Music industry. Music industry marketing: methods, strategy, plan. The long-awaited release of your music

Lecture - Sergei Tyncu

It’s amazing, but many people still don’t know how the music industry works today. Therefore, I will try to explain everything in a nutshell. And, by the way, if you don’t understand what industry is, then abroad they mean business. That is, we are talking about how the music business, or music industry, works. Get it into your head once and for all, industry is business.

Like any other, the music industry produces and sells a product. And this product is a concert. Previously, the product was records, but nowadays this is no longer relevant. Now the product is just a concert. Why the concert? Because musicians make money from concerts and listeners pay money for concerts.

Accordingly, the main goal of the industry is to understand the audience demand (in a given territory) for concerts of a particular format, style and price tag. The industry itself doesn’t care what music and what musicians it sells. Just to sell it better. It's like being in a bar. An adequate bar owner does not care what kind of beer he sells, and he bottles the one for which there is more demand and for which he can earn more - buy cheaper and sell more expensive.

For an artist to get into the music industry, stay there and be successful... all you need is one thing - to be in demand. It's like with any product in any market. If there is a demand for your gig, then you will be in the industry. If there is no demand, then you won’t be there. The industry is interested in artists who bring in money that people will come to see.

This law works both for large stadiums in America and for small pubs in Samara region. The music industry is the same everywhere.

Please note that you don’t have to be good, but you just have to be in demand. But here people often think that if a product (a musician) is good, then it must be in demand. And these are different things. And the concept of “good” is very subjective. But the concept of “in demand” can be felt with your hands and measured in the number of viewers and the money they bring.

The industry consists of three main participants - the concert venue, the artist, and the viewer. And the main thing is the viewer. Because this whole thing exists with the viewer’s money. He pays for everything. Concert venues and artists live on his money. He calls the tune in every sense and pays for the banquet.

The industry doesn’t care how an artist achieves popularity and relevance (this is a personal matter and expense for the artist and his manager). Good music, scandals, competent PR, fashion, etc. The industry doesn’t care what product it sells. Her task is to sell what is in demand. If people don't come to your club (or bar), then you're going broke. Therefore, the industry has the task of understanding what the people need - this is perhaps the most important thing in the industry.

Just imagine for a second that you have your own rock club. You spent money to buy it, you spend money to maintain it, you pay staff, and you have a bunch of other expenses. And imagine you need to choose one of the artists for a concert in your club. And pay him a fee. Who would you want to see in your club if you need to earn money and not incur losses?

Making an artist in demand and popular is the task of the artist himself (and his management). The industry doesn't care who to sell. She simply focuses on the current tastes of the viewing audience. Of course, these tastes somehow constantly change. Since the tastes of the audience are heterogeneous, the industry works with artists of different genres and styles.

In accordance with the popularity (demand) of the artist, the industry offers the viewer concerts at venues with a larger or smaller capacity, plus sets different ticket prices. But the industry is always driven by demand. You could say this is a soulless machine, stupidly reflecting the current state of the market and demand. Roughly speaking, the industry is thousands of concert venues, whose number, size and format are determined solely by the market, that is, the demand for certain artists and genres in certain territories.

Remember, in different times In different territories the demand is also for different things!

It makes no sense for either the artist or the viewer to be dissatisfied with the industry. It simply shows the state of the market, reacting to it rather than shaping it. If something is not available in the industry, or is poorly represented, it is only because at the moment in this territory there is such a demand for this product (zero or small).

If an artist doesn’t make it into the industry (or makes it, but not on the scale that he would like), then it’s not the industry’s fault. She only reacts to the tastes of the crowd. And she doesn’t care about the specific names of the artists.

That's how it all works in a nutshell.

Accordingly, the concept of popular music varies. If you make music based on your taste, then don’t be surprised that the music industry doesn’t need it. Your taste does not necessarily coincide with the taste of the audience who pays. And if it does, then it’s not a fact that the quality of your musical product can withstand competition with other artists. Always remember the competition. Nowadays there are many more musicians in the world than the audience needs. Therefore, not everyone gets into the music industry.

If in a village the demand for music is one accordionist for a New Year's party, then ten accordionists will not fit into the industry of this village.

There are musician managers in the world. They are intermediaries between artists and audiences, artists and the industry. Some people (like everywhere else) can do without intermediaries, but others can’t. Like any intermediaries, managers strive to make money. Therefore, it is important for them to see and understand whether a particular artist can become popular or “not a horse’s fodder.” This vision and understanding distinguishes a good manager from a bad one. This is his income. The industry, again, doesn’t care how an artist tries to become popular - at the expense of managers or without. The word “manager” in this text can mean not only one person, but also an entire promotion office.

Many artists place great hopes on managers who, in their opinion, will solve all their problems. But it's not that simple. If the manager is good and understands the market, then he will only work with an artist who, in his opinion, has potential. And the artist must somehow be able to charm the manager, make him believe in himself. And it turns out that the manager is not a magician selling a bad product, and the artist first of all needs to provide a product with the appropriate properties (which can be sold).

If the manager is bad, then he can easily take on an artist with unclear prospects. And here it may be that a bad manager will not help in any way, or it may be that an artist who is good from the point of view of market prospects will be successful even with a bad manager. But in any case, if an artist decides to promote himself with the help of a manager, then he needs to make the manager believe in this artist.

And we must remember that a manager is not free. If a manager (office) invests money (or time/effort) in promotion, then it means they see potential in the product (artist) and plan to recoup the costs and earn some more. And if none of the smart managers want to do business with you, it means they don’t see market potential in you. They, like everyone else, can make mistakes - try to prove it to them and the market.

Understand that if your potential is obvious, then a sea of people will immediately form around you who want to make money from you. But if it’s not obvious, then you have to eke out a miserable life. It's like with women. If you are a super chick, then there is a sea of men around you. And if you’re not very good, then the demand for you in the men’s market is much less. Everything is very simple in this world.

The music industry is subject to the same laws as the general market. Imagine a grocery store. There are 10 packets of milk from different brands. So let’s say you decide to make milk. Good milk. You come to the store and say - I have good milk, take it to the shelf. And they answer you, the milk may be good, but no one knows it and will not buy it - people’s demand has already developed for certain brands. Why do we need to buy some potential illiquid goods for our shelves? Then you start advertising your product - you shoot videos for the box, hang advertisements on billboards around the city, hand out free packages to the public at the metro, hire a star for promotion. All! Demand appeared - they took you to the store. First in one, then in another, then all over the country! You're in business, dude!

Of course, in reality the situation with demand and stores may turn out to be more complicated. They can say that they don’t care what they sell - people in the area will buy any milk for this price and therefore they are not going to change anything in the assortment. Then it will be necessary to motivate the store - offer them purchasing prices lower than competitors or stupidly push a bribe. In the case of concert venues, which don’t care who plays in their so-called tavern, everything is solved using the same methods - reducing requests for fees to the artist and, again, the good old bribe. This is the market.

A simple, clear diagram. But one detail is important here. You must produce milk of a quality that people like. And at the prices at which people want to buy it. That is, the package should not cost 200 bucks. And it doesn't have to be dog's milk. At least in Russia. You yourself may like dog (or rat) milk, but if you go to the market, try to crawl into the milk industry, that is, into business, then you need to take into account the demand for products in a certain territory.

That is, if we talk about the dairy industry, then everything is the same here - the product (artist), the store (concert venue), the buyer (spectator). And there are advertising departments and agencies (labels, intermediary managers) that promote products for money.

Of course, many musicians all over the planet don’t want to think about the market, product, buyers and other unromantic things. And many successful artists managed to live in their own exceptionally sublime world, doing nothing but creativity (but at the same time paying managers who are immersed in routine and everyday life).

But if you have not reached such a level of enlightenment, then you need to either deal with the market and your popularity yourself, or try to charm some manager (office) who will believe in you. And of course there are such managers. Since there is successful artists in any country, and someone is involved in the affairs of these artists. But if they don’t believe in you, then, my friend, all the problems are only in you. In no one else. It's hard to admit - to look in the mirror and say to yourself, “I guess I'm not what people need.”

Of course, you can hire a manager (like any advertising company) stupidly for your own money (and not for a share from concerts)... but this is like paid sex. They give it to the right guys for free. And if they don’t give you freebies out of love, then you clearly have some problems with being in demand.

Very often, unclaimed artists blame the industry, intermediary managers, and viewers for their lack of demand. This is very stupid. The industry and managers respond to viewer requests and demand. And the audience is free people who decide for themselves where to spend their money. If they don't want you, that's their right. They don't owe you anything. They didn't force you to study music.

And the most reliable way to join the industry, and everyone knows it professional musicians and managers of all times... very simple. You have to stupidly compose hits. That's all! Songs that people like. Write hits, dude, and you will definitely have everything! Pay attention - all the performers who failed to fit into the industry - they do not have a single hit.

But let's say you can't or don't want to write hits? But you can play other people’s roles - this is also in demand (in pubs and at corporate events), and with this they also get into the industry - just perhaps not at the level that someone would like. And if you don’t play hits at all, then there are no guarantees of getting into the industry. Maybe you’ll be able to get a job in the industry, maybe not.

Well, that's all. I hope now you understand why some artists have a lot of concerts and money, while others have a cat crying.

The modern music industry is a rather strange phenomenon that does not stand still and is constantly evolving. Those who have worked in the musical “kitchen” for many years know that sometimes it can be very difficult to predict what awaits us in the future musically. However, the profit system is always the same, and anyone who is serious about turning their music into hard cash would do well to have at least a basic understanding of how the music business works.

Therefore, we decided to write a small guide for daredevils who want and intend to promote their music and make good money from it. This is just enough information to give you a basic understanding of what the music business lives and breathes, and to get you thinking about how you could become a part of it.

Record companies

The “traditional” path to success in the music industry is to have your record heard by a well-known label who will then sign you to a contract to promote your work. It’s even better if you’ve already recorded several compositions that can be included in your mini-album, or in a full-length album, or several albums online.

Essentially, the label acts as an investor who invests their money in you and your project. This money goes toward studio rent, mixing and mastering, and your advance, which is paid up front so you can live until you start receiving your share of the sales, known in the industry as royalties.

The label also handles all the paperwork needed to release a track/album, which includes a breakdown of how royalties are divided: what percentage of each coin earned goes to you personally, the collaborators, and what percentage goes to the label to cover its initial investment and receive further profits that the label could invest in your promotion again.

Musical kickbacks

The Copyright Protection Society (MCPS) pays royalties for each copy of your track. This means that the more records you sell, the more you get. In addition, if your song ends up on CDs, or DVDs, or is used in any other way, then you also receive a certain amount for this.
For example: there are 20 compositions in the collection, and one of them is yours. This means that the Copyright Society will pay you 5% of all sales.

The long-awaited release of your music

Releasing your music means using your track in any form, and any revenue generated by the release of your music can come from many and varied sources. In reality, money comes in from every time a song is played on TV, radio or used as a film soundtrack, money comes in even when the track is played in Topshop dressing rooms. The list goes on and on.

Theoretically, it turns out that you get money for any use of your track. This system works thanks to collection agencies such as PRS in the UK or ASCAP (American Society of Composers, Writers and Publishers) in the US. These organizations track all the ways your music is used, then collect and distribute the money accordingly.

TV, movies and more

The main distribution channels and sources of profit in the music industry are TV, film and video games, and specifically, the distribution of the soundtrack of your music through these channels. The advantages of a phonogram are obvious: they will pay you just to use your composition; as a result, you receive new income from the fact that your song is used in film projects or TV shows, for example, as a soundtrack. Using your music in this way allows you to increase the recognition of you and your work, since it will be heard by a potentially huge audience that was not previously familiar with your music.

It's not easy to get tracks into TV and film projects, but there are specialized production companies that will act on your behalf to push your music in one direction or another. So, you can continue to do your own thing while agencies like these promote your tracks to people involved in film and television.

The need to compile a catalog of music that will be in the music library of music companies (in lately referred to as production music companies) is quite understandable. After all, it is such a catalog that is potentially the most profitable of all the things you will do. As a rule, such a company will take a percentage for promoting your music. But you don't have to pay them upfront to represent you. Payment is made upon receipt. What's even better is that they don't get paid until your music hits the market, which means they'll work as hard as they can to get the word out about you.

Think about Rembrandt's "I'll Be There For You" - the Friends soundtrack - and how many people around the world know him...

Other sources of profit

What if you wrote and produced absolutely nothing? Don't worry, you can still make money from music. PPL streaming is not some typical distribution channel for songwriters. This is an additional source of royalties paid by broadcasters to artists for the use of their music. All those involved in the creation of the song (bassists, backing vocalists, etc.) also receive a small amount for their work.

Distribution

The distributor is responsible for getting your music from the warehouse to the store. To do this, if you create physical content, you need to enter into a distribution agreement.
As we know, 'physical' music lags in popularity compared to digital music, which is good news if you're starting your own label, since distribution doesn't have to be as effortful or expensive. Digital distribution means that your records will be available for sale digitally in all the places where your fans want it. For example, Amazon, Beatport, iTunes. In other words, digital distribution saves you from unnecessary fuss in every sense.

And finally

All of the above is quite difficult to accept, but if you want to connect your life with music, then you must understand the basic mechanisms of such a huge musical machine, and you must be ready, if you really want to make a name for yourself and leave a mark on the musical field, take on this is the case and go to the end, no matter what.
And we wish you good luck!

The beginning of the 20th century is characterized by the rapid development of the music and entertainment industry. The St. Petersburg Philharmonic Society, the Moscow Philharmonic Society, the Russian Musical Society, the Russian Music Circle, and the concert music organization “House of Song,” which existed until 1918, played a major role in the development of concert activities. The musical stage during this period was mainly in the hands of private enterprises.

The recording industry is developing particularly rapidly. The first record factory in Russia opened in Riga in 1902. And in 1907, the production of records was organized by the Pathé company, which imported matrices from abroad (since 1922 - “Factory named after the 5th anniversary of October”). Since 1910, the Metropol-Record factory at the Aprelevka station near Moscow began producing records. In 1911, the factory of the Sirena-Record partnership was put into operation, which printed 2.5 million records in a year.

The State Duma adopted the Law “On Copyright,” which for the first time took into account the interests of record companies. The Agency for Musical Rights of Russian Authors (AMPRA) was founded. The annual gross production in Russia was 18 million records, and there were about 20 companies operating in the market. The Aprelevsky plant increased its capacity to 300 thousand records per year. A “Syndicate of United Factories” was created in order to counteract large foreign manufacturers. However, after the outbreak of the First World War in Russia, their number decreased.

In 1915, the “Writing Cupid in Moscow” plant came into operation. Before the revolution, there were six factories in Russia that produced 20 million records per year; in addition, 5-6 million were produced using imported matrices. Most of the factories were founded on personal Russian capital - “Partnership of Rebikov and Co?” and others.

However, at the same time, the market is faced with the first negative phenomena in the music industry, which are also characteristic of modern show business. The first pirated records appeared, produced by the Neographon company and the St. Petersburg branch of the American company Melodifon. Entrepreneur D. Finkelstein went the furthest - his Orthenon partnership produced exclusively pirated records.

Similar phenomena occurred in music publishing houses. At the beginning of the 20th century, music publishing in Russia reached a high level of development, not inferior in terms of printing technology to foreign musical publications. Russian music publishing houses such as Jurgenson's have gained worldwide recognition.

In the first decades of the 20th century, there were numerous music stores - firms on the periphery (Yaroslavl, Rostov-on-Don, Yekaterinburg, Saratov and other cities) engaged in music publishing activities. Music publishing houses and music stores in Russia published catalogs of the sheet music they published, which are to this day valuable sources for studying the musical tastes of the era.

Dramatic changes in the art of music occurred after the 1917 revolution. Publishing business passes into the hands of the state (Decree of the Council of People's Commissars of December 19, 1918). In 1921, music publishing houses and music printing houses merged into a single music publishing house, which in 1922 became part of Gosizdat as its music sector. In 1930, the music sector was reorganized into the State Music Publishing House "Muzgiz" with a branch in Leningrad, which became the largest music publishing company.

During these same years, a number of other music publishing houses operated, in particular, the cooperative “Tritron” (1925-1935). They published sheet music and books on music. A number of companies are involved in the occasional release of sheet music public organizations and departments: Moscow Society of Dramatic Writers and Composers (MOPIK, 1917-1930), All-Union Directorate for Copyright Protection.

In 1939, the USSR Musical Fund was created under the Union of Composers, whose tasks included publishing works by Soviet composers. In 1964, Muzgiz and Soviet Composer merged into one publishing house, Music, but in 1967 they separated again. These publishing houses publish the magazines “Soviet Music” and “Musical Life”.

The record industry was also undergoing a period of dramatic change. This industry was nationalized. And one of the first gramophone records released under Soviet rule was a recording of a speech by V.I. Lenin "Appeal to the Red Army". In 1919-1920 The “Soviet Record” department of “Tsentropechat” produced more than 500 thousand gramophone discs. These were mainly speech recordings - speeches of prominent party and public figures.

In the 20s, production was resumed at old enterprises, and in the 30s, the All-Union Recording House began work in Moscow. In 1957, the All-Union Recording Studio was founded. In 1964, the All-Union company Melodiya was created, which united domestic factories, houses and recording studios and became a monopolist in sound recording for many years.

There have also been big changes in concert activities. The organization and management of the entire industry passed into the hands of the state, which had a great influence on the ideological orientation of the performers’ creativity. This has become especially noticeable in the field of pop art. Special government institutions were created that organized concert activities of artists of all genres, including pop.

This system, under the auspices of the Ministry of Culture, included “State Concert”, “Soyuzconcert”, “Rosconcert”, republican, regional and city philharmonic societies, concert associations that managed the entire complex concert life in our country. Free enterprise was punishable by law as an illegal activity. Together, during this period, musical, educational and cultural work comes to the fore.

Concerts take place not only in concert halls of big cities, but also in small clubs, cultural centers, in the workshops of factories, factories, state farms, collective farms, in red corners and on farms. At the same time, the artists were paid according to strictly established tariffs - from 4.5 to 11.5 rubles per concert.

With the emergence market economy Alternative directions are beginning to develop on the official stage. Problems arise related to the reorganization of this activity. A main contradiction has emerged: between the personal nature of talent and the state’s practice of appropriating its labor. After all, the right to pay the performer based on demand was previously absent. The emergence of numerous firms and companies working in the musical variety industry has become an objective response of modern times to the increased interest of both consumers and entrepreneurs in the variety music industry in general and its directions.

In Moscow there are currently over seventy public and private associations, firms, companies, and associations involved in organizing concert activities. Without taking into account illegal, unregistered associations, such multifaceted activities can only be managed by highly professional specialist managers, who must not only and not so much satisfy the growing demands of the public, but also anticipate them, clearly grasping market conditions and monitoring the activities of competitors, taking into account other factors in their work of this market, such as the solvency of the population, etc.

The famous British media retailer - HMV (His Master's Voice) - has been declared bankrupt since Monday. The retail network, which existed since 1921, could not withstand the competition with online sales, which have become the main form of music distribution. The advent of new technologies requires new approaches to regulation. Review of the study. Glinna Lunny

The need to adapt the existing copyright regulation regime is long overdue. In his study “The Mercantilist Turn in Copyright” (Copyright's Mercantilist Turn: Do We Need More Copyright or Less? Tulane Public Law Research Paper No. 12-20). Professor of Law at Tulane University Glynn Lunney (Glynn S. Lunney) analyzes the position of supporters of tightening copyright regulation. Passing laws such as SOPA And PIPA, in their opinion, will contribute to income growth in the creative industry. Mr. Lunny doubts the viability of such an argument - it seems that by tightening copyright regulation, all that can be achieved is that the state will artificially redirect part of the income from other sectors of the economy to the creative industry. But at the same time, modern digital technologies form new incentive mechanisms creative personalities to create new cultural values, which is supported by the results of his empirical studies of the music industry.

Stages of the creative industry

New technologies have often led to radical transformations in various spheres of human activity. The advent of Guttenberg's first printing press, and later devices for sound and video recording, significantly reduced the cost of copying and made distribution possible. creative works without the direct participation of their authors. In the early stages of the development of these technologies, inventors were able to successfully distribute (not for free, however) copies of multimedia content without paying royalties to their authors. For example, in late XIX century, the mechanical piano (pianola) and punched tapes on which notes were recorded became actively widespread, which made it possible to massively copy and distribute musical compositions.

In such conditions, composers and score publishers risked being left without income. To resolve the growing conflict, an agreement beneficial for both parties was reached. Copyright began to extend to copies of works and musicians, together with score publishers, received the right to receive income from distributed copies, and record companies minimized the possibility of market monopolization by score publishers and received guaranteed access to musical compositions for a fee. This model of copyright protection still applies today both in the music industry and in other sectors of the creative industry. There is a concept according to which such a model can reduce transaction costs, but it remains insensitive to changes in economic conditions.

The digital rebirth of the music industry

The widespread adoption of digital technologies over the past few decades has significantly transformed our society. Co-Director of the Berkman Center for Internet and Society at Harvard University Yochai Benkler (Yochai Benkler) in his book “The Wealth of Networks” notes that digital technologies have made it possible to form a network information economy, which combines both market and non-market elements. Such an economy operates on the basis of a universally distributed technological infrastructure (computer equipment is owned and controlled by individuals). The “raw materials” are public goods (information, knowledge, culture), the “marginal social value” of which is actually zero. However, human creativity and the computing capabilities of technology are limited resources. A social systems production and exchange (peer-to-peer) allow you to use these resources more efficiently.

Digital technology has transformed the music industry. Now for recording and distribution music album, for example, it is enough to have not very expensive recording equipment, a computer and Internet access. As a result, musicians no longer need to turn to well-known recording studios, which control most of the distribution channels for musical content. Reducing costs and risks when creating digital content makes it possible to destroy former barriers to entry into the music market, which contributes to the formation of a highly competitive environment and the emergence of new ones creative works. But at the same time, music products are actually “leaking” out of the hands of their producers into a digital environment in which they are increasingly less able to control its distribution, and industry revenues have declined. Does this affect the motivation of creative individuals to create new cultural values?

The government strengthens support for copyright

To survive in the music industry, record corporations are forced to adapt to the new conditions of the digital age. But instead of promoting a competitive environment in the industry, the US government is pursuing active internal and foreign policy aimed at maintaining the existing “status quo”. The most significant example of the strengthening role of the state in regulating intellectual property at the domestic level is the adoption by the White House in 2010 of the General Strategic Plan for the Protection of Intellectual Property, which is aimed at to a greater extent to combat counterfeiting than to reform legislation in the field of intellectual property protection, incl. and copyright.

In his article, Tulane University Law Professor Glynn Lunney notes that such a US departure from neoclassical approaches to international trade may be premature. Proponents of tightening copyright regulations argue that such actions will contribute to economic growth, job creation and income growth in the creative industries. But copyright advocates often overlook how tightening copyright regulation will affect other sectors of the economy.

As an analytical model for considering this interaction, Mr. Lunney suggests using Frederic Bastiat's broken window paradox, according to which if a boy breaks a glass in a baker's shop, the latter will have to order a new one, which will create a demand for the glassblower's products and glazier's services. But if the glass had remained intact, the baker would have been able to buy new boots with this money. As a result, the economy grew, but no new value was produced for the baker. Similarly, in the creative industry, even if the expansion of the copyright regime creates new incentives for economic growth, this will not always lead to the creation of new values for society. This can lead, for example, to the “pumping” of resources from other sectors of the economy.

Making music without copyright

During the first decade of the 2000s, after the appearance of the first music file-sharing service Napster, industry revenues fell by more than half (see Figure 2).

Figure 2. Volume of music sales (in 2011 prices)

How often music reaches us from everywhere. Music becomes the sound background of our lives. Do you know the feeling when you simply forgot to take your headphones with you? Silence, no, even emptiness. It’s unusual, and your hands try to turn on something. The music stops playing - the inner voice turns on, and somehow you don’t want to listen to it at all. Reminds us of unfinished business, reproaches us for something, and brings serious thoughts. No, I wish it had started soon new track. We’re just used to music, we’re used to not being alone all the time, but with these fun (or not so fun) musical rhythms.

Probably everyone has favorite melodies, the sound of which brings up lines of familiar songs somewhere deep inside. At the same time, it often happens that a person knows the lyrics of a song by heart, but he has never thought about the meaning of the words imprinted in memory and even often spoken. This happens because most people are used to listening to music in the background or relaxation, that is, relaxing and not thinking about anything, enjoying emotions or simply immersed in extraneous thoughts.

As a result of such listening, a person’s worldview is filled with texts and meanings that have not been filtered at the level of consciousness. And since the information is presented accompanied by various rhythms and melodies, it is absorbed very well, and subsequently begins to influence human behavior from the subconscious level. What kind of behavioral programs is conveyed to a mass audience by modern popular music - the kind that is played on TV and radio, and is it possible to treat it unconsciously, that is, without thinking about its influence? Let's watch some video reviews:

After watching these videos, it is appropriate to recall a quote from the ancient Chinese philosopher Confucius: “The destruction of any state begins precisely with the destruction of its music. A people without pure and bright music is doomed to degeneration.”

Please note that in the last review we were talking not only about the content of specific songs, but also about the general focus of the topic popular music. This important nuance, which must be taken into account. After all, music should reflect different aspects of our lives, and not elevate any one to inappropriate size and importance.

A person’s creativity, when it comes from the soul, always reflects it inner world, touches on issues of personal development, searching for answers to pressing questions. If creativity is replaced by business, and making money comes first, then its content is automatically filled with corresponding meanings and forms: primitive, stereotyped, insipid, stupid.

Listening to the content that is played on most radio stations today is a real process of programming people to unconsciously implement in their lives all the behavioral models listed in the videos.

At the same time, in the presented video reviews, only the content of the texts and video clips were analyzed, but the rhythm, tonality, melody, and volume of the music have a huge impact on a person. After all, any music is, in the end, vibrations that can either harmonize with internal state person, or literally act destructively.

The influence of music on society

Dissonance in music, sudden changes in rhythm, loud sound - the body perceives all this as stress, as a polluting factor that affects not only the nervous, but also the cardiovascular and endocrine systems. On the Internet you can find the results of many experiments that show that if classical or folk music improve mental abilities, then modern pop music, built on the same rhythms, or heavy, ragged music, on the contrary, depress the human psyche, worsening memory, abstract thinking, attentiveness.

You can clearly see the influence of music in these pictures:

These photographs were taken by Japanese explorer Masaru Emoto. He exposed water to various melodies and human speech, after which he froze it and photographed the resulting frozen water crystals with high magnification. As can be seen on the slide, under the influence of sounds classical music crystals of distilled water take on graceful symmetrical shapes; under the influence of heavy music or negative words, emotions, frozen water forms chaotic, fragmented structures.

Considering that we are all mostly made of water, you can imagine how much influence music has on us. For this reason, the choice of those compositions that you often listen to yourself or play for your children should be made consciously, assessing the impact of the music and the effect that you would like to achieve.

Music influences a person in 3 aspects:

The content of the lyrics and video clips
Vibrations of music (rhythm, tonality, melody, voice timbre, etc.)
Personal qualities of popular performers whose lives are on display

The third point on this slide we highlighted the personal aspect associated with the morality of those performers who receive fame and glory. Since modern show business is built on the fact that it brings to public discussion the entire personal life of the so-called stars, imposing them on the younger generations as idols personifying “success”, when evaluating modern songs one must also take into account the lifestyle that they convey by their example their performers.

Everyone has probably heard about such a popular Western singer as. Let's see what ideology she promotes through her creativity and personal example.

As part of the Teach Good project, similar reviews were made of other most popular Western performers: , - and the same thing everywhere. Their careers develop as if according to a pattern: from relatively simple and modest girls, having entered the show business industry, they gradually turn into those whose photographs and works of creativity are even awkward to demonstrate during a lecture due to obsessive vulgarity and vulgarity.

At the same time, it is these stars who are constantly awarded the main awards. music awards, their videos are played on TV channels and radio stations, even here in Russia their songs are played regularly. That is, the same system is built in the music industry, based on 3 main tools: award institutions, financial flows and control over the central media.

Where to look for good songs?

Through this barrier good performers– for those who sing truly meaningful songs and try to direct their creativity for the benefit of people, it is almost impossible to break through. The situation is only beginning to change today, when with the advent of the Internet, each person has the opportunity, through their accounts on social networks, through blogging and website creation, to act as an independent means mass media.

The emergence of the Teach Good project and many other associations of caring people is a natural process of destruction of the old system, built on strict control of persons admitted to the media. And it is on the Internet that you can find songs by those artists whom you will not hear on TV, but whose music is really pleasant and useful to listen to.

They also tour cities, perform on stages, and sell out houses, but their photographs are not published in glossy magazines, and their songs are not broadcast on popular radio stations or music TV channels. Because for the modern music industry, their work does not fit the “format” determined and imposed on a wide audience through the same media, or rather, the means of forming and managing public consciousness.

As an example of meaningful creativity, we bring to your attention one of the songs that was invented and recorded by readers of the Teach Good project.