Trajce Cvetkovski - Pop Music, Culture and Identity: The Pop Music Idol and the Spirit of Charisma : Reality Television Talent Shows in the Digital Economy of Hope read book TXT, DOC, PDF

9781137494450


113749445X
The Pop Music Idol and the Spirit of Charisma is concerned with the political economy of the music industry in a world of digitalisation. The sale of recorded music now resides in a contestable digital landscape. The old organisational models based on centralised control of products are no longer viable because pop music now resides in a largely corporatist marketplace. The majors have desperately set out to seek commercial synergies in the 21st Century as emerging technologies have brought diminishing sales in recorded music. The decentralised world of streaming, downloading and social networking is vastly different to the previous century where the only formats on offer were provided by the majors along with their strictly set terms. The Internet has forced the major controllers of pop music to re-organise their structures and processes from top to bottom, and imposed on them, unanticipated economic conditions. One of the positive outcomes for the majors in this digital shake-up has been the hugely successful opportunities found in music reality TV. Music contests such as Idol, X Factor, and The Voice have become the rainmaking machines for an industry languishing in a drought-stricken pop cultural digital marketplace. Music reality has successfully harnessed the best aspects of digitalisation. The irrefutable fact that several music contestants have become certified global pop stars positively affirms two things. First, the majors have found a successful business model for re-organisation. Secondly, it is time to make delineations between music reality TV and the other reality TV genres because these shows have clearly defined economy of scope within popular music., This book makes a case for the synergetic union between reality TV and the music industry. It delves into technological change in popular music, and the role of music reality TV and social media in the pop production process. It challenges the current scholarship which does not adequately distinguish the economic significance of these developments.

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