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The Strategic Integration of Music Branding and its Evolution in the ...

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audience - with <strong>the</strong> objective <strong>of</strong> driv<strong>in</strong>g pr<strong>of</strong>itable customer action.” (Content Market<strong>in</strong>g<br />

Institution, 2012. Available: www.contentmarket<strong>in</strong>g<strong>in</strong>stitute.com. Retrieved: April 2012) In<br />

<strong>the</strong> white paper <strong>of</strong> Content Market<strong>in</strong>g Institution (2012) <strong>the</strong> B.E.S.T. model suggests that<br />

content is able to br<strong>in</strong>g <strong>in</strong>to <strong>the</strong> br<strong>and</strong><strong>in</strong>g strategy a Behavioral, Essential, <strong>Strategic</strong> <strong>and</strong><br />

Targeted perspective.<br />

Without attempt<strong>in</strong>g to be comprehensive, <strong>the</strong> follow<strong>in</strong>g musical content can be implemented<br />

dur<strong>in</strong>g <strong>the</strong> music br<strong>and</strong><strong>in</strong>g strategy:<br />

Mobile-­‐friendly content<br />

Figure 4. <strong>Music</strong> Content Services<br />

Social media sites (blogs, arAcles, music stream<strong>in</strong>g)<br />

Podcasts<br />

Videos download, stream<strong>in</strong>g<br />

In-­‐Person events<br />

NewsleJers<br />

Audiovisual ediAng<br />

Call acAon for UGC<br />

Br<strong>and</strong>-­‐owned plaQorms for communicaAon<br />

Source: Author’s edition<br />

For content service several bus<strong>in</strong>ess models arisen where ‘free’ ga<strong>in</strong>ed a new underst<strong>and</strong><strong>in</strong>g<br />

accord<strong>in</strong>g to Anderson (2009). Fur<strong>the</strong>rmore, Freemium models make it possible to <strong>of</strong>fer some<br />

content for free, where genu<strong>in</strong>e fans can access exclusive content for a subscription fee.<br />

4. Value creat<strong>in</strong>g mechanism<br />

As it was depicted, music br<strong>and</strong><strong>in</strong>g has different faces <strong>and</strong> dist<strong>in</strong>guished strategic aspects as<br />

well. <strong>The</strong> br<strong>and</strong> personality, br<strong>and</strong> identity <strong>and</strong> <strong>the</strong> objectives <strong>of</strong> <strong>the</strong> br<strong>and</strong> def<strong>in</strong>e <strong>the</strong> strategic<br />

way <strong>of</strong> music br<strong>and</strong><strong>in</strong>g, however, all processes create value for <strong>the</strong> three actors <strong>of</strong> music<br />

br<strong>and</strong><strong>in</strong>g: musician, br<strong>and</strong>, customer. In this chapter I will depict <strong>the</strong> value creation<br />

mechanism <strong>of</strong> music br<strong>and</strong><strong>in</strong>g <strong>and</strong> all effects, where from a br<strong>and</strong> perspective <strong>the</strong> most<br />

important value is <strong>the</strong> one created for customers.<br />

15

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