Digital production and media intake are accelerating in the new truth of the COVID-19 pandemic. But this is especially the case with music. It is designing, writing and producing practically mediums that feed into short segments, such as a song, than another media bureaucracy such as a movie or a game. As a result, months of lockdown, combined feelings and isolation for creators and music enthusiasts fuel inventions in music creation and consumption.
Musical creation
Music is inherently artistic and there is constant collaboration between artists, composers and producers. But because now the only option to maximize is to collaborate virtually, what happens in a recording studio or compose query is increasingly reduced in live video queries and in sharing lyrics and music files from side to side.
According to Guy Moot, co-chairman and CEO of Warner Chappell Music, you can’t update the connection you get when you’re in the studio. “The spontaneity of these sessions in person is an essential component of the artistic process. That said, it’s wonderful to see our composers adapt and proceed to collaborate in this new virtual world.”
For example, Warner Chappell has innovated by connecting its network of composers remotely. Moot added: “We have organized several virtual writing and consultation camps with music creators around the world. Our Skyler Stonestreet recently participated in a virtual zoom consultation with Whitney Phillips, Freddy Wexler and Gian Stone. From the reunion, the song Stuck with U through Ariana Grande and Justin Bieber, which reached number one on the Billboard Hot 100 ».
Once the song is written and the emphasis is on production, mixing and mastering, finished paintings can be made in a creator’s studio, provided that individual recordings are made with the best quality. Voices, instruments, rhythms, all can be combined digitally with little or no degradation.
However, generating a high-quality video was more complicated than the pandemic. The combination of artists, video managers and a complete team to record live art scenes with an organization or dancers is a common way to create music videos, but it’s not a smart choice in the era of social estrangement. One option is to provide user-generated content, such as the Stuck with U video, which combines scenes from other people (and dogs) trapped at home with which they enjoy it.
Another option is to record a video in genuine environments or in the studio. In early July, artist and composer Tayla Parx released the Dance Alone video, which was repeated, choreographed and filmed from her forty-year-old home. The lighting was homemade, intelligent lighting fixtures that he had installed at the beginning of the remote work. “We are all trapped inside, as we face the remoteness of our enjoyed more than usual,” Parx said. “We want a human connection, but at least when you’re at home dancing in your pajamas while you play your favorite song, you feel a little less alone. You have the music to keep you company.”
The broader phenomenon here is that undeniable video clips can go viral through social media, and this trend is hyperdrived due to the pandemic.
Music consumption
Forced innovations in music creation are being naturally followed by changes in music consumption, as the pandemic disrupts strategies to promote and monetize music. For example, virtual concerts have been increasingly drawing new audiences that don’t have the option to attend a live concert. Also, fan engagement opportunities that are common in live concerts are being transferred to virtual platforms.
During Pepperdine University’s long-term webinar series on media and entertainment, Rebecca Warfield, Looped’s global director of strategic partnerships, described how the company’s platform allows an artist to create a virtual venue and sell general and VIP tickets to the event. Fans can watch a customizable and paid live stream, but only VIPs will get 1 to 1 after the event. Artists such as Bebe Rexha, Meghan Trainor and the Chainsmokers have organized events in Looped. She reflects: “People around the world continue to value exclusive experiences, such as connecting remotely with their favorite artists and having access to exclusive occasions online with like-minded communities.”
In terms of selling music and spreading the message, cellular social media platforms like Tik Tok will offer new tactics to make songs go viral. See, for example, a pattern of Drake’s user-generated Toosie Slide videos.
I have witnessed how virtual technologies have been the industries and customer behavior for more than two decades on 4 continents. I have a PhD in data and
I have witnessed how virtual technologies have been transforming industries and customer behavior for more than two decades on 4 continents. I have a PhD in Information Sciences and Decision, with an MBA and a master’s degree in economics implemented. My professional career began in the generation sector at IBM South America, and then I reveled in the profit control of airlines in the United States, Europe and Asia. I’m fascinated by the virtual transformations taking place in travel, media and entertainment, so I sought an educational career to examine those industries in depth. I use an economic lens to examine existing patterns of virtual disruption in industries and look forward to industry-specific results. Currently, I am the Executive Director of the Institute of Entertainment, Media, Sports and Culture at Pepperdine University. Follow me on Twitter (@nelsongranados) or Forbes by clicking the Follow button below.