nhạc indie là gì

This article is about independently-produced music. For the "do-it-yourself" music aesthetic associated with indie, see Lo-fi music. For other uses, see Indie music (disambiguation).

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Independent music (also commonly known as indie music, or simply indie) is music produced independently from commercial record labels or their subsidiaries; this may include an autonomous, do-it-yourself approach to lớn recording and publishing.

As a genre term, "indie" may or may not comprise independently produced music. Many independent music artists bởi not fall into a single defined musical style or genre, with their self-published music being able to lớn be categorized into diverse genres without the expectations associated with commercial music. The term 'indie' or 'independent music' can be traced back to lớn as early as the 1920s: in the context of referencing independent film companies. It was later used to lớn classify an independent band or record producer.^[1][2]

Record labels[edit]

Independent labels have a long history of promoting developments in popular music, stretching back to lớn the post-war period in the United States, with labels such as Sun Records, King Records, and Stax.^[3]

In the United Kingdom during the 1950s and 1960s, the major record companies had sánh much power that independent labels struggled to lớn become established, until the launch of new concepts lượt thích Virgin Records.^[4] Several British producers and artists launched independent labels as outlets for their work and artists they liked; the majority failed as commercial ventures or were bought by the major labels.^[3]

In the United States, independent labels and distributors often banded together to lớn size organizations to lớn promote trade and parity within the industry. The Recording Academy, famous as the organization behind the Grammy Awards, began in the 1950s as an organization of 25 independent record labels including Herald, Ember, and Atlantic Records. The 1970s saw the founding of the National Association of Independent Record Distributors (NAIRD), which became A2IM in 2004. Smaller organizations also existed including the Independent Music Association (IMA), founded by Don Kulak in the late 1980s. At its zenith, it had 1,000 independent labels on its thành viên rosters. The 1990s brought Affiliated Independent Record Companies (AIRCO), whose most notable thành viên was upstart punk-thrash rock label Mystic Records, and The Independent Music Retailer's Association (IMRA), a short-lived organization founded by Mark Wilkins and Don Kulak. The latter is most notable for a lawsuit involving co-op money it filed on behalf of its thành viên Digital Distributors in conjunction with Warehouse Record Stores.^[5] The adjudication of the case grossed $178,000,000 from the distribution arms of major labels. The proceeds were distributed amongst all plaintiffs.

During the punk rock era, the number of independent labels grew.^[3] The UK Indie Chart was first compiled in 1980, and independent distribution became better organized from the late 1970s onward.^[6] From the late 1970s into the 1980s, certain UK independent labels (such as Rough Trade, Fast Product, Cherry Red, Factory, Glass, Industrial, Cheree Records and Creation) came to lớn contribute something in terms of aesthetic identity to lớn the acts whose records they released.

Around the late 1980s, Seattle-based Sub Pop Records was at the center of the grunge scene. In the late 1990s and into the 2000s as the advent of MP3 files and digital tải về sites such as Apple's iTunes Store changed the recording industry, an indie neo-soul scene soon emerged from the urban underground soul scenes of London, Thủ đô New York, Philadelphia, Chicago and Los Angeles, primarily due to lớn commercial radio and the major labels' biased focus on the marketing, promotion & airplay of pop and hip hop music during this period. Independent labels such as Dome Record and Expansion Records in the U.K. and Burger, Wiener, and Ubiquity Records in the U.S. and a plethora of others around the world continue to lớn release independent bands and music.

Going major versus staying independent[edit]

Many acts choose to lớn go from an independent label to lớn a major label if given the opportunity, as major labels have considerably more power and financial means to lớn promote and distribute products, sometimes increasing the chances of greater success.^[7] Some acts, however, may choose not to lớn go to lớn a major label if given the opportunity, as independence generally offers more freedom.^[7]

Similarly, others may become independent label acts after having already experienced recording on a major label. Bradley Joseph asked to lớn be let go from his major label khuyến mãi with Narada/Virgin Records and subsequently became an independent artist. He says, "As an independent, business is a prime concern and can take over if not controlled.^[8] A lot of musicians don't learn the business. You just have to lớn be well-rounded in both areas. You have to lớn understand publishing. You have to lớn understand how you make money, what's in demand, and what helps you make the most out of your talent.^[9] But some artists just want to lớn be involved in the music and don't lượt thích the added problems or have the personality to lớn work with both". Joseph suggests newer artists read and study both courses and pick one that best suits their own needs and wants.^[8]

A successful independent label with a strong musical reputation can be very appealing to lớn a major label. Major labels look at independent labels to lớn stay current with the ever-changing music scene.^[10]

If an act moves to lớn a major label from an independent, they are awarded greater opportunity for success, but it does not guarantee success. About one in ten albums released by major labels make a profit for the label.^[11] Some artists have recorded for independent record companies for their entire careers and have had solid careers. Independent labels tend to lớn be more open creatively, however, an independent label that is creatively productive is not necessarily financially lucrative. Independent labels are often operations of one, two, or only half a dozen people, with almost no outside assistance and lập cập out of tiny offices.^[12] This lack of resources can make it difficult for a band to lớn make revenue from sales. It can also be more difficult for the indie label to lớn get its artists' music played on radio stations around the country when compared to lớn the pull of a major label. A testament to lớn this fact could be that since 1991, there have only been twelve independent label albums that have reached the number one spot on the US Billboard 200 Album Chart. However, dozens of independent albums have reached the top 40 of the Billboard 200.

Many current artists use their own resources to lớn produce, record, market and release music through Spotify, SoundCloud, and other streaming platforms with social truyền thông media in a direct, do-it-yourself manner allowing creative distribution.^[13] There is the potential for artists to lớn gain large numbers of streams on Spotify if their music are included in certain popular playlists.^[14]

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Distribution methods[edit]

Some independent labels distribute their own product while others distribute via a major label. Independents may be owned by a major label who then distribute for them.^[15]

It can be very difficult for independent bands to lớn sign to lớn a record label that may not be familiar with their specific style. It can take years of dedicated effort, self-promotion, and rejections before landing a contract with either an independent or major record label. Bands that are ready to lớn go this route need to lớn be sure they are prepared both in terms of the music they offer as well as their realistic expectations for success.^[16]

Major label contracts[edit]

Most major label artists earn a 10–16% royalty rate.^[17] However, before a band is able to lớn receive any of their royalties, they must clear their label for all of their debts, known as recoupable expenses. These expenses arise from the cost of such things as album packaging and artwork, tour tư vấn, and video clip production. An additional part of the recoupable expenses are the artist's advance. An advance is lượt thích a loan. It allows the artist to lớn have money to lớn live and record with until their record is released. However, before they can gain any royalties, the advance must be paid back in full to lớn the record label. Since only the most successful artists recoup production and marketing costs, an unsuccessful artist's debt may carry over to lớn their next album, meaning that they see little to lớn no royalties.

Major label advances are generally much larger than vãn independent labels can offer. Major labels are able to lớn offer artists advances in the range of $150,000–$500,000. Some smaller independent labels offer no advance at all; just recording cost, album packaging, and artwork, which is also recoupable. If an artist gets no advance at all, they owe their record company less money, thus allowing them to lớn start receiving royalty checks earlier; that is, if sales warrant any royalty checks at all. However, since the record label typically recoups sánh many different costs, it is actually to lớn the artist's advantage to lớn get the largest advance possible because they may not see any royalties checks for quite some time; again, that is, if sales warrant any royalties checks at all. Another advantage of getting an advance; the advance money the artist owes the label is only recoupable through the artist's royalties, not through a return of the advance itself.^[18]

Independent label contracts[edit]

Independent label contracts typically resemble contracts offered by major labels because they have similar legal liabilities to lớn define before representing an artist. There are differences, however, usually with regards to lớn less advances, lower studio costs, lower royalties, but fewer album options. Due to lớn financial constraints, independents typically spend much less on marketing and promotion than vãn major labels. But with lower royalties rates typically paid to lớn artists and lower production and promotion costs, independent labels generally can turn a profit off lower volumes of sales than vãn a major label can.

Although not common,^[19] there have been instances of profit-sharing đơn hàng with independent labels in which an act can get as much as 40–50% of the net profits. In this type of contract, the net gain after all expenses have been taken out are divided between the label and artist by a negotiated percentage. However, đơn hàng in this size can take longer for an artist to lớn gain any profits, if at all, since all expenses – such as recording, manufacturing, publicity and marketing, music videos, etc., are also taken into trương mục. Only if an independent artist becomes vastly popular are đơn hàng of this type more advantageous.

Independent labels rely heavily on personal networking, or "word of mouth", to lớn expose their acts.^[20] Independent labels tend to lớn avoid high budget marketing tactics, which usually does not fall in the budget of an independent label. This of course contributes to lớn the overall lower production cost, and may help the artist to lớn receive royalties sooner, if warranted. Major labels tend to lớn watch indie label artists and gauge their success, and may offer to lớn sign acts from independents when their contract is up. The major may also request to lớn buy the contract of the act from the independent label before the contract is up, giving the independent label a hefty financial payment if they choose to lớn sell the contract.

Competition between independent and traditional publishing[edit]

Independent music sales volume is difficult to lớn track, but in 2010 independent retailer CD Baby claimed to lớn have sold over 5 million CDs during its lifetime.^[21] CD Baby no longer reports its number of CDs sold, but in 2010 claimed to lớn have paid a total of $107 million to lớn artists over its lifetime and currently claims that this figure is now over $200 million.^[22]

Apple has announced that they have sold over 16 billion songs through their iTunes service.^[23] Most of this is "mainstream" music, and doesn't reflect access by new nội dung producers to lớn the market, but it does indicate significant competition with traditional CD sales.

Whether the sales from non-traditional sources come mostly from tapping into an expanding market or from siphoning sales away from traditional CD distribution is difficult to lớn assess in the face of the RIAA's claim that music piracy causes 12.5 billion dollars' damage to lớn the US economy annually.^[24]

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See also[edit]

• Underground music
• Indie music scenes

References[edit]

Further reading[edit]

• Fonarow, Wendy Cagur. Empire of Dirt: The Aesthetics and Rituals of British Indie Music. Wesleyan, 2006. ISBN 0-8195-6811-2