This textbook describes the process of composing, arranging, orchestrating, and producing music for jingles and commercials, and provides a comprehensive overview of the commercial music business. Rewritten and reformatted to increase readability and use in the classroom, this second edition includes new chapters on theatrical trailers, video games, Internet commercials, Web site music, and made-for-the-Internet video.

(Berklee Guide). Writers of commercial music are more in demand than ever before. The rules have changed in the past decade, and the contemporary writer needs a multifaceted skillset in order to succeed in business. This book will help you master the three roles of the new job: writer, producer, and engineer. You will learn to set up a profitable business model for creating commercial music, providing your clients with music that fits their needs and budget, at today's quality standards. Whether your interest is in producing music for jingles, film scores, videogames, corporate presentations, or other commercial areas, this book will reveal how to set up shop, find work, and create music at today's demanding professional standards.

In Writing Music for Commercials: Television, Radio, and New Media, professor, composer, arranger, and producer Michael Zager describes the process of composing and arranging music specifically for commercials across the growing variety of media formats. Writing music for commercials requires composers not only learn the craft of writing short-form compositions that can stand on their own, but also understand the advertising business. In this third edition of his original Writing Music for Television and Radio Commericals, Zager walks starting composers through the business and art of writing music that aims for a product’s target audience and, when done well, hits its mark. Chapter by chapter, Zager covers a broad array of topics: how to approach and analyze commercials from a specifically musical perspective, the range of compositional techniques for underscoring and composing jingles, the standard expectations and techniques for arranging and orchestration, and finally the composing of music for radio commercials, corporate videos, infomercials, theatrical trailers, video games, Internet commercials, websites, and web series (webisodes). This third edition has been updated to include more in-depth analysis of the changing landscape of music writing for modern media, with critical information on composing not only for the Web but for mobile applications, from video-driven advertising in online newspapers to electronic greeting cards. Zager also includes new interviews with industry professionals, updated business information, the latest sound design concepts, and much more. Writing Music for Commercials: Television, Radio, and New Media features: Easy-to-read chapters for beginning and intermediate music composition students Over a hundred graphics and musical examples Interviews with industry professionals An assortment of assignments to train and test readers, preparing them for the world of writing music for various media Online audio samples that illustrate the book’s principles Writing Music for Commercials is designed not only for composers but for students and professionals at every level.

Here, Timothy D. Taylor tracks the use of music in American advertising for nearly a century, from variety shows like 'The Clicquot Club Eskimons' to the rise of the jingle, from the postwar growth of consumerism, to the more complete fusion of popular music and consumption in the 1980s and after.

This textbook describes the process of composing, arranging, orchestrating, and producing music for jingles and commercials, and provides a comprehensive overview of the commercial music business. Rewritten and reformatted to increase readability and use in the classroom, this second edition includes new chapters on theatrical trailers, video games, Internet commercials, Web site music, and made-for-the-Internet video.

(Berklee Guide). Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music ‘outside’ the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjær sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.

The Insider's Guide to Making Money in the Music Industry. Millions dream of attaining glamour and wealth through music. This book reveals the secrets of the music business that have made fortunes for the superstars. A must-have for every songwriter, performer and musician.

JINGLEMONEY: THE ESSENTIAL GUIDE TO MAKING REAL MONEY WRITING JINGLES

From its 1939 “Nickel, Nickel” jingle to pathbreaking collaborations with Michael Jackson and Madonna to its pair of X Factor commercials in 2011 and 2012, Pepsi-Cola has played a leading role in drawing the American pop music industry into a synergetic relationship with advertising. This idea has been copied successfully by countless other brands over the years, and such commercial collaboration is commonplace today—but how did we get here? How and why have pop music aesthetics been co-opted to benefit corporate branding? What effect have Pepsi’s music marketing practices in particular had on other brands, the advertising industry, and popular music itself? Soda Goes Pop investigates these and other vital questions around the evolving relationships between popular music and corporate advertising. Joanna K. Love joins musical analysis, historical research, and cultural theory to trace parallel shifts in these industries over eight decades. In addition to scholarly and industry resources, she draws on first-hand accounts, pop culture magazines, trade press journals, and other archival materials. Pepsi’s longevity as an influential American brand, its legendary commercials, and its pioneering, relentless pursuit of alliances with American musical stars makes the brand a particularly instructive point of focus. Several of the company’s most famous ad campaigns are prime examples of the practice of redaction, whereby marketers select, censor, and restructure musical texts to fit commercial contexts in ways that revise their aesthetic meanings and serve corporate aims. Ultimately, Love demonstrates how Pepsi’s marketing has historically appropriated and altered images of pop icons and the meanings of hit songs, and how these commercials shaped relationships between the American music business, the advertising industry, and corporate brands. Soda Goes Pop is a rich resource for scholars and students of American studies, popular culture, advertising, broadcast media, and musicology. It is also an accessible and informative book for the general reader, as Love’s musical and theoretical analyses are clearly presented for non-specialist audiences and readers with varying degrees of musical knowledge.