Wednesday, 23 September 2015

Planning: Creating An Online Mood Board


To gain an understanding and mood about the song i created a mood board. I collected several relevant pictures from the internet and key words from the song lyrics. Using gomoodboard.com i created an online interactive mood board. It was very simple to use, all i had to do was drop my selected images on to the page then add comments on why i chose to use that exact photo or word.


Here is a screenshot of my mood board whilst i was creating it. The mood board helped me identify important parts of the song and also think about how i could address them in the music video i am planning to make. As the song was about love and long distance relationships i included photos of what the relationship would be like and photos that relate to the lyrics. For example the airport picture is about the lyric line 'Now I'm sitting at this lonely gate, airport speakers say the flight is delayed'. I also included pictures of the key words from the lyrics for example 'endlesss' this is a word repeated throughout the song and also the songs title. 

These are the screen shots form my mood board. Click this link to visit my online mood board.

Friday, 18 September 2015

My Chosen Song

Research: Lyric Analysis: Zara Larsson - Endless

 
As I am using the song 'endless' by Zara Larsson. To gain an understanding of what the song was about I decided to read the lyrics whilst listening to the song. I copy and pasted the lyrics on to a word document and using the comment tool analysed individual words and lines of the lyrics.


Overall the song reflects on her long distance relationship with someone and how she wishes they could see each other more than they do and how they will prove people wrong by working things out between them. An example of this is the lyrics that refers to her plane being delayed and she could've spent more time with the one she loves. Above is a screenshot of the work I did including more comments I made towards the lyrics.
 

This is a word out that we created using the lyrics from Zara Larsson's song 'Endless'. The two main word used are 'Love' and 'Endless'. This may be because the title of the song is Endless so this is what she wanted the audience ti focus on. Love is what the song is about so they used this word to try and tell the story of her love and her struggles.
Some of the other words used a lot are felt, cause, great, right, never and distance. All of these words are words that have been used to tell the story of her relationship and what has and hasn't gone right for them. 
The word 'Felt' has been used a lot because the song is all about feelings; sadness and love, and how the story has made her feel. 'Great' and 'Right' have also been used which show that her feelings and instinct about their relationship must have been right and their relationship is still strong. 'Distance' also shows what their relationship had been through and still going through. This could have been one of their struggles but it has made them stronger together. 

Thursday, 17 September 2015

Research: Who Are The Target Audience For My Artist?

Amelia is 17 years old, from London, and is currently studying for her A Levels at school. Amelia listens to music every day and has a loves listening to all the newly released songs from her favourite artists. Her favourite artist include Rita Ora, Zara Larsson and Tylor Swift. Amelia always packs her headphones for school so that she can listen to sings whilst doing coursework. She listens to music on her phone where she has a Spotify account because she likes that she can make playlists of her favourite songs and artists. She also uses Youtube to watch music videos that  her favourite artists release with their songs. Amelia loves chart music as she feels there is a song for every situation and mood that she feels. She also feels that listening to a catchy, upbeat song can cheer her up if she is feeling stressed with school work.

Apart from school and listening to music, Amelia likes to meet up and go shopping with her friends. She finds fashion and keeping up with the trends very important and she loves to find inspiration from her favourite artists for clothing that she wears. She also uses social media to see what other celebrities are wearing and what has come into fashion recently. Amelia enjoys shopping in designer shops but also in places like River Island and Topshop for her clothes. She also looks in fashion and celebrity magazines for clothing inspiration and to keep up with the celebrity gossip. She looks in magazines like Elle, Hello and Look.

She also likes to use social media to talk to friends and see what friends and relatives are getting up to. Amelia likes to post pictures of herself before going out so people can see her outfits and changes her profile pictures as the fashion changes. She also uses social media to see what other artists are doing and what they may be releasing soon. She follows her favourite artists on twitter so that she is one of the first to know if they have released something new.  

Amelia is also likes to sing but never in front of a crowd. She likes to listen to music in her bedroom and sings along to the songs. She sings along with her friends when they're all listening to music in a friend's car or house but she never takes it too seriously. She enjoys singing to her favourite artists and finds it easy to pick up the catchy lyrics.

Wednesday, 16 September 2015

Research into existing music video: Cheryl - I Don't Care

I looked at Cheryl and her song 'I Don't Care' as an artist that i feel is similar to Zara Larsson.


The make up that Cheryl is wearing in this music video differs at different parts of the music video. At one part of the music video her make up is very natural and minimal. The colours used are browns and different skin tones, her lips are also a pale pink/peach. her eyes and cheek bones have been bronzed and only has a very light layer of mascara on.




In another part of the music video her make up is meant to look like she has slept in it and it is messy. Her mascara is down her face and her bright lipstick has be smudged across her face.

Cheryl's hair has been curled/waved but it still looks very natural. The colour of her hair is a blonde/brown which also looks natural.


Cheryl wears 3 main outfits. They are:

One in a white shirt, scruffy hair and smudged make up.









Another which is a top, shorts and baggy jumper.
This outfit looks like it is not over thought and that maybe she didn't care what she was wearing overly. This refers back to the title of the song, 'I don't care'










And finally, a white vest top, bikini top, shorts and a shirt tied around her waist. She also has sunglasses on which portrays the cool side of her personality which the sunglasses emphasise.


There are a lot camera shots used in this music video which range from crane shots to extreme close ups.
The music video starts if with an establishing shot which shows where Cheryl is and lets the audience understand where the music video is being shot. Establishing shots are then used to introduce the audience to the other scenes in the music video, at 0:09 and 0:11. There is also a close up of Cheryl's face at 0:02. This links Cheryl with the scene and the song. An over-the-shoulder/long shot shows Cheryl and her two friends lying on a boat. An over-the-shoulder shot is also used when Cheryl is on the beach and shows her turning her head around to face the camera. At 0:19 there is a mid shot of Cheryl on the bed. This shot helps tell the story of the music video. A extreme close up of Cheryl's hand is used to help the audience see how she is feeling at 0:30. There are some general long shots of Cheryl on the beach walking around, for example, at 0:38.
There are also long shots of Cheryl and some friends dancing to the song. This is because even through the song isn't always happy, it is upbeat so the dancing fits in with the song.
There are also crane shots of Cheryl standing on a mountain edge.
To finish the song, there is an over-the-shoulder shot of Cheryl turning away from the camera to illustrate the song has ended.


The editing used in this music video are mainly putting actions to the beat of the song. For example, Cheryl's head turns and this is edited to be in time with the beat of the music at 1:45. Another two examples of this are at 2:33 which is when Cheryl claps an has been edited to the beat and at 2:42 when Cheryl tilts her head and it has been edited to fit to the beat of the song. There is slow motion used when Cheryl shakes her hair to make it more prominent. They also faded the last shot of the music video so that the audience knew it was the end of the music video.







Research Into Existing Music Video : Zara Larsson - Rooftop

I looked at Zara Larsson's music video for Rooftop.



One part of the Mise-En-Scene used in this music video was the makeup. Zara is wearing a very natural layer of makeup. The colours stick to her skin tones and other colours include browns and peaches. Although her makeup is very natural, her eyes are the stand out point. There are brown eyeshadows used and a line of eyeliner to make her eyes the focus point and stand out. Her lips are a peach colour and very glossy. This look may have been chosen so that she still looks around her age and not over done as the setting of the music video is mainly on a roof top. 

Her hair is pulled back tightly in a ponytail which has then been platted. This may be to show her youth as this hairstyle is usually on young children but they have made it current.

All of her friend group are wearing different style clothes to show different personalities. Zara is wearing a bright floral, above knee length, skirt and a pale yellow high neck top. They may have used this top to keep her looking her actual age, it still covers her up a bit. Zara also wears a retro denim jacket that has lots of small badges on the back. This may be to show individuality and make her the focus point.  







The setting of this music video is in two places. One is in the back of a car where she is sitting and lying down. This shows her age as she is only 17 and probably not passed her driving test so showing her in the back of a car relays this to audience that her parents may have picked her up. The other setting of the music video is on a rooftop, which is the name of the song.


The music video starts during the day but finishes at night. This shows how much time has passed in the music video.

The camera shots used in this music video vary. At 0:05 there is a hand held close up of Zara in the car. There is also a hand held close up of the group of friends walking at 0:07.

There is a close up of some feet on a skateboard to show one of her friends personalities.  

AT 0:10 there is a mid-shot of her and friends walking to the party.

There is also shot of the location of the part so the audience can imagine themselves going into the building and onto the rooftop. It also shows the weather at 3:35.

There are lots of shots of Zara laying in the back of the car.

There is a behind-the-shoulder shot of Zara walking with her friends which sweeps around them as they are walking.

There are also shots of people dancing at the party on the rooftop, these shots area a mixture of longshots and close ups.

At the start of the song the shots cut to the beat of the music. 

However after the introduction and first verse of the song has 
finished, the shots stop cutting to the beat.

The music video starts and finishes with a close up of Zara 

in the car.

There is no editing done to this music video apart from the text 
at the start that says Zara's name and the title of the song. 
 
 






Tuesday, 15 September 2015

Research Into Existing Music Video: Zara Larsson - Lush Life

 I looked at Zara Larsson’s song music video for Lush Life.

I looked at the Mise-En-Scene that was used throughout this video.



Clothing used throughout this video were lots of black and white. They then added gold and a bright colour to each outfit to make them catch people’s eyes and stand out. The gold may have been used to represent the name of the song ‘Lush Life’ as gold is seen as expensive and a glamorous thing to be wearing. The outfits were all simple but when gold and a bright colour was added to the outfit, they became glamorous and more interesting.





In the music video they Zara wore three different outfits. One was lots of black and was a laid back and tomboy style.The second was a white dress white bring blue and gold. This showed of her girly side. The third was a mix of both the girly and tomboy style which was also accessorised with gold. I feel that they have done this to show the different sides to her personality and her interests like dancing.











At the start of the music video she rips off and throws away her gold necklace which may represent her throwing away or trying to put her love in the past/behind her.

The makeup that Zara is very natural. This may be because of her age and they wanted people to know that she is only 17 years old and is still young.

Zara’s lips and a peach/pink colour which is bright but still very natural. Zara’s eye have different tones of brown eyeshadow on and skin tones to create a subtle smokey eye effect. There is a lot of eyeliner on her eyes which makes they stand out but not too much. Zara’s hair is a natural blonde colour, which sticks to the theme of showing she is young, but is slightly curled.

The scene in which the video was taken was the same throughout, it was in a blank walled studio.

The camera shots used at 0:06 seconds into the music video was a slow motion shot if her ripping off and throwing her necklace backwards over her shoulder. This may have been put in slow motion to emphasize her throwing away or putting her love in the past. There is also a mid-shot at 0:11 seconds into the music video. There are some long shots ate 1:34 and a behind the shoulder shot at 2:31. The music video also started at 0:04 and finished at 2:57 with a close up of Zara. The whole way through the music video there was static camera movement. The subject moved (Zara).


One editing technique used in this music video is colour filters. These colour filters changed to the beat of the music. There was also actions and animation to go with the lyrics if the song. For example, at 1:14 there were love hearts. Another example is at 1:53 to 1:56 the background lighting and colour changed to go with the lyrics of ‘All night, all summer’. There was also a black and white filter on at some times but they left the colour of the jacket. This made it stand out and maybe way trying to show that she is unique and different. At 0:56 to 0:58 there is sweep editing form one shot to another.




Monday, 14 September 2015

Detailed Research Into Chosen Artist Zara Larsson

Born on the 16th of December 1997 Zara Maria Larsson is a Swedish female solo singer. Zara was first noticed nationally when she won the 2008 Swedish talent show aged 10 and has 15 million youtube views of her performance “my heart will go on”. 
In 2010 she signed with the record label ‘TEN music groups”http://www.ten.se were she released her debut EP album called introducing in 2013.  This album included the song uncover (youtube) which topped the charts in Sweden and Norway and has over 34 milllion views on youtube. In 2013 the album became certified triple platinum by universal music Sweden.
Zara then signed a three-year contract with epic records in the US
http://www.epicrecords.com/home in 2013. This record label includes well-known artists such as Avril Lavigne, Mariah Carey, Ozzy Osbourne and Meghan Trainor.

The year after that she released her first album called 1 with TEN music groups in October 2014 with four singles and was the charts number 1 album in Sweden. She keeps in touch with her fans around the world by using a blog and social media sites like twitter and instagram.

The song i have chose from Zara's album is called endless and is the first song that is featured on her album. Below is a audio video of the song of endless.


Zara's Blog- http://www.zaralarsson.se/zara/ 

Wednesday, 9 September 2015

Research: 3 Potential Artists

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Research: Steve Archer 'How To Study Music Videos'

Steve Archer wrote an article in Media Magazine in 2004 in which he suggests five essential criteria which should help you to evaluate music videos.

Pessimists often complain that music video television has made pop superficially image-based. But my description of MTV and music video in MediaMag 6 failed to address what is still its most central and significant element, beyond the control of MTV, Viacom and Motorola: the appeal and power of pop sounds!

I’d like to suggest that the sounds are the basis of a process of visualisation that serve to enhance, not restrict, the original pop sound effect. Pop music theorist Andrew Goodwin claims that a good music video is:

"..a clip that responds to the pleasures of music, and in which that music is made visual, either in new ways or in ways that accentuate existing visual associations."
(Dancing in the Distraction Factory 1992)

If we accept the theory that pop songs on their own are not enough to create sufficient meaning and pleasure in the audience, the ‘added value’ of star image created by CD covers, live performance and music videos can be enough to inspire the consumer to buy into the whole intensely romantic myth of it all – and therefore actually buy the pop music. 

Certainly, the whole music business is sustained by the few star guarantees of profit in an unstable market. This maybe explains the somewhat fetishistic behaviour of fans who will buy the CD even if they can easily get the tracks for free on some P2P provider – we want all the packaging, the sacrosanct details in the booklet, the assurance it really belongs to us, not just the ‘stacking up’ of sounds that is the song itself. 

However, I am keen to keep these sounds as the primary pleasure and driving force of the music industry. This focus, therefore, is reflected in the order of my ‘Top Five Things to Look for’ when deciding if a music video is any good. 

Five things to look for …

I’ve turned the ideas in Goodwin’s book, Dancing in the Distraction Factory, into checklist form for you to test out on the current crop of music videos. 

At number 1 ... 

‘Thought Beats’ or seeing the sounds in your head

The basis for visualising images comes from a psychological process called synaesthesia, where you picture sounds in your mind’s eye. This idea is absolutely central to understanding music video as they build on the soundtrack’s visual associations in order to connect with the audience and provide that additional pleasure. 

To use this approach you need to start with the music, sorting out the way the song works, taking into account the way it has been stacked up with sound. To begin, lyrics don’t need to be analysed word for word like a poem but rather considered for the way they introduce a general feeling or mood. Very rarely do song lyrics have a coherent meaning that can be simply read off; but they are important in at least creating a sense of subject matter. So key phrases or lines (and especially those repeated in the chorus) will have a part to play in the kind of visuals associated with the song. 

Here, Roland Barthes’ theory of the ‘grain of voice’ is relevant – this sees the singing voice more as an expressive instrument, personal, unique even, to the singer, like a fingerprint, and therefore able to create associations in itself. The voice of a song may even possess trademarks that work hand-in-hand with the star image – so Michael Jackson’s yelp is a trademark sound that immediately sets him apart from other singers.

Finally, if songs are stories, then the singer is the storyteller and this obviously makes music videos stand out on TV, as they feature a first person mode of address rather than the invisible ‘fourth wall’ of television narration. 

Goodwin interestingly compares pop singers to stand-up comics in the way the personal trademark or signature dominates the performance. The music – or arrangement of the song, including instrumentation, the mix and effects, including samples – generally works with the lyrics and grain of voice. Generally we can look at key sounds, like the tempo (or speed of the song) and structure of the song in terms of verse and chorus. To give an example of how instruments can create visual associations, the slow twang of the steel guitar could create geographically-based visual associations from the Deep South of the US – a desert plain, a small town, one road out, men chewing tobacco … We all share a memory bank of popular culture imagery (intertextuality), a sense of shared cultural history without which these references would make no sense. Places, people, feelings, situations leading to mini-narratives – all these can be summoned from the sounds of popular music. 

These visualisations can arise from more personal, individual responses, sometimes even tied to a place or part of your own autobiography, the specific details of your life story and emotions. A combination of these shared and personal images tied to the words and instrumentation form the basis of music video creativity. 

At number 2 … 

Narrative and performance

Songs rarely tell complete narratives; we are used to studying them with other visual texts like film. The narrative fuzz in songs affects the way stories are used in music video representations of a song’s meaning. So, often we get the suggestion of a story, a hint at some kind of drama unfolding. 

There is another important reason why music videos should avoid a classic realist narrative, and that is their role in advertising. 

Music videos need to have repeatability built in to them. We need to be able to watch them repeatedly in a more casual way, with a looser approach to their storytelling. I’d suggest that more important than narrative is the way that performance is used in video clips, a point I’ll look at again in number 3. Often, music videos will cut between a narrative and a performance of the song by the band. Additionally, a carefully choreographed dance might be a part of the artist’s performance or an extra aspect of the video designed to aid visualisation and the ‘repeatability’ factor. Sometimes, the artist (especially the singer) will be a part of the story, acting as narrator and participant at the same time. But it is the lip-sync close-up and the mimed playing of instruments that remains at the heart of music videos, as if to assure us that the band really can kick it. 

Remember that pop music is a romantic art, all about truth, talent, and magic, so we need to believe in the authenticity of the performance first and foremost. The supposed individual and original qualities of these performers leads me to my next point, the source of all profit in the business … the star!

At number 3 … 

The star image

The music business relies on the relatively few big name stars to fund its activities; it usually fails to connect with popular audiences – only about one in ten acts put out by the industry actually makes any money. Therefore, what we can describe as the meta-narrative of the star image will have an important part to play in the music video production process. 

Meta-narrative is a term that describes the development of the star image over time, the stories that surround a particular artist. 

Michael Jackson – a mini case study

(Note : this article was written before Jackson's death)

Michael Jackson’s meta-narrative has been a long, sometimes difficult journey and one he has lost control of in recent years. 

There have been a few crucial moments in Jackson’s meta-narrative of pop stardom. The first was the successful move from being one of a group – even if acknowledged as its central talent – as child member of The Jackson 5, to becoming a solo artist. 

He was then able to negotiate one of the most successful solo careers ever through developing both his trademark sound and image. The ground-breaking music videos for Thriller and Beat It were an important part of this mega-stardom. 

At some point in the 90s, though, this meta-narrative took a wrong turn and his unique ‘star image’ became ‘freakish’ and self-indulgent; we are reminded that this child star has never grown up. Thus, the Jackson talent, his natural birthright it seems, becomes the reason for his adult weirdness. His younger self – black, funky, energetic – is constantly held up to condemn his current abnormality – withdrawn, of no ethnicity, over-produced to the point of ceasing to exist. And yet, all this means he is still talked about, the object of mass media fascination and so, in a very real sense, still a star. Whether the most recent allegations of child abuse will finally render that stardom invalid remains to be seen.

Meta-narratives of star image are not simply a matter of manipulation, but a dialogue or negotiation of what the music business asserts about their star, and what we accept! Still, in each new video, Michael Jackson tries to regain control over his meta-narrative but he can’t just switch off all the different associations he’s accumulated during his career, whether good or bad. So music videos can best be seen as one of the most important ways that the image of the artist is ‘managed’. 

At number 4 … 

Three ways in which music videos relate visuals to the song

We can identify three ways in which music videos work to support or promote the song. These are illustration, amplification and disjuncture and I find them extremely useful in attempting to generalise the effects of individual music videos. 

• Music videos can illustrate the meaning of lyrics and genre, providing a sometimes over literal set of images. Here, then, is the most straightforward technique and the classic example of visualisation, with everything in the music video based on the source of the pop song. 

• However, as with all advertising, the most persistent type of video adds to the value of the song. Amplification is seen as the mark of the true music video Auteur, the director as artist, and an increasingly common way to view music video creatives (VH-1’s Best 100 Videos clearly placed Spike Jonze in the Auteur category with his work always amplifying the original song’s meaning and effect, usually through surreal humour). Crucially, though, and what separates it from disjuncture, is the fact that amplification music videos retain a link with the song and work to enhance or develop ideas, rather than fundamentally changing them.

• Disjuncture is a term used to describe those music videos that (normally intentionally) seem to work by ignoring the original song and creating a whole new set of meanings. This is quite a radical technique and used by arty bands in order to assert their difference and originality. Usually, disjuncture videos of this type don’t make a lot of sense and may be based on abstract imagery. For example in Spike Jonze’s video for Daft Punk’s ‘Da Funk’ we see a man with a dog’s head and his arm in a cast walking round New York, ignored by all, with dialogue completely unrelated to the song itself. Sometimes though, disjuncture videos are just bad, ill-conceived and self-indulgent mistakes. 

And finally at number 5 ... 

Technical aspects of music video

The last really essential aspect of music video to study is technical. This includes camerawork, movement and angle, mise-en-scène, editing, and sound. 

It is important to remember the more general features of music videos already mentioned when trying to work out the technical effects, especially those which are post-production, effects. Broadly, the technical conventions can be summed up as follows: 

1. Speed! 

Speed is visualised by camera movement, fast editing (montage) and digital effects.

Camera movement is often motivated by running, dancing and walking performers.

Fast-cutting and montage editing creates a visually decentred experience necessary for music video consumption, with the images occasionally moving so fast that they are impossible to understand on first viewing and thus need to be viewed several times (repeatability). 

Post-production digital effects – a staple of music video where images can be colorized, multiple split screens appear, and so on, all to complicate and intrigue, providing pleasure again and again. 

Not all camera movement is about speed though and some use slow pace through dissolves or static shots. This kind of editing – like Sinead O’Conner’s ‘Nothing Compares 2 U’ – is striking and effective in setting the song apart from the hustle and bustle of most pop activity. 

2. Meat! 

The meat of most music videos is the cut to the close-up of the singer’s face. This is because the voice is seen as the most important part of pop music. 

3. Beats! 

Often, the video will try and represent the music through the use of the cut to go with the beat or key rhythm. This is called 'cutting to the beat'.

4. Lighting and colour 

...may also be used to emphasise key moments in the song, using methods from lighting live performances for dramatic effect. Colour may be used to show a development in the song, going from colour to black and white or vice versa when the chorus comes in. Equally, any change in the mise-en-scène or camerawork can signal the same type of thing.

5. Mise-en-scène 

Obviously the setting for music videos is important, often to guarantee the authenticity of the clip rather than anything else. So mise-en-scène for many music videos is the concert hall or rehearsal room to emphasise the realness of the performance or the grit and practice that goes into attaining star quality. Increasingly, CGI is used, especially for dance songs, which don’t rely so much on being ‘real’ like rock, soul and rap acts. 

Steve Archer : Media Magazine 2004

Research: Andrew Goodwin's Features Of Music Videos

          Andrew Goodwin’s 6 Features of Music Videos



In his book Dancing in the Distraction Factory (1992) Andrew Goodwin points out characteristics and features that can be found in music videos. 

1.    Music videos demonstrate genre characteristics.

(e.g. stage performance in metal videos, dance routine for boy/girl band, aspiration in Hip Hop).

2.    There is a relationship between lyrics and visuals. 

The lyrics are represented with images - either illustrating, amplifying or contradicting them. 

3.    There is a relationship between music and visuals. 

The tone and atmosphere of the visuals reflect that of the music - either illustrating, amplifying or contradicting.

4.    The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).

5.    There is frequently reference to notion of looking (screens within screens, mirrors, stages, etc) and particularly voyeuristic treatment of the female body.

6.    There are often intertextual reference (to films, tv programmes, other music videos etc).


(From Andrew Goodwin, DANCING IN THE DISTRACTION FACTORY, 1992.)

Research: Features Of Music Videos






My task was to watch three or more different music videos with different genres using the website vevo.com(http://www.vevo.com/browse).It was the first time I had ever been on the vevo website but I had heard of them previously from the youtube accounts they have like vevodscvr for upcoming artists and bands. When i first went on to the vevo website i found it slightly complicated but after watching a few music videos and finding how to search for music i found it extremely simple. One feature that stood out to me most was the fact that you could watch new music videos before it had been broadcasted on TV and youtube a week before. For my music video choices I chose blank space by Taylor Swift, let it go by James Bay and say something by Karen Harding. All were extremely different  styles of music from pop to house.                                                                
                                                                                            
                             
Below are the notes I made whilst watching the three music videos and what i thought they all had in common. I did this as part of our task was to pick out 6 key features in a music video and it made it easier when comparing them all. 

The 6 key features i identified by completing this task are:
1) Their are a range of close-ups at the start of music videos so the viewer can identify the main singer.

2) Their is always some type of storyline for example a story of a relationship between the singer and someone else. The storyline is also in relation to the lyrics of the song.

3)The lighting goes with the mood of the song.

4)The speed of the cuts go with the beat of the music.

5)Mise-en-scene reflects on the mood of the song e.g. colour of the clothes the artist is wearing.

6)Most common camera movement is tracking as they follow the artists movement.

Hypodermic Needle Theory - Audience Theory

Research: A Timeline Of Popular Music

http://www.tiki-toki.com/timeline/entry/477437/Popular-music-/

Above is a music timeline i have created to gain a better understanding of how music and technology has changed throughout the years. Using a timeline has helped as it allows me to see the change in stages all the way from the 1950-2015.




Research: Music Experience and Behaviour In Young People

Research : Music Experience and Behaviour In Young People

The University of Hertfordshire carried out research into ways in which young people aged 14-24 engaged with music.

Although a little out of date this research still makes interesting reading for you.
  • Access the document by CLICKING HERE and take some time to read throughout the findings.
  • How do the findings of this research compare to your own 'music experience' as a young person?
Make a post on your new blog with the same title as this post which answers the question above.

The music research doesn't compare to me that much as i still listen to music on my computer and have it playing music around the house. I only listen to music on my phone if its the only thing i can access otherwise i go for another route of listening to my music. Regarding the digital collections i still own CD's but rarely listen to them and if i'm going to purchase an artists CD i have to really like their music making sure i listen to the CD all the time and get my money's worth. 

Research: The UK's Digital Music Landscape

BPI stands for the British Phonographic Industry.



The BPI represents the UK’s recorded music industry, which is one of the most exciting and thriving music sectors in the world. 

British artists account for one in eight albums purchased by fans around the globe.

As a trade body, they champion the interests of their membership which includes more than 300 independent music companies and the UK’s major record companies – Universal Music, Sony Music, and Warner Music. 

Together, BPI’s members account for 85% of all music sold in the UK.
BPI organises the BRIT Awards show and the Classic BRIT Awards show.


The BPI publishes a range of documents in relation to the music industry within the UK.

CLICK HERE to open the BPI's 2013 report titled ' Digital Music Nation'.

You will need to use this document for an activity completed in class as part of your initial research into the music industry in the UK.