Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2017 Of Music and Media: A Producer Study of Promotional Encoding on Social Media Through the Lenses of Paratext and Medium Theory Connor D. Wilcox Eastern Illinois University This research is a product of the graduate program in Communication Studies at Eastern Illinois University. Find out more about the program. Recommended Citation Wilcox, Connor D., "Of Music and Media: A Producer Study of Promotional Encoding on Social Media Through the Lenses of Paratext and Medium Theory" (2017). Masters Theses. 2690. https://thekeep.eiu.edu/theses/2690 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. 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Wilcox THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 2017 YEAR I HEREBY RECOMMEND THAT THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE "Lf/J/17 S/ <// THESIS COMMITTEE CHAIR DATE DEPARTMENT/SCHOOL CHAIR DATE OR CHAIR'S DESIGNEE -s Ii 1, 7 I I THESIS COMMITTEE MEMBER DATE THESIS COMMITTEE MEMBER DATE <:;-/2//7 THE'SISCOMMITTEE MEMBER DATE THESIS COMMITTEE MEMBER DATE Running Head: OF MUSIC AND MEDIA Of Music and Media: A Producer Study of Promotional Encoding on Social Media Through the Lenses of Para text and Medium Theory Connor D. Wilcox Eastern Illinois University Department of Communication Studies 2017 OF MUSIC AND MEDIA 2 Copyright 2017 by Connor D. Wilcox OF MUSIC AND MEDIA 3 Abstract While music promotion has been important aspect formus icians, bands, and musical organizations forwell over a century, the rise of social media in the digital era has profoundly changed the way these promoters perceived of and practice their commercial task of selling music. Paratexts (Gray, 201 Oa) offeran effective lens for focusing on these promotions while encoding/decoding (Hall, 1980) justifiesproducer studies to examine anduncover vital aspects of production shape the text and medium theory adds further focus by recentering the medium as being distinctly influential. Existing research on music promotion highlights the uniqueness and evocativeness of the musical product while historically-based music promotion practice dictates that a cohesive image should be crafted for promotion and that uncommercialized physical spaces should be sought out by promoters. The distinct symbolic traits and delineation of each social media have also been documented and researched. To uncover the perceptions, practices, and underlying ideologies of promoters, a representative sample of 22 independent North American musicians, bands, and record labels were interviewed. I foundthat these promotional producers consider the social media environment to be a free and egalitarian space of transparent communication and connectivity, but implicitly perceive the social media audience to be an inattentive, passive, and malleable mass audience. In emphasizing continual creation and circulation of promotions on social media, producers are implicitly devaluing their musical work. In addition, though producers state an awareness that social media channels are different, they approach social media monolithically and seek to distance themselves from overly commercial goals when creating promotions. The interviews with producers reveal deep, recurrent connections and ideologies underlying stated perceptions and practices of music promotion. Though music promotion and social media usage will continue to shiftand change, the underpinning ideologies and implicit belief of promoters will remain and social mediated promotions will continue to eclipse the central musical text. Keywords: music promotion, paratext, encoding, medium theory, social media, producer study, independent, musicians, bands, record labels OF MUSIC AND MEDIA 4 Acknowledgements I would like to express my sincerest thanks to my mentor and thesis advisor Scott Walus. From designing posters forFree Music Friday to constructing my Master's thesis, your continual encouragement over the past fewyears has made me a better student, musician, and communicator. While the process of reaching this point may have been arduous, I am immensely proud of this thesis and I have you to thank for making that happen. I would also like to thank my thesis committee members Stephen King and Matt Gill. In addition to teaching me qualitative and quantitative methods, you have both been attentive and supportive whenever I have stopped by to ask questions about the program and about life afterthe program. I would also like to thank Rich Jones foral l of his clear­ cut and good-humored assistance in advancing my critical and pedagogical knowledge. I would like to extend my thanks to the entire Communication Studies Departmentat EasternIllin ois University for nurturing my scholarly endeavors. I am proud to be both a student of communication and an EasternIllin ois University alumni. I would like to thank my parents foralways lovingly pushing me forward and my awesome colleagues Anna R., Anna P., and Nathan B. forenriching every part of my graduate school experience. And last but certainly not least, I would like to thank all of the musicians and record label personnel who supplied me with such rich data about promotion. Those participants are: Salt Creek, Locksley, Mode Moderne, Saddle Creek, Uh Oh, The Blank Tapes, I Hear Sirens, We're Trying Records, Kyle Krone, The Switchblade Kid, Sower Records, The Weathered Heads, Carlos Danger's Inbox, The Abominable Showmen, Thunder Dreamer, Criminal Hygiene, Lonely Trailer, Loscil, Middle Distance Runner, The Talkers, Square Peg Round Hole, and Little Boy Jr. OF MUSIC AND MEDIA 5 Table of Contents Abstract .............................................................................................................................. 3 Ac nowledgements .......................................................................................................... k 4 Chapter Introduction ................................................................................................... 1: 7 Theoretical Foundations ..... ....... ................................... .......................................... ..... 13 Medium Theory .......... .............. .... ............... .............................. ............... ......... .... 14 Encoding/Decoding . .... ..... ....... ......... ... ..........