'What Constitutes Artist Success in the Australian Music Industries?'

Evans, M; Hughes; Keith; Morrow; Crowdy

'What Constitutes Artist Success in the Australian Music Industries?'

Evans, M

Hughes Keith Morrow Crowdy

Permalink

Publisher:: International Association of Music Business Research
Publication Type:: Journal Article
Citation:: International Journal of Music Business Research (IJMBR), 2013, 2 (2), pp. 61 - 80
Issue Date:: 2013-10

Open Access

Copyright Clearance Process

Recently Added
In Progress
Open Access

This item is open access.

Download Published VersionAdobe PDF (488.16 kB)

View statistics

Full metadata record

Field	Value	Language
dc.contributor.author	Evans, M https://orcid.org/0000-0003-4654-8605	en_US
dc.contributor.author	Hughes	en_US
dc.contributor.author	Keith	en_US
dc.contributor.author	Morrow	en_US
dc.contributor.author	Crowdy	en_US
dc.date.issued	2013-10	en_US
dc.identifier.citation	International Journal of Music Business Research (IJMBR), 2013, 2 (2), pp. 61 - 80	en_US
dc.identifier.issn	2227-5789	en_US
dc.identifier.uri	http://hdl.handle.net/10453/117738
dc.description.abstract	Contemporary artists embarking on a musical career enter into a highly competitive and complex environment. Whereas the pre-digital music industries consisted of de-finable streams of income and markers of achievement, such as live performance opportunities, record deals, royalties, and radio play, today's music industries involve multiple platforms and strategies that artists need to engage with. Defining "success" in this new environment goes beyond standard definitions of financial independence or peer respect (Letts 2013). Success is contingent on planning for and leveraging numerous smaller successes in areas including developing "Do It Your-self" (DIY) and management skills and engaging in funding opportunities such as government grants. Artists may also employ crowdfunding or alternate means for raising capital, engaging with fans via social media, managing their online identities and personas, utilising online music video, and expanding into overseas markets in order to maintain financial viability. This research draws on a series of focus groups with artists and industry practitioners within the Australian music industries, and considers the diverse contemporary approaches that artists take in order to achieve success in their careers. 1 Diane Hughes is Senior Lecturer in Vocal Studies. She has an extensive background in contemporary singing and pedagogy. Her work within the industry has involved artist development and recording. Research interests include vocal artistry, vocal processing, expressive techniques and performance, and career development in the music industries (diane.hughes@mq.edu.au). Sarah Keith is Lecturer in Music Production. Her research includes: contemporary music production, particularly of the voice; East Asian pop music performance and music video; Australian popular music culture and media; developing musical industries; and documentary film and sound (sarah.keith@mq.edu.au). Guy Morrow is Lecturer in Arts Practice and Management. His research includes: music, design and innovation in the music industry; managing creativity; entrepreneurship, start up management and collaborative creativity; and music video production (guy.morrow@mq.edu.au). Mark Evans is Associate Professor. He is series editor for Genre, Music and Sound series (Equinox Publishing), considering the role of sound in various genres of feature films, and has research interests in film and television sound, religious music, spatiality and popular music (mark.evans@mq.edu.au). Denis Crowdy is Senior Lecturer in Music. His research interests encompass popular and commercial music in Melanesia, particularly Papua New Guinea; music production aesthetics; virtual home studio practices; critical eco-musicology; cross-cultural and hybrid musics; and copyright and musical ownership (denis.crowdy@mq.edu.au).	en_US
dc.publisher	International Association of Music Business Research	en_US
dc.relation.ispartof	International Journal of Music Business Research (IJMBR)	en_US
dc.title	'What Constitutes Artist Success in the Australian Music Industries?'	en_US
dc.type	Journal Article
utslib.citation.volume	2	en_US
utslib.for	2001 Communication and Media Studies	en_US
utslib.for	1503 Business and Management	en_US
utslib.for	1505 Marketing	en_US
utslib.for	1904 Performing Arts and Creative Writing	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/School of Communication
utslib.copyright.status	open_access
pubs.consider-herdc	false	en_US
pubs.issue	2	en_US
pubs.publication-status	Published	en_US
pubs.volume	2	en_US

Abstract:

Contemporary artists embarking on a musical career enter into a highly competitive and complex environment. Whereas the pre-digital music industries consisted of de-finable streams of income and markers of achievement, such as live performance opportunities, record deals, royalties, and radio play, today's music industries involve multiple platforms and strategies that artists need to engage with. Defining "success" in this new environment goes beyond standard definitions of financial independence or peer respect (Letts 2013). Success is contingent on planning for and leveraging numerous smaller successes in areas including developing "Do It Your-self" (DIY) and management skills and engaging in funding opportunities such as government grants. Artists may also employ crowdfunding or alternate means for raising capital, engaging with fans via social media, managing their online identities and personas, utilising online music video, and expanding into overseas markets in order to maintain financial viability. This research draws on a series of focus groups with artists and industry practitioners within the Australian music industries, and considers the diverse contemporary approaches that artists take in order to achieve success in their careers. 1 Diane Hughes is Senior Lecturer in Vocal Studies. She has an extensive background in contemporary singing and pedagogy. Her work within the industry has involved artist development and recording. Research interests include vocal artistry, vocal processing, expressive techniques and performance, and career development in the music industries (diane.hughes@mq.edu.au). Sarah Keith is Lecturer in Music Production. Her research includes: contemporary music production, particularly of the voice; East Asian pop music performance and music video; Australian popular music culture and media; developing musical industries; and documentary film and sound (sarah.keith@mq.edu.au). Guy Morrow is Lecturer in Arts Practice and Management. His research includes: music, design and innovation in the music industry; managing creativity; entrepreneurship, start up management and collaborative creativity; and music video production (guy.morrow@mq.edu.au). Mark Evans is Associate Professor. He is series editor for Genre, Music and Sound series (Equinox Publishing), considering the role of sound in various genres of feature films, and has research interests in film and television sound, religious music, spatiality and popular music (mark.evans@mq.edu.au). Denis Crowdy is Senior Lecturer in Music. His research interests encompass popular and commercial music in Melanesia, particularly Papua New Guinea; music production aesthetics; virtual home studio practices; critical eco-musicology; cross-cultural and hybrid musics; and copyright and musical ownership (denis.crowdy@mq.edu.au).

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/117738