How Social Factors Affect Our Choice Of Music

How Social Factors Affect Our Choice Of Music

The music industry has all the time been notoriously unpredictable, and the old A&R maxim that the cream all the time rises to the highest is way from a given. For anyone band that makes a residing out of their music, there are a minimum of a thousand that by no means will - and the proportion of musicians that really develop into wealthy by their work is smaller still. There is, however, a basic feeling (if not an precise consensus) that these musicians who do make it are there because they're ultimately intrinsically higher than the swathes of artists left of their wake.

This is reminiscent of Robert M. Pirsigs interrogation of quality - what makes something good, and is there really any goal standard by which such high quality could be measured? Most individuals would say there may be, as they can simply inform if a band is wonderful or a bunch of talentless hacks - but when it comes right down to it, this quantities to nothing more than personal style and opinion. Although one can level to certain technical qualities like musicianship, structural complexity and production values, music is more than the sum of its components - one cannot dismiss the Sex Pistols for not having the technical genius of Mozart, no more than one can successfully rank the music of Stockhausen above or beneath that of Willie Nelson. It seems that on the subject of music, it must be instilled with a Philosophiokay Mercury which is as intangible as it is unpredictable. The only barometer by which we can judge is whether or not we like it or not. Or is there something more?

Latest history is littered with examples of works and artists that are now considered classics (or have a minimum of develop into enormously well-liked) which were at first rejected offhand by expertise scouts, agents or trade executives. Harry Potter, Star Wars, the Beatles - all fall into this class, as does Pirsigs classic work Zen and the Artwork of Bike Maintenance, which was rejected 121 times. If phenomena of this magnitude could possibly be ignored, then what probability do merely moderately gifted artists have of ever being seen? Alternatively, the entertainment sphere is packed stuffed with artists who may never hope to be anything close to moderately talented. So does the leisure business really know what its doing, when so lots of its predicted hits fail miserably and rejected unknowns keep popping up with chart-toppers? Recent research would appear to suggest not.

Now that Web is in full flight, social media networks are altering the way we access and understand content. The digital music age is upon us, and the ease with which new music from unsigned bands will be obtained has created a new financial model for distribution and promotion. Buzz itself is the latest buzz, and word-of-weblog/IM/e-mail has develop into a really highly effective software for aspiring artists. Combined with the fact that single downloads now depend towards a songs official chart position, the promotion and distribution cycle for new music can take place fully online. However does such bewebbed convenience make it simpler to predict what's going to change into a hit?

The usual strategy of major labels is to emulate what is already successful. On the face of it, this appears a superbly legitimate strategy - if you happen to take a lady who appears kind of like Shania Twain, give her an album of songs that sound just-like, a equally designed album cover, and spend the same amount of cash promoting her, then certainly this new album will even be successful. Typically, nonetheless, this is not the case - instead, one other woman who possesses all these characteristics (with music of a simlar quality) appears from nowhere and goes on to take pleasure in a spell of pop stardom.

This strategy is clearly flawed, however what's the problem? Its this - the idea that the hundreds of thousands of people who purchase a specific album do so independently of one another. This is not how individuals (in the collective sense) devour music. Music is a social entity, as are the people who listen to it - it helps to outline social teams, creates a way of belonging, id and shared experience. Treating a group of such magnitude as if it had been just a compilation of discrete units fully removes the social factors involved. Whilst a single particular person, removed from social influences, would possibly select to listen to Artist A, the identical individual in real life goes to be launched to artists by their friends, both locally or online, and can instead find yourself listening to Artists C and K, who may be of an identical (or even inferior) high quality however that is not the real point. Music may be as a lot about image as about sound.