Although, it takes less work altogether, releasing a single is still something that you want to get right. This article will show you how to release a music single in 2021. This paper will be updated on an annual basis. Furthermore,... more
Although, it takes less work altogether, releasing a single is still something that you want to get right. This article will show you how to release a music single in 2021. This paper will be updated on an annual basis. Furthermore, the author will go into greater detail about what the artist should do in your release strategy over a three-week process.
Em 2011, o Youtube já tinha 1 trilhão de visualizações, o que significa aproximadamente 140 visualizações para cada ser humano existente (WSI, 2013). Ainda segundo a empresa de marketing WSI, organizações que ignorarem os media sociais... more
Em 2011, o Youtube já tinha 1 trilhão de visualizações, o que significa aproximadamente 140 visualizações para cada ser humano existente (WSI, 2013). Ainda segundo a empresa de marketing WSI, organizações que ignorarem os media sociais estão fadadas ao fracasso. Neste artigo, discutimos sobre qual é a importância do Youtube como ferramenta para artistas vencerem estes desafios e alcançarem seus públicos.
With increasing commercial musical trade between northern and western Europe, developing styles of postwar Germany received significant attention from UK listeners. In curating recordings for their local audiences, the actions of... more
With increasing commercial musical trade between northern and western Europe, developing styles of postwar Germany received significant attention from UK listeners. In curating recordings for their local audiences, the actions of anglophone record labels and media outlets supported a largely misleading impression of congruity between predominantly unassociated bands and their collective work. Although interest in anglophone rock has explored the genre’s emergence and impetus, little substantial work has considered analogous musical formations within Germany and inferred musical identities.
This project examines the role of UK importers in the distribution of German rock music to the United Kingdom and the subsequent recognition of divergent works under the heading ‘Krautrock’. It asks to what extent the style was sensationalised by its curators, and investigates their role in constructing the style and associated musical identity.
The paper specifically explores the role of Virgin Records, which penned deals with acts including Tangerine Dream, Klaus Schulze, Can and Ashra to release a number of records into the UK market throughout the 1970s. In conjunction with national media, its importation and commercialisation enforced an arguably unwarranted genre characterisation which further enforced problematic stereotypes that objectified both musicians and music. In investigating the tensions between the label’s role of curating Krautrock on the one hand, while marketing the divergent music under a unified banner on the other, this paper considers whether ‘Krautrock’ can fairly be considered a German phenomenon.
