Hi Frequency Marketing Essays - Marketing, Music Industry

Hi Frequency Marketing Essays - Marketing, Music Industry Hi Frequency Marketing Music Marketing: Hi Frequency Concepts In today's business world, everyone knows that the hardest industry to break into is the music industry. The music industry has evolved from being made up of many independent labels to being run by major corporations such as Warner Brothers and Universal Music Group. Music marketing is the one aspect of the industry that has not gone corporate. While record label marketing departments are running out of ideas, independent marketing firms are taking over their business. Music marketing differs from most other fields in marketing because it does not have one orientation but still uses the fundamentals like conception, pricing, promotion, and distribution (Lamb 6). I was researching the music industry online when I ran into a company called Hi Frequency started by a young entrepreneur named Ron Vos. Hi Frequency is an independent music-marketing firm that promotes for labels, concert halls, and distributors. Hi Frequency uses their financial status to help young musical entrepreneurs like Vos break into the music industry. The company has over 60 field representatives that are unpaid and doing quality promoting in 50 markets across the country. Vos educates his reps so that they will have not only use the position as a resume builder but as a solid background in music to help further their careers. The first thing that Vos realized about the music industry is that although being very corporate, a grassroots marketing campaign is the largest step towards success. Promotions mean more to music than any other aspect of marketing. The record labels fight against the technological advancements such as mp3s gets harder every day. The only thing that can influence people more than computers is other people (Kashif 176). Vos has recruited people all across the country to embrace other people and get the word out on up-and-coming bands and concerts. The different types of promotions by Hi Frequency reps are handouts, poster placement at local music stores, and the always-effective word of mouth. As you can see the music industry is much different from other industries when it comes to promotions. Distribution on the other hand is done in a very similar fashion. The distribution begins with the label recording the tracks of music then making a full CD. After the CD is created it is sent to the middleman, in this case, the labels all have their own manufacturing plants where the CDs are mass-produced. After these CDs are manufactured, they are split up by the middlemen and shipped to record stores. The record store receives them and sells them with the help of people like Hi Frequency field reps. As the number of CDs in distribution increases, so does the price. The record labels spend as low as $.12 for a CD to be made. The middleman, who most of the time is owned by the label, will hike the price up to $3-5.00 for the most popular CDs. Once the retailer receives these, they will raise the price to as much as $17-20.00. The label makes money off the middleman, while the middleman makes money off the retailer, who in turn makes money off us. Hi Frequency has to aid the retailer in selling these CDs. Think of how much the label makes if they own the middleman, it is quite a lucrative business. Record labels do not just rely on marketing firms to sell their CDs, they have to be the conceptual masterminds behind the artist development. Even after all of these years the one thing that sells records is talent (Passman 167). The music industry is not just hard to break into on the business side but has become virtually impossible to get into on the performance end. Record labels have a whole department devoted to finding talent. This department is called A&R. A&R is a group of people that can make or break you and decide if you are something that is worth a completely new marketing concept. Hi Frequency gets the task many times of testing A&R departments by pushing new musicians and proving their worth. The promotions, distribution, pricing, and conceptions that deal with marketing in general agree with musical marketing. Hi Frequency realizes the similarities of music with other

Amy Beach (Mrs. H. H. A. Beach)

Amy Beach (Mrs. H. H. A. Beach) Amy Beach Facts Known for: classical composer, whose success was unusual for her sex, one of few American composers recognized internationally at the timeOccupation: pianist, composerDates: September 5, 1867 - December 27, 1944Also known as: Amy Marcy Cheney, Amy Marcy Cheney Beach, Amy Cheney Beach, Mrs. H. H. A. Beach Amy Beach Biography: Amy Cheney began to sing at the age of two and play piano at the age of four. She began her formal study of piano at age six, taught first by her mother. When she performed in her first public recital at age seven, she included some pieces of her own composition. Her parents had her study music in Boston, although it was more common for musicians of her talent to study in Europe. She attended a private school in Boston and studied with musical teachers and coaches Ernst Perabo, Junius Hill and Carl Baermann. At the age of sixteen, Amy Cheney had her professional debut, and in March, 1885, appeared with the Boston Symphony Orchestra, performing Chopins F minor concerto. In December of 1885, when she was eighteen, Amy married a much-older man. Dr. Henry Harris Aubrey Beach was a surgeon in Boston who was also an amateur musician. Amy Beach used the professional name Mrs. H. H. A. Beach from that time on, though more recently, she has been credited as Amy Beach or Amy Cheney Beach. Dr. Beach encouraged his wife to compose and publish her compositions, rather than perform publicly, after their marriage, bowing to a Victorian custom of wives avoiding the public sphere. Her Mass was performed by the Boston Symphony in 1892. She had achieved enough recognition to be asked to compose a choral piece for the 1893 Worlds Fair in Chicago. Her Gaelic Symphony, based on folk tunes of Ireland, by that same orchestra in 1896. She composed a piano concerto, and in a rare public appearance, soloed with the Boston Symphony in April of 1900 to debut that piece. A 1904 work, Variations on Balkan Themes, also used folk tunes as inspiration. In 1910, Dr. Beach died; the marriage had been happy but childless. Amy Beach continued composing and returned to performing. She toured Europe, playing her own compositions. Europeans were not used to either American composers or female composers meeting their high standards for classical music, and she gained considerable attention for her work there. Amy Beach began using that name when in Europe, but returned to using Mrs. H. H. A. Beach when she discovered that she already had some recognition for her compositions published under that name. She was once asked in Europe, when still using the name Amy Beach, whether she was the daughter of Mrs. H. H. A. Beach. When Amy Beach returned to America in 1914, she lived in New York and continued composing and performing. She played at two other Worlds Fairs: in 1915 in San Francisco and in 1939 in New York. She performed at the White House for Franklin and Eleanor Roosevelt. The womens suffrage movement used her career as an example of a womans success. That it was unusual for a woman to achieve her level of recognition is reflected in the comment by George Witefield Chadwick, another Boston composer, who called her one of the boys for her excellence. Her style, influenced by the New England composers and romantics, and influenced by the American Transcendentalists, was considered during her own lifetime to be somewhat out of date. In the 1970s, with the rise of feminism and attention to womens history, Amy Beachs music was rediscovered and performed more often than it had been. No known recordings of her own performances exist. Key Works Amy Beach wrote more than 150 works, and published almost all of those. These are some of the best-known: 1889: Valse-Caprice1892: Fireflies1892: Mass in E-flat major1892: aria Eilende Wolken1893: Festival Jubilate1893: Ecstasy1894: Ballad1896: Gaelic Symphony1900: Three Browning Songs1903: June1904: Shena Van1907: The Chambered Nautilus1915: Panama Hymn1922: The Hermit Thrush at Eve and The Hermit Thrush at Morn1928: The Canticle of the Sun