female audience. This persuades the music video to be more aesthetically performance based over the techniques of lip-syncing.
Not only do the performers outfits participate in the music video's sex appeal act but also the performance itself.
By the performance incorporating sexual dance moves and facial expressions, such as winking towards the camera, it encourages the Male Gaze Theory because it represents women to be a sex object and only
to be displayed for the visual pleasure of men.
However on the other hand it conforms the genre's representation of men considering its unusual for the men, involved, to be wearing nothing except for their underwear - because they are normally affiliated with being dominant but also dressed in adequate clothing from head to toe. Therefore implicating men can also be viewed in the same light as women and suggesting the men to be of equal value to women, as they too are encouraged to be an object of appeal. Understandably fitting the music videos intentional style of showing off body features to inevitably attract a bigger audience. Provided that men are to be seen through the heterosexual perspective of woman in this music video too, it consequently also objectifies the Male Gaze Theory due to the fact the Male Gaze Theory only equates for the women to be supplying visual pleasure whilst ignoring all possibilities of the male dispensing any visual pleasure.
Noting that the instrumental of the song is upbeat, jump-cuts are primarily used with a specific beat of the instrumental to show flow and continuity. The music video also involves fades to black, changing from setting to setting, to show the end of verses but also the start of a new verse. Even more so flash lighting is overlapped on the music video, in time with the instrumental as it begins to pick up pace before it slows for the chorus. This purposely emphasises the speed of the beat and the scene at once. In conclusion, it goes without much hesitation that this music video engulfs the Male Gaze Theory as it appears to be shown in most, if not all, scenes regularly because the narrative is sexually driven there encouraging a heavy provocatively driven performance based video.
Cinematography Elements: Kid Cudi vs Crookers - Day 'n' Night
From the long shot camera angle the audience is able to establish the setting of the music video, a convenience store. By also incorporating the sound effect, of moving cars, to occur at the same moment in time as the visual of the cars passes the screen suggest to the audience its of an urban location.
Low Key Lighting is used in the beginning of the music video to show the time of day, night time. Throughout the rest of the music video High Key Lighting is used to define the setting of being inside a real convenience store.
Sound effects are involved to portray a narrative to the audience and produces a sense of realism to the characters actions. The soundtracks begins to speed up during the chorus at which by this time the women featuring are for male pleasure therefore driving the narrative of the scene to be of happiness and/or excitement.
The beginning of the video constructs a narrative for the audience. A close-up of the employee's chest, when talking, indicates to the audience of their status as it shows their "Manager" badge but also displays they are of the female sex due to the pearl necklace in view. The 180 Degree Camera Rule has been involved because it allows the audience to understand the setting of everything within that scene - understand who's talking to who as well as their actions. Therefore it later includes further close up's of the two employee's in the background to capture their expression's due to the incapability of doing so when using the 180 Degree Camera Rule.
A Point of View is used on the "Manager" from the artists perspective to sway the audience into seeing her emotions towards him, through the artist eyes. Throughout the rest of the music video the artist, Kid Cudi, takes up the majority of the frames in various Mid-Shots. This asserts his dominance and ensures the audience see him as the figure head of the single.
The artist is presented in a uniform, to the understanding of the audience this would mean he is an employee of the work place in this setting. Throughout the whole music video a diverse set of costumes are involved such as Police Uniform and Goth outfits. This creates a sense of verisimilitude, as everyone who is anyone uses the store. Although the representation of all the women featuring are presented sexually as they dance provocatively in their underwear - sex appeal is stereotypical of the Hip Pop/Dance genre and is likely to entice more views.
Within the first minute of the video a Match On Action is included, this conveys a sense of continuity for the audience. This essentially keeps flow to the narrative of the story and draws the audiences attention away from cuts. There are fast paced Jump Cuts from character to character, this is done in time with the beat of song. By doing so it allows the audience to witness more features in a smaller time gap but also again conveys continuity to the audience.
Use Of Lip Syncing: Childish Gambino - 3005 The audience is able to identify the location of the music video due to the bright lighting in use, against a low key lit area (night time), but also because of the seats being shown - despite it all being blurred out. Not only this but the seats are rotating in a vertical motion, moving up towards the sky, whilst the camera has a motion moving in the opposite direction. All this together indicates the location to be at a Fairground and/or Amusement Park, creating a setting on the Ferris Wheel.
Throughout the music video juxtaposition is created from the high key lighting such as bright illuminate flashing lights being on view against the low key lighting of darkness, suggesting its night time. The relevance of the contrasts in lighting is due to the stereotype of Fairground's/Amusement Parks, as it allows the music video to identify its setting/location easier or quicker to the audience.
No sound effects are used in the entirety of the music video. The start of the soundtrack starts off upbeat and catchy of which intertwines with a deep bass as soon as the artist begins to sing/rap. From doing so the audience is hooked from the rhythmic beat until the prime of the beat. Following on from this, the chorus is involved with a different beat compared to the rest. Forcing a change up of beats, this will keep the audience interested. Due to the change of beats in the song, it helps to exaggerate what the artist is trying to portray for his narrative in each section of the instrumental.
During the beginning of the music video a pan shot is incorporated to give the audience an immersive viewing of the video as the pan shot replicates the motion of the Ferris Wheel. Of which smoothly adjusts into a close-up of the artists, forcing the audience to focus on the artist lip syncing and facial expressions.
However from this close-up, the background is continuously repetitive apart from the fact it can be distinguished that the couple in the background gradually grow older and older as the music video goes on, until the end of the music video where they are no longer to be seen. Essentially engaging the audience in a narrative that they themselves might not even know of.
The artist conforms the genre's stereotype, but also the locations stereotypical reaction. The artist is shown to be wearing a plain white t-shirt with a brown fluffed jacket whilst being beside a large dressed teddy bear. This challenges the genre, as the usual artist would be wearing baggy clothing. However this represents men to be casual rather than extravagant but also signifying a sense of loneliness. Alongside this the artists facial reaction isn't stereotypical of someone who would be attending a Fairground/Amusement Park.
The music video has slow paced scenes involving zooms rather then any dissolves, cuts and cross fades. These zooms are incorporated into the camera pans. A zoom-in suggest the artist is wanting the audience to focus on one specific area whereas a zoom-out is used to show settings and locations.
Through the whole music video, the camera has a continuous Close-Up of the artist as he lip syncs. Therefore making it clear to the audience, its not a performance based video but it also implicates a good flow as the artist is shown to be lip syncing in time with the lyrics/instrumental of the song. Stopping any confusion the audience may have from watching it, if it wasn't in time.
To conclude, the way in which the music video is performed for the audience is unique. Considering the camera is constantly focused on the artist lip-syncing it helps the audience into feeling more personal with artist but at the same time it drives the narrative forward into want seems a more storytelling manner rather than a song.
Appeal to the Audience: Kanye West - All Of The Lights ft. Rihanna & Kid Cudi
The music video opens with an innocent girl making her way to school after viewing last names and the numbers of residents on a housing project. This illustrates a young person who is capable of carrying on their own life yet they live in such a compact intense living environment - linking to Kanye's words "Ghetto University". This indicates how people envy other peoples lives without knowing what they're actually envying is fabricated.
The music video shows the audience very few snippets of the music video being located at night, in an urban area, between two brick buildings with numerous police vehicles. Implicating the despair that consequently prizes irresponsibility. Of which leads to Kanye's next location being set in a dark room with a back-light because it focuses on the realism of those experiencing 'All Of The Lights' as they are confronted with the verisimilitude of being abandon and left in darkness.
No sound effects are used in this music video, therefore leaving the soundtrack itself to impact the audience. However two separate soundtracks are involved. In the beginning of the music video, a slow instrumental - mainly conducted by a violin and piano - help to impact the audience emotionally as it allows them to focus on the scene happening. However the rest of the music video is conducted by an upbeat and fast rhythmic instrumental. Both of these instrumental help to drive the narrative from different perspectives. The slow instrumental denotes the significance of how a young child views and is involved in the city whereas the upbeat fast instrumental puts the audience in the eyes of how the adult is involved and views the city. Not only do these soundtracks contrast the two ages but also contributes to how each person in the audience interprets the music video differently depending on their situation in life, for example age - connecting with David Morley's theory.
Due to the lighting content that is going to be shown within this music video, an epilepsy warning was put into place to ensure safety among those who wanted to watch it. Majority of the music video encounters various illuminating flashing coloured lights on a pitch-black background.
These contrast each other and allow the illuminated lighting to explode off the screen. Furthermore the contrast between Low-Key Lighting and High-Key Lighting enables the artists to 'glow' when on camera, creating a spotlight effect and giving them significance. Evidently the lighting used is able to match the selected genre (Hip/Pop, Rap) in being that its up-beat, therefore causing fast paced scenes. Although by Kanye using this type of lighting he is restricting his audience as it can only appeal to those who don't suffer from epilepsy. Putting his music video in a position of which can only be appealing to a select amount.
In connection with the lyrics, the cinematography match with what the artist is saying. In favour of Andrew Goodwin's theory the narrative is lyrically spoken whilst being shown on screen. Potentially adding meaning to his lyrics but also allowing the audience to visualise all that's happening.
Therefore the music video provides a diverse set of camera angles, to incorporate both the setting and emotion. Camera angles such as close-ups and extreme close-ups are used to show facial expressions behind their music whereas the mid-shots and long-shots are able to show the setting to the audience. Creating a link between their lyrics and visuals.
The costumes worn in the music video are of stereotype to the Hip Pop/Rap genre. The men are shown to be in their casual clothing with various jewellery pieces. However the woman, Rihanna, is dressed provocatively in minimal clothing possible. Although by Rihanna's costume being so provocative it can convey the indication of her trying to 'sell herself' whereas the men are suggested to be more 'thug' as they're presented with police vehicles.
This therefore puts the audience in the heterosexual male point of view because it implicates women to be of a sexual appeal/objects - linking to Laura Mulvey's theory. Due to Rihanna's costume, the music video will - in theory - populate more of a male viewing as it appeals more to them, than the usual woman.
The first soundtrack heard at the beginning of the music video entails slow paced scenes with quick jump cuts that match the beat of the instrumental. Whereas within the second soundtrack the scenes are more fast paced as it puts multiple jump cuts in one scene in order to gain various views of the setting and emotions/passion of the artist. It also involves many overlapping cross fades as it switches between locations, this puts the music video in a position to not only pick up speed but to also not lose its continuity flow.
As a group we had various constrasting idea's of genre's to use as our main production. The main genre's that we decided upon ranged from Pop, House Music and to Grime. Therefore to decide between these different genre's, as a group we conducted research of the each genre's codes and conventions. By doing so this gave us a better understanding and insight into what we should include for production. To conduct this efficiently, each individual depict their preferred genre. Afterwards we, as group, came back together and discussed the different possibilities of using each genre.
However saying this, Pop Music is the preference to be used in our production due to the variety of different songs we can choose. This understandably, we believe, will make our music video more successful.
1. What influenced you to choose the Music Industry?
Ever since the early days of school, I was inspired through the subject of Art. As the gratitude that came with each persons creation, amazed me, Therefore I carried this subject with me, up until University. From University open days, I was encourage to have an attempt into film making considering my Creative Arts background and as it stood i was actually quite good at it. Therefore ever since taking my life in the route of the film/music industry.
2. What was your Biggest Breakthrough in your Career?
It was in fact from Radiohead's music video "Just". To this day, I'm still be asking about the ending of the music video and it still remains a hidden secret.
3. How do you Develop the Narrative of your Music Video's?
Personally, I prefer to put interest from my own life, passionate themes and all things that have the potential to create emotions inside of me.
4. Do you conduct the Editing of the Video/Film as well as Producing it?
Early on in my career i did, indeed, dabble into editing the majority of my video's however it wasn't the same as it is now. Considering now you have software's such as Premiere Pro, before all this when i did editing it had to be done manually.
5. Do you Prefer to Produce Music Video's or Films?
Personally i prefer to create films due to the idea of satisfying an audience for a longer period of time. Although making music video's is still of interest to me, if i can create a narrative then i'll happily produce either.
6. What Artist's would you like to Work with in the Future?
I hope to be able to work with U2, Beck and i would of defiantly liked to work with
Price.
7. What Genre of Music did you find the Easiest and the Hardest to make as a Music Video?
Its mainly down to personal preference. However from my point of view its down to whether you like the genre or not, its more down to the fact if you have a connection with the song. If i don't have a connection with the song I'm working on, then i feel the song won't be as successful therefore i probably will not take the job.
8. What is your Favourite Music Video you have Produced?
Coldplay - The Scientist. Simply because it was an idea that hadn't been produced before but also because it was widely liked by the audience and because of its MTV award winning.
This Star Profile will be based upon the British Film and Screen writer, Jamie Thraves. Both of his occupation's consist of crafting together some type of film, whether it'd be a film or a short video.
Thraves began experimenting with short film in 1989 at the University of Hull. Both of his graduation films 'Scratch' and 'The Take-Out' went on to win awards at film festivals worldwide. Potentially gaining recognition for his completed work. He then went on to join the 'Oil Factory', a music video company. Therefore in Thraves' case, he directs and scripts music video's for well known and upcoming musicians.
Thraves is able to adapt the codes and conventions of film making into a variety of different music genre's in order to comply with various musicians needs and wants.
Thraves has had the opportunity to work with numerous musical stars including Coldplay "God put a Smile Upon Your Face", Sam Smith "Money on My Mind", Tom Odell "Another Love" and many more.
Genre is a classification system that categorises different instrumentals into various traditions or conventions referring to their own style. In connection with music, it is an artistic form of communication incorporating vocal tones and instrumentals to portray an expression of characteristics and/or emotions.
However many musical instrumentals carry 'Sub-Genres', although these are not easily identified and can be misinterpreted they are still conveyed across their music recording to endure a different style of instrumentals of which ideally will allow their music to reach out to a wider audience, gaining popularity across more than one fan base.
The Music Industry, also known more often as The Recording Industry, consist of companies and individuals who make money by creating and selling live music performances (Festivals/Concerts), sound recordings and music video's involving themselves or their signed artists.
The Music Industry was the first to arrive amongst the digital world. Being the first Record Label in the world was in 1887, formed as the 'American Graphophone Company'. To this day 'American Graphophone Company', also known as 'Columbia Records' now, endures as the oldest label in the recording industry. Considering the very first Record Label had been set up in 1887, this comes to suggest just how far music has travelled. Including many new genres and the new inventions that allows the music to interact, in different forms, with those who love it.
The first means of personal interaction with instrumentals began with the invention of 'Vinyl Records' in the 1950s, when the inventor 'Ewing Dunbar Nunn' founded 'Audiophile Records' - label company. However the up-bring of 'Vinyl Records' was soon disclosed out of popularity with the new production for music, 'Cassette Players'.
'Cassette Players' became underproduction in 1962 by Philips. It was showcased at the Berlin Radio Show, with the trademark 'Compact Cassette'. With the upbringing of the 'Compact Cassette', it was gaining mass popularity therefore many similar 'Cassette Players' were in the making. These were able to breach out to a wider audience since this version was a portable speaker for all to hear. Establishing an attempt to have 'surround sound'.
However it wasn't until 20 years later (1982) that the 'CD' began to commercially air, starring Billy Joels "52nd Street". Yet CD's never gain full popularity until a few years later, in the late 1980s.
Although by the 2000s, music brought to the surface of the internet and television - especially post 2005 - flushing out everyone who used 'CD's' and/or 'Cassette Players'. This now mean't people didn't need to go out to buy their music instead they can access their favourite songs and music video's in the comfort of their own home. Even though this seems like a good idea, many people began to illegally download and potentially distribute copies of the music to buyers. Therefore this would lose the composer or artist a mass amount of revenue.
Music isn't just something we, as humans, listen to for entertainment or enjoyment. Music can help people emotional and impact a person's life into changing for the better.
Over the last few years music has experienced a mass change in how we can search for, download and listen to songs. For example music began to get populated with views on music channels such as MTV Music, of which showed mainstream pop music. Whereas now there's numerous ways we can interact with various songs including iTunes, Soundcloud/Spotify and YouTube - these are few of the many webpages available. Each of which give each individual an option to search for any genre of song possible. Not only do these webpages give us a wide select of songs but also help and encourage those who are wanting to try and further a career path in music.
Therefore by saying music doesn't have relevance to someone would be to speak wrong as its simply an exposure to our everyday lives and we surround ourselves with it because it has the ability to give someone comfort and enjoyment.
The following blog will consist of A2 Media Studies previewing various research and evaluations of Music Video's, in different genres, leading into our influenced completed product.
