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Jeanne Pedersen CORPORATE STRATEGIES, POWER DISTRIBUTION AND CREATIVITY WITHIN AND ACROSS THE DANISH MUSIC INDUSTRY Why different perceptions of the same song is sometimes a challenge MASTER THESIS By Jeanne Pedersen Cand.Soc.(CBP) Handed in 22.02.2016 Supervisor: Lise Skov Characters: 181.256 ABSTRACT A study of the creative processes within the Danish music industry indicates that the interactions and thereby the relationship between the record companies and the artists are experiencing frictions due to different perceptions of success. The study further states that the interactions between the two associates are affected by a lot of external factors within the legal-, economic-, political-, technological-, and social areas. The aim is thus to explore how navigation within the industry should take place, in order to avoid the clashes and gain success. The case study of the artist Francis Bowie is therefore applied to explore and understand how the clashes may affect and suppress the creativity of an artist. Data for this study is collected by qualitative interviews with representatives of the three main associates within the industry, namely artists, record companies and the radio stations. The interviews are used as foundation for examining how each of their understanding and perceptions of the industry and their role herein, influence the interactions during the processing a record undergoes before it is released. Furthermore, observations of the artist Francis Bowie has been conducted in order to obtain a full insight in the world of an artist and to examine how the behaviour is affected by external The theoretical foundation of the thesis embraces the processing of music within an industry that is so affected and dependent by environment forces. PESTEL will elaborate on the music industry as a large and dynamic business environment composed of many different creative and non-creative elements that contribute in the process of making music available to the consumers. Additionally, Hirsch’s preselection system is applied to analyse how the many layers and gatekeepers of the filtering process determine the fate and success of a recording. The conclusion of the thesis is that the record companies, their corporate strategies and financial position are suppressing the artists and their creativity due to significant focus on profit. The two scenarios typically taking place are throughout the thesis defined as “the dependent way” and “the independent way” each determining how many filters and gatekeepers a record must go through to reach the audience. Page 1 of 127 TABLE OF CONTENT ABSTRACT ............................................................................................................................ 1 1. INTRODUCTION ............................................................................................................. 5 1.2 RESEARCH QUESTION ........................................................................................................ 7 1.3 READING GUIDELINES ........................................................................................................ 8 2. METHODOLOGY .......................................................................................................... 10 2.1 RESEARCH QUALIFICATIONS ......................................................................................... 10 2.2 SCIENTIFIC APPROACH .................................................................................................... 11 2.2.1 A COMBINED SCIENTIFIC STANDPOINT .......................................................................... 12 2.2.3 COLOR PERSPECTIVISM AND SOCIAL CONSTRUCTIVISM ....................................... 12 2.3 METHODS OF DATA COLLECTION ................................................................................ 14 2.3.1 A QUALITATIVE RESEARCH APPROACH .......................................................................... 14 2.3.2 ETHNOGRAPHY ........................................................................................................................... 14 2.3.3 SEMI-STRUCTURED INTERVIEWS ...................................................................................... 16 2.3.4 DOCUMENTARY EVIDENCE ................................................................................................... 17 4. CASE STUDY - FRANCIS BOWIE .............................................................................. 19 4.1 ETHNOGRAPHY .................................................................................................................. 19 4.1.1 BACKGROUND .............................................................................................................................. 19 4.1.2 THE ARTIST FRANCIS BOWIE ............................................................................................... 21 4.1.3 THE MUSIC ..................................................................................................................................... 24 4.1.4 THE AGREEMENTS ..................................................................................................................... 25 4.1.5 STATUS QUO ................................................................................................................................. 27 4. THEORETICAL FRAMEWORK ................................................................................. 30 4.1 THEORY PART 1: PESTL - MAPPING THE DANISH MUSIC ENVIRONMENT ..... 30 4.2 THEORY PART 2: THE PRESELECTION SYSTEM ....................................................... 31 5. ANALYSIS ...................................................................................................................... 35 5.1 ANALYSIS PART 1 - MAPPING THE DANISH MUSIC ENVIRONMENT ................. 35 5.1.1 THE LEGAL ASPECT ................................................................................................................... 35 5.1.2 THE ECONOMICAL ASPECT .................................................................................................... 37 5.1.3 THE TECHNOLOGICAL ASPECT ............................................................................................ 40 5.1.4. THE POLITICAL ASPECT ......................................................................................................... 45 5.1.5 THE SOCIAL ASPECT ................................................................................................................. 50 5.1.6 SUB-CONCLUSION PESTL ........................................................................................................ 53 Page 2 of 127 5.2 ANALYSIS PART 2 – THE PRESELECTION SYSTEM .................................................. 53 5.2.1 ARTIST/MANAGER .................................................................................................................... 53 5.2.2 PRODUCER/A&R ......................................................................................................................... 54 5.2.3 RECORD COMPANY EXECUTIVES AND POLICYMAKERS .......................................... 55 5.2.4 PROMOTION/DISTRIBUTION ............................................................................................... 58 5.2.5 THE RADIO/STREAMING SERVICES .................................................................................. 61 5.2.6 AIRTIME ON P3/TOP-50 CHARTS ....................................................................................... 63 5.2.7 DOWNLOAD/STREAMING SERVICES ................................................................................ 65 5.2.8 SOCIAL/MASS MEDIA ............................................................................................................... 66 5.2.9 SUB-CONCLUSSION ON PRESELECTION SYSTEM ........................................................ 68 6. DISCUSSION .................................................................................................................. 71 6.1 HOW PERCEPTIONS OF A MARKETABLE PRODUCT CREATES CLASHES ......... 71 6.2 WHY STRUCTURING OF ART IS A NECESSITY ........................................................... 76 6.3 SUB-CONCLUSION .............................................................................................................. 77 7. CONCLUSION ................................................................................................................ 79 8. BIBLIOGRAPHY ........................................................................................................... 82 9. APPENDIXES ................................................................................................................ 90 APPENDIX 1 – Radio Tracking report ................................................................................ 90 APPENDIX 2 – Interview Francis Bowie ............................................................................ 92 APPENDIX 2 – Interview René Madsen, Warner Music Denmark ............................ 97 APPENDIX 3 - Interview – Lars Trillingsgaard, Music Director P3 ....................... 112 Page 3 of 127 1 INTRODUCTION The artists cannot be afraid to take chances. They have to believe that music should not be produced to earn profit but because it is genuine and authentic ” - that is what works in the long run. The music industry has put itself in this situation because they are so desperate to earn profit. They lose control and lose creativity and the desire and time to develop, as it has to bring a profit immediately. It doesn't make sense within the industry of art. This
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