thomas horton, sheryar malik, ana oliveira, and felix shen
Publication is a complex entity of which there are many different avenues for artists to work with publishers. In this cluster, we seek to explore the relationship between various artists and the music public industry. We focus on different aspects of the music publication industry including the rise of foreign and indie publication, the rise of social media and its role in expanding the industry, and tracking the changes in exploitation of artist’s in the digital age. Each of these essays goes into depth about a given subject and offers a different perspective on the state of the music industry. Readers who want the positive and negatives of the music publication industry should read this cluster to get a full scope of what we have gained and lost in a media environment that continues to bolster consumption through different avenues.
Sheryar Malik’s essay focuses on the rise of independent publication, looking at the artist Bladee. The essay explores the decentralization of the markets and takes a look at the economics of the industry, where he looks at how streaming services completely changed the markets and strategies of big music publishers. Malik argues that independent labels challenge the dominate industry through free artistic expression and unique cultural contributions. He emphasizes the freedom for consumers in the streaming era of music.
Felix Shen’s essay explores the aspects of foreign publication in regards to the larger music industry. In the essay he looks at different K-Pop groups such as BTS and Plave, Tracking industry changes, particularly in regards to digitalization, Shen explores the utilization of social media tools to expand audiences. Fans continue this cycle of expansion by posting various forms of content. The increase of various models of technology proves the artists and markets adaptability to the digital age.
Ana Oliveira’s essay examines the predatory nature of the music industry, with a particular focus on predatory contracts that restricts artists’ growth and creativity. The essay navigates changes within the new digital landscape, observing the adaptations and growth of exploitation. Oliveira takes a specific look at Britney Spears’ relationship to the publishing industry, both drawing a parallel of exploitation within previous traditional publishing contracts and examining the new forms of exploitations that take place within the now digitalized music industry.
Thomas Horton’s essay focuses specifically on social media marketing efforts and how they contribute to the growth of new artists, looking specifically to Steve Lacy’s career. The essay highlights both the positive and negative effects that come with social media virality, ultimately exploring the relationship between accessibility versus artistic expression. Horton’s essay explores the various social media platforms, with a focus on TikTok and it’s contributions to Steve Lacy’s career, and therefore, upcoming artists.
These essays each provide different areas of information about the music publishing industry, but all having a central focus on exploring and understanding the changes that are laid bare in front of the audience in the digital age. Streaming services, social media, exploitation, and artistic freedom are all important components to the respective essays, but each argues something different and displays a unique contribution to exploring the complex entity that is the digitalized music industry.