The effect of music marketing: A consumer perspective

The purpose of this thesis is to get a consumer perspective regarding event marketing in music festivals. Event marketing is a tool used by marketers that evolved out of philanthropy and commercial sponsorship. Brands are more and more using music or other entertainment moments to create a strong relationship with their clients, and the target group at these events, the millennial generation. Brands use sponsoring and therefore event marketing for several reasons as: increase brand awareness; create brand image; re-position the brand/product in the minds of consumers; increase profit over a short period; and, achieve larger market share. Nonetheless, we wonder how is this tool seen by consumers? To understand this, a preliminary research with nine interviews was conducted to obtain basic ideas about event marketing. Afterwards the main research was developed, also using interviews, to get deeper insights. With this thesis, it is possible to conclude that some brands are able to create brand awareness on attendees through brand sponsorship. Moreover, entertainment activities in festivals are well seen by consumers, they like it and are able to describe it well, even though it is more about the activity itself than the brand promoting it. Furthermore, it was possible to understand that experiential marketing in a festival might have a positive effect on consumers as it might create a link between the event and the brand. Finally, we recommend some actions, for brands to develop in future music festivals.

Automatic musical instrument recognition for multimedia indexing

Trabalho apresentado no âmbito do Mestrado em Engenharia Informática, como requisito parcial para obtenção do grau de Mestre em Engenharia Informática

"Berlim : Bric-à-Brac : projeto de criação/investigação

Berlim e a sua paisagem sonora suscitam emoções diversas capazes de desencadear um processo criativo. As palavras que se seguem são a expressão de um projeto que se quis catalisador de um olhar muito pessoal sobre esta cidade. Tendo como base, na criação, a estética da colagem, este projeto materializa-se numa performance final onde uma atriz, uma bailarina e um trombonista dão corpo a diversas emoções. Ainda na criação, é importante salientar o papel das técnicas de síntese na busca de novas sonoridades e o uso de tecnologias da música na composição e edição musical. Está patente, neste projeto, um clin-d’oeil ao serialismo e a corrente espectral francesa. As anotações dramatúrgicas foram também essenciais ao longo da composição musical e da encenação de toda a performance.

Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture

Although Josquin is by far the best-represented foreign composer in Gonçalo de Baena's Arte novamente inventada pera aprender a tanger (Lisbon, 1540), his music is undeniably under-represented both in the extant sixteenth-century Portuguese manuscripts containing Franco-Flemish polyphony and in volumes imported from the Netherlands such as Coimbra MM 2 and VienNB 1783. Josquin’s reputation made him, along with Ockeghem, a symbol in Portuguese humanistic culture, but up to at least the late 1530s his name seems to have been much better known than his music. Nevertheless, possible allusions to specific works by Josquin can be found in early- and mid-sixteenth-century Portuguese polyphony. By the 1520s, the general technical and stylistic characteristics of his and the following generation of northerners had begun to permeate locally produced polyphony. This eventually replaced the late-fifteenth- and early-sixteenth-century pan-consonant and homorythmic style associated with the Aragonese and the so-called Spanish court repertory.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

Unsupervised automatic music genre classification

Trabalho apresentado no âmbito do Mestrado em Engenharia Informática, como requisito parcial para obtenção do grau de Mestre em Engenharia Informática

Market analysis of a new business opportunity in mobile-casual gaming: Partnership between Nmusic and Rovio Entertainment Ltd

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics

Strategy definition of a new business opportunity in mobile-casual gaming: Partnership between Nmusic and Rovio Entertainment Ltd.

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics

Some Preliminaries in Approaching Carlos Seixas’ Keyboard Sonatas

The figure and the oeuvre of Carlos Seixas (1704-42) were rediscovered in the 1930s chiefly by the British musicologist Macario Santiago Kastner (1908-92), whose writings and editions raised the attention of international scholars and interpreters for the Portuguese composer. Nevertheless, and in spite of an unusual editorial tradition for Portuguese standards, a critical appraisal of the body of sources of Seixas' keyboard sonatas has never been attempted, to the point of even impeding the knowledge of how many there really are. This article deals briefly with the issues of source situation, authorship attribution and the distinctive characteristics of Seixas' style, offering a preliminary catalogue of the sonatas and a description of four of the manuscript collections containing them, housed at the National Library of Portugal. Textual peculiarities and problems of works surviving in more than one source are examined and the question of text 'banalization' by means of the incorporation of performance practice gestures is also discussed, advancing the hypothesis of the existence of two different traditions for some of the sonatas―one written and one 'oral'―that merge in the texts known to us.

How Does Cultural Context Stimulate Creativity: A study of African Musicians in Lisbon, Portugal

The 21st century bodes an interesting time for companies and individuals alike with an increased focus on using creativity as a way to stimulate innovation to create competitive advantage. Several studies have looked at how creativity is stimulated within a corporate environment or how creativity is stimulated by people in a specific place. This study aimed to look at how the contextual environment fosters creativity in individuals and groups. With the increase in popularity of African and world music In Europe over the last ten years it was decided that the context of Lisbon, Portugal be used with a specific focus on African musicians living there and working in the Lisbon music scene. It became apparent themes of Creative crossovers, Geographical Location, a dynamic environment, Entrepreneurial encouragement and the presence of open-minded and flexible individual were involved in Lisbon’s ability to foster and empower creative individuals.