Music festivals are becoming increasingly popular around the world. It is one of the few industri... more Music festivals are becoming increasingly popular around the world. It is one of the few industries, in the age of digital music and music streaming, which is growing sustainable in the slump in music sales. The size and longevity of outdoor music festivals in China have developed remarkably over the past ten years as well, which have been used as an urban characteristic and a new industry model in some metropolises. However, some music festivals kept losing from beginning to end, and even some well-known festivals are cancelled behind the flourishing exterior of Chinese music festivals. This dissertation will explore the reason why some music festivals in China experienced difficulties and attempt demonstrate that some Chinese outdoor music festivals are likely to have potential bankruptcy crisis in the near future.
Some remote areas of Australia have been caught in a vicious cycle due to the decline of economy ... more Some remote areas of Australia have been caught in a vicious cycle due to the decline of economy in export trade, infrastructure and population (Gibson & Connell, 2012). Many small cities and towns are losing industries, residents and even the confidence of a sustainable future (Brennan-Horley et al, 2007), which has been regarded as significant issue of national importance in recent years (Rogers & Collins, 2001). These remotes places have tried to not only develop their regional economy but also reinvent their local images through various activities.Film, food and sports are concentrated on by most of them. However, some other remote areas have focused on music tourism.
Music tourism has become more important for the regeneration of remote areas because, as a social catalyst, it can illustrates how culture, economy and identities are entangled (Gibson & Connell, 2005). Since the 1970s, one significant music form, music festivals, has become an important means of promoting places and regions, especially the local tourism industry (Gibson & Connell, 2005). With more comprehensive marketing, music festivals have been regarded as one strategy for seeking better business opportunities to develop the local tourism industry thereby reinventing the local economy and place identities (Gibson & Connell, 2005). For instance, some country cities, such as Tamworth and Port Fairy, focused on music festivals which have not only substantially improved the local economy and development of the tourism industry but have also brought many benefits for the regeneration of the cities (Walmsley, 2003).
This essay will explore how these areas have promoted tourism and even been regenerated though music festivals. To analyze these two parts, there is an initial need to understand in depth the relationship between music festivals and the tourism industry in these areas. Besides, in order to research why these remote areas rely on music festivals and why these areas can hold huge music festivals, the regional situation which contains the culture background and economy background of these areas will be analyzed. This essay will then focus on some successful music festivals in remote areas of Australia, such as the Park Elvis Revival Festival, Tamworth Music Festival and the Wangarattea Jazz Festival, to explore how these festivals are operated and how these music festivals impact the local area in different way including tourism, the local economy, local culture and local identities. All of these analyses will not only help us have a better understanding of the relationship between music, tourism and city regeneration, but also support our argument that music activities such as festivals is one strategy for the regeneration of remote areas in Australia by promoting the local tourism.
Globalization is playing an increasingly significant role in the present, which is affecting all ... more Globalization is playing an increasingly significant role in the present, which is affecting all areas including culture, economy, and technology of the whole world (Scholte, 2000). Music, as one core part of culture, has also been impacted profoundly by it (White, 2012). Globalization encourages regional differences, whilst promoting music cultural exchange on a global scale and facilitating different regions and areas to recreate style and form of their local music. Under the background of globalization, an increasing amount of local musicians and artists are involved in global wave of population, sounds, images, meanings and capital (Ho, 2003). A wide range of international market has been paid increasingly attention from local music industries (Ho, 2003). However, as the opposite side, localization has been seriously challenged by globalization (Scholt, 2000). In term of music, the prominent characteristics of local music in many regions and areas has been gradually assimilated due to musical fusion among various music styles and music cultures (Fairley, 2001). The issue that how music develops between the globalization and localization background has attracted more attention (White, 2012).
Hong Kong has become a multi-cultural metropolis due to its special geographical position and special history that it was ruled by the British around 150 years (Carroll, 2005). It is an international city which combines both Chinese cultures and Western cultures, which has been regarded as the crossroads of East and West (Lin, n.d.). Between the 1960s and 1970s, Hong Kong was experiencing the period of cultural assimilation, western popular music dominated the local music market when Britain regulated musical production and distribution in Hong Kong during that period of time (Sui-jin, 1991). For instance, youth in Hong Kong were crazy about western stars which included the Beatles, the Rolling Stones and Garfunkel (Ho & Law, 2006). Since the early 1970s, Hong Kong contribute to develop Cantopop to establish its own music to against music from Western and Mainland China (Everything2, 2005). As the unique region in the world, how Hong Kong develop Cantopop under the background of globalization and localization should be paid attention to.
The aim of this essay is to explore how Cantopop in Hong Kong has been developed and why Cantopop has dropped under the background of globalization and localization. To deal with these two parts, there is an initial need to understand in depth the relationship between globalization and localization. In addition, some issues have both advantages and disadvantages to Cantopop in different period of time, which should be distinguished and analyzed roundly. For instance, Karaoke industry, on one hand, promoted the development of Cantopop in the mid-1980s, on the other hand, harmed the music industry in Hong Kong in the early 1990s. Finally, whether Cantopop can return to prosperity will also be discussed at the end of the essay.
In what follows, the main essay is divided into two chapters. The first one is the promotion of popular music in Hong Kong. Initially, this chapter will explore how localization promoted Cantopop. This part will be analyzed into three aspects. The first one is what local pop singers and songwriters did to improve Cantopop. The Second one is what local government did to promote popular music in Hong Kong. What record companies did will be the last one. Then, to explore how Cantopop was promoted under the background of globalization, same as the former part, this part will also be explored in three aspects: Cantopop singers experimented different elements of music, record companies created international starts and music awards promoted Cantopop. This chapter will summarize what pop singers, local government and record companies respectively did to promote Cantopop in different period of time.
The second chapter will explore the decline of popular music in Hong Kong and discuss the reason that why Cantopop dropped since 1980s. This chapter, at first, will focus on the conservative investment of record companies under the situation of financial crisis and problem of piracy. Secondly, Cantopop was lack of market competitiveness due to the impact of globalization will also be analyzed. It is commonly indicate that Cantopop is fading away and being taken over by music from Taiwan and Chinese Mainland. This chapter will summarize the reason of declining Cantopop and predict whether Cantopop can return to prosperity.
After all the research and discussion, we can draw the conclusion that localization made Cantopop prosperity and globalization is a double-edged sword for popular music in Hong Kong. Moreover, it is difficult for Cantopop to return as prosperity as before. All of these analyses will not only help us have a better understanding of the relationship between localization and globalization, but also support our argument that under the background of globalization, strengthening its own characteristic to keep competitiveness is the way for Cantopop to keep vitality.
The record business is dying gradually. Take America for example, according to the report from th... more The record business is dying gradually. Take America for example, according to the report from the Recording Industry Association of America, in 2014, music sales in United States down 4.9 percent from the same period in 2013, which is under $3.2 billion and will nearly continue to fall. (Nytimes, 2014) To reverse this situation and earn more income streams beyond sales of recorded music, record companies have remarkably altered the patterns of contracts with musicians. Because of the revival of music industry, record companies not only can receive income from producing, selling recorded music, distributing and marketing, but also can capture revenue streams from other areas of musicians including live performances, merchandise sales, publishing and so on. Therefore, record companies could gain income from those areas which are never before available to them instead of depending on music sales only. 360 deal have been made by some record companies, such as EMI deal with Robbie William in 2002, Live Nation deal with Madonna in 2007 (Today Music, 2007) and Jay-Z in 2008.
On one hand, the 360 deal may beneficial for artists by providing healthy advances and funds for tours and merchandizing. (Arts and Commerce, 2011) On the other hand, there are a lot of restrictions for artists in one 360 deal, some artists could not protect their own income streams. Thus, this essay will concentrate on 360 deals from following chapters. Initially, the essay explores what is 360 deal. Then the differences between 360 deals and traditional record contracts will be explored. Next, the essay will discuss both the advantages and disadvantages of 360 deals. Moreover, what can artists do to protect individual income from 360 deals will be analyzed. Eventually, we will assess whether 360 model is a sustainable model in the future.
All of these analyses will support our argument that artists may not accept 360 deal in a long-term, but they will continue to accept the 360 deal because record companies remain the main source of risk investment for artists, there are also some measures for them to protect their own income stream.
Music festivals have developed from nothing to being a considerable cultural industry in around 5... more Music festivals have developed from nothing to being a considerable cultural industry in around 50 years. (Encyclopaedia Britannica, 2014) In this essay “music festival” is defined as an outdoor music in particular a pop, rock or jazz music festival. In 2008, music festival industry surpassed recording industry as the top income generator. (Deconstructing, 2013). Music festivals are one of the few sectors in the music industry, which have continued to grow in the slump. Many sectors within music industry, even in other industries, have benefited from the success of music festivals since they are only a form of performing but also an effective industry model. Moreover, music festivals are bound up with many industries such as advertising, and form part of a large industrial chain. Someone, however, believe that music festivals are in a bubble with overproduction and the rising tickets prices. They perceive that there are too many music festivals in some specific areas and countries such as America, the UK and Australia. There is a report by Pollstar (2014) shows that there are 1,200 music festivals in 70 different countries in 2014. This dissertation explores the issues of a music festival bubble to research whether the bubble of music festivals exists, what the potential reasons for a music festival bubble are and what festival organisers must learn from the bubble by critically analysing seven recent articles, which concentrate mainly on music festivals in some countries such as America, the UK and Australia.
Music festivals are becoming increasingly popular around the world. It is one of the few industri... more Music festivals are becoming increasingly popular around the world. It is one of the few industries, in the age of digital music and music streaming, which is growing sustainable in the slump in music sales. The size and longevity of outdoor music festivals in China have developed remarkably over the past ten years as well, which have been used as an urban characteristic and a new industry model in some metropolises. However, some music festivals kept losing from beginning to end, and even some well-known festivals are cancelled behind the flourishing exterior of Chinese music festivals. This dissertation will explore the reason why some music festivals in China experienced difficulties and attempt demonstrate that some Chinese outdoor music festivals are likely to have potential bankruptcy crisis in the near future.
Some remote areas of Australia have been caught in a vicious cycle due to the decline of economy ... more Some remote areas of Australia have been caught in a vicious cycle due to the decline of economy in export trade, infrastructure and population (Gibson & Connell, 2012). Many small cities and towns are losing industries, residents and even the confidence of a sustainable future (Brennan-Horley et al, 2007), which has been regarded as significant issue of national importance in recent years (Rogers & Collins, 2001). These remotes places have tried to not only develop their regional economy but also reinvent their local images through various activities.Film, food and sports are concentrated on by most of them. However, some other remote areas have focused on music tourism.
Music tourism has become more important for the regeneration of remote areas because, as a social catalyst, it can illustrates how culture, economy and identities are entangled (Gibson & Connell, 2005). Since the 1970s, one significant music form, music festivals, has become an important means of promoting places and regions, especially the local tourism industry (Gibson & Connell, 2005). With more comprehensive marketing, music festivals have been regarded as one strategy for seeking better business opportunities to develop the local tourism industry thereby reinventing the local economy and place identities (Gibson & Connell, 2005). For instance, some country cities, such as Tamworth and Port Fairy, focused on music festivals which have not only substantially improved the local economy and development of the tourism industry but have also brought many benefits for the regeneration of the cities (Walmsley, 2003).
This essay will explore how these areas have promoted tourism and even been regenerated though music festivals. To analyze these two parts, there is an initial need to understand in depth the relationship between music festivals and the tourism industry in these areas. Besides, in order to research why these remote areas rely on music festivals and why these areas can hold huge music festivals, the regional situation which contains the culture background and economy background of these areas will be analyzed. This essay will then focus on some successful music festivals in remote areas of Australia, such as the Park Elvis Revival Festival, Tamworth Music Festival and the Wangarattea Jazz Festival, to explore how these festivals are operated and how these music festivals impact the local area in different way including tourism, the local economy, local culture and local identities. All of these analyses will not only help us have a better understanding of the relationship between music, tourism and city regeneration, but also support our argument that music activities such as festivals is one strategy for the regeneration of remote areas in Australia by promoting the local tourism.
Globalization is playing an increasingly significant role in the present, which is affecting all ... more Globalization is playing an increasingly significant role in the present, which is affecting all areas including culture, economy, and technology of the whole world (Scholte, 2000). Music, as one core part of culture, has also been impacted profoundly by it (White, 2012). Globalization encourages regional differences, whilst promoting music cultural exchange on a global scale and facilitating different regions and areas to recreate style and form of their local music. Under the background of globalization, an increasing amount of local musicians and artists are involved in global wave of population, sounds, images, meanings and capital (Ho, 2003). A wide range of international market has been paid increasingly attention from local music industries (Ho, 2003). However, as the opposite side, localization has been seriously challenged by globalization (Scholt, 2000). In term of music, the prominent characteristics of local music in many regions and areas has been gradually assimilated due to musical fusion among various music styles and music cultures (Fairley, 2001). The issue that how music develops between the globalization and localization background has attracted more attention (White, 2012).
Hong Kong has become a multi-cultural metropolis due to its special geographical position and special history that it was ruled by the British around 150 years (Carroll, 2005). It is an international city which combines both Chinese cultures and Western cultures, which has been regarded as the crossroads of East and West (Lin, n.d.). Between the 1960s and 1970s, Hong Kong was experiencing the period of cultural assimilation, western popular music dominated the local music market when Britain regulated musical production and distribution in Hong Kong during that period of time (Sui-jin, 1991). For instance, youth in Hong Kong were crazy about western stars which included the Beatles, the Rolling Stones and Garfunkel (Ho & Law, 2006). Since the early 1970s, Hong Kong contribute to develop Cantopop to establish its own music to against music from Western and Mainland China (Everything2, 2005). As the unique region in the world, how Hong Kong develop Cantopop under the background of globalization and localization should be paid attention to.
The aim of this essay is to explore how Cantopop in Hong Kong has been developed and why Cantopop has dropped under the background of globalization and localization. To deal with these two parts, there is an initial need to understand in depth the relationship between globalization and localization. In addition, some issues have both advantages and disadvantages to Cantopop in different period of time, which should be distinguished and analyzed roundly. For instance, Karaoke industry, on one hand, promoted the development of Cantopop in the mid-1980s, on the other hand, harmed the music industry in Hong Kong in the early 1990s. Finally, whether Cantopop can return to prosperity will also be discussed at the end of the essay.
In what follows, the main essay is divided into two chapters. The first one is the promotion of popular music in Hong Kong. Initially, this chapter will explore how localization promoted Cantopop. This part will be analyzed into three aspects. The first one is what local pop singers and songwriters did to improve Cantopop. The Second one is what local government did to promote popular music in Hong Kong. What record companies did will be the last one. Then, to explore how Cantopop was promoted under the background of globalization, same as the former part, this part will also be explored in three aspects: Cantopop singers experimented different elements of music, record companies created international starts and music awards promoted Cantopop. This chapter will summarize what pop singers, local government and record companies respectively did to promote Cantopop in different period of time.
The second chapter will explore the decline of popular music in Hong Kong and discuss the reason that why Cantopop dropped since 1980s. This chapter, at first, will focus on the conservative investment of record companies under the situation of financial crisis and problem of piracy. Secondly, Cantopop was lack of market competitiveness due to the impact of globalization will also be analyzed. It is commonly indicate that Cantopop is fading away and being taken over by music from Taiwan and Chinese Mainland. This chapter will summarize the reason of declining Cantopop and predict whether Cantopop can return to prosperity.
After all the research and discussion, we can draw the conclusion that localization made Cantopop prosperity and globalization is a double-edged sword for popular music in Hong Kong. Moreover, it is difficult for Cantopop to return as prosperity as before. All of these analyses will not only help us have a better understanding of the relationship between localization and globalization, but also support our argument that under the background of globalization, strengthening its own characteristic to keep competitiveness is the way for Cantopop to keep vitality.
The record business is dying gradually. Take America for example, according to the report from th... more The record business is dying gradually. Take America for example, according to the report from the Recording Industry Association of America, in 2014, music sales in United States down 4.9 percent from the same period in 2013, which is under $3.2 billion and will nearly continue to fall. (Nytimes, 2014) To reverse this situation and earn more income streams beyond sales of recorded music, record companies have remarkably altered the patterns of contracts with musicians. Because of the revival of music industry, record companies not only can receive income from producing, selling recorded music, distributing and marketing, but also can capture revenue streams from other areas of musicians including live performances, merchandise sales, publishing and so on. Therefore, record companies could gain income from those areas which are never before available to them instead of depending on music sales only. 360 deal have been made by some record companies, such as EMI deal with Robbie William in 2002, Live Nation deal with Madonna in 2007 (Today Music, 2007) and Jay-Z in 2008.
On one hand, the 360 deal may beneficial for artists by providing healthy advances and funds for tours and merchandizing. (Arts and Commerce, 2011) On the other hand, there are a lot of restrictions for artists in one 360 deal, some artists could not protect their own income streams. Thus, this essay will concentrate on 360 deals from following chapters. Initially, the essay explores what is 360 deal. Then the differences between 360 deals and traditional record contracts will be explored. Next, the essay will discuss both the advantages and disadvantages of 360 deals. Moreover, what can artists do to protect individual income from 360 deals will be analyzed. Eventually, we will assess whether 360 model is a sustainable model in the future.
All of these analyses will support our argument that artists may not accept 360 deal in a long-term, but they will continue to accept the 360 deal because record companies remain the main source of risk investment for artists, there are also some measures for them to protect their own income stream.
Music festivals have developed from nothing to being a considerable cultural industry in around 5... more Music festivals have developed from nothing to being a considerable cultural industry in around 50 years. (Encyclopaedia Britannica, 2014) In this essay “music festival” is defined as an outdoor music in particular a pop, rock or jazz music festival. In 2008, music festival industry surpassed recording industry as the top income generator. (Deconstructing, 2013). Music festivals are one of the few sectors in the music industry, which have continued to grow in the slump. Many sectors within music industry, even in other industries, have benefited from the success of music festivals since they are only a form of performing but also an effective industry model. Moreover, music festivals are bound up with many industries such as advertising, and form part of a large industrial chain. Someone, however, believe that music festivals are in a bubble with overproduction and the rising tickets prices. They perceive that there are too many music festivals in some specific areas and countries such as America, the UK and Australia. There is a report by Pollstar (2014) shows that there are 1,200 music festivals in 70 different countries in 2014. This dissertation explores the issues of a music festival bubble to research whether the bubble of music festivals exists, what the potential reasons for a music festival bubble are and what festival organisers must learn from the bubble by critically analysing seven recent articles, which concentrate mainly on music festivals in some countries such as America, the UK and Australia.
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Music tourism has become more important for the regeneration of remote areas because, as a social catalyst, it can illustrates how culture, economy and identities are entangled (Gibson & Connell, 2005). Since the 1970s, one significant music form, music festivals, has become an important means of promoting places and regions, especially the local tourism industry (Gibson & Connell, 2005). With more comprehensive marketing, music festivals have been regarded as one strategy for seeking better business opportunities to develop the local tourism industry thereby reinventing the local economy and place identities (Gibson & Connell, 2005). For instance, some country cities, such as Tamworth and Port Fairy, focused on music festivals which have not only substantially improved the local economy and development of the tourism industry but have also brought many benefits for the regeneration of the cities (Walmsley, 2003).
This essay will explore how these areas have promoted tourism and even been regenerated though music festivals. To analyze these two parts, there is an initial need to understand in depth the relationship between music festivals and the tourism industry in these areas. Besides, in order to research why these remote areas rely on music festivals and why these areas can hold huge music festivals, the regional situation which contains the culture background and economy background of these areas will be analyzed. This essay will then focus on some successful music festivals in remote areas of Australia, such as the Park Elvis Revival Festival, Tamworth Music Festival and the Wangarattea Jazz Festival, to explore how these festivals are operated and how these music festivals impact the local area in different way including tourism, the local economy, local culture and local identities. All of these analyses will not only help us have a better understanding of the relationship between music, tourism and city regeneration, but also support our argument that music activities such as festivals is one strategy for the regeneration of remote areas in Australia by promoting the local tourism.
Hong Kong has become a multi-cultural metropolis due to its special geographical position and special history that it was ruled by the British around 150 years (Carroll, 2005). It is an international city which combines both Chinese cultures and Western cultures, which has been regarded as the crossroads of East and West (Lin, n.d.). Between the 1960s and 1970s, Hong Kong was experiencing the period of cultural assimilation, western popular music dominated the local music market when Britain regulated musical production and distribution in Hong Kong during that period of time (Sui-jin, 1991). For instance, youth in Hong Kong were crazy about western stars which included the Beatles, the Rolling Stones and Garfunkel (Ho & Law, 2006). Since the early 1970s, Hong Kong contribute to develop Cantopop to establish its own music to against music from Western and Mainland China (Everything2, 2005). As the unique region in the world, how Hong Kong develop Cantopop under the background of globalization and localization should be paid attention to.
The aim of this essay is to explore how Cantopop in Hong Kong has been developed and why Cantopop has dropped under the background of globalization and localization. To deal with these two parts, there is an initial need to understand in depth the relationship between globalization and localization. In addition, some issues have both advantages and disadvantages to Cantopop in different period of time, which should be distinguished and analyzed roundly. For instance, Karaoke industry, on one hand, promoted the development of Cantopop in the mid-1980s, on the other hand, harmed the music industry in Hong Kong in the early 1990s. Finally, whether Cantopop can return to prosperity will also be discussed at the end of the essay.
In what follows, the main essay is divided into two chapters. The first one is the promotion of popular music in Hong Kong. Initially, this chapter will explore how localization promoted Cantopop. This part will be analyzed into three aspects. The first one is what local pop singers and songwriters did to improve Cantopop. The Second one is what local government did to promote popular music in Hong Kong. What record companies did will be the last one. Then, to explore how Cantopop was promoted under the background of globalization, same as the former part, this part will also be explored in three aspects: Cantopop singers experimented different elements of music, record companies created international starts and music awards promoted Cantopop. This chapter will summarize what pop singers, local government and record companies respectively did to promote Cantopop in different period of time.
The second chapter will explore the decline of popular music in Hong Kong and discuss the reason that why Cantopop dropped since 1980s. This chapter, at first, will focus on the conservative investment of record companies under the situation of financial crisis and problem of piracy. Secondly, Cantopop was lack of market competitiveness due to the impact of globalization will also be analyzed. It is commonly indicate that Cantopop is fading away and being taken over by music from Taiwan and Chinese Mainland. This chapter will summarize the reason of declining Cantopop and predict whether Cantopop can return to prosperity.
After all the research and discussion, we can draw the conclusion that localization made Cantopop prosperity and globalization is a double-edged sword for popular music in Hong Kong. Moreover, it is difficult for Cantopop to return as prosperity as before. All of these analyses will not only help us have a better understanding of the relationship between localization and globalization, but also support our argument that under the background of globalization, strengthening its own characteristic to keep competitiveness is the way for Cantopop to keep vitality.
On one hand, the 360 deal may beneficial for artists by providing healthy advances and funds for tours and merchandizing. (Arts and Commerce, 2011) On the other hand, there are a lot of restrictions for artists in one 360 deal, some artists could not protect their own income streams. Thus, this essay will concentrate on 360 deals from following chapters. Initially, the essay explores what is 360 deal. Then the differences between 360 deals and traditional record contracts will be explored. Next, the essay will discuss both the advantages and disadvantages of 360 deals. Moreover, what can artists do to protect individual income from 360 deals will be analyzed. Eventually, we will assess whether 360 model is a sustainable model in the future.
All of these analyses will support our argument that artists may not accept 360 deal in a long-term, but they will continue to accept the 360 deal because record companies remain the main source of risk investment for artists, there are also some measures for them to protect their own income stream.
Music tourism has become more important for the regeneration of remote areas because, as a social catalyst, it can illustrates how culture, economy and identities are entangled (Gibson & Connell, 2005). Since the 1970s, one significant music form, music festivals, has become an important means of promoting places and regions, especially the local tourism industry (Gibson & Connell, 2005). With more comprehensive marketing, music festivals have been regarded as one strategy for seeking better business opportunities to develop the local tourism industry thereby reinventing the local economy and place identities (Gibson & Connell, 2005). For instance, some country cities, such as Tamworth and Port Fairy, focused on music festivals which have not only substantially improved the local economy and development of the tourism industry but have also brought many benefits for the regeneration of the cities (Walmsley, 2003).
This essay will explore how these areas have promoted tourism and even been regenerated though music festivals. To analyze these two parts, there is an initial need to understand in depth the relationship between music festivals and the tourism industry in these areas. Besides, in order to research why these remote areas rely on music festivals and why these areas can hold huge music festivals, the regional situation which contains the culture background and economy background of these areas will be analyzed. This essay will then focus on some successful music festivals in remote areas of Australia, such as the Park Elvis Revival Festival, Tamworth Music Festival and the Wangarattea Jazz Festival, to explore how these festivals are operated and how these music festivals impact the local area in different way including tourism, the local economy, local culture and local identities. All of these analyses will not only help us have a better understanding of the relationship between music, tourism and city regeneration, but also support our argument that music activities such as festivals is one strategy for the regeneration of remote areas in Australia by promoting the local tourism.
Hong Kong has become a multi-cultural metropolis due to its special geographical position and special history that it was ruled by the British around 150 years (Carroll, 2005). It is an international city which combines both Chinese cultures and Western cultures, which has been regarded as the crossroads of East and West (Lin, n.d.). Between the 1960s and 1970s, Hong Kong was experiencing the period of cultural assimilation, western popular music dominated the local music market when Britain regulated musical production and distribution in Hong Kong during that period of time (Sui-jin, 1991). For instance, youth in Hong Kong were crazy about western stars which included the Beatles, the Rolling Stones and Garfunkel (Ho & Law, 2006). Since the early 1970s, Hong Kong contribute to develop Cantopop to establish its own music to against music from Western and Mainland China (Everything2, 2005). As the unique region in the world, how Hong Kong develop Cantopop under the background of globalization and localization should be paid attention to.
The aim of this essay is to explore how Cantopop in Hong Kong has been developed and why Cantopop has dropped under the background of globalization and localization. To deal with these two parts, there is an initial need to understand in depth the relationship between globalization and localization. In addition, some issues have both advantages and disadvantages to Cantopop in different period of time, which should be distinguished and analyzed roundly. For instance, Karaoke industry, on one hand, promoted the development of Cantopop in the mid-1980s, on the other hand, harmed the music industry in Hong Kong in the early 1990s. Finally, whether Cantopop can return to prosperity will also be discussed at the end of the essay.
In what follows, the main essay is divided into two chapters. The first one is the promotion of popular music in Hong Kong. Initially, this chapter will explore how localization promoted Cantopop. This part will be analyzed into three aspects. The first one is what local pop singers and songwriters did to improve Cantopop. The Second one is what local government did to promote popular music in Hong Kong. What record companies did will be the last one. Then, to explore how Cantopop was promoted under the background of globalization, same as the former part, this part will also be explored in three aspects: Cantopop singers experimented different elements of music, record companies created international starts and music awards promoted Cantopop. This chapter will summarize what pop singers, local government and record companies respectively did to promote Cantopop in different period of time.
The second chapter will explore the decline of popular music in Hong Kong and discuss the reason that why Cantopop dropped since 1980s. This chapter, at first, will focus on the conservative investment of record companies under the situation of financial crisis and problem of piracy. Secondly, Cantopop was lack of market competitiveness due to the impact of globalization will also be analyzed. It is commonly indicate that Cantopop is fading away and being taken over by music from Taiwan and Chinese Mainland. This chapter will summarize the reason of declining Cantopop and predict whether Cantopop can return to prosperity.
After all the research and discussion, we can draw the conclusion that localization made Cantopop prosperity and globalization is a double-edged sword for popular music in Hong Kong. Moreover, it is difficult for Cantopop to return as prosperity as before. All of these analyses will not only help us have a better understanding of the relationship between localization and globalization, but also support our argument that under the background of globalization, strengthening its own characteristic to keep competitiveness is the way for Cantopop to keep vitality.
On one hand, the 360 deal may beneficial for artists by providing healthy advances and funds for tours and merchandizing. (Arts and Commerce, 2011) On the other hand, there are a lot of restrictions for artists in one 360 deal, some artists could not protect their own income streams. Thus, this essay will concentrate on 360 deals from following chapters. Initially, the essay explores what is 360 deal. Then the differences between 360 deals and traditional record contracts will be explored. Next, the essay will discuss both the advantages and disadvantages of 360 deals. Moreover, what can artists do to protect individual income from 360 deals will be analyzed. Eventually, we will assess whether 360 model is a sustainable model in the future.
All of these analyses will support our argument that artists may not accept 360 deal in a long-term, but they will continue to accept the 360 deal because record companies remain the main source of risk investment for artists, there are also some measures for them to protect their own income stream.