Music, The Language of the Soul

 I love music, almost as much as I love Chipotle. Almost. I have a motto that runs through my mind every time I put my headset in, or begin to play the guitar: “Music is life”. I even like to think that music is my anti drug. I actually get physically high when I play music much like the way runners get their high after they run for a while. Continuous singing means less oxygen flow to my brain, which leads to a euphoric high.

I marvel at all the different ways that music can evoke human emotion and action, and I truly believe that it is another language. That being said, I began my trek to rock-stardom at the tender age of 14 and the pursuit has not waned even the slightest bit. Unfortunately, the music creation process has become very frustrating and intimidating. The entry of hundreds and possibly thousands of bands into the music market each day is a daunting thought. In addition, there are youtube music stars that have been springing up to fame, each one more talented than the previous one. Few of these people have been making it very far however, becoming a fleeting trend and few people give them their true attention. Why is this? These musicians and artists clearly are gifted and the music they offer is no better or worse than what is presented on the radio and at times, is better. Why haven’t labels picked up any of these people that have clearly generated their own listening population? The tastes and demands have shifted and I aim to follow my research so that when I release my music, I won’t go the way of so many failed artists. Additionally, I am very curious as the actual philanthropic impact of music, how it is done, and if any social value input into my music.

Music is a product for the listener and for the band itself. Can it possibly be an experience provided by the manager or band leader for themselves too? ie. Why do people feel drawn to music and the media experience, do they really feel comfortable paying money for it? I hesitate to believe that people appreciate music more if they pay for it, ie defying the theory that customers value something more if they pay for it. I would like to discover what people are searching for when they listen to music other than generic answers such as finding their voice or trying to find music to walk or dance to. I feel like in this day and age, people are expecting to be able to get more than just a listening experience from music if they have to pay for it. It is so readily available online and it does not seem to be a massive ethical issue for them to just download it for free. I have a theory that people are only truly willing to buy music when they believe that it will support the artist so that the artist can continue to produce enjoyable music for them. This relationship can develop into something bigger if the artist can offer something unusual, like in the example of Jason Mraz, who blew up based on his creation of essential a new reggae genre and an urban label for a generation that struggles with massive identity crisis.  Listeners can also attend concerts with extravagant shows and costumes and this seems to bolster the entertainment value of the artist, but I believe there is an inner desire being fulfilled at the same time, and the value available there has yet to be maximized.

Some questions that may help my search for music blossoming from within are:

How has music popped up and pushed itself into our culture and how has it evolved into the corporate mass that it is? Why do artists always claim that they are fighting the man when so many of them work for him? Does their drive come from within and is that what listeners are searching for when they find music? What do people mean when they say there is soul in music? What do they REALLY mean? Is it feasible for an artist to create in this day and age, the experience craved by its customers by going wholesale and not relying on the production capability of a music conglomerate? Can they even provide it with just music? Is music even the focus anymore? With the revolutions of Pandora, Itunes, the Ipod, and websites like Pandora, how does this alter standards that consumers want from their music? Have these stations met additional needs that listeners were unable to vocalize and are still unable to vocalize? Is the current music model revolution over? Has Apple generated the final step or is there a way of taking advantage of their model even further, but taking it to a new level as an artist? How can an artist take back control over the product they produce and will this actually create something that consumers want more than the music entertainment they receive now? How do consumers develop a relationship with the artist? Do they view it as a special relationship? What explains the jealousy some people have over other people listening to or claiming that their favorite band is their favorite band too? Is the artist looking for a relationship with his/her band members and with the consumer? What have the most successful entertainers in the business offered that made them so successful? What kind of drugs were their consumers on? What kind of drugs are the current people on? How do you pair that? Is that ethical? Is it possible to offer a product that can outclass a product induced by combining drugs and music?

I want to create a product design for music that addresses both the musician and the consumer so that neither gets burned out on the end product. I also want to find out how much of an impact a lot of different quoted factors really have on this topic. Most of all however, I want to use this research to connect all the other experiences already out there that customers buy into and enjoy. Customer insight tells us that people are looking to use music to identify and inspire their lives. There must be a way to combine all the present separate approaches and at the same time, remove all the unnecessary components and lead us back to how simplified music used to be. There seems to be an overemphasis on promotion and traveling and shows, and I believe that the internet is our ticket out of that, although I have yet to see how much of an impact it truly has on sales or how seriously the artist is taken. They reach fame for sure a lot more quickly, but who can tell if the respect and proper relationship or role play is there to facilitate the kind of money artists desire for their work. I also think that with the creation of each individual’s life soundtrack, it creates an opening to really hit deep into a consumer’s sentiments and amplify their experience especially now that with the anti drug movement, many people are no longer able to travel that route to achieve their “trips”.

http://www.scribd.com/doc/3417953/Music-Experience-And-Behaviour-in-Young-People

http://musicbusinessresearch.wordpress.com/2011/01/21/music-experience-and-behavior-in-young-people-in-the-uk-a-workshop-presentation/

These two surveys, studies, and discussion collections explore how the echo boomer generation is exploring music amidst all the new avenues springing up online and on the computer. It also talks about how they feel about copyrights and why they think it is ok to download music. It is an extensive look into the psyche of young music consumers.