Assignment Prompt & Instructions
[>Management homework help](https://www.sweetstudy.com/fields/business-finance-management)
TUTOR ASSIGNMENT
**files (3)**
– ## MGKT600Week3Assignment.docx
– ## MGKT600EBSCO-FullText-05_17_20262MUSIC.pdf
– MGKT600EBSCO-FullText-05_17_20261GLOBAL.pdf
**## MGKT600Week3Assignment.docx**
**Week 3 Assignment** (No more than 5 pages not include title and reference pages)
**Brand Extension Assignment**
For this assignment, you are asked to choose an
**existing brand** and create a
**brand extension** for that brand. This is not connected to your final paper topic, so you can use any brand, including your final paper topic for this deliverable. Your goal is to present a detailed, well-reasoned proposal that explains how you would expand the brand into a new product category or service offering. This will require you to think strategically about how the brand's identity, values, and market position can be leveraged to successfully extend into new markets or product lines.
**Assignment Details:**
·
**Length**: 5 pages (this does not include title and reference pages)
·
**Format**: Word document
·
**Submission**: Upload the assignment into the
**ASSIGNMENT Container** in the course platform
·
**File Naming**: Please name your file using the following format: lastnamefirstinitial-MKTG600-assignment#
**Headings to Include:**
1.
**Brand Overview (Background)**
Provide a brief background on the brand you have chosen. Include the following:
· A description of the company’s history and its core offerings.
· The brand’s
**current market position**, strengths, and unique value proposition.
· Key brand elements that define its identity (e.g., mission statement, core values, target audience).
· A discussion of the brand’s
**current customer base** and overall reputation in the market.
2.
**Extension Idea**
Describe the
**new product or service** that you propose for the brand extension.
Consider the following:
· What is the new product or service?
· How does it relate to the brand’s core offerings or values?
· What
**differentiates this extension** from competitors in the market?
3.
**Rationale/Justification for the Extension**
In this section, you will provide the reasoning behind your decision to propose this specific brand extension.
·
**Why** is this brand extension a good fit for the brand?
·
**How does it align with the brand’s mission statement** and core values?
·
**What market needs or customer desires** does this extension address?
· Support your reasoning with
**data, trends, and research** that highlight potential market opportunities.
4.
**Target Market**
Define the
**target audience** for the brand extension.
Consider the following:
· Who is the primary customer for this extension (demographics, psychographics, behaviors)?
· What
**consumer needs** does this new product or service fulfill?
· Are there new market segments you can target with this extension that weren’t previously reached by the brand?
· Provide data on market size, trends, and consumer preferences to support your target market choice.
5.
**Marketing and Launch Strategy**
Outline a
**marketing and launch strategy** for your proposed brand extension. This should include:
·
**Pricing Strategy**: How will you price the new product? Consider market positioning, competition, and value perception.
·
**Channel Strategy**: Where and how will the new product be sold? Discuss whether the brand will leverage existing distribution channels or if new channels will be needed.
·
**Promotional Strategy**: How will the brand raise awareness for the extension? Consider both traditional and digital marketing methods (e.g., advertising, PR, influencer marketing, social media, content marketing).
·
**Launch Timeline**: Provide an overview of the key stages of the product launch and the timing for each phase.
6.
**Ethical Considerations**
Discuss any potential
**ethical concerns** related to your brand extension. This could include:
· Issues related to
**sustainability** or
**social responsibility**.
·
**Consumer privacy** or data security concerns, especially if the extension involves new technologies or services.
· Potential concerns related to
**misleading advertising** or
**cultural sensitivities** when expanding into new markets.
· Address how you would ensure that the brand maintains
**ethical standards** and a
**positive public image** throughout the extension process.
**## MGKT600EBSCO-FullText-05_17_20262MUSIC.pdf**
[PMH 3.3 (2008) 207-212] Popular Music History (print) ISSN 1740-7133
doi:10.1558/pomh.v3i3.207 Popular Music History (online) ISSN 1743-1646
© Equinox Publishing Ltd 2009, Unit 6, The Village, 101 Amies Street, London SW11 2JW.
Tuulikki Pietilä
Introduction to the
Special Issue
World Music and small players in the global music
industry
Tuulikki Pietilä is an academy research fellow in
the Helsinki Collegium for Advanced Studies. She
has published a monograph on market women
and gender relations in Kilimanjaro, Tanzania, and
a number of articles on trade and gender issues in
post-colonial Africa as well as on the world music
industry. Currently she is studying South African
music and music industry.
Collegium for Advanced Studies
Fabianinkatu 24
00014 University of Helsinki
Finland
tuulikki.pietila@helsinki.fi
The articles in this issue examine World Music and its history from diverse per-
spectives and positions. The papers were originally presented as part of a two-day
conference entitled ‘World Music and Small Players in the Global Music Indus-
try’, and held in the Danish Institute for International Studies in Copenhagen in
August 2005.1 The conference gathered together researchers and practitioners
with an interest in minor agents’ position and strategies in the music industry—
minor agents being independent labels and producers in general and World Music
producers and promoters in particular.
Altogether fifteen papers were presented in the conference, under the fol-
lowing subthemes: Current Trends in the Global Music Industry (papers by Dave
Laing and Phil Hardy); World Music—Gains and Controversies for the Involved
Agents (papers by Joe Boyd and John Collins); Small Agents in the South African
Recording Industry (papers by David Coplan and Tuulikki Pietilä); Independent
Labels’ Strategies in Denmark (papers by Henrik Bødker and Per Darmer); Poli-
tics of Representation in the World Music Industry (papers by Mike Alleyne and
1. I wish to thank the Danish Research Agency (Forskningsrådet for Samfund og Erhverv)
for providing the major part of the funding for the conference, and the Danish Institute for
International Studies for providing additional funding and the facilities for the conference. Addi-
tionally, I wish to thank Per Darmer from Copenhagen Business School for help in organizing the
conference.
208 PoPular Music History
© Equinox Publishing Ltd 2009.
John Hutnyk); Developments in the World Music Institutions and Concept in the
Nordic Countries (papers by Ole Reitov and Mik Aidt); and Experiences of Small
Agents in the Music Business (papers by Jonathan Feig, Jakob Hoff, and D. A.
Sonneborn).
Six of the papers are published here. These six and two other papers (by John
Hutnyk and by D. A. Sonneborn) together with a longer introduction are also avail-
able as an e-book in a series by the Helsinki Collegium for Advanced Studies (Pie-
tilä 2009b). Two conference papers not included in these publications (papers by
David Coplan and by Tuulikki Pietilä) are published elsewhere (see Coplan [2008:
359–65] and Pietilä [2009a]).
The articles by Dave Laing and Phil Hardy deal with the general developments
in music industry structures. The music industry has experienced a process of
accelerating globalization especially since the end of the 1970s, when companies
started to respond to a downturn in sales by a wave of takeovers and mergers
(Burnett 1996: 50–59). The result has been a decreasing number of companies
with an increasing international reach. Phil Hardy’s article reveals that in the last
two decades, the territorial coverage and operating principles of authors’ collec-
tion societies in Europe have also been undergoing changes. The pressure from
international record companies, competition authorities and the online digital
market has undermined the national basis of the collection societies and cre-
ated attempts at forming a more international, pan-European body for copyright
licensing administration.
In the music industry just like in other fields, globalization has thus tended
to result in increasing internationalization and a concentration of power among
fewer players, and a streamlining and mainstreaming of activities over larger ter-
ritories. However, the World Music industry, a small niche in the global music
industry, contains features of an alternative mode of globalization to that of the
major music industry. Dave Laing describes the multinational major companies’
mode of operation as a ‘centre to periphery panoptic command structure’, and
contrasts that with the World Music industry, which he describes as a ‘genre-
market’ functioning through specialized institutions and networks across national
boundaries. This distinction highlights the fact that World Music has always been
and remains a domain within the global music industry in which minor actors,
such as independent record labels, freelance journalists and music profession-
als, predominate instead of the major players. Because it is based on networks
of numerous actors, controversy and diversity in the ideologies, definitions and
boundaries are inherent in the World Music industry. Operations based on face-
to-face interactions and networks are no less global than those based on large
units where employees of the same parent company largely remain anonymous to
introduction to tHe sPecial issue 209
© Equinox Publishing Ltd 2009.
each other. This reminds us that globalization does not necessarily always mean an
increased abstraction and a distancing of human relations as is commonly envis-
aged in globalization theories (e.g., Giddens 1990; Harvey 1989).
Against the decreasing significance of locality in many forms of globalization,
World Music is an instance of the emphasized importance of locality, albeit not
one without contradictions. Much of the attraction of World Music derives from
the images and atmospheres it brings from other cultures. World Music may give
the listener a feeling of being able to command the perplexing cacophony that the
globalized media and excessive information produces; it offers a simplified way
to explore the world, and map the world through music. In practice, though, the
feeling of command and comprehension may well be as imaginary as the places
and cultures that the World Music industry portrays, often represented as more
localized, romanticized and unchanging than they are in reality. In his article Mike
Alleyne discusses how Caribbean musics, calypso and reggae in particular, have
often become diluted and diminished in their aural, visual and textual qualities as
they are produced by the multinational record companies for the world markets.
He emphasizes the power that the dominant Euro-American culture and record
companies exert in representing and defining Other peoples’—in this case Anglo-
phone Caribbean—musical genres and cultures.
Regardless of its many good intentions, the World Music industry is indeed
often criticized for the nature of the representations and images it perpetuates
of non-Western peoples, whose music it showcases (e.g., Erlmann 1994: 179; Feld
1994: 266; Mitchell 1993: 310). When the label World Music was launched as a mar-
keting category in the mid-1980s, much of the music included was from Africa and
the African diaspora (see Collins in this issue; fRoots magazine 1987). Gradually,
however, the category has come to embrace music of non-Western origins in gen-
eral, as well as that of European and American minorities. In that way, the World
Music category lumps together a wide diversity of music, for which the common
denominator is a social and territorial location in the world system rather than a
clearly definable musical genre. The way World Music is produced on records and
presented on stage and on record covers—the performers clad in ethnic costumes,
feathers and with painted faces—tends to emphasize traditionalism, exoticism and
primitive naturalness (e.g., Erlmann 1994; Taylor 1997: 19–27).2 At worst the audi-
ence and industry expectations of what a World Music band should sound and
look like are so strong and inflexible that they in effect constrain the band from
experimenting with sounds and styles and, thus, from realizing their creativity
fully (Pietilä 2008; see also Feig on ‘race music’ in this issue).
2. For a summary of the discussion on the economic and symbolic forms of appropriation
inherent in the World Music institution, see Pietilä 2008.
210 PoPular Music History
© Equinox Publishing Ltd 2009.
Joe Boyd’s article offers a vivid description of the divergent musical tastes and
expectations clashing in the recording studio. As an experienced producer, Boyd
knows that Euro-American audiences seek in World Music ‘virtuosity, a sense of
roots and tradition, and the spontaneous energy of a live recording session where
great musicians interact in real time’. However, once non-Western musicians
get into the studio in order to make a World Music record, they are often more
interested in musical experimentation by modifying traditional sounds with hi-
tech productions and electrified instruments. In his article, John Collins describes
a similar discrepancy between the expectations of World Music audiences and
domestic audiences for Ghanaian music. Both Boyd and Collins find in the World
Music industry a means to re-elevate the value of traditional music among the
people whose traditions it belongs. They depict well the contrast and irony in the
longing of Western audiences for traditional music from musicians and peoples
who themselves yearn for modern, electrically-amplified sounds. Thus, if West-
ern people search for an escape from their technologically infused, postmodern
life in the ‘pure’ and ‘rootsy’ sounds of World Music, non-Western people seem
to be searching for ways and signs of modern life in Western electric sounds and
genres.
Indeed, there has been so much criticism in the academic literature on the
Western-originated exoticizing and orientalizing tendencies inherent in the
World Music industry that it is high time to balance the picture by drawing atten-
tion to the pure and rather innocent curiosity, fascination and enthusiasm that
Western and non-Western people equally feel in regard to each other’s musical
styles. As the examples given by Boyd and Collins show, there is a mutual curi-
osity over Otherness and Others’ music that moves Western and non-Western
people alike. There is nothing intrinsically bad in this fascination, even though
it can turn into the fetishization and exoticization of the Other as easily among
non-Western people as it does among Westerners. The discrepancy in power
and technology means, however, that the Western images of the Other circulate
more widely than vice versa, as Alleyne’s paper reminds us. In contrast to what
Alleyne describes as the dilution of aesthetic and cultural authenticity of the Car-
ibbean music by the major music industry, Collins’s paper emphasizes the many
positive developments that the World Music industry has engendered for Gha-
naian music, important among these being the increased interest in ‘authentic’—
traditional and neo-traditional—musical forms.
The ambience and energy of live performance is a crucial part of the attraction
of World Music. Indeed, by examining the statistics, Dave Laing finds that the live
performance is the largest and fastest-expanding sub-sector of the World Music
industry. Online distribution of music and the creation of a virtual fan-base are
introduction to tHe sPecial issue 211
© Equinox Publishing Ltd 2009.
so far more viable for Western artists. Interestingly, however, as Laing discusses,
the live music sector is the fastest-growing category of the whole global music
industry. The spread of digital technology and online distribution of music are
unlikely to diminish the importance and popularity of live performance. Quite
the contrary: the moments of live interaction continue to draw and fascinate
people amidst the increasing presence of virtual realities in their lives. This shows
again how abstract and disembedding processes related to globalization, such as
the online downloading of music, simultaneously create space and demand for
embodied, participatory and situated experiences.
Jonathan Feig’s article discusses live performances and the different stage
roles available and suitable for different musicians. By comparing the distinct
careers of six violin players, he reminds us of the centrality of live improvisation
in music, often barely captured on record and seldom adequately appreciated by
the recording industry. He also highlights the importance of acknowledging the
particular personality of each musician, because it influences the roles in which
he or she feels most at ease and creative. Improvisation and a suitable distribu-
tion of roles are thus what make a performance memorable and the band, as well
as the individual artists, unique. When all the pieces fall into place, profession-
alism is revealed in the creative and virtuosic mixing of musical elements from
diverse sources and traditions, which are thereby renewed. This is World Music
at its best and discourses and definitions can only go so far in their attempt to
capture it.
References
Burnett, R. 1996. The Global Jukebox: The International Music Industry. London and New York:
Routledge.
Coplan, D. 2008. In Township Tonight! South Africa’s Black City Music and Theatre. Chicago:
University of Chicago Press.
Erlmann, V. 1994. ‘Africa Civilised, Africa Uncivilised: Local Culture, World System and South
African Music’. Journal of Southern African Studies 20/2: 165–79.
Feld, S. 1994. ‘From Schizophonia to Schismogenesis: On the Discourses and Commodifica-
tion Practices of “World Music” and “World Beat”’. In Music Grooves, by Charles Keil
and Steven Feld, 257–89.Chicago: University of Chicago Press.
fRoots Magazine. 1987. ‘History of World Music’. http://www.frootsmag.com/content/
features/world_music_history/minutes
Giddens, A. 1990. The Consequences of Modernity. Stanford: Stanford University Press.
Harvey, D. 1989. The Condition of Postmodernity. Oxford: Blackwell.
Mitchell, T. 1993. ‘World Music and the Popular Music Industry: An Australian View’. Ethno-
musicology 37/3: 309–37.
Pietilä, T. 2008. ‘Singing in the Dark? World Music and Issues of Power and Agency’. In
Globalization and Restructuring of African Commodity Flows, eds Niels Fold and Mari-
anne Nylandsted Larsen, 241–66. Uppsala: Nordic Africa Institute.
212 PoPular Music History
© Equinox Publishing Ltd 2009.
—2009a. ‘Whose Works and What Kinds of Rewards: The Persisting Question of Ownership
and Control in the South African and Global Music Industry’. Information, Communi-
cation & Society 12/2: 229–50.
—ed. 2009b. World Music: Roots and Routes. Helsinki: Collegium for Advanced Studies, e-book
series, volume 6: http://www.helsinki.fi/collegium/e-series/volumes/vol ume_6/
index.htm
Taylor, T. 1997. Global Pop: World Music, World Markets. New York and London: Routledge.
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**## MGKT600Week3Assignment.docx**
**Week 3 Assignment** (No more than 5 pages not include title and reference pages)
**Brand Extension Assignment**
For this assignment, you are asked to choose an
**existing brand** and create a
**brand extension** for that brand. This is not connected to your final paper topic, so you can use any brand, including your final paper topic for this deliverable. Your goal is to present a detailed, well-reasoned proposal that explains how you would expand the brand into a new product category or service offering. This will require you to think strategically about how the brand's identity, values, and market position can be leveraged to successfully extend into new markets or product lines.
**Assignment Details:**
·
**Length**: 5 pages (this does not include title and reference pages)
·
**Format**: Word document
·
**Submission**: Upload the assignment into the
**ASSIGNMENT Container** in the course platform
·
**File Naming**: Please name your file using the following format: lastnamefirstinitial-MKTG600-assignment#
**Headings to Include:**
1.
**Brand Overview (Background)**
Provide a brief background on the brand you have chosen. Include the following:
· A description of the company’s history and its core offerings.
· The brand’s
**current market position**, strengths, and unique value proposition.
· Key brand elements that define its identity (e.g., mission statement, core values, target audience).
· A discussion of the brand’s
**current customer base** and overall reputation in the market.
2.
**Extension Idea**
Describe the
**new product or service** that you propose for the brand extension.
Consider the following:
· What is the new product or service?
· How does it relate to the brand’s core offerings or values?
· What
**differentiates this extension** from competitors in the market?
3.
**Rationale/Justification for the Extension**
In this section, you will provide the reasoning behind your decision to propose this specific brand extension.
·
**Why** is this brand extension a good fit for the brand?
·
**How does it align with the brand’s mission statement** and core values?
·
**What market needs or customer desires** does this extension address?
· Support your reasoning with
**data, trends, and research** that highlight potential market opportunities.
4.
**Target Market**
Define the
**target audience** for the brand extension.
Consider the following:
· Who is the primary customer for this extension (demographics, psychographics, behaviors)?
· What
**consumer needs** does this new product or service fulfill?
· Are there new market segments you can target with this extension that weren’t previously reached by the brand?
· Provide data on market size, trends, and consumer preferences to support your target market choice.
5.
**Marketing and Launch Strategy**
Outline a
**marketing and launch strategy** for your proposed brand extension. This should include:
·
**Pricing Strategy**: How will you price the new product? Consider market positioning, competition, and value perception.
·
**Channel Strategy**: Where and how will the new product be sold? Discuss whether the brand will leverage existing distribution channels or if new channels will be needed.
·
**Promotional Strategy**: How will the brand raise awareness for the extension? Consider both traditional and digital marketing methods (e.g., advertising, PR, influencer marketing, social media, content marketing).
·
**Launch Timeline**: Provide an overview of the key stages of the product launch and the timing for each phase.
6.
**Ethical Considerations**
Discuss any potential
**ethical concerns** related to your brand extension. This could include:
· Issues related to
**sustainability** or
**social responsibility**.
·
**Consumer privacy** or data security concerns, especially if the extension involves new technologies or services.
· Potential concerns related to
**misleading advertising** or
**cultural sensitivities** when expanding into new markets.
· Address how you would ensure that the brand maintains
**ethical standards** and a
**positive public image** throughout the extension process.
**## MGKT600EBSCO-FullText-05_17_20262MUSIC.pdf**
[PMH 3.3 (2008) 207-212] Popular Music History (print) ISSN 1740-7133
doi:10.1558/pomh.v3i3.207 Popular Music History (online) ISSN 1743-1646
© Equinox Publishing Ltd 2009, Unit 6, The Village, 101 Amies Street, London SW11 2JW.
Tuulikki Pietilä
Introduction to the
Special Issue
World Music and small players in the global music
industry
Tuulikki Pietilä is an academy research fellow in
the Helsinki Collegium for Advanced Studies. She
has published a monograph on market women
and gender relations in Kilimanjaro, Tanzania, and
a number of articles on trade and gender issues in
post-colonial Africa as well as on the world music
industry. Currently she is studying South African
music and music industry.
Collegium for Advanced Studies
Fabianinkatu 24
00014 University of Helsinki
Finland
tuulikki.pietila@helsinki.fi
The articles in this issue examine World Music and its history from diverse per-
spectives and positions. The papers were originally presented as part of a two-day
conference entitled ‘World Music and Small Players in the Global Music Indus-
try’, and held in the Danish Institute for International Studies in Copenhagen in
August 2005.1 The conference gathered together researchers and practitioners
with an interest in minor agents’ position and strategies in the music industry—
minor agents being independent labels and producers in general and World Music
producers and promoters in particular.
Altogether fifteen papers were presented in the conference, under the fol-
lowing subthemes: Current Trends in the Global Music Industry (papers by Dave
Laing and Phil Hardy); World Music—Gains and Controversies for the Involved
Agents (papers by Joe Boyd and John Collins); Small Agents in the South African
Recording Industry (papers by David Coplan and Tuulikki Pietilä); Independent
Labels’ Strategies in Denmark (papers by Henrik Bødker and Per Darmer); Poli-
tics of Representation in the World Music Industry (papers by Mike Alleyne and
1. I wish to thank the Danish Research Agency (Forskningsrådet for Samfund og Erhverv)
for providing the major part of the funding for the conference, and the Danish Institute for
International Studies for providing additional funding and the facilities for the conference. Addi-
tionally, I wish to thank Per Darmer from Copenhagen Business School for help in organizing the
conference.
208 PoPular Music History
© Equinox Publishing Ltd 2009.
John Hutnyk); Developments in the World Music Institutions and Concept in the
Nordic Countries (papers by Ole Reitov and Mik Aidt); and Experiences of Small
Agents in the Music Business (papers by Jonathan Feig, Jakob Hoff, and D. A.
Sonneborn).
Six of the papers are published here. These six and two other papers (by John
Hutnyk and by D. A. Sonneborn) together with a longer introduction are also avail-
able as an e-book in a series by the Helsinki Collegium for Advanced Studies (Pie-
tilä 2009b). Two conference papers not included in these publications (papers by
David Coplan and by Tuulikki Pietilä) are published elsewhere (see Coplan [2008:
359–65] and Pietilä [2009a]).
The articles by Dave Laing and Phil Hardy deal with the general developments
in music industry structures. The music industry has experienced a process of
accelerating globalization especially since the end of the 1970s, when companies
started to respond to a downturn in sales by a wave of takeovers and mergers
(Burnett 1996: 50–59). The result has been a decreasing number of companies
with an increasing international reach. Phil Hardy’s article reveals that in the last
two decades, the territorial coverage and operating principles of authors’ collec-
tion societies in Europe have also been undergoing changes. The pressure from
international record companies, competition authorities and the online digital
market has undermined the national basis of the collection societies and cre-
ated attempts at forming a more international, pan-European body for copyright
licensing administration.
In the music industry just like in other fields, globalization has thus tended
to result in increasing internationalization and a concentration of power among
fewer players, and a streamlining and mainstreaming of activities over larger ter-
ritories. However, the World Music industry, a small niche in the global music
industry, contains features of an alternative mode of globalization to that of the
major music industry. Dave Laing describes the multinational major companies’
mode of operation as a ‘centre to periphery panoptic command structure’, and
contrasts that with the World Music industry, which he describes as a ‘genre-
market’ functioning through specialized institutions and networks across national
boundaries. This distinction highlights the fact that World Music has always been
and remains a domain within the global music industry in which minor actors,
such as independent record labels, freelance journalists and music profession-
als, predominate instead of the major players. Because it is based on networks
of numerous actors, controversy and diversity in the ideologies, definitions and
boundaries are inherent in the World Music industry. Operations based on face-
to-face interactions and networks are no less global than those based on large
units where employees of the same parent company largely remain anonymous to
introduction to tHe sPecial issue 209
© Equinox Publishing Ltd 2009.
each other. This reminds us that globalization does not necessarily always mean an
increased abstraction and a distancing of human relations as is commonly envis-
aged in globalization theories (e.g., Giddens 1990; Harvey 1989).
Against the decreasing significance of locality in many forms of globalization,
World Music is an instance of the emphasized importance of locality, albeit not
one without contradictions. Much of the attraction of World Music derives from
the images and atmospheres it brings from other cultures. World Music may give
the listener a feeling of being able to command the perplexing cacophony that the
globalized media and excessive information produces; it offers a simplified way
to explore the world, and map the world through music. In practice, though, the
feeling of command and comprehension may well be as imaginary as the places
and cultures that the World Music industry portrays, often represented as more
localized, romanticized and unchanging than they are in reality. In his article Mike
Alleyne discusses how Caribbean musics, calypso and reggae in particular, have
often become diluted and diminished in their aural, visual and textual qualities as
they are produced by the multinational record companies for the world markets.
He emphasizes the power that the dominant Euro-American culture and record
companies exert in representing and defining Other peoples’—in this case Anglo-
phone Caribbean—musical genres and cultures.
Regardless of its many good intentions, the World Music industry is indeed
often criticized for the nature of the representations and images it perpetuates
of non-Western peoples, whose music it showcases (e.g., Erlmann 1994: 179; Feld
1994: 266; Mitchell 1993: 310). When the label World Music was launched as a mar-
keting category in the mid-1980s, much of the music included was from Africa and
the African diaspora (see Collins in this issue; fRoots magazine 1987). Gradually,
however, the category has come to embrace music of non-Western origins in gen-
eral, as well as that of European and American minorities. In that way, the World
Music category lumps together a wide diversity of music, for which the common
denominator is a social and territorial location in the world system rather than a
clearly definable musical genre. The way World Music is produced on records and
presented on stage and on record covers—the performers clad in ethnic costumes,
feathers and with painted faces—tends to emphasize traditionalism, exoticism and
primitive naturalness (e.g., Erlmann 1994; Taylor 1997: 19–27).2 At worst the audi-
ence and industry expectations of what a World Music band should sound and
look like are so strong and inflexible that they in effect constrain the band from
experimenting with sounds and styles and, thus, from realizing their creativity
fully (Pietilä 2008; see also Feig on ‘race music’ in this issue).
2. For a summary of the discussion on the economic and symbolic forms of appropriation
inherent in the World Music institution, see Pietilä 2008.
210 PoPular Music History
© Equinox Publishing Ltd 2009.
Joe Boyd’s article offers a vivid description of the divergent musical tastes and
expectations clashing in the recording studio. As an experienced producer, Boyd
knows that Euro-American audiences seek in World Music ‘virtuosity, a sense of
roots and tradition, and the spontaneous energy of a live recording session where
great musicians interact in real time’. However, once non-Western musicians
get into the studio in order to make a World Music record, they are often more
interested in musical experimentation by modifying traditional sounds with hi-
tech productions and electrified instruments. In his article, John Collins describes
a similar discrepancy between the expectations of World Music audiences and
domestic audiences for Ghanaian music. Both Boyd and Collins find in the World
Music industry a means to re-elevate the value of traditional music among the
people whose traditions it belongs. They depict well the contrast and irony in the
longing of Western audiences for traditional music from musicians and peoples
who themselves yearn for modern, electrically-amplified sounds. Thus, if West-
ern people search for an escape from their technologically infused, postmodern
life in the ‘pure’ and ‘rootsy’ sounds of World Music, non-Western people seem
to be searching for ways and signs of modern life in Western electric sounds and
genres.
Indeed, there has been so much criticism in the academic literature on the
Western-originated exoticizing and orientalizing tendencies inherent in the
World Music industry that it is high time to balance the picture by drawing atten-
tion to the pure and rather innocent curiosity, fascination and enthusiasm that
Western and non-Western people equally feel in regard to each other’s musical
styles. As the examples given by Boyd and Collins show, there is a mutual curi-
osity over Otherness and Others’ music that moves Western and non-Western
people alike. There is nothing intrinsically bad in this fascination, even though
it can turn into the fetishization and exoticization of the Other as easily among
non-Western people as it does among Westerners. The discrepancy in power
and technology means, however, that the Western images of the Other circulate
more widely than vice versa, as Alleyne’s paper reminds us. In contrast to what
Alleyne describes as the dilution of aesthetic and cultural authenticity of the Car-
ibbean music by the major music industry, Collins’s paper emphasizes the many
positive developments that the World Music industry has engendered for Gha-
naian music, important among these being the increased interest in ‘authentic’—
traditional and neo-traditional—musical forms.
The ambience and energy of live performance is a crucial part of the attraction
of World Music. Indeed, by examining the statistics, Dave Laing finds that the live
performance is the largest and fastest-expanding sub-sector of the World Music
industry. Online distribution of music and the creation of a virtual fan-base are
introduction to tHe sPecial issue 211
© Equinox Publishing Ltd 2009.
so far more viable for Western artists. Interestingly, however, as Laing discusses,
the live music sector is the fastest-growing category of the whole global music
industry. The spread of digital technology and online distribution of music are
unlikely to diminish the importance and popularity of live performance. Quite
the contrary: the moments of live interaction continue to draw and fascinate
people amidst the increasing presence of virtual realities in their lives. This shows
again how abstract and disembedding processes related to globalization, such as
the online downloading of music, simultaneously create space and demand for
embodied, participatory and situated experiences.
Jonathan Feig’s article discusses live performances and the different stage
roles available and suitable for different musicians. By comparing the distinct
careers of six violin players, he reminds us of the centrality of live improvisation
in music, often barely captured on record and seldom adequately appreciated by
the recording industry. He also highlights the importance of acknowledging the
particular personality of each musician, because it influences the roles in which
he or she feels most at ease and creative. Improvisation and a suitable distribu-
tion of roles are thus what make a performance memorable and the band, as well
as the individual artists, unique. When all the pieces fall into place, profession-
alism is revealed in the creative and virtuosic mixing of musical elements from
diverse sources and traditions, which are thereby renewed. This is World Music
at its best and discourses and definitions can only go so far in their attempt to
capture it.
References
Burnett, R. 1996. The Global Jukebox: The International Music Industry. London and New York:
Routledge.
Coplan, D. 2008. In Township Tonight! South Africa’s Black City Music and Theatre. Chicago:
University of Chicago Press.
Erlmann, V. 1994. ‘Africa Civilised, Africa Uncivilised: Local Culture, World System and South
African Music’. Journal of Southern African Studies 20/2: 165–79.
Feld, S. 1994. ‘From Schizophonia to Schismogenesis: On the Discourses and Commodifica-
tion Practices of “World Music” and “World Beat”’. In Music Grooves, by Charles Keil
and Steven Feld, 257–89.Chicago: University of Chicago Press.
fRoots Magazine. 1987. ‘History of World Music’. http://www.frootsmag.com/content/
features/world_music_history/minutes
Giddens, A. 1990. The Consequences of Modernity. Stanford: Stanford University Press.
Harvey, D. 1989. The Condition of Postmodernity. Oxford: Blackwell.
Mitchell, T. 1993. ‘World Music and the Popular Music Industry: An Australian View’. Ethno-
musicology 37/3: 309–37.
Pietilä, T. 2008. ‘Singing in the Dark? World Music and Issues of Power and Agency’. In
Globalization and Restructuring of African Commodity Flows, eds Niels Fold and Mari-
anne Nylandsted Larsen, 241–66. Uppsala: Nordic Africa Institute.
212 PoPular Music History
© Equinox Publishing Ltd 2009.
—2009a. ‘Whose Works and What Kinds of Rewards: The Persisting Question of Ownership
and Control in the South African and Global Music Industry’. Information, Communi-
cation & Society 12/2: 229–50.
—ed. 2009b. World Music: Roots and Routes. Helsinki: Collegium for Advanced Studies, e-book
series, volume 6: http://www.helsinki.fi/collegium/e-series/volumes/vol ume_6/
index.htm
Taylor, T. 1997. Global Pop: World Music, World Markets. New York and London: Routledge.
**MGKT600EBSCO-FullText-05_17_20261GLOBAL.pdf**
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**## MGKT600Week3Assignment.docx**
**Week 3 Assignment** (No more than 5 pages not include title and reference pages)
**Brand Extension Assignment**
For this assignment, you are asked to choose an
**existing brand** and create a
**brand extension** for that brand. This is not connected to your final paper topic, so you can use any brand, including your final paper topic for this deliverable. Your goal is to present a detailed, well-reasoned proposal that explains how you would expand the brand into a new product category or service offering. This will require you to think strategically about how the brand's identity, values, and market position can be leveraged to successfully extend into new markets or product lines.
**Assignment Details:**
·
**Length**: 5 pages (this does not include title and reference pages)
·
**Format**: Word document
·
**Submission**: Upload the assignment into the
**ASSIGNMENT Container** in the course platform
·
**File Naming**: Please name your file using the following format: lastnamefirstinitial-MKTG600-assignment#
**Headings to Include:**
1.
**Brand Overview (Background)**
Provide a brief background on the brand you have chosen. Include the following:
· A description of the company’s history and its core offerings.
· The brand’s
**current market position**, strengths, and unique value proposition.
· Key brand elements that define its identity (e.g., mission statement, core values, target audience).
· A discussion of the brand’s
**current customer base** and overall reputation in the market.
2.
**Extension Idea**
Describe the
**new product or service** that you propose for the brand extension.
Consider the following:
· What is the new product or service?
· How does it relate to the brand’s core offerings or values?
· What
**differentiates this extension** from competitors in the market?
3.
**Rationale/Justification for the Extension**
In this section, you will provide the reasoning behind your decision to propose this specific brand extension.
·
**Why** is this brand extension a good fit for the brand?
·
**How does it align with the brand’s mission statement** and core values?
·
**What market needs or customer desires** does this extension address?
· Support your reasoning with
**data, trends, and research** that highlight potential market opportunities.
4.
**Target Market**
Define the
**target audience** for the brand extension.
Consider the following:
· Who is the primary customer for this extension (demographics, psychographics, behaviors)?
· What
**consumer needs** does this new product or service fulfill?
· Are there new market segments you can target with this extension that weren’t previously reached by the brand?
· Provide data on market size, trends, and consumer preferences to support your target market choice.
5.
**Marketing and Launch Strategy**
Outline a
**marketing and launch strategy** for your proposed brand extension. This should include:
·
**Pricing Strategy**: How will you price the new product? Consider market positioning, competition, and value perception.
·
**Channel Strategy**: Where and how will the new product be sold? Discuss whether the brand will leverage existing distribution channels or if new channels will be needed.
·
**Promotional Strategy**: How will the brand raise awareness for the extension? Consider both traditional and digital marketing methods (e.g., advertising, PR, influencer marketing, social media, content marketing).
·
**Launch Timeline**: Provide an overview of the key stages of the product launch and the timing for each phase.
6.
**Ethical Considerations**
Discuss any potential
**ethical concerns** related to your brand extension. This could include:
· Issues related to
**sustainability** or
**social responsibility**.
·
**Consumer privacy** or data security concerns, especially if the extension involves new technologies or services.
· Potential concerns related to
**misleading advertising** or
**cultural sensitivities** when expanding into new markets.
· Address how you would ensure that the brand maintains
**ethical standards** and a
**positive public image** throughout the extension process.
**## MGKT600EBSCO-FullText-05_17_20262MUSIC.pdf**
[PMH 3.3 (2008) 207-212] Popular Music History (print) ISSN 1740-7133
doi:10.1558/pomh.v3i3.207 Popular Music History (online) ISSN 1743-1646
© Equinox Publishing Ltd 2009, Unit 6, The Village, 101 Amies Street, London SW11 2JW.
Tuulikki Pietilä
Introduction to the
Special Issue
World Music and small players in the global music
industry
Tuulikki Pietilä is an academy research fellow in
the Helsinki Collegium for Advanced Studies. She
has published a monograph on market women
and gender relations in Kilimanjaro, Tanzania, and
a number of articles on trade and gender issues in
post-colonial Africa as well as on the world music
industry. Currently she is studying South African
music and music industry.
Collegium for Advanced Studies
Fabianinkatu 24
00014 University of Helsinki
Finland
tuulikki.pietila@helsinki.fi
The articles in this issue examine World Music and its history from diverse per-
spectives and positions. The papers were originally presented as part of a two-day
conference entitled ‘World Music and Small Players in the Global Music Indus-
try’, and held in the Danish Institute for International Studies in Copenhagen in
August 2005.1 The conference gathered together researchers and practitioners
with an interest in minor agents’ position and strategies in the music industry—
minor agents being independent labels and producers in general and World Music
producers and promoters in particular.
Altogether fifteen papers were presented in the conference, under the fol-
lowing subthemes: Current Trends in the Global Music Industry (papers by Dave
Laing and Phil Hardy); World Music—Gains and Controversies for the Involved
Agents (papers by Joe Boyd and John Collins); Small Agents in the South African
Recording Industry (papers by David Coplan and Tuulikki Pietilä); Independent
Labels’ Strategies in Denmark (papers by Henrik Bødker and Per Darmer); Poli-
tics of Representation in the World Music Industry (papers by Mike Alleyne and
1. I wish to thank the Danish Research Agency (Forskningsrådet for Samfund og Erhverv)
for providing the major part of the funding for the conference, and the Danish Institute for
International Studies for providing additional funding and the facilities for the conference. Addi-
tionally, I wish to thank Per Darmer from Copenhagen Business School for help in organizing the
conference.
208 PoPular Music History
© Equinox Publishing Ltd 2009.
John Hutnyk); Developments in the World Music Institutions and Concept in the
Nordic Countries (papers by Ole Reitov and Mik Aidt); and Experiences of Small
Agents in the Music Business (papers by Jonathan Feig, Jakob Hoff, and D. A.
Sonneborn).
Six of the papers are published here. These six and two other papers (by John
Hutnyk and by D. A. Sonneborn) together with a longer introduction are also avail-
able as an e-book in a series by the Helsinki Collegium for Advanced Studies (Pie-
tilä 2009b). Two conference papers not included in these publications (papers by
David Coplan and by Tuulikki Pietilä) are published elsewhere (see Coplan [2008:
359–65] and Pietilä [2009a]).
The articles by Dave Laing and Phil Hardy deal with the general developments
in music industry structures. The music industry has experienced a process of
accelerating globalization especially since the end of the 1970s, when companies
started to respond to a downturn in sales by a wave of takeovers and mergers
(Burnett 1996: 50–59). The result has been a decreasing number of companies
with an increasing international reach. Phil Hardy’s article reveals that in the last
two decades, the territorial coverage and operating principles of authors’ collec-
tion societies in Europe have also been undergoing changes. The pressure from
international record companies, competition authorities and the online digital
market has undermined the national basis of the collection societies and cre-
ated attempts at forming a more international, pan-European body for copyright
licensing administration.
In the music industry just like in other fields, globalization has thus tended
to result in increasing internationalization and a concentration of power among
fewer players, and a streamlining and mainstreaming of activities over larger ter-
ritories. However, the World Music industry, a small niche in the global music
industry, contains features of an alternative mode of globalization to that of the
major music industry. Dave Laing describes the multinational major companies’
mode of operation as a ‘centre to periphery panoptic command structure’, and
contrasts that with the World Music industry, which he describes as a ‘genre-
market’ functioning through specialized institutions and networks across national
boundaries. This distinction highlights the fact that World Music has always been
and remains a domain within the global music industry in which minor actors,
such as independent record labels, freelance journalists and music profession-
als, predominate instead of the major players. Because it is based on networks
of numerous actors, controversy and diversity in the ideologies, definitions and
boundaries are inherent in the World Music industry. Operations based on face-
to-face interactions and networks are no less global than those based on large
units where employees of the same parent company largely remain anonymous to
introduction to tHe sPecial issue 209
© Equinox Publishing Ltd 2009.
each other. This reminds us that globalization does not necessarily always mean an
increased abstraction and a distancing of human relations as is commonly envis-
aged in globalization theories (e.g., Giddens 1990; Harvey 1989).
Against the decreasing significance of locality in many forms of globalization,
World Music is an instance of the emphasized importance of locality, albeit not
one without contradictions. Much of the attraction of World Music derives from
the images and atmospheres it brings from other cultures. World Music may give
the listener a feeling of being able to command the perplexing cacophony that the
globalized media and excessive information produces; it offers a simplified way
to explore the world, and map the world through music. In practice, though, the
feeling of command and comprehension may well be as imaginary as the places
and cultures that the World Music industry portrays, often represented as more
localized, romanticized and unchanging than they are in reality. In his article Mike
Alleyne discusses how Caribbean musics, calypso and reggae in particular, have
often become diluted and diminished in their aural, visual and textual qualities as
they are produced by the multinational record companies for the world markets.
He emphasizes the power that the dominant Euro-American culture and record
companies exert in representing and defining Other peoples’—in this case Anglo-
phone Caribbean—musical genres and cultures.
Regardless of its many good intentions, the World Music industry is indeed
often criticized for the nature of the representations and images it perpetuates
of non-Western peoples, whose music it showcases (e.g., Erlmann 1994: 179; Feld
1994: 266; Mitchell 1993: 310). When the label World Music was launched as a mar-
keting category in the mid-1980s, much of the music included was from Africa and
the African diaspora (see Collins in this issue; fRoots magazine 1987). Gradually,
however, the category has come to embrace music of non-Western origins in gen-
eral, as well as that of European and American minorities. In that way, the World
Music category lumps together a wide diversity of music, for which the common
denominator is a social and territorial location in the world system rather than a
clearly definable musical genre. The way World Music is produced on records and
presented on stage and on record covers—the performers clad in ethnic costumes,
feathers and with painted faces—tends to emphasize traditionalism, exoticism and
primitive naturalness (e.g., Erlmann 1994; Taylor 1997: 19–27).2 At worst the audi-
ence and industry expectations of what a World Music band should sound and
look like are so strong and inflexible that they in effect constrain the band from
experimenting with sounds and styles and, thus, from realizing their creativity
fully (Pietilä 2008; see also Feig on ‘race music’ in this issue).
2. For a summary of the discussion on the economic and symbolic forms of appropriation
inherent in the World Music institution, see Pietilä 2008.
210 PoPular Music History
© Equinox Publishing Ltd 2009.
Joe Boyd’s article offers a vivid description of the divergent musical tastes and
expectations clashing in the recording studio. As an experienced producer, Boyd
knows that Euro-American audiences seek in World Music ‘virtuosity, a sense of
roots and tradition, and the spontaneous energy of a live recording session where
great musicians interact in real time’. However, once non-Western musicians
get into the studio in order to make a World Music record, they are often more
interested in musical experimentation by modifying traditional sounds with hi-
tech productions and electrified instruments. In his article, John Collins describes
a similar discrepancy between the expectations of World Music audiences and
domestic audiences for Ghanaian music. Both Boyd and Collins find in the World
Music industry a means to re-elevate the value of traditional music among the
people whose traditions it belongs. They depict well the contrast and irony in the
longing of Western audiences for traditional music from musicians and peoples
who themselves yearn for modern, electrically-amplified sounds. Thus, if West-
ern people search for an escape from their technologically infused, postmodern
life in the ‘pure’ and ‘rootsy’ sounds of World Music, non-Western people seem
to be searching for ways and signs of modern life in Western electric sounds and
genres.
Indeed, there has been so much criticism in the academic literature on the
Western-originated exoticizing and orientalizing tendencies inherent in the
World Music industry that it is high time to balance the picture by drawing atten-
tion to the pure and rather innocent curiosity, fascination and enthusiasm that
Western and non-Western people equally feel in regard to each other’s musical
styles. As the examples given by Boyd and Collins show, there is a mutual curi-
osity over Otherness and Others’ music that moves Western and non-Western
people alike. There is nothing intrinsically bad in this fascination, even though
it can turn into the fetishization and exoticization of the Other as easily among
non-Western people as it does among Westerners. The discrepancy in power
and technology means, however, that the Western images of the Other circulate
more widely than vice versa, as Alleyne’s paper reminds us. In contrast to what
Alleyne describes as the dilution of aesthetic and cultural authenticity of the Car-
ibbean music by the major music industry, Collins’s paper emphasizes the many
positive developments that the World Music industry has engendered for Gha-
naian music, important among these being the increased interest in ‘authentic’—
traditional and neo-traditional—musical forms.
The ambience and energy of live performance is a crucial part of the attraction
of World Music. Indeed, by examining the statistics, Dave Laing finds that the live
performance is the largest and fastest-expanding sub-sector of the World Music
industry. Online distribution of music and the creation of a virtual fan-base are
introduction to tHe sPecial issue 211
© Equinox Publishing Ltd 2009.
so far more viable for Western artists. Interestingly, however, as Laing discusses,
the live music sector is the fastest-growing category of the whole global music
industry. The spread of digital technology and online distribution of music are
unlikely to diminish the importance and popularity of live performance. Quite
the contrary: the moments of live interaction continue to draw and fascinate
people amidst the increasing presence of virtual realities in their lives. This shows
again how abstract and disembedding processes related to globalization, such as
the online downloading of music, simultaneously create space and demand for
embodied, participatory and situated experiences.
Jonathan Feig’s article discusses live performances and the different stage
roles available and suitable for different musicians. By comparing the distinct
careers of six violin players, he reminds us of the centrality of live improvisation
in music, often barely captured on record and seldom adequately appreciated by
the recording industry. He also highlights the importance of acknowledging the
particular personality of each musician, because it influences the roles in which
he or she feels most at ease and creative. Improvisation and a suitable distribu-
tion of roles are thus what make a performance memorable and the band, as well
as the individual artists, unique. When all the pieces fall into place, profession-
alism is revealed in the creative and virtuosic mixing of musical elements from
diverse sources and traditions, which are thereby renewed. This is World Music
at its best and discourses and definitions can only go so far in their attempt to
capture it.
References
Burnett, R. 1996. The Global Jukebox: The International Music Industry. London and New York:
Routledge.
Coplan, D. 2008. In Township Tonight! South Africa’s Black City Music and Theatre. Chicago:
University of Chicago Press.
Erlmann, V. 1994. ‘Africa Civilised, Africa Uncivilised: Local Culture, World System and South
African Music’. Journal of Southern African Studies 20/2: 165–79.
Feld, S. 1994. ‘From Schizophonia to Schismogenesis: On the Discourses and Commodifica-
tion Practices of “World Music” and “World Beat”’. In Music Grooves, by Charles Keil
and Steven Feld, 257–89.Chicago: University of Chicago Press.
fRoots Magazine. 1987. ‘History of World Music’. http://www.frootsmag.com/content/
features/world_music_history/minutes
Giddens, A. 1990. The Consequences of Modernity. Stanford: Stanford University Press.
Harvey, D. 1989. The Condition of Postmodernity. Oxford: Blackwell.
Mitchell, T. 1993. ‘World Music and the Popular Music Industry: An Australian View’. Ethno-
musicology 37/3: 309–37.
Pietilä, T. 2008. ‘Singing in the Dark? World Music and Issues of Power and Agency’. In
Globalization and Restructuring of African Commodity Flows, eds Niels Fold and Mari-
anne Nylandsted Larsen, 241–66. Uppsala: Nordic Africa Institute.
212 PoPular Music History
© Equinox Publishing Ltd 2009.
—2009a. ‘Whose Works and What Kinds of Rewards: The Persisting Question of Ownership
and Control in the South African and Global Music Industry’. Information, Communi-
cation & Society 12/2: 229–50.
—ed. 2009b. World Music: Roots and Routes. Helsinki: Collegium for Advanced Studies, e-book
series, volume 6: http://www.helsinki.fi/collegium/e-series/volumes/vol ume_6/
index.htm
Taylor, T. 1997. Global Pop: World Music, World Markets. New York and London: Routledge.
**MGKT600EBSCO-FullText-05_17_20261GLOBAL.pdf**
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