Bending the Pitch: Music, Conglomeration, Licensing, and Convergence
description
Transcript of Bending the Pitch: Music, Conglomeration, Licensing, and Convergence
![Page 1: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/1.jpg)
Bending the Pitch: Music, Conglomeration, Licensing, and ConvergenceCA 351 – Guest LectureOctober 9, 2012
![Page 2: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/2.jpg)
Who “Owns” a Song?
Fat Possum’s U.S. distributors:-RED Distribution (Sony, 1979)-INgrooves (Independent, 2002; Universal, 2008; purchased Fontana Distribution in March 2012) The Mountain (Fat Possum Records, 2009)
![Page 3: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/3.jpg)
Who “Owns” a Song?-Produced by Liza Richardson and Jonathan Platt-Distributed through Fontana Distribution (originally owned by Universal Music Group, sold as a subsidiary of the Isolation Network in 2012)
Friday Night Lights, Vol. 2 (Arrival Records/Scion Music Group; 2010)
![Page 4: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/4.jpg)
Who “Owns” Friday Night Lights?
(1926-1986)
(1926-1930, 1986-present)
(2004-present)
(2004-2011)
(2011-present)
![Page 5: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/5.jpg)
Who “Owns” Friday Night Lights?
![Page 6: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/6.jpg)
Who “Places” a Song?
• Experience at BMI• Protégée of Roger
Corman• Frequently collaborates
with Josh Schwartz• Works with
predominantly indie artists
• Founded Chop Shop Records in partnership with Atlantic Records in 2007
Alexandra Patsavas, Music Supervisor
![Page 7: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/7.jpg)
Chop Shop Records
Anya Marina, Felony Flats (Chop Shop, 2012)
Marina and the Diamonds,
American Jewels EP(Chop Shop, 2010)
![Page 8: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/8.jpg)
Legitimating the Music Supervisor
• Guild of Music Supervisors formed in 2007
• Serve as voting members of the American Recording Academy
• Lobby for their own Grammy category
• Started own awards ceremony in 2011
Maureen Crowe, GMS President(second from left)
![Page 9: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/9.jpg)
Brief History of Music Licensing for Television
• In the 1990s, the music industry came to see licensing for film and TV as an integral strategy for keeping labels in the black and for promoting certain artists
-Master use: negotiated with record companies; allows licensees to use specific recordings
-Synchronization: negotiated with the publishers of a particular song; entitles licensee to use the notes
and lyrics of a particular piece of music• Licensing as revenue stream that could compensate
for declining CD sales and lost profits caused by downloading and piracy
![Page 10: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/10.jpg)
Tagging
• WB programming implemented tagging in the late 1990s
• “Free” promotions that warranted license fee reductions
• New and indie artists were seen as most likely to go along with such practices as radio further consolidated in the wake of the Telecommunications Act of 1996
• MTV’s turn to lifestyle programming
• Decline of music video promotionSongs from Dawson’s Creek (Sony, 1999)
![Page 11: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/11.jpg)
WB Programming’s Influence on Licensing
• Exploitation of synergy-Dawson’s Creek was a Sony/Columbia
TriStar production (Sony artists)
-Dawson’s Creek was on the WB (Warner
Bros. artists)• Not above using
soundalikes for DVD and streaming content
• Many shows now license in anticipation of series’ going to DVD or on streaming platforms
Original Music Featured On Gossip Girl No. 1 (Atlantic, 2008)
![Page 12: Bending the Pitch: Music, Conglomeration, Licensing, and Convergence](https://reader036.fdocuments.us/reader036/viewer/2022062323/56816199550346895dd14cd5/html5/thumbnails/12.jpg)
How Does Reception Engage with Production?
Industrial Pressures-Allow music supervisors and producers to include genres and artists previously marginalized in the industry and to add sonic layers complicating textual readings of representation
Narrative Functions and Affect-Communicate character interiority-Sonic wallpaper-Semiotic richness of the music-image combination