Joseph Hwang
* The statistics cited in this article are from the “2023 Music Industry White Paper,” published by the Korea Creative Content Agency, which is part of the Ministry of Culture, Sports, and Tourism of the Republic of Korea.
1. Pixels: A Tool for Promotion and Consumption
While music is sound art, the contemporary era has seen the ascendance of visual tools as the predominant means of disseminating and consuming music. The consumption of music is no longer limited to auditory experiences. Given the nature of music as an aural art form, it is inevitable that music will be consumed in conjunction with visuals. Indeed, the original human sensory archetype has been restored through the synchronization of video and music. Video and music were previously distinct and inextricable entities.
The combination of video and music restores the human inspiration that visuals lack. In some instances, music is subservient to the visuals; conversely, the visuals are subservient to music. Despite the potential for limiting human imagination, human emotions tend to react directly to the subordination of images to music. In response, a range of emotional reactions may be evoked in humans.
Pixels represent the smallest unit of an image. The music listening platform is no longer constrained to the auditory domain; the monitor pixel now imbues the musical experience with a visual dimension, effectively conveying the music to the listener through audiovisual means. The pixel has become the conduit for musical expression and a crucial element in the listening experience. The pixel has become a significant medium for music promotion and consumption.
2. The Power Shift Initiative Video Platforms and Creators
Historically, traditional broadcasting also delivered music through the smallest pixels of video. However, the dynamics are different now that two-way communication is commonplace, which has significant implications for the music consumed. In the past, the roles of transmitter and receiver, producer and consumer, were delineated in the one-way broadcasting environment. However, in two-way communication, these roles are no longer distinct. Simultaneously, producers and consumers assume each other’s roles. The traditional role of the producer as the primary agent of music delivery has been supplanted by the emergence of the consumer as the dominant conduit for musical content. The shift in music distribution centers on the role of pixels.
The advent of online video platforms has effectively transformed the roles of producers and consumers in the music delivery landscape. Producers have become consumers, while consumers have become a medium for music delivery. This transition signifies a shift in the distribution of information, accompanied by a corresponding shift in the balance of power. To illustrate, one might consider the following example.
The online video platform TikTok is gaining significant influence in the United States. Furthermore, it has a great impact on the global music industry. A study conducted by the Pew Research Center revealed that 67% of American teenagers will have used TikTok by 2022, with 16% of that demographic engaging with the platform regularly. It is projected that there will be an estimated 94 million TikTok users in the United States by 2022.
In the current era, where information is rapidly disseminated through viral mechanisms such as word of mouth, the strength of a network is directly proportional to its connectivity. Consequently, American artists utilize the TikTok platform to share their musical output and foster connections with their fan base. It is becoming increasingly evident that the influence of TikTok within the music industry is a phenomenon that cannot be ignored. TikTok’s effect on music has now reached the Billboard charts. As evidenced by TikTok’s annual music report, 175 songs trending on the platform made it to the Billboard Hot 100 in 2021. This figure represents double the number of songs that made it to the Hot 100 in 2020.
Additionally, K-pop has benefited from TikTok’s influence, with the girl group Fifty Fifty’s “Cupid” entering the Billboard charts and establishing a record for the shortest entry time for a K-pop artist on the U.S. Billboard charts. The capacity of social media to facilitate the sharing of user-generated content enables consumers to share their reviews and experiences of music with other users, along with the music itself. With one or two taps on the screen, users can convey their experiences and opinions to others. Social media users engage in simultaneous roles as content creators and reliable sources of information. The most significant competitive advantage is the credibility of the sharing, despite potential distortions and omissions.
3. Adaptation to Different Media Formats
The synchronization of pixels and music preceded the advent of social media. Examples of this can be found in the context of movie scores and music videos. However, it is only with the advent of social media that there has been a significant shift in how music is synchronized and distributed. This is now often done in conjunction with videos created or edited by information consumers themselves. One might be forgiven for regarding this as a mere adaptation, albeit a significant one. Yet, it represents a radical shift in the music industry. In the absence of synchronization between music and pixels, the potential for experiencing music is significantly constrained. Furthermore, even the most costly promotional endeavors may prove ineffective without user-driven sharing. It is imperative to provide users with a compelling reason to disseminate your content; otherwise, it is unlikely that your music will be experienced by a significant portion of the population.
The users of video-sharing platforms are characterized by a strong sense of self-worth, which makes it challenging to persuade them to alter their stance on a matter, even when there are financial incentives or pressure from music producers. It is not feasible to purchase a collective of users dispersed across the globe. This is why the shares of users of such platforms are more reliable than those of other media. It is imperative that the rationale behind the synchronization of pixels and music, as well as its inherent value, is made evident to the platform’s users before they click the “share” button. Inevitably, the entities that exert control over the manipulation of digital images will also assume control over the production and distribution of musical compositions. It is a distinct and disparate environment, with a unique set of operational norms and practices. If one is merely attempting to exploit one’s listeners without exhibiting sincerity regarding the music, the platform users will disseminate their criticism of the music producer, thereby causing the music and artist to be removed from the market.
* References and Quotations:
https://welcon.kocca.kr/ko/info/trend/1953646
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