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Music

Digital Music Release

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Digital Music Release

Introduction

Technological innovations and improved internet connection contribute to e-commerce expansion. E-commerce refers to transactions that are carried over the internet. It is a shift from the brick and mortar business model. E-commerce allows for geographical expansion, better connection with customers, and lowering the cost of operation. The following project is an analysis of ways that E-commerce can be used in music distribution (Hammond, 2014, 390). Digital music can be accessed through the internet and thus easily distributed. The marketing plan feature creations of a website, distribution partners, and ways of contacting the customers. Nonetheless, the music is based on both anti-violence and anti-war themes. As such, digital music intends to leave a positive footprint in the industry (Bockstedt et al., 2006, 25).

Other than generating revenues, the marketing plan focused on supporting other artists. Both cryptocurrencies and Spotify are cited as essential in music distribution. Visuals are central to any marketing approach. Compelling visuals draw many customers and generate high traffic. A marketing plan guides a business into attaining financial success. The marketing plan sought to create awareness levels for digital music. It discusses the metrics of gauging success and ways of venturing into broader markets. Currently, social media platforms are emerging as instrumental in marketing both services and products. However, this equally calls for the creation of trackable links.

The marketing plan focuses on an extended play record (E.P.).  It is a music recording that has more than one track but unqualified to be classified as an album. E.P.s are less time consuming and cost-intensive and thus ideal for music promotion/ marketing. The introduction of music downloads and streaming makes E.P.s common among pop artists. It is a way through which an artist can remain relevant and offer quality music. The marketing plan has researched the target audience, appropriate campaigns, competitors, and other environmental factors. The creation of a website allows the customers to browse new music and concerts within their localities.

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Anti- War, Sexual-Violence Themes in the E.P.

The lyrics were written in September, which is before the prior planning of the E.P. On the other hand, October entailed the planning and structuring of the E.P. The planning period also saw the valuation of digital platforms such as Spotify and ditto. The move was to determine the best platform to market the music. In November, I compared the services of a different producer. The comparison allowed me to come up with the notation and actual music. There was also a selection of the themes and visual elements that would make the music more appealing to the selected group.  In December, I spent most time rephrasing the content of the E.P.  We also did recording demos in preparation for the E.P. in January.

The primary topic that is communicated in the E.P. is sexual violence. The E.P. is thus a protest against sexual abuse and discrimination. It is centered on a Roman woman who was defiled by a Roman General, Sextus Tarquinius. The general was the brother to the Roman’s woman husband. The message is communicated using a blade soaked in blood. The blade is a roman knife familiar with the soldiers.  The blade is thus a reflection of the Lucretia period. The blade is used as the cover of the E.P.  There is an additional painting of the woman which captures the rape ordeal. After the ordeal, the woman killed herself.

The events triggered a war that almost tore down Rome. The song Sextus Tarquinius is contained in the E.P. It captures the war events. The E.P. can thus be defined as being a campaign against women discrimination. It fights against the perception of women by men. By focusing on the war that broke in Rome, it also carries a heavy antiwar theme. The work thus targets civil rights movements, young individuals, and groups keen on campaigning for gender equality. Other than entertaining, it seeks to educate society on the dangers of rape and sexual violence.  It further means that women would form a significant portion of the audience. The music audio and visual elements must thus appeal to this group.

SMART Objectives

  1. Specific

The specific objective of the plan is to market the E.P. to youths via online platforms. The song carries specific themes that conform to the preferences of the target group. Although there are other objectives, such as having concerts, the major aim is to increase the fan base. Online platforms provide an avenue where one can interact with the fans and share different information. An increase in the fan base will translate to better music reception and high revenues.  The determination of the specific goals calls for the evaluation of the market trends and changes in pop music. The goals and music being produced must conform to the tastes and preferences of the fans.

  1. Measurable

The above objective is measurable as the number of customers can be determined. The fans will be required to open a free account on the website. The purpose is to ensure that all their activities can be tracked and that their opinions analyzed. The situation can also be monitored by determining the sales levels. High sales will serve as an indication that the objective has been realized. Other than the sales, it is possible to monitor the success of the release by following social media activities. A successful release would translate to more mention and trending news on social media platforms.

  1. Actionable

The selected goals are actionable and can be implemented at any time setting. The first goal is the creation of a fan site that will allow them to stream music. It is a major step in attaining the goals of the marketing plan. Although it will take time to secure a large fan base, making the initial steps is crucial. Nonetheless, the hard part is in marketing the fan site and the website. It is vital to develop some interest and commitment among the fans. On the other hand, it is vital to monitor the ongoing trends in the industry.

  1. Realistic

It is crucial to separate between dreams and fantasies. Although dreams lead to vision, they must be actionable. In this case, there is the setting of time frames that each of the goals would be attained. The objective is to ensure that the website and fan site generate traffic of 10, 000 people during the first six months. The figure is attainable as music is a common young individual (Knight, 2018). The use of social media platforms will also make it easy to attain the figure. Likewise, there is a consideration of copyrights and other legal requirements. Conforming to these regulations will minimize legal hurdles and other challenges in producing and marketing the music.

  1. Time

Time is an important factor in the implementation of any business plan. It calls for scheduling and determination of time that is to be spent in each stage. In outlining the above goals, there has been the setting of deadlines. They will be used to evaluate the efficiency levels or areas that need preplanning. The limited-time calls for the close working with other partners and experts. In the case of distribution, there will be a collaboration with Spotify and other online music platforms.

Research Background

Target Market

The music carries an anti-war theme. It is appealing and fun to listen to. Although it can be listened to by a general audience, it largely targets the youth. The choice of this target group is based on the fact that they account for the largest portion of the population.  It means that there is a possibility of having a large client base. The marketing plan aims to ensure that the album has many fans.

Moreover, the theme carried in the album mainly connects with the youth. They will thus find the song as being appealing. Additionally, the marketing and distribution methods for the music align with the trends of the population. It is worth noting that the youths have a high preference for digital and online music. The trend can be linked to the introduction of social media platforms.

The target audience closely monitors merging technologies. An example is video streaming, which is becoming a common way of consuming music and videos. The group is behind most of the changes in the media industry. It implies that the selection of streaming services can easily register a success. Having many youths love the album will translate to increased brand awareness (Eriksson, 2020, 9). The other reason is that youths are more outgoing and fun-loving as compared to other demographic groups. The album will largely be played in entertainment joints, which are often frequented by the youths. It is easier to engage the youths on social media platforms, thus lowering the operational costs.

Appealing to the target population requires captivating visuals and conforming to the merging trends. The music may be shared on social media platforms such as Instagram and Twitter. The youth have a high prevalence of social media platforms in most of their communications (Essling et al. 2017, 35). On the other hand, there is the option of issuing rewards such as golden coins. These coins will be used to access bonus tracks and other media content. They will serve as the main attraction and draw many fans to the site. On the other hand, many fans who know the artist will love the signed merchandise. The signing of the merchandise is to create a personal connection with the fans.

Music Distribution

  1. The Fan Site

The music is primarily distributed via online platforms. The fans can listen and download the music. Likewise, there is close collaboration with other distributors such as Spinup and Spotify(Arewa, 2017). One of the distribution approaches is the creation of a fan site.  The fansite is a platform where fans can interact with artists and accesses new music. Having a close connection with the fans is critical in boosting high revenue levels (Bromberg, 2019, 65). The site allows for the close sharing of music and interactions with one another. The inability to engage with the fans can lead to switching to other brands. It is thus vital to engage with the fans and address their queries.

  1. Social Media Platforms

In the past years, there has been an increase in the number of social media platforms. Smartphones and personal computers make these platforms easily accessible. Some of the common platforms include Facebook, Twitter, and LinkedIn. Other than entertaining, they are vital tools in marketing and boosting product awareness levels. Social media platforms allow for the sharing of visuals, audios, and other media content (Aguiar, 2017, 18). The platforms will allow for music distribution and informing the fans of upcoming shows. It is a cheaper way of interacting with the customers and expanding music awareness levels.

Unlike other marketing approaches, social media platforms are not restricted to geographical locations. On the contrary, users can interact with one another across the globe. The E.P. can thus be distributed in different regions in Europe and Asia. On the other hand, the artist has access to a large fan base. While physical interactions may be challenging, online presence creates close ties with the fans. The artist can learn of the ongoing market trends and music reception. Changes and production of more appealing music are based on fans’ interactions. It also makes it possible to convert fans into loyal customers.

  1. Spinnup

Spinnup is an effective platform in music distribution. The Universal Music Group owns the platform. The Company has networks across the globe and has, in the past, been effective in marketing media content. It can thus offer aggregator service to the album. Spinnup

Closely works with other music retailers such as Tidal, Amazon Music, Spotify, and Google Play(Eriksson et al. 2018). It works with independent artists or musicians not signed by other labels. It has over 500 000 artists. It is an indication that the platform is effective in music distribution. The artist creates an account without any charges. Payments are only made after making a music release. The charge of distributing the music is lower as compared to other platforms (Danielsen, 2018).

However, the fans may have limited access to content as compared to the website provisions. The argument rests on the fact that Spinnup will only distribute the new release. However, the fan site and website offer a variety of information (Harvey, 2018). Such information includes the dates or future releases, upcoming events, and other information. Annual payments are required to keep the album online. Spinnup will thus serve as a way of complementing other distribution approaches (Dimmont, 2017).  Spinnup comes with some advantages as all the royalties are paid to the artists. Additionally, the artist retains all the rights to the album. It is thus a suitable distribution approach for new and upcoming artists.

  1. Spotify

Spotify is one of the leading music retailers in the globe. It serves as an outlet for distributing digital music. It primarily operates via online platforms. The fans pay for the music they intend to download.  Currently, streaming is becoming one of the most preferred ways of accessing music and videos. In this case, the fans can stream the E.P. via the Spotify website. Unlike the option of downloading, the fans can access to different video qualities at lower costs (Arditi, 2019, 620). The Company has partnered with different labels as a way of ensuring that it has access to new music. Its services will come in handy in promoting the artist and ensuring that the fans have access to quality music.

  1. Website (cryptocurrency)

The website serves as the primary way of marketing music. It features background information on the song, the artists, and other information. The fans can search for different information and stream the E.P. The website equally comes with earnable cryptocurrency. The currency is based on the roman cons. Under this setting, the fans will earn some coins for every music they stream (Ko et al. 2016). The promotion is ideal in attracting and retaining customers. It is an award scheme where the fans earn some coins for streaming the songs. On the other hand, earned rewards can be used to access more music or other services.  An example is that earning 500 coins allows the fan to access a bonus track.

Another approach that is effective in attracting more customers and increasing the revenue levels is offering signed merchandise. Having many coins will offer the option of having rewards such as books or other signed merchandise (Song et al. 2018, 1670). Through the reward system, there is the ability to create lasting relationships with the fans. Additionally, it makes the fans feel appreciated and loved by the artist (Greener, 2019). Other than the outlined platforms, other approaches can be used to market the song. Their selection is based on the distribution cost and the ease of accessing the E.P. The cost should below as this will attract many fans.

Evaluation of the Campaign

Although the campaign is well structured to meet the set goals, changes can be made with additional funding. The marketing plan is based on a restricted budget and time. The campaigns are mainly done via online platforms and social media networks. Social media platforms such as LinkedIn and Twitter make it possible to connect with the audiences. Engaging with the fans allows for a better understanding of the themes and information contained in the E.P. The selection of the social media platforms is based on the fact that there are cost-efficient. It is also possible to reach a wide geographical region within a short time (Meier and Manzerolle, 2019, 550).

Other than the use of social media platforms, there is an emphasis on close working with other music distributions. The decision is based on the need to reduce operational costs. Under this arrangement, the campaign will seek to use the distribution channels of other campaigns (Sellin, 2017). One such distributor is Spotify. Moreover, these platforms allow for the creation of a free account. The artist is only required to make payments after publishing the music. The payments are made on a periodic basis, thus making them ideal for new artists. The other benefit is that professionals manage the platforms. They have an improved understanding of the music market (McCabe, 2019).

A larger budget would also translate to better reward systems. Currently, fans earn gold coins for using the platforms. The rewards can be redeemed to earn a bonus track or other media content. Many digital platforms can be used to market the E.P. (Abdallah, 2017, 15). However, this would; translate to increased expenses (Paterson and Toulson, 2018). Such platforms include Amazon and Google Play store. In short, more financing would contribute to an improvement in E.P. awareness levels. It would also allow for the creation of products and services that are more appealing to the fans. Nonetheless, the current budget caters to the required steps in attaining the set goals.

In future projects, there is the option of introducing cryptocurrencies. The argument rests on the fact that most business operations are shifting to online platforms. Contrary to conventional marketing approaches, there is a need to draw a high traffic level. The traffic would easily be converted to buyers (Spilker, 2017, 150). However, this is only attainable through effective promotion. Through the use of cryptocurrency, it is possible to offer virtual rewards to the customers. An example is that a fan can receive ten coins for every view or streaming of a song. Consequently, the song would have many views within a short period. It is an ideal way of marketing both established and upcoming artists.

However, the music industry is dynamic. There is thus the need to monitor the ongoing trends and adopt the required changes (Redhead, 2015). Technology is also fast-changing. It affects the way of distributing services and goods. Customers are keen on the quality of services that they receive. Offering inferior services would prompt customers to shift to other services. In the case of the E.P., it carries a sensitive theme. It may create divergent views in society. While some listeners would support the theme, others would be opposed to it. It is thus critical to provide some information on the cover and the specific rape case being addressed. The move will ensure that the listeners easily resonate with the message.

The other change that needs to be put in place is working with civil rights movements. Focusing on the themes in the song indicates that they seek to address the issue of sexual abuse. The E.P. cite is as being an infringement of human rights and that it demoralizes women. However, it is sad to note that the incidence often go unnoticed. By covering the war in Rome as a result of Sextus rape case, the dangers of the crime will be covered. Working with feminist groups and civil rights movements will ensure that the music attain a large fan base. It will also positively redefine the image of the artists. In a future release of other E.P.s, it is crucial to partner with artists with a similar mindset (Golden, 2019). It is a way of increasing the fan base and spreading the themes.

Conclusion

Based on the provided information, it is apparent that the plan has critically considered the ongoing trends in online business and the music industry. It is keen on exploiting e-commerce tools. They allow for a reduction in the operational costs and help capture a large market. They further conform to the ongoing trends in the industry. One of the trends is that people are shifting to streaming and downloading media content. The trend is a shift from the buying of music and videos from physical stores. The trend can be linked to better internet connections across the globe. Moreover, streaming and downloading music is cheaper as compared to buying physical E.P.s. They are a number of tools that have been selected to market the E.P.

The selection of these tools is based on the need to penetrate the market better as well as cut the cost of distribution.  They include fansite, website, social media platforms, and Spotify. In the case of both the website and the fan site, they offer access to more details as compared to Spotify. They provide information such as the theme of the E.P., background history, upcoming concerts, and other information relating to the music. However, platforms such as Spotify serve to supplement the distribution and marketing of the E.P. Spotify, and other music platforms have a global client base. It is thus easy to market the E.P. over a wide client. The marketing plan is broken into different phases that are to be completed in specific deadlines. Additionally, it adopts SMART goals that are easy to track and evaluate.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

References List

Abdallah, S., Benetos, E., Gold, N., Hargreaves, S., Weyde, T., and Wolff, D., 2017. The digital music lab: A big data infrastructure for digital musicology. Journal on Computing and Cultural Heritage (JOCCH)10(1), pp.1-21.

Arewa, O.B., 2017. Copyright and Cognition: Musical Practice and Music Perception. St. John’s Law Review90(3), p.3.

Hammond, R.G., 2014. Profit Leak? Pre‐Release File Sharing and the Music Industry. Southern Economic Journal81(2), pp.387-408.

Backstreet, J.C., Kauffman, R.J., and Riggins, F.J., 2006. The move to artist-led online music distribution: a theory-based assessment and prospects for structural changes in the digital music market. International Journal of Electronic Commerce10(3), pp.7-38.

Redhead, T., 2015. Composing and recording for fluid digital music forms. Journal on the Art of Record Production, (10).

Paterson, J., and Toulson, E.R., 2018. Live-market evaluation of interactive music apps.

McCabe, J., 2019. Beyond the music: an artist’s road to release (Doctoral dissertation).

I’m, H., Song, H. and Jung, J., 2018. A survival analysis of songs on the digital music platform. Telematics and Informatics35(6), pp.1675-1686.

Bromberg, L., 2019. The Art of Music Collection Behaviours in the Digital Age. The journal: Graduate Student Journal of the Faculty of Information4(2), pp.61-69.

Arditi, D., 2019. Music Everywhere: Setting a Digital Music Trap. Critical Sociology45(4-5), pp.617-630.

Ko, H.T., and Lau, H.Y., 2016. A responsive framework for optimal advertising policy in the digital music market. Journal of Industrial and Intelligent Information.

Sellin, D., and Seppälä, T., 2017. Digital Music Industry–Background Synthesis (No. 48). ETLA Working Papers.

Spilker, H.S., 2017. The regulation of digital music distribution: Assessing the states and futures of the field. In Digital Music Distribution (pp. 149-169). Routledge.

Greener, G., Salcum, S., and Goldberg, D., 2019. Electronic Word of Mouth and the Music Industry in the Age of Web 2.0.

Danielsen, A., 2018. Music, media, and technological creativity in the digital age.

Harvey, E., 2018. Selling digital music: Formatting culture.

Aguiar, L., 2017. Let the music play? Free streaming and its effects on digital music consumption. Information Economics and Policy41, pp.1-14.

Essling, C., Koenen, J., and Peukert, C., 2017. Competition for attention in the digital age: The case of single releases in the recorded music industry. Information Economics and Policy40, pp.26-40.

Dimont, J., 2017. Royalty Inequity: Why Music Streaming Services Should Switch to a Per-Subscriber Model. Hastings LJ69, p.675.

Eriksson, M., Fleischer, R., Johansson, A., Snickars, P., and Vonderau, P., 2019. Spotify Teardown: Inside the black box of streaming music. MIT Press.

Eriksson, M., 2020. The editorial playlist as container technology: on Spotify and the logistical role of digital music packages. Journal of Cultural Economy, pp.1-13.

Knight, M.S., Lamb, M.I., Lewis, R.J., Pocock, S.W., Sant, P.A., Sullivan, M.P., and Evans, C.J., Omnifone Ltd, 2018. Method of enabling digital music content to be downloaded to and used on a portable wireless computing device. U.S. Patent Application 15/973,646.

Golden, A., 2019. Music Business Is Being Redefined By Generation Z. Sign.

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