Adaptation strategies of musicians between the audience expectations and culture industry in terms of new media

This study which has been prepared for I.T.U. Institute of Social Sciences, Department of Musicology and Music Theory, consists of six chapters. The Study aims to present how new media and evolving digital music technologies affected the music business, musicians and audience. Besides its intention is also to understand what changes new media have caused for the parties of music business. Technological developments and media support has always been directive during the music history. However, essentials of the issue must not be separated from economical angle. During the study, efficient usage of both media and technology has always been about the concept of economical domination. In a business atmosphere that social and financial capital creates advantages, culture is tending to adopt these circumstances. The music business as a sub branch of culture and entertainment business has been related to domination of socio- cultural, economic and ideological power. Industrial processes those lean on the concept of popularity and success of very few number of famous musicians run consistently. Rulers of this system has access to technologic and media tools. On the other hand tools and users of new media should be interpreted according to the perspective of digital age. The new media era seems to have more potential to evolve due to the technological features. However, despite the promises of change that new media offers, it should be considered that sovereign powers of music business can also be dominant to rule the new technologies. The first chapter of thesis is focused on the goals, significance, methods and scope of the study. Issue is discussed around media and technological purposes as the parties of music are considered separately. Historical research, field study, participant observation, interview, survey, content analysis and semiotic analysis methods were used. In the second chapter, developments in world's music business are discussed in consideration of technological advancements. First, music business definitions is made as a concept and examined theoretically. The term "Music Industry" is examined in the light of culture industry, mass media theories and technology doctrines. Then, developments in World music market since the beginning of 20. Century such as phonograph, gramophone, radio, television, tape, CD, music TV channels and record companies are explained. Transition period of digital music is mentioned briefly but details are explained in 4. chapter. In the third Chapter, history of Turkish music industry is discussed in the light of technological advancements. However, developments in Turkey music business and the World's did not happen simultaneously. In the study economic, cultural and social reasons of this result is discussed. Considering the situation, developments in Turkey are stated chronologically. The significant advancements those are discussed in third chapter are phonograph, gramophone, long plays and long play era, radio, tape, television, CD, music TV channels and record companies. The title of forth chapter is "Digital Age and Music". First, brief history of computer technologies and internet is stated then, internet usage in Turkey and in the World is discussed. Advertisement functions of internet and cultural habitat created by internet are also focused. Second part of forth chapter is about relations between internet and music. In this context digital music, MP3, P2P, illegal music download services are examined. Effects of Itunes, which is counted as the beginning of legal age of digital music industry are focused. After that, condition of digital music market in Turkey and in the World is presented. In the fifth chapter of the study, the concepts of new media and social media and their relations with music are examined in detail. First, musician is focused as a brand because of the promotion function of media. The social networks Myspace, Facebook, YouTube and Twitter are discussed in terms of musician and audience. Then DIY (Do it yourself) culture and conditions of musicians in new media age are stated via cases. Transforming of musician/ fan relations, music listening experience and filing habits is also discussed. Lastly, audience expectations in new media age are interrogated via surveys and interviews. The sixth and last chapter consists of conclusions of the thesis. Conclusions are examined in terms of music business, musicians and audience separately. Besides, results in terms of media are revealed and suggestions are given.