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Chamber Ensembles and Web Presence: Best Practices for Creating and Presenting Online Content

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Chamber Ensembles and Web Presence: Best Practices for Creating and Presenting Online Content Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2017 Chamber Ensembles and Web Presence: Best Practices for Creating and Presenting Online Content Arisia Amalie Gilmore Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Gilmore, Arisia Amalie, "Chamber Ensembles and Web Presence: Best Practices for Creating and Presenting Online Content" (2017). LSU Doctoral Dissertations. 4250. https://digitalcommons.lsu.edu/gradschool_dissertations/4250 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CHAMBER ENSEMBLES AND WEB PRESENCE: BEST PRACTICES FOR CREATING AND PRESENTING ONLINE CONTENT A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Performing Arts by Arisia Amalie Gilmore B.M., The University of Northern Colorado, 2003 M.M., DePaul University, 2007 May 2017 I have had so much help and support during this time, it’s hard to know who to thank. Starting with my professor and mentor, Seth Orgel, for all of his help, motivation, patience, and advice during this research process. To my mother, Jenni, for encouraging me to try on “new hats,” and always supporting me, no matter what path I forged. To Matt, you were there during some of the most challenging moments. You helped me power through, and helped me relax when you knew that’s what I needed most. To Mimi, I truly would have not been able to complete this paper without your help. You have provided me with the luxury of time, and I will forever be thankful for that. To Minos the Saint and the Gargoyle Brass: I started this degree because I wanted to learn how to do everything that is necessary to have a successful chamber ensemble. As I end this degree, I am excited to apply my new skills and knowledge to help Minos the Saint grow. It is the best job in the world when you get to play music, and work with people you love and respect. ii ACKNOWLEDGEMENTS Thank you to all the chamber ensemble members who took part in the interview process. Thank you for your insight, and advice. You guys have achieved what so many desire, and I thank you for sharing your experiences, errors, and successes with me. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS …………………………………………………………………….………………...… iii ABSTRACT ………………………………………………………………………………………………………… vi CHAPTER 1: INTRODUCTION ………………………………………………………………………………….. 1 CHAPTER 2: SOCIAL MEDIA AND SOCIAL NETWORKING ………………………………………………… 4 Getting Started on Social Media ………………………………………………………………………… 5 Community, Communication, and Marketing Through Social Media ……………………………….. 7 Social Media Platforms Being Used ………………………………………………………………...…. 11 Defining the Top Four Social Media Platforms, and a Comparative Study on Use………...……... 12 Conclusion for Social Media ………………………………………………………………...………….. 28 CHAPTER 3: WEBSITE ………………………………………………….………………………………............ 31 The Purpose of a Website for Musicians ....................................................................................... 33 Website Content ……………………………………………………………………………….………... 37 Organizing the Navigation Bar ……………………………………...……………………...…………... 46 Website Homepage ……………………………………………………..………...…………………….. 55 Conclusion for Website ……………………………………………………..……………………...…… 57 CHAPTER 4: ENSEMBLE BIOGRAPHY ……………………………………………..………………………… 60 Collecting and Organizing Ensemble Experiences ……………………………..……………………. 62 Creating the Narrative ……………………………………..……………………………………………. 68 Conclusions for Biographies …………………………………..…...……………………………….….. 74 CHAPTER 5: ENSEMBLE PHOTOS ……………………………………………………………………….…… 76 Preparing for the First Ensemble Photo …………………………..………………………..……........ 77 Attributes of Ensemble Photos ……………………………………………………….………………… 79 Low Cost Options for Ensemble Photos ………………………………………………………..……… 85 Working with a Photographer …………………………………………………………….……………. 86 Conclusions for Photos ……...………………………………………………………………….………. 90 CHAPTER 6: AUDIO AND VIDEO RECORDING ………………………………………………..…………….. 93 Audio Recording ........................................................................................................................... 94 Choosing Repertoire for a Demo or Full-length Album ………………………………………............ 98 Recording Expenses ……………………………………………………………………………………. 99 The Recording Session …………………………….……………………………………….…………. 103 Designing the Album Packaging ……………………………………………………..……………….. 107 Distribution: Where and How to Sell the CD ……………………………………………………..…. 113 Record Labels and Recording Contracts ………………………………………………………..…… 115 Copyright: Original Recordings, Arrangements, and Compositions ……………………..………... 119 Performing or Recording Copyrighted Music ………………………………………..………………. 122 Conclusion for Audio Recording ………………………………………………………………….…... 123 Video: Online Video Representation ……………………………………………………………….… 125 CHAPTER 7: CONCLUSION …………………………………………………………………..…………….… 135 BIBLIOGRAPHY ………..……………………………………………………………………………………….. 137 iv REFERENCES: STUDIED ENSEMBLES …………………………………………………………….………. 141 APPENDIX A: TERMINOLOGY ……………………………………………………………..….……………… 143 A. 1 Terminology for Internet, Websites, and Social Media ………………………..…………….. 143 A. 2 Terminology for Photography ……………………………………………………..……………. 146 A. 3 Terminology for Audio / Video Recording ………………………………………...…………... 150 A. 4 Terminology for Copyright ……………………………………………………………..……….. 153 APPENDIX B: GENERAL MUSIC INDUSTRY RESOURCES ………………………….………...………… 157 B. 1 Music Industry Web Resources - Multiple Uses …………………………..……………………. 157 B. 2 Legal Assistance ……………………………………………………………............................... 158 APPENDIX C: APPENDIX TO CHAPTER 2: ADDITIONAL RESOURCES FOR SOCIAL MEDIA ……. 159 C. 1 Other Recommended Social Media Platforms ……………………………………………..….. 159 C. 2 Crowdfunding ……………………………………………………………………………….......… 161 C. 3 Non-traditional Online Opportunities for Presence or Promotion …………………………….. 162 C. 4 Additional Resources for Using Social Media as a Marketing Tool ……............................... 163 APPENDIX D: APPENDIX TO CHAPTER 3: ADDITIONAL RESOURCES FOR WEBSITES …………… 164 D. 1 Web Design …………………………………………………………………………..……..…… 164 D. 2 Webhosts ……………………………………………………………………………...………… 164 D. 3 Blogs ……………………………………………………………………...…………..…………. 164 D. 4 Newsletters and Mailing Lists ……………………………………...…………………………….. 166 D. 5 Music Podcasts and Internet Radio …………………………………………...….…………..… 167 APPENDIX E: APPENDIX TO CHAPTER 4: ADDITIONAL RESOURCES FOR WRITING AND BIOGRAPHIES ……………………………………………………………………….... 169 E. 1 Advice on Improving Writing Skills for Online Communications ……………………………… 169 E. 2 Sample Musician Biography Resources ……………………………………………………… 169 APPENDIX F: APPENDIX TO CHAPTER 5: ADDITIONAL RESOURCES FOR PHOTOGRAPHY ......... 170 F. 1 Advice on Taking Professional Photos …………………………………………..……………. 170 F. 2 Photo Editing Software ………………………………………………………............................. 170 APPENDIX G: APPENDIX TO CHAPTER 6: ADDITIONAL RESOURCES FOR AUDIO / VIDEO RECORDING AND ADDITIONAL INFORMATION ON COPYRIGHT ...……………….. 171 G. 1 Locational Album Sales ……………………………………………………………..…………… 171 G. 2 Web Resources to Find Record Labels ………………………………………….……..………. 171 G. 3 CD Manufacturing and Distribution ……………………………………………………………... 171 G. 4 Audio Editing Software …………………………………………………………………………… 172 G. 5 Additional Information for Copyright ………………………………………………………….…. 172 G. 6 Advice on Making a Professional Video ……………………………………………………...… 173 G. 7 Video Editing Software …………………………………………………………………………… 173 APPENDIX H: IRB DOCUMENTS AND INTERVIEWS ………………………………………………........... 175 H. 1 IRB Letter for Exemption …………..……………………………………………………………... 175 H. 2 IRB Approval Letter ………………...………………………………………….…………………. 181 H. 3 Interview Research Outline and Questionnaire ………………………………………………... 182 H. 4 Redacted Transcripts ……………………………………..………………….…………………... 186 VITA …………………………………………………………………………………………………….………… 265 v ABSTRACT This study is about creating an online presence for a chamber ensemble. The study takes recommendations from notable books on music entrepreneurship, articles written for classical musicians on the importance of online content for musicians, and articles from select music industry websites. The author compares and combines these recommendations with interviews from members of seven different professional chamber ensembles, and the online presence of seventeen professional chamber ensembles that are based in the United States. The purpose of this study is to introduce to newly formed chamber ensembles how current chamber ensembles are using online media, what content is being presented online, and how to create the most common content. The study organizes the collected advice from resources and interviews, as compared with the studied ensembles, to conclude with recommendations for the most common content being used online. The study determines the most commonly used online platforms, and how they are being used. Included in this study is the use, organization and content of: Websites; Facebook; Twitter; Instagram; and YouTube. The author then goes into detail about
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