Papers by Cande Sánchez-Olmos
Tripodos, 2019
espanolEste articulo analiza el brand placement del top 30 de la lista de exitos Billboard Hot 10... more espanolEste articulo analiza el brand placement del top 30 de la lista de exitos Billboard Hot 100 de 2016. Para ello se proponen los siguientes objetivos especificos: conocer que artistas, marcas y productos aparecen en los hits internacionales; observar el tiempo que ocupan las marcas en los videoclips y analizar si las marcas se integran o se imponen forzando la narrativa del videoclip. La metodologia —que combina tecnicas cualitativas y tecnicas cuantitativas— se inicia con un analisis de contenido que pretende medir la frecuencia y el modo en que las marcas son integradas en los videoclips. En segundo lugar, se aplica un analisis cualitativo con perspectiva semiotica para observar la integracion de las marcas en el discurso audiovisual. La muestra se centra en la lista de exitos Billboard, la mas importante de la industria de la musica a escala internacional en 2016, un ano que destaca por la recuperacion del sector discografico. Los resultados apuntan que el videoclip se convi...
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espanolLos mass media en general y los medios audiovisuales en particular son medios socializador... more espanolLos mass media en general y los medios audiovisuales en particular son medios socializadores en tanto en cuanto combinan el caracter ludico con una faceta pedagogica, capaz de entretener, informar y tambien formar de forma amena y dinamica. Aunando las posibilidades pedagogicas del producto audiovisual con la nueva sociedad digital y los cambios en los habitos de consumo imperantes, identificamos el formato cortometraje como un genero capaz de asumir las tres vertientes --divertir, informar y formar-- y, a su vez, hacerlo de forma acorde con la sociedad de la inmediatez, la revolucion digital y el propio empoderamiento de los consumidores. A su vez, analizamos sus categorias narrativas y formales para observar como se proyecta el contenido. En este trabajo se pretende reflexionar sobre las posibilidades del cortometraje como producto audiovisual dentro de las aulas, como recurso para la educacion en la diversidad, en especial, para la educacion en la pluralidad sexual dentro ...
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Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes
Los Ríos de Alice es un videojuego-app. producido por Delirium Studios y Vetusta Morla, una banda... more Los Ríos de Alice es un videojuego-app. producido por Delirium Studios y Vetusta Morla, una banda paradigmática de la autogestión y autoedición en la industria musical en España. Esta aplicación, que está disponible para diferentes plataformas, es la nave nodriza que ha dado lugar, entre otros contenidos, a un disco en formato físico y digital, diferentes videoclips y diversos vídeos generados por los usuarios que están alojados en internet y que expanden la narración audiovisual del videojuego. El objetivo principal de este artículo es analizar la producción y expansión transmedia de una aplicación que combina música y videojuego. En este sentido, los objetivos específicos apuntan, en primer lugar, a analizar cómo ha surgido y se ha producido este videojuego desde una base musical; en segundo lugar, observamos si se ha conseguido la expansión del relato musical en las diferentes plataformas por las cuales transita el relato de Alice. Por último, prestamos atención a la participació...
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Journal of Promotion Management , 2020
The aim of this paper is to analyze the presence of artists, brands and products in music videos ... more The aim of this paper is to analyze the presence of artists, brands and products in music videos in the best-selling songs; the Billboard Hot 100 from 2003 to 2016. Using a content analysis, we look at 420 music videos at the top of the chart and which artists had more placements, what kind of brands and products were more likely to be linked to music, and the ratio of appearances between placements, brands and products. Firstly, some artists repeatedly appeared at the top of the chart, thereby implying there is a high concentration of a few pop stars in the chart (Rihanna, Katy Perry, Beyoncé and Bruno Mars and Taylor Swift) and Chris Brown was the artist with the highest number of placements. Secondly, results show that Adidas, Nike and Chevrolet are the most brands placed.
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Miguel Hernández Journal, 2020
La experiencia de marca a través del estudio de caso de campañas de branded content musical: "Un ... more La experiencia de marca a través del estudio de caso de campañas de branded content musical: "Un lugar llamado mundo" de San Miguel Cande Sánchez-Olmos |cande.sanchez@ua.es Universidad de Alicante Resumen El objetivo general de esta investigación es analizar el branded content y su aplicación al marketing de la experiencia a través de la producción de conciertos de rock. Para ello empleamos una met-odología de estudio de caso que analiza la experiencia de marca que realizó la marca de cerveza San Miguel con la campaña "Un lugar llamado mundo" en un periodo de crisis de la inversión en publicidad tradicional en 2013 y 2014. A partir de un análisis de los rasgos formales y de contenido de cada festival musical, se establecen unas conclusiones que muestran las características de la experiencia de marca producida gracias a la música en directo, ya sea presencial o mediatizada. La música en vivo es una expe-riencia estética y cultural que gusta, mientras que la publicidad tradicional molesta. Ahora bien, cuando una marca produce una actuación en directo con fines comerciales se convierte en un formato publicitario como es el branded content. La producción de conciertos de música popular supone una mejora de la imagen de marca a través de implantar estrategias de marketing experiencial. Sin embargo, la marca también genera significados contradictorios y ególatras: el objetivo de la campaña más que la salvación de la música es la utilización de la música con fines comerciales.
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Trípodos, 2019
Este artículo analiza el brand placement del top 30 de la lista de éxitos Billboard Hot 100 de 20... more Este artículo analiza el brand placement del top 30 de la lista de éxitos Billboard Hot 100 de 2016. Para ello se proponen tres objetivos específicos: conocer qué artistas, marcas y productos aparecen en los hits internacionales; observar el tiempo que ocupan las marcas en los videoclips y analizar si las marcas se integran o se imponen forzando la narrativa del videoclip. La metodología –que combina técnicas cualitativas y técnicas cuantitativas– se inicia con un análisis de contenido que pretende medir la frecuencia y el modo en el que las marcas son integradas en los videoclips. En segundo lugar, se aplica un análisis cualitativo con perspectiva semiótica para observar la integración de las marcas en el discurso audiovisual. La muestra se centra en la lista de éxitos Billboard, la más importante de la industria de la música a nivel internacional en 2016, un año que destaca por la recuperación del sector discográfico. Los resultados apuntan que el videoclip se convierte en un soporte promocional de especial interés para las marcas y permiten confirmar que la presencia de las marcas varía desde un emplazamiento impuesto a una integración sutil, pero perfectamente reconocibles por la audiencia.
This paper analyses brand placement in music videos, more specifically the first 30 music videos of the Billboard Hot 100 in 2016. To that end, three specific objectives will be proposed. First, the paper will identify artists who promote brands. Second, the study will analyse which brands and products have been integrated in the music videos. Finally, the paper will focus on the time invested by the brands in the music videos. In this regard, this article will study whether brands have been integrated or, on the contrary, imposed and forced into the narrative of the music video. The methodology –which combines qualitative and quantitative techniques– is based on a content analysis intended to measure the frequency and placement of brands and products in music videos. Moreover, the integration or imposition of brands in audiovisual discourse will be analysed from a semiotic perspective. The sample of this paper comprises the first 30 music videos of the Billboard Hot 100 in 2016. The paper will focus on this chart because it is the most important one in the international music industry. 2016 is also a crucial year because it represents, in general terms, the recovery of the record industry. The results indicate that music videos have become an advertising format where brands integrate their products. However, this integration ranges from imposing to subtly placing brands, which are perfectly recognisable by the audience.
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VOL. 9, NÚM. 2 (2018), 2018
Esta investigación profundiza en las relaciones entre la música y la publicidad y más concretamen... more Esta investigación profundiza en las relaciones entre la música y la publicidad y más concretamente analiza los contenidos o branded content musical producidos por marcas. El análisis de relación entre la música y la publicidad establece a priori una relación simbiótica que plantea un reto: la necesidad de crear el concepto musicidad para explicar cómo y por qué las marcas utilizan la música como vehículo de conexión con una audiencia que rechaza la publicidad convencional. Para ello, observamos qué tipos de sectores producen música y qué forma tienen los contenidos creados por las marcas. Con el objetivo de alcanzar el reto, seleccionamos una muestra de 165 contenidos musicales puestos en circulación por cien marcas distintas entre 2009 y 2013 y aplicamos un análisis cualitativo y cuantitativo. La investigación arroja resultados interesantes. Por un lado, las marcas apuestan por el videoclip como formato para conectar con los consumidores. Por otro lado, las marcas de moda son las más activas en la creación de contenidos musicales. Por último, se demuestra cómo las marcas se han introducido en el negocio de la industria de la música a través de la producción de contenidos musicales y de entretenimiento.
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Icono 14, 2019
Los ríos de Alice is an app-videogame produced by Delirium Studio and Vetusta Morla, a paradigma... more Los ríos de Alice is an app-videogame produced by Delirium Studio and Vetusta Morla, a paradigmatic band of self-management and self-publishing in the Spanish music panorama. This application, which is available for different platforms, is the mothership that has given rise, among other contents, to a physical and digital phonogram, several music videos and numerous videos generated by users that are hosted on the internet and that expand the audiovisual narration of the videogame. The aim of this article is to analyze the production and the transmedia expansion of an application that combines music and videogames. In this sense, the specific objectives point to analyzing how this videogame has been produced from a musical base; then, we will observe if the expansion of the story has been developed in the different platforms related to Alice’s story. Finally, we will pay attention to the participation of users in order to analyze what kind of narrative expansion is displayed in the videos.
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Cuadernos de Etnomusicología, 2017
La canción “All You Need is Love” de The
Beatles ha cumplido en junio de
2017 50 años, y con el... more La canción “All You Need is Love” de The
Beatles ha cumplido en junio de
2017 50 años, y con ella la primera
retransmisión de televisión global en
directo y vía satélite de la historia. El
programa Our World demostró que la
“aldea global” teorizada por McLuhan, el
mundo conectado por la tecnología, era una
realidad. En un contexto bélico y
contracultural, la BBC decidió transmitir un
mensaje fácilmente comprensible para los
telespectadores de los cinco continentes a
través de The Beatles: “All you need is
love”. La canción que inauguró el verano del
amor de 1967 es uno de los hitos que
marcan la relación entre la música, la
tecnología y el desarrollo de la televisión. Si
tal y como explicó McLuhan “el medio es el
mensaje” y los efectos de la tecnología
modifican la percepción que las personas
tienen del mundo que nos rodea, la
utilización de “All You Need is Love” por
parte de la BBC en la primera retransmisión
global en directo merece, cuando menos,
una reflexión.
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Mediterranean Journal of Communication, 2018
This paper explores the relationship between
music and advertising and, more specifically,
brande... more This paper explores the relationship between
music and advertising and, more specifically,
branded music content. The analysis of the
relationship between music and advertising
establishes a priori a symbiotic relationship that
poses a challenge: the need to formulate a
concept to articulate how and why brands use
music as a tool to engage an audience that
increasingly rejects conventional advertising. To
this end, it was necessary to identify the sectors
and brands that produce music, and secondly,
the formats in which this audiovisual content is
presented. This quantitative and qualitative
analysis is based on a sample of 165 music
contents produced by one hundred brands
between 2009 and 2013. The results indicate that
brands use the music video format to connect
with consumers. On the other hand, fashion
brands are the most active sector in the
production of music branded content. Finally, the
paper shows that brands have made an incursion
in the music industry through the production of
music and entertainment contents. The term
musicvertising is proposed to refer to the contents
produced by brands to exploit the power of music
to arouse emotions, provide meaning, seduce,
communicate and create identity.
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Revista Mediterránea de Comunicación/Mediterranean Journal of Communication, , 2018
The aim of this study was to explore the
relationship between music and advertising, and
more spe... more The aim of this study was to explore the
relationship between music and advertising, and
more specifically, to analyse the branded music
content produced for brands. An analysis of the
origin and evolution of music in advertising
established a priori a symbiotic relationship
which posed a challenge: the need to formulate
the concept of musicvertising to articulate how
and why brands use music as a vehicle in order
to engage an audience that rejects
conventional advertising. To this end, it was
necessary to determine which types of sector
produced music and what kind of content was
created for brands. Therefore, we selected a
sample of 165 music contents produced for a
hundred different brands between 2009 and
2013, and applied a quantitative analysis. An
interpretation of the data indicated, among
other results, that the most active sectors in
music production were fashion and beverages
(alcoholic and soft drinks). The formats used by
advertisers included music videos, audiovisual
content and live music. Application of the
concept of musicvertising (music and
advertising) to the contents indicated that
brands appropriated the symbolic value of the
music because music is an aesthetic
manifestation that arouses emotions, provides
meaning, seduces, communicates and creates
identity.
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Cuadernos de Etnomusicología, 2017
“Retroaliméntate de la Cultura” es un
proyecto de innovación docente que tiene
como objetivo que ... more “Retroaliméntate de la Cultura” es un
proyecto de innovación docente que tiene
como objetivo que el alumnado del Máster
Oficial Comincrea (Comunicación e
Industrias Creativas) de la Universidad de
Alicante, que cursa el itinerario de
Emprendimientos en Industrias Creativas
aprenda desenvolverse en el mundo laboral
a través de la realización de festival cultural.
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International Journal of Communication, 2017
The aim of this article is to analyze the musicless music video—that is, a user-generated parodic... more The aim of this article is to analyze the musicless music video—that is, a user-generated parodic musicless of the official music video circulated in the context of online participatory culture. We understand musicless videos as spreadable content that resignifies the consumption of the music video genre, whose narrative is normally structured around music patterns. Based on the analysis of the 22 most viewed musicless videos (with more than 1 million views) on YouTube, we aim, first, to identify the formal features of this meme video format and the characteristics of the online channels that host these videos. Second, we study whether the musicless video generates more likes, dislikes, and comments than the official music video. Finally, we examine how the musicless video changes the multimedia relations of the official music video and gives way to new relations among music, image, and text to generate new meanings.
Here the video:
https://www.youtube.com/watch?v=K3qNlHwduQc
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The ubiquity of advertising in everyday life and the importance of music demand a critical study ... more The ubiquity of advertising in everyday life and the importance of music demand a critical study on how brands use music for commercial purposes. In a context of convergence and participatory culture, it is necessary to develop new strategies, codes and narratives that brands and artists are creating to connect with consumers. Music is the basis of the collective experience and, in addition, it connects intensely and emotionally with the identity of groups that are its potential target. Brands use music to generate memorable experiences for consumers who reject traditional advertising forms. In addition, music, as a product of the cultural industry, needs marketing strategies to connect with fans. Music in advertising is a research field not sufficiently developed and fragmented, and this special issue aims to contribute to reduce the gaps that might exist in this field. Thus, the biggest challenge is to link musicological perspectives with marketing and communication research. Therefore, this special issue presents a multidisciplinary approach that comprehend studies from different disciplines, such as Musicology, Psychology, Semiotics and Media Studies, and it also deals with research trends related to transmedia narratives in music. At the same time, it establishes interesting links and reflections for future interdisciplinary developments in the study of music and advertising. Commercial is one of the formats most analysed. Not only it has been one of the fundamental pieces of the creation of advertising messages, but also its discourse constitutes a broad field for the study of its meanings. However, the persuasive capability of music has been used by brands since the early twentieth century. This means that there is a wide field of study which involves the relationship between music and advertising and has hardly been analysed. If we observe the evolution of the relationship between music and advertising, we will see how the first music content and programmes created for brands appeared with the birth of radio as a social communication medium at a time when broadcasters and advertisers were establishing the bases of radio programmes and their advertising formats. In this context, it was considered that advertising should not enter the private sphere because this would be invasive. Consequently, the radio stations offered advertising agencies spaces for brands to produce their own music programmes. From the 1940s onwards, and as a result of the growth of capitalism, radio stations realised that profits could be made from radio by creating programmes, bringing together a massive audience and selling advertising space. Music entered advertising through the use of jingles, which were easy to remember and embedded themselves in consumers' minds. Television adopted the radio advertising model, and radio stations specialised in order to compete with the new medium. In the 1950s, and with capitalism in full swing, jingles were consolidated and advertising separated from music content. In the 1960s, a counterculture emerged as a critique of consumerism, rock music became a mass phenomenon and advertising responded with a creative revolution. The crises of the 1970s led to a restructuring of the cultural industries in the 1980s. The counterculture was assimilated by capitalism, the use of jingles declined and licensing of pre-existing songs was consolidated as a means to assimilate the symbolism of popular music culture. Some brands began to drop sponsorship in favour of producing concerts. The birth of MTV represented a strengthening of ties between the popular music industry and advertising. Music videos were transformed into advertising for many brands. From the 1990s onwards, advertising became a platform for alternative music to reach audiences. Internet and the new
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The aim is to establish whether women are more involved than men in uploading videos related to t... more The aim is to establish whether women are more involved than men in uploading videos related to television fictional programs. To that end, we analyzed the number of videos uploaded by men or women and the kind of narrative content shared by each gender. The methodology applied was a quantitative analysis, based on a selection of videos from You- Tube regarding the 21 series premiered in 2013 in Spanish networks. The research suggests interesting results, mainly that men upload more videos than women do, and that they have more visits and reviews. However, the videos uploaded by women are more creative and more richly elaborated.
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Ya no es un simple product management, ahora las marcas se han lanzado a producir sus propios vid... more Ya no es un simple product management, ahora las marcas se han lanzado a producir sus propios videoclips con la complicidad de unos músicos que encuentran así una nueva forma de promocionar su obra incluso una plataforma de distribución para llegar a la audiencia más joven. El videoclip es la nueva "rock star" del marketing.
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In most of the studies about cultural industries, the analysis of advertising has been commonly m... more In most of the studies about cultural industries, the analysis of advertising has been commonly missed. However, this has not been the case of Adorno, whom, apart from defining it for the first time, claim that cultural industry and advertising had merged. Taking this statement in consideration, we intend to demonstrate that this merger exists because both industries benefit mutually from each other. Popular music works as an advertising media in radio when its broadcast has a commercial objective for the record companies (increase in sales) and for the private radio stations (increase in audience). This way, songs play a musicvertising (music + advertising) role, acting as a cultural product that blurs the close relationship be- tween the music industry and advertising from both a cultural and commercial point of view. As to advertising, we can observe how brands tend to become culture. Then, we reflect on the culturalization of the industry.
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Los medios de comunicación, cuyas funciones clásicas eran " informar, formar y entrete-ner " está... more Los medios de comunicación, cuyas funciones clásicas eran " informar, formar y entrete-ner " están dando protagonismo creciente a la autorreferencia: hablar de sí mismos casi en cualquier circunstancia. Es cierto que la tríada de funciones citada descuida el papel de la publicidad, que ha sido también creciente, y sin la cual la supervivencia de la mayoría de los medios estaría comprometida. La autorreferencia es siempre una forma (abierta o encubierta) de autopublicidad, de manera que el medio compromete espacios (en la prensa) o tiempos (en la radio y la televisión) para anunciarse a sí mismo, dejando de anunciar bienes y servicios de otra naturaleza, que son los que le reportan ingresos, pero también disminuyendo espacios y tiempos dedicados a hablar o mostrar realidades (o ficciones) que nada tienen que ver con el propio medio, y que son el mandato derivado de su dimensión social y cívica. En este trabajo hemos elegido la radio como objeto de la investigación, medio sobre el que no había estudios previos de esta naturaleza. Análisis similares que hemos avanzado en prensa y en televisión arrojan resultados consistentes y vienen a confirmar una tendencia que atraviesa todo el sistema mediático. El estudio empírico abarca 24 horas continuadas de programación radiofónica en las tres cadenas de radio generalistas con más audiencia en el momento de realizar los registros (15 de abril de 2011): la SER, Onda Cero y la COPE.
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Actas del Congreso Música y Saberes en Tránsito, 2012
New technologies have caused a change in the recording industry and advertising business model, w... more New technologies have caused a change in the recording industry and advertising business model, which have destabilized the traditional business. Currently, music and advertising live into a kind of cultural and commercial symbiosis that we intend to define with musicad (music + advertising), a strategy that is encouraging the music industry and advertising. Brands, through the music, are seeking to improve the connection with their target, which is more demanding and dispersed. Once the brand becomes music (and in fact, culture), the receiver consumes musicad (music with aesthetic and advertising function). The artists, attracted by brands and with difficulties to achieve recording success, perform for cultured advertising.
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The aim is to establish whether women are more involved than men in uploading videos related to t... more The aim is to establish whether women are more involved than men in uploading videos related to television fictional programs. To that end, we analyzed the number of videos uploaded by men or women and the kind of narrative content shared by each gender. The methodology applied was a quantitative analysis, based on a selection of videos from YouTube regarding the 21 series premiered in 2013 in Spanish networks. The research suggests interesting results, mainly that men upload more videos than women do, and that they have more visits and reviews. However, the fanmade videos uploaded by women are more creative and more richly elaborated.
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Uploads
Papers by Cande Sánchez-Olmos
This paper analyses brand placement in music videos, more specifically the first 30 music videos of the Billboard Hot 100 in 2016. To that end, three specific objectives will be proposed. First, the paper will identify artists who promote brands. Second, the study will analyse which brands and products have been integrated in the music videos. Finally, the paper will focus on the time invested by the brands in the music videos. In this regard, this article will study whether brands have been integrated or, on the contrary, imposed and forced into the narrative of the music video. The methodology –which combines qualitative and quantitative techniques– is based on a content analysis intended to measure the frequency and placement of brands and products in music videos. Moreover, the integration or imposition of brands in audiovisual discourse will be analysed from a semiotic perspective. The sample of this paper comprises the first 30 music videos of the Billboard Hot 100 in 2016. The paper will focus on this chart because it is the most important one in the international music industry. 2016 is also a crucial year because it represents, in general terms, the recovery of the record industry. The results indicate that music videos have become an advertising format where brands integrate their products. However, this integration ranges from imposing to subtly placing brands, which are perfectly recognisable by the audience.
Beatles ha cumplido en junio de
2017 50 años, y con ella la primera
retransmisión de televisión global en
directo y vía satélite de la historia. El
programa Our World demostró que la
“aldea global” teorizada por McLuhan, el
mundo conectado por la tecnología, era una
realidad. En un contexto bélico y
contracultural, la BBC decidió transmitir un
mensaje fácilmente comprensible para los
telespectadores de los cinco continentes a
través de The Beatles: “All you need is
love”. La canción que inauguró el verano del
amor de 1967 es uno de los hitos que
marcan la relación entre la música, la
tecnología y el desarrollo de la televisión. Si
tal y como explicó McLuhan “el medio es el
mensaje” y los efectos de la tecnología
modifican la percepción que las personas
tienen del mundo que nos rodea, la
utilización de “All You Need is Love” por
parte de la BBC en la primera retransmisión
global en directo merece, cuando menos,
una reflexión.
music and advertising and, more specifically,
branded music content. The analysis of the
relationship between music and advertising
establishes a priori a symbiotic relationship that
poses a challenge: the need to formulate a
concept to articulate how and why brands use
music as a tool to engage an audience that
increasingly rejects conventional advertising. To
this end, it was necessary to identify the sectors
and brands that produce music, and secondly,
the formats in which this audiovisual content is
presented. This quantitative and qualitative
analysis is based on a sample of 165 music
contents produced by one hundred brands
between 2009 and 2013. The results indicate that
brands use the music video format to connect
with consumers. On the other hand, fashion
brands are the most active sector in the
production of music branded content. Finally, the
paper shows that brands have made an incursion
in the music industry through the production of
music and entertainment contents. The term
musicvertising is proposed to refer to the contents
produced by brands to exploit the power of music
to arouse emotions, provide meaning, seduce,
communicate and create identity.
relationship between music and advertising, and
more specifically, to analyse the branded music
content produced for brands. An analysis of the
origin and evolution of music in advertising
established a priori a symbiotic relationship
which posed a challenge: the need to formulate
the concept of musicvertising to articulate how
and why brands use music as a vehicle in order
to engage an audience that rejects
conventional advertising. To this end, it was
necessary to determine which types of sector
produced music and what kind of content was
created for brands. Therefore, we selected a
sample of 165 music contents produced for a
hundred different brands between 2009 and
2013, and applied a quantitative analysis. An
interpretation of the data indicated, among
other results, that the most active sectors in
music production were fashion and beverages
(alcoholic and soft drinks). The formats used by
advertisers included music videos, audiovisual
content and live music. Application of the
concept of musicvertising (music and
advertising) to the contents indicated that
brands appropriated the symbolic value of the
music because music is an aesthetic
manifestation that arouses emotions, provides
meaning, seduces, communicates and creates
identity.
proyecto de innovación docente que tiene
como objetivo que el alumnado del Máster
Oficial Comincrea (Comunicación e
Industrias Creativas) de la Universidad de
Alicante, que cursa el itinerario de
Emprendimientos en Industrias Creativas
aprenda desenvolverse en el mundo laboral
a través de la realización de festival cultural.
Here the video:
https://www.youtube.com/watch?v=K3qNlHwduQc
This paper analyses brand placement in music videos, more specifically the first 30 music videos of the Billboard Hot 100 in 2016. To that end, three specific objectives will be proposed. First, the paper will identify artists who promote brands. Second, the study will analyse which brands and products have been integrated in the music videos. Finally, the paper will focus on the time invested by the brands in the music videos. In this regard, this article will study whether brands have been integrated or, on the contrary, imposed and forced into the narrative of the music video. The methodology –which combines qualitative and quantitative techniques– is based on a content analysis intended to measure the frequency and placement of brands and products in music videos. Moreover, the integration or imposition of brands in audiovisual discourse will be analysed from a semiotic perspective. The sample of this paper comprises the first 30 music videos of the Billboard Hot 100 in 2016. The paper will focus on this chart because it is the most important one in the international music industry. 2016 is also a crucial year because it represents, in general terms, the recovery of the record industry. The results indicate that music videos have become an advertising format where brands integrate their products. However, this integration ranges from imposing to subtly placing brands, which are perfectly recognisable by the audience.
Beatles ha cumplido en junio de
2017 50 años, y con ella la primera
retransmisión de televisión global en
directo y vía satélite de la historia. El
programa Our World demostró que la
“aldea global” teorizada por McLuhan, el
mundo conectado por la tecnología, era una
realidad. En un contexto bélico y
contracultural, la BBC decidió transmitir un
mensaje fácilmente comprensible para los
telespectadores de los cinco continentes a
través de The Beatles: “All you need is
love”. La canción que inauguró el verano del
amor de 1967 es uno de los hitos que
marcan la relación entre la música, la
tecnología y el desarrollo de la televisión. Si
tal y como explicó McLuhan “el medio es el
mensaje” y los efectos de la tecnología
modifican la percepción que las personas
tienen del mundo que nos rodea, la
utilización de “All You Need is Love” por
parte de la BBC en la primera retransmisión
global en directo merece, cuando menos,
una reflexión.
music and advertising and, more specifically,
branded music content. The analysis of the
relationship between music and advertising
establishes a priori a symbiotic relationship that
poses a challenge: the need to formulate a
concept to articulate how and why brands use
music as a tool to engage an audience that
increasingly rejects conventional advertising. To
this end, it was necessary to identify the sectors
and brands that produce music, and secondly,
the formats in which this audiovisual content is
presented. This quantitative and qualitative
analysis is based on a sample of 165 music
contents produced by one hundred brands
between 2009 and 2013. The results indicate that
brands use the music video format to connect
with consumers. On the other hand, fashion
brands are the most active sector in the
production of music branded content. Finally, the
paper shows that brands have made an incursion
in the music industry through the production of
music and entertainment contents. The term
musicvertising is proposed to refer to the contents
produced by brands to exploit the power of music
to arouse emotions, provide meaning, seduce,
communicate and create identity.
relationship between music and advertising, and
more specifically, to analyse the branded music
content produced for brands. An analysis of the
origin and evolution of music in advertising
established a priori a symbiotic relationship
which posed a challenge: the need to formulate
the concept of musicvertising to articulate how
and why brands use music as a vehicle in order
to engage an audience that rejects
conventional advertising. To this end, it was
necessary to determine which types of sector
produced music and what kind of content was
created for brands. Therefore, we selected a
sample of 165 music contents produced for a
hundred different brands between 2009 and
2013, and applied a quantitative analysis. An
interpretation of the data indicated, among
other results, that the most active sectors in
music production were fashion and beverages
(alcoholic and soft drinks). The formats used by
advertisers included music videos, audiovisual
content and live music. Application of the
concept of musicvertising (music and
advertising) to the contents indicated that
brands appropriated the symbolic value of the
music because music is an aesthetic
manifestation that arouses emotions, provides
meaning, seduces, communicates and creates
identity.
proyecto de innovación docente que tiene
como objetivo que el alumnado del Máster
Oficial Comincrea (Comunicación e
Industrias Creativas) de la Universidad de
Alicante, que cursa el itinerario de
Emprendimientos en Industrias Creativas
aprenda desenvolverse en el mundo laboral
a través de la realización de festival cultural.
Here the video:
https://www.youtube.com/watch?v=K3qNlHwduQc
The term “prosumer” was coined by Alvin Toffler in 1980 to define the dynamics of the post-industrial age, where a person can both be producer and consumer of goods or services. In the early 2000s, it became very popular to define Web 2.0 practices, but it also generated some debate. For Bruns (2008), the term prosumption has sometimes been misapplied, because it can define a practice in the industrial domain, but not on the internet, where users are not producing physical or industrial products. Instead of “prosumption”, the author proposes the concept “produsage”, which emphasizes the idea that pro- ducers are at the same time users, shaping their own media and network usage. In this chapter, we will focus on the production and consumption of audiovi- sual content (especially musical) uploaded by users to YouTube. Thus, “produ- sage” might be more accurate to refer to these practices. However, we will use the term “prosumer” because it is the commonly accepted term for dis- cussing these practices in media theory.
constituyó el trabajo práctico de los alumnos de la asignatura Sectores de las Industrias Creativas, perteneciente al Máster Ofcial en Comunicación e Industrias Creativas de la UA. Dicho evento tuvo como lema inspirador la nostalgia y su plasmación en la cultura retro, y reunió en dos espacios
emblemáticos de la escena cultural alicantina (el Museo de la UA y el Centro Las Cigarreras) y en torno a ese leit motiv a creadores de variados ámbitos de la cultura y la creatividad: artistas plásticos,
músicos y disc-jockeys, bailarines, diseñadores de moda y complementos, artesanos, elaboradores de productos alimentarios con métodos tradicionales, etc. En torno a 1.300 personas asistieron al evento,
lo que supuso un éxito de público que desbordó las previsiones de docentes, alumnos y entidades colaboradoras y que no solo permitió a los alumnos una inmersión acelerada en las rutinas profesionales
propias de los gestores y programadores culturales, sino que proyectó la imagen de la Universidad no solo como espacio donde se estudia, se conserva y se exhibe la cultura, sino también donde se gestiona,
se comunica y se estimula el tejido cultural hecho por y pensado para la comunidad alicantina.
pose a threat to cultural diversity- See more at: http://norient.com/stories/book/#sthash.UdapKXiF.dpuf
como motor de transformación social. Los creativos publicitarios tienen en sus manos la principal herramienta para proponer argumentos persuasivos que no sean machistas.
Brands are going a step further in their relationship with popular music. Not only are brands synchronising music into audio-visual commercials but also are creating cultural content such as music videos, music festival and TV programs. Indeed, this is a new advertising trend emerged in last decade which has been named by advertiser “branded content”. Therefore, this composition explores this new relationship between music and advertising and specifically the music videos produced by the brand Converse.
Through two specific projects: “Rubber Tracks Recording Studios” and “Rubber Tracks Live”, Converse is recording music, making music videos and promoting concerts around the world with unknown musicians. Then, all this audio-visual content is uploaded to YouTube, where users spread the music via social media: YouTube, Facebook and Instagram. In order for the campaign to be success, Converse integrates, via brand placement, the “All Star” sneakers into these music videos promoting its particular lifestyle based on underground music.
What Converse does is the purposeful incorporation of a brand into an entertainment. However, surprisingly the viewer is not being aware of the persuasive intent. If brands are producing music videos the line between music and ad gets blurred, so that it is necessary to analyse this phenomenon from a critical perspective. This is more than music, this is advertising: so musicvertising.
Why do groups need brands to make music videos? The old business model based on record sales probably is not enough. Surprisingly, music has changed in its production, promotion and distribution and nowadays advertising, streaming, and digital music all emerge as new sources of revenue. Nevertheless, we must not forget that in the end the most important thing is music, brands are secondary. We could live without brands but not without music.
This music videos are musicvertising, a new concept which expresses the notion that music videos simultaneously encompass the aesthetic purpose of music and the commercial goal of brands.
Not only do brands create traditional product placement with famous artists they also create platforms to lunch new musicians.
Due to the fact that brands are now producing music videos, it is necessary to articulate a concept which expresses the notion that some music videos are at the same time music and commercials.
In line with this, I would like to propose the neologism musicvertising (music+advertising) to express the phenomenon whereby brands are creating music content for commercial purposes
Brands become independent from media with YouTube because they can spread their content trough their own YouTube channels.
All of theses music videos show the conquest of the idea of cool, brands are now cool and hip, because they have taken over the music culture. If consummers want to be cool they must buy these products
All the videos are US produced apart from for Gangnam Style (which is South Korean).
Product placement is the brand integration into a film, tv program, music video and so on. Why does product placement matter?
People are likely to try new products that the artist is associated with in their music videos. Then, The aim of product placement is to create a good brand image in the short term and also to increase sales in the long term.
Product placement revenues represented 10 billion dolars last year in the global markt. This revenues represent several audiovisual content such as cinema, TV programs or music videos
Growing is the trend of this branding strategy.
and advertising. Music videos were transformed into advertising for many brands. From the 1990s onwards, advertising became a platform for alternative music to reach audiences. Internet and the new technologies changed the business model of the music industry. Live music, synchronisation and collaboration with brands became business strategies to offset the fall in income from record sales.
brands and products in music videos in the best-selling songs; the Billboard Hot 100 from 2003 to 2016. Using a content ana-
lysis, we look at 420 music videos at the top of the chart and which artists had more placements, what kind of brands and
products were more likely to be linked to music, and the ratio
of appearances between placements, brands and products.
Firstly, some artists repeatedly appeared at the top of the
chart, thereby implying there is a high concentration of a few
pop stars in the chart (Rihanna, Katy Perry, Beyonc
e and Bruno Mars and Taylor Swift) and Chris Brown was the artist with the highest number of placements. Secondly, results show that
Adidas, Nike and Chevrolet are the most brands placed.