Music Gallery: Can Melodies Be Considered Quality Art?

Introduction: the highest art auction in the background

Some time ago Christie's auction became the most expensive auction in history. The sale included performances by Jackson Pollock, Roy Lichtenstein and Jean-Michel Basquiat, among others, and grossed $495 million overall. The sale set sixteen new land auction records, nine of which are effective marketing for over $10 million (£6.6 million) and 23 for over $5 million (£3.2 million). Christie's explained that the earnings report reflects "a new period in the art market."

The biggest deal at Wednesday's sale was Pollock's Variety 19, 1948, which sold for $58.4m (£38.3m) - nearly double the presale estimate.

Lichtenstein's Lady in the Flower Hat was bought for $56.1 million, although another Basquiat doing the same job, Dustheads (beginning of the report), left for $48.8 million.

All 3 effectively set the best selling prices at any time for your artists in the auction. Christie's described the $495,021,500 total including commissions as "staggering". Only four of the 70 games currently available remained unsold.

In addition, an oil painting by Gerhard Richter in 1968 set an entirely new record for the highest auction sale price achieved by a living artist. Richter's photograph Domplatz, Mailand (Cathedral Square, Milan) was bought for $37.1 million (£24.4 million). Sotheby's explained Domplatz, Mailland, which features a cityscape painted inside a typeface that stands for blurry photography, as a "twentieth-century art masterpiece" along with "an epitome" of your artist's 1960s photography canon. Don Bryant, founding father of Bryant Loved's Winery in Napa Valley and also the painting's new owner, stated that the feature "just knocks me off my feet."

Brett Gorvey, head of post-war and contemporary art, said: "The impressive sales and record fees reflect a new era in the art market," he said. Stephen Murphy, CEO of Christie's Worldwide, explained that the new collectors helped increase sales.

Myths about the difference in the value of music and visual arts

As soon as I found this text, I was shocked at the price these works of art could fetch. Many of them would rarely elicit an optimistic psychological response from me, and others might only slightly, but for almost all of them I really don't understand how their costs reflect on work, and vice versa. . Of course, these works were not intended for today's people like me, the artist, and wealthy patrons, of course, clearly see their intrinsic artistic value.

So why isn't new music attracting attention in these price ranges? Is it possible that some piece of recorded tunes, rather than new musical memorabilia or maybe a song artifact (like a rare document, record, bootleg, t-shirt, album cover, and more) is really worth $1? million or even more? Are all musicians and songwriters destined to struggle in the music industry and make their way to a career in music? If one particular painting is often valued at $1 million, why can't a song or piece of music be valued the same way? Apparently, $0.99 for each download sale price is by far the best sale price music has to offer at the market price, regardless of its quality or information, and the musician or composer will have to accept that. benefit as such.

The fiscal equation looks something like this:

1 image = $37 million

1 song = $0.99

Sometimes men and women claim that music can change the earth, but no one has ever said that about paintings. So in theory, if people want to modify £0.99, that might be the price we should buy.

Now there are a few statements here that should help us understand what the monetary or price discrepancy between image and sound is based on.

(1) You will find fewer artists than musicians.

(2) Are musicians significantly less skilled than artists?

(3) Creating new music can be easier than coloring.

(4) The public values ​​pictures above music.

(5) Pictures are more beautiful than songs.

(6) Pictures cannot be repeated, unlike audio.

(7) Artists are tougher than musicians and composers.

(8) Blah, blah, blah.

Few people agree with most of these statements, and yet all, or no less than some of them, would be true for the price of paintings to so significantly exceed the cost of songs. Moreover, I doubt that art collectors and great artists have to deal with the same allowed purple ribbon as musicians when they release their work into the public domain, so why aren't the benefits equivalent, if not greater, for musicians. who certainly have almost as much to protect their work as they do it. Musicians and composers, however, generally have to do much more than validate their work and get accurate estimates of what their work is worth, but they are paid much less. The cost of equipment alone for musicians is much more than it actually is for artists.

Maybe it's fame, not cash, the musicians are chasing after it? This will show why most musicians are content with the small expenses they receive from record deal deals and digital downloads. Perhaps that is why many of them tour more to increase their fame and not their fortune. But wait a minute, this is where musicians actually make most of their dollars from shows along with merchandise marketing, though not from songs. I guess that's why many musicians don't see themselves as composers, but rather as performers and artists.

What exactly can musicians do, whom you should consider not as artists, but as substitutes for composers who create music that is good art? Mainly because they also have a strong desire to earn a home to manage themselves in their chosen profession, so there should be a special technique by which they offer their work to new music enthusiasts or art collectors looking for real estate and curators for special pieces . inside their closed galleries. Imagine that recorded piece of music that the couple has ever read and that is only displayed and played over the member's specific tunes in a personal art gallery or collection.

Reflecting on how a musician can observe the example set by artists during fantasy art, I have identified four rules that should help a musician make the impressive monetary gains they have achieved. So let's analyze some of the characteristics that define the fantastic art market and see how musicians can apply these ideas to their inventive, creative and marketing procedures.

The best car for audio as a good work of art

Here are four principles and functional guidelines for musicians who would like to elevate their music to the level of your wonderful works of art, following the example of your artists past and present.

1) Try to create unique audio or music collections.

The composer must stylize experiments with sounds or compositional techniques. Some songs are in the realm of your general public, while other new music is only in the realm of high quality art. In fact, it is not so difficult to determine the main difference. The real difference becomes apparent when one compares the atmosphere of a nightclub and the songs that can be found there using the upbeat setting of a ballet or opera and their music. The main difference is really not only in terms of sound types, but also in the composer's sound imprint. Simply put, not all people consider Jackson Pollock to be a fantastic artist, but everyone admits that it took him many years of perfection to reach the point where his model could well be born. This is the artist or composer who can attract the attention of wealthy patrons, the respect of friends, as well as the exceptional admiration of a connoisseur of songs. In melodies, like the composer, regardless of the genre, I get in touch with the "signature sound". This is a signature sound that tune and art collectors should own, and for which they may be willing to pay or raise the price of ownership to a higher value.

2) Create a gallery of songs.

This can be modeled right after an art gallery where one or more artists have presented their work. The main difference in the melody gallery is that you have to have a corridor full of listening rooms or stations. These shows will not be live performances but real sound installations. You can also divide the hall into numerous compartments for different composers. The music show can be an exceptional event for renowned music and art collectors who are actively looking for sound encounters and buying what they like. The purpose of a song gallery can be the same as that of an art gallery: to provide the public with an example of an artist's talent, to give critics something to write about for other composers to give their opinion on a peer's performance, and to create excitement for the art world. Always remember that the excitement should not be caused by the party, but by the music that performs the function.

3) Turn your music into a tangible asset.

The obvious difference between an image and melodies is that only one of them is a real work of art and the other is not. Simply put, one of your defining properties of an image is that the medium and the artwork are one. Unlike audio, where melodies must be transferred to another object such as a cassette, vinyl, CD, or MP3 player just before it can be perceived while having an image (or sculpture) ), the object is processed into art. So how can it be, or even possible, for any cassette, CD, or file that can be turned into a work of art? The cassette and CD are more like a photograph of a painting than a true expression of where the medium and art are 1.

So one step a musician will take to turn their new music into a fantastic work of art is to create their music and its environment. The best way I can imagine to do this is to keep track of your previous one. Ironically, the vinyl LP achieved this good quality very carefully with the album cover, its size and packaging. Let's take a quick look at some of the features of vinyl records and the important marketing aspects that I think give musicians exciting ways to turn their new music into great art at a price that matches the stages of making a living.

There are many organizations today that allow you to personalize your vinyl album and cover art. This is really great as it gives you a lot of freedom and not just the artistic style that your packaging usually uses. It is often an expressive approach to convey the temperament of the artist, band or challenge into a real physical type. Multiple shades are available, as well as specialty blends, to add a dimension to your songs that is usually not possible with cassettes, CDs, or digital downloads. Even colored and glow-in-the-dark vinyls are on offer for daring composers looking for something a little more capable.

Engraved image along with your album

Another great way to enhance songs with packaging and presentation is to use vinyl prints. Etched vinyl is definitely an image printed on the non-reproducible side of your respective file that has a matte appearance. The engraved edge will not include any grooves or tunes, but will provide real value to your music package. I don't know if the engraving can also have a holographic look, but that could be another aspect that can increase the visible part of your tune pack.

LP cover and dimensions

The last aspect I would like to point out is the size of the LP. Compared to cassettes and compact discs, which each have one general size determined by the media member, records are played on phonographs or turntables, whose arms can change depending on the sizes of the records. Records are usually available in three sizes: 7", 10", and 12". album walk on which is 1 sq. foot. This is about 4 times the size of a conventional CD and 8 to 12 times the size of a cassette tape.

Understanding this gives you yet another way to structure your musical proposal cover. One might even name a method of creating an artist's canvas that can place an LP in its frame to show it on the spot. For musicians and composers with multiple artistic talents, the original painting that accompanies a music release can be another rewarding way to explore. If you look even further, the size of a 12" LP is actually the size of a tiny image. Folding or double LP addresses also exist, which provide a significantly larger surface on which more of the existing fine album art can be played. dazzle customers. The double protection of LP albums will give you exactly 24 x 12 inches of floor space to work with.

Non-vinyl record and other factors

Other more advanced tactics that I describe below for your LP will keep the LP strategy with the middle on the melodies packaging while removing vinyl as material. Preferably, the ideal composition for only a high quality music record would include a fabric that does not warp, cannot break, that can prevent grooves from slipping on, and that can be scratch resistant. To make sure that means you'll need to do your homework and figure out what can be done with all of the recognized unique substances, metal alloys, industrial metals, specialty plastics, and non-scratch surfaces to find the perfect composition for making great new art. music LP. In addition, this compound will reproduce top quality CD sound on any turntable that has a unique stylus made specifically for this album material and shape.

If a fine art style LP audio ever appears, it may have to stand the test of time and survive use, storage and travel as it passes from one owner to another over decades, and in many cases hundreds of years. years. These are the most important reasons why owners of great LP music albums will need to purchase property insurance. A non-vinyl record can be released to distract the art collector, song fanatic, and investor with something like a record made of 24 carat gold or other valuable steel such as silver or platinum. That 1 change could make these types of LPs worth $1 million or possibly more depending on how aggressive your bidders are. In general, you will have to do a little research on the individual to find out what options you have and whether they might be able to increase their LP through spending, tangible assets (collectibles), and great art. In the absence of this great conjunction in existence, we must strive for novelty in order to realize attractiveness.

Distinctive melodies

Another aspect that should be briefly covered is the exclusivity component in regards to owning high quality works of art. Not every person can afford a Picasso painting, but those who can are often reluctant to share it with all people, given that they want special ownership of a Picasso as part of the deal of owning wonderful works of art.

The way in which you can offer exclusive property to interested companies is through contracts, so you will have to hire authorized management to form a legal framework that governs the ownership of a music album or music as fantastic art. The deal can be framed in almost any way to suit your needs, but basically it should state what the owner has permission to do or is not allowed to do with the work you are giving them. You want your consumers to know that they can transfer ownership of the album to heirs or promote it to other private collectors, as you can with almost any other tangible asset. This is part of the process of owning fantastic art that they have come to expect from their relationships with galleries and various collectors, so manage them like a specialist.

In addition, you may expect to want to legally prevent customers from broadcasting or distributing audio from your art LP or other media. To retain their value, songs must be protected from the public domain and remain in the hands of the people who have the right to listen to them. If the homeowners want to mention it and also play it for a small group of people as a quality artistic audio show, then that's fine, but they shouldn't be allowed to copy or profit from your recordings.

The beauty of a limit offer and contracts is that together they help you keep track of each of the home owners throughout your life and maintain value in your work. If one of them is often found guilty of leaking material to the general public, you will have legal action that you should get quickly. But if there is a leak, the value (cost) of LP may plummet, and the need may even disappear completely. But really, what's the worst thing that can happen when your songs hit the bottom of the scale - £99 per monitor?

Phrase about supply and demand

Similarly, source and customer demand legislation should also be part of the equation for pricing your music as a work of art. Basically, the law of supply and demand on the part of consumers works like this: the better the availability, the less the need, and the less the availability, the greater the need. Basically, the more something is, the significantly less it is worth, and the less you can find, the more it is worth. Legislation does not always implement this correctly, but in general it really works.

The problem with this law is that it can only marginally take into account mass psychology plus how customer demand is created, namely through promotion, advertising and PR (public relations). If these 3 aspects don't work in your favor, there will be minimal demand for your high quality cover ringtones, no matter how humble your source. Only when these three elements function as part of your benevolence and relatively higher desire can the price of your single or limited edition of good music, LP, CD or digital audio record rise and fall. So go free hoping to use advertising, marketing and PR, and make sure there's a will between your audience focus before releasing your work to make sure your album gets high bids.

Digital viewing space

Many of the ideas I have suggested here are often applied to tunes in electronic formats as well. For example, a limited edition, a beautifully designed iPod, or an optional MP3 player using your high-quality art songs programmed into closed memory is one specific strategy. For example, an iPod made of 22-karat gold and adorned with the Apple logo of diamonds is available to wealthy consumers, its estimated price is about $120,000.

Something like this might work just as well, once a really interesting search, a READ-only thumb press can be done. You simply plug it in and enjoy the unique use of an album owned by only one collector or just a select couple.

The number one problem with using a digital structure is that it's too fast to repeat files from just one product to another, so locked or unhackable memory is critical. Without locked memory, the problem of exclusivity cannot exist and undermines the development of the fantastic work of art of the new music electronic machine.

4) Submit your audio to the auction.

Part of the explanation for why the paintings at the beginning of this report were offered for so much money is that competing offers pushed the price up. Once you have developed a fantastic set of high quality artistic ringtones and a package, you may need to decide how you can market or market your solution.

There are many options for auctioning goods to be found, but eBay is almost certainly the most famous, but eBay is probably not the best place to provide good artistic sound in this mod. To begin with, this might be described as the best position to test the strategy, but you may not be focused on the client. Another solution could be Bandcamp or Amazon, but auctions using these providers are definitely not available. However, you can charge a significant amount for downloads, CDs or vinyl records and promote some of them.

For example, downloads can range from $15 to $200 per record, and for an album, it's about the average price, $800 to $2,000.

You can also set up a simple website wherever you are and sell your artwork such as painters, sculptors, draftsmen, wood staffs and artisans who sell their work. On your site, you can discuss your album in an online video that has a music blog, internet radio, interview results, music or artist oriented podcasts, and meaningful articles so you can send all the traffic to your eBay web page or your own website where everything you sell is copies of your respective limited edition set of beautiful music with artwork.

The simplicity of the system usually lies in the fact that you, along with eBay as your broker, regulate the entire process. The reason here, as with most auctions, is to watch the bidders only compete against one another as absolutely everyone watches the value go higher and higher.

Name Your Rating: The Radiohead Experiment

Radiohead did something similar to this, but in a different way. Instead of auctioning off some special or limited edition of an exceptional digital album, they allowed their enthusiasts to pay for his or her new release whatever they wanted at the time. The experiment produced mixed benefits, but was generally a success for the band members, who individually raised more funds than any previous album. However, it was described that 38% of consumers spent an average of $6, while another 62% downloaded the album for almost nothing - $0. Globally, the normal payout amount was over $2.26 and $3.23 in the US. Of the people who spent anything, 17% paid less than $4 and 12% paid between $8 and $12.

This solution is unlikely to work for lesser-known artists who would like their music to exist as a high-quality work of art. The principal explanation why this is not the case is that it does not satisfy the special ownership component. All people and everyone could get their hands on a copy with the Radiohead album, so it really costs less, since the available quantity was infinite instead of minimal or rare, because the desire was essential.

NIN and layered technique

Also, tiered deals on fantastic art, ranging in price from a few pounds to hundreds or maybe $1,000, are actually a much better way to encourage collectors to commission music as fine art or audio as an expense.

Here's how 9 Inch Nails' Trent Reznor made a small fortune with the release of his Ghosts I - IV album. In total, you can get 5 levels.

The main tier provides a free download, starting with 9 tracks from the album.

The second tier offers a $5 digital version that contains forty websites in PDF format.

The third level gives you two CDs with a sixteen-page booklet for $10.

The 4th level is usually a $75 deluxe edition that includes two audio CDs, a data DVD with all 36 tracks in multi-track format, 48 web pages with photographs by Philip Graybill and Rob Sheridan, an e-book in PDF with forty sites and accompanying slideshow on Blu-Ray disc.

And at level five, you get pretty much everything the lower levels have, except you have a third e-book with art reproductions of images from Ghosts I-IV, and each copy of the limited edition is numbered and personally signed by Trent Reznor. . This limited edition was limited to 2,500 copies, with a limit of one copy per consumer, to get a total of $300. The $300 level has often been referred to as the Ultra-Deluxe limited edition offer, and is not currently on sale.

Level 5 financials seem really great. We all know that there were only 2,500 copies with the Ultra-Deluxe Confined Version Package, and they sold for $300 each. So, 2500 x 300 = $750,000. Imagine what selling prices could be achieved if Reznor allowed customers to bid on a limited edition Ultra-Deluxe package. He could start trading at $300 or a little lower and see prices rise from there. Interestingly, since there were far fewer of them, prices may have started to become astronomical. He would probably continue to sell every copy and his earnings could actually get close to $1 million, but either he did an amazing job of structuring his price tag, as evidenced by his results. And let's not neglect the fact that our equation excluded the profit that he made from levels two through four, which undoubtedly led to his total income of $1 million.

Criticism

To conclude, let's take a quick look at the components that will lead to great sonic results from a work of art.

1) Strive to create special collections of new music or songs. To do this, you may need to experiment with unique techniques, approaches, or styles that offer a signature look. Throughout the art world, this will be known as your sound print. This might be something that art collectors will need to invest in and enjoy.

2) Create a music gallery. Get tips on how to present your new compositions at the new music show. It should be like an art show, but it should be adapted to the tunes. This could be the location of closed listening stations for collectors of unique works of art, or tiny rooms for restricted listeners, as well as places where auctions can take place.

3) Turn your tunes into a tangible asset. Portray turns canvas and paint into a work of art, while new music cannot, under any circumstances, turn a cassette or CD into a work of art. For music, the medium must be turned into art as part of the deal to present music as good art. Painting also uplifts and transforms its medium, although sound is usually transmitted through that medium, except that if it is electronic, then that is all about sound. Recall that we mentioned electronic formats and vinyl records as ideal vehicles for promoting new music as good art.

4) As mentioned above, give exclusivity as an essential part of the great art composition package, so find ways to ensure that for your clients. Ownership of a work of art is highly dependent on its exclusivity, which for the collector means that they are indeed part of a very select group of people who have the ideal or the privilege of being advertised in your high-quality song-works. If you can eliminate the masses and create demand among customers among a few, then the prices you can offer will rise as the number of buyers will seek to outbid another buyer for the right to own your tunes.

5) Finally, use the auction system to generate significant income. Keep the laws of supply and desire in mind when you turn your music into a tangible asset, and don't forget the crucial role of advertising, marketing and publicity, and PR in driving customer demand. Of course, it doesn't make sense to produce a limited supply of something that isn't needed.

Conclusion

These are generally not all of the ways these thoughts can be applied to your situation or in these formats, but whatever you choose to do, you must articulate the best stability of the things that cost your beauty. the sound of the artwork rises. Most of you may be overwhelmed by the amount of initial investment it will take to turn your music into a great collectible, so you will need to empower your people and purchase income training programs, advertising. and marketing, investing and entrepreneurship. Some of the ways I have mentioned will require you to collect cash from a bank, an institution such as an equity firm, or venture capitalists to get started, otherwise you will have to use a loan for your own or small business at a very low interest. rates. This can give you more time to use your method and get your first wave of profits.

If the small business system for turning your new music into a beautiful work of art is solid and your product presentation is well thought out, then the money will come to you as additional buyers see profit in the long run. Moreover, wealthy patrons may even see that your work is a vital contribution to art history, or your presentation may simply resonate with an investor or a group of buyers who may simply offer you an income for completing your task. In a possible situation, be businesslike, prepare all your agreements and ask them to consider a reliable legal agent competent in matters of property and economic transactions in particular.

Thank you So much for you to reading till the end, and please kindly to support me as you could, I would be appreciate it. Have a great day:D