8bit Survey Follow-Up Questions

1/. Name and age?

2/. How many recordings of 8bit do you think you have and on what format do you predominantly have them?

3/. Do you ever purchase 8bit, and if so on what format?

4/. What are your opinions of using modern production technology when recording, mixing and mastering an 8bit record?

5/. How many 8bit fans do you know personally and on-line?

6/. How do you find out about and discuss 8bit music?

7/. Who are your favourite 8bit artists?

How can genre theories be utilised to both recognise and describe a market, but also respect and preserve the genre’s cultural framework?

Introduction.

The research will attempt to use genre theory to identify the factors affecting the way genre develops. In doing this, it is hoped the research will show how, buy using genre theory, record labels can better understand a market and so better deal with an emerging opportunity, whilst still respecting the cultural essence of the genre.

“By Summer 1977, punk had become a parody of itself. Many of the movement’s original participants felt that something open-ended and full of possibilities had degenerated into a commercial formula.” Reynolds, S (2005 p.xvii)

In order to prevent a repeat of this travesty brought about by record labels horrific mismanagement of the genre, this research will explore how an emerging genre may be treated based on it’s own terms. This therefore may allow the genre to grow and develop in a natural fashion whilst still producing viable product for the record label to sell. By recognising what the genre is about, rather than how a record label may want it to be, it is hoped that industry may become a force for good in the protection and development of culture, and reverse the apparent trend of counter culture increasingly trying to avoid what can only be termed exploitation.

To investigate this, the emerging genre “8bit” has been used as case-study for the applications of these theories. This is because, whilst the genre is still comparatively quite small, it is significant enough to represent an opportunity to use genre theories to describe the genre, and to try to determine how to best approach the genre from a commercial view point.

Literature Review.
Introduction.

This literature review aims to provide a theoretical framework, based on the current literature available. From this, theories will be developed into a conceptual framework underpinning the primary research. This framework will provide the source of the further research. The literature review will survey several key texts regarding genre theories that might be used to describe a market for use in the design of business strategy. The review will compare and contrast the theories presented in these texts to determine common grounds of agreement, as well as any grounds for dispute. The review will also highlight any gaps in the knowledge that may hinder further research.

The theoretical frame work of this literature review is an adapted version of one used by Wall (2003). Wall uses social, economic and technical factors as the predominant factors affecting a genre. Two categories have been kept, but have expanded economic to “economic and industrial” to better reflect the focus of this research, i.e. the benefit a record label gains from understanding the market. I have also added an additional initial category dealing with genre as a whole to provide a reference point for the factors affecting genre.

There is a considerable volume of literature relating to genre theory, so, where possible, concepts that are covered in greater depth or with greater relevance to this particular research, are reviewed at length here, whilst literature that overlaps with these key works are duly acknowledged.


Rock / Pop / Electro? Electro/ Disco / Indie? – Genre.

Frith (1998) writes of genre that they are ever subject to change. The way we have classified music over the years has altered radically. The reason for this need to organize music is because, as Frith and Fabri demonstrate, people expect something from the way music sounds. Genre allows the average record buyer to find what he wants a record store, and with it, similar sounding records. It would be nigh-on impossible to find a band you could not remember the name of in an alphabetically organized store. Similarly, it would be impossible to communicate a new release to an audience if there was no forum dealing in that type of music. Genre definition is based on many things

Shuker, R (1998 p. 145) suggests that genres are little more than categories. One way to define these categories is to be guided by the music industry and take their word for what constitutes any given genre. Failing this, Shuker determines that definitions may be based on ideological rules, similar to those developed by Frith (1996) from the writings of Fabri (see below). Shuker cites Weinstein (1991) on concepts relevant to this research.

Art is about restriction. Fuck art, let’s dance - Social Factors Affecting Genre.

Wall (2003) argues that changes in popular music often coincide, but are neither the result, nor cause, of sociological change. Many cultural things, such as art and literature, may also be spawned at a similar time reflecting the society that spawned it.

“As long as we avoid the danger of being over-deterministic – that is, seeing the social change as causing the social shift – then this linkage of social to musical changes can produce important insights.” Wall (2003 p.37).

Wall takes this further by discussing how music can be political, or pertinent to specific groups in society, so people may relate to kinds of music as they reflect their own experiences.

Sociological and ideological rules, according to Fabri (cited in Frith 1996 p. 93) “cover the social image of the musician regardless of reality” and “the nature of the musical community and its relationship to the wider world”, whilst behavioral rules determine the ways in which “musical skill and technique” and “musical personality” are shown in both the artist and the genre. These are the things people look for when buying a record from a genre, and the things they relate to when they think of the genre. Whilst an artist may not fit any single genre perfectly, without genre he is lost to those looking for him.

Mclaren, M (2003) gives the impression that “8bit” is a reaction to today’s overpriced and sometimes inaccessible/intolerable Hi-fi culture of CD, iPods and Pro-Tools and as such appeals to people fed-up of these things too. Therefore it follows that, based on McLaren’s writing, and by applying genre theory, fans of “8bit” might also carry mild grievances with todays Hi-fi convenience culture.

McClary, S (writing in “Microphone Friends” Ross, A & Rose, T) starts her essay citing Plato’s “Republic”. She does this to show how far back the notion that new forms of music have always rattled established social (as well as political) values. McCaly however goes on to note the writings of critics form the Frankfurt School as stating that music is a platform for the airing of social grievances. Could it be then, that for fans of “8bit”, their way of life has become too spoon fed? Is this a market that wants to work for it’s music?

Wall (2003) argues that music happens in a social context. As the context changes, so does the way music is listed to and consumed. As society progresses, the music of yesterday is consumed in a different manor to the music of today. Frith (1996 p.84) also notes the progression of music “will, inevitably, become “lite”, “gold” and “easy listening” in the years to come”. As “8bit” evolves, it may therefore become more widely accepted.



Street (1992) writes with regard to music being political, Shaw (1987) writes in respect of the hedonism of the 1920’s being tied to jazz music as well as other forms of culture, Potter (1995), Ward (1998), George (1999) and Bradley (2000) write on the subject of the use of music to define African-American and African Caribbean identity in racist cultures resulting in funk, reggae and rap, and how genre is created through this. These are all relevant texts that form much of the ground work for the sociological study of genre.

Lo-tech Music For Hi-tech People - Technological Factors Affecting Genre

Wall (2003) asserts that technology has had a huge impact on music. It impacts in four key areas: music production, recording, distribution and how music is consumed. This expanded use of technology has meant that music has become more valuable as a commodity as it can be broadcasted and distributed to huge audiences on a global scale.

Negus (1999 p. 33) and Wall (2003) are in agreement that technology has an impact on the way the product of music manifests it’s self. Negus picks up on the idea that artists are now required in order to provide agreements for the “cross-collateralization” of other products that the artist may feature in i.e. music videos, television performances and appearances in commercials. Negus also points out that the way a product is “conceptualized” is likely to change with the progress of technology. We have seen this in the move from vinyl to MP3 over the last thirty years.

Negus (1999) notes that information management, as used by major record company’s marketing departments the world over, is powered by advances in information technology. Technology forms the backbone of the administrative side of the recorded music industry and advances in technology can have significant benefits in the form of the efficiency of a record label. This means that record companies are more able to determine a range of information quicker and easier. This can impact on the formation of a genre as priorities shift with the ready availability of additional information.

The Internet, a crucial tool within the genre of 8bit, also has ad a massive impact on music genre. The ability to discuss and find out about music on a global scale undoubtedly affects where and how music is consumed.

Wall (2003 p.221) states three key internet technologies that have reformed, in part, the dissemination of music. These are:

• File compression i.e. MP3 – the ability to reduce the size of a file to make possible the transference of data (music) between computers over the internet. The smaller size of the file means much less bandwidth is required and the speed of the transfer is greatly increased.
• Streamed audio – the broadcasting of audio over the internet. This is comparable to a radio broadcast.
• Peer-to-peer networks – The sharing of music files globally through systems and protocols. The Gnutella network services popular files-sharing programs such as Limewire (gnutellaforums.com 2007).

Also worthy of note at this point is Bittorrent. This is not dissimilar to peer-to-peer networks but the protocol used is different. Bittorrent allows users to download from several people with the same file at once using a system based around Seeders (people with the whole file) and Leachers (people downloading the file). Collectively these are known as Peers. This system further improves the speed of downloading. REFERENCE!!!!!!

“The Technology of file-sharing was exploited so that music fans could swap MP3 music files, and is now increasingly the basis on which record companies attempt to reassert their ownership of music that had slipped into the hands of music fans.” This quote from Wall (2003 p.222), although now a little dated, perfectly sums up the attitude of the major record companies towards these now fundamental technologies. Their insistence on Digital Rights Management (DRM) means that legitimate uses of these technologies benefit the industry to the detriment of the consumer. REFEARENCE HERE!!!!

Social-networking websites, most notably MySpace.com – a website that allows, among other things, artists to create a profile about themselves and upload their own music to the profile for streaming or downloading for free - are significant in the way they allow both the artists and the fans of 8bit to communicate. Artists have a database of fans that they can market to for free, and also a contact point on the internet that anyone can access.

Fabri’s (as cited in Frith 1998???p.????) “Formal and Technical rules” looks at how the music is played and the instrumentation used, what level of skill is required to perform it, and the musical structure. The instrumentation helps to define the sound of the genre and can be hugely affected by technology. The advent of synthesizers, drum machines and the home computer have all lent to new forms of music. “8bit” uses computer hardware from the 1980’s as its choice of instrumentation. This leads to a very distinctive sound, and whilst “8bit” artists may draw influence from many different sources, the technology they use to produce their art creates a distinctive lo-fidelity sound.

(Negus, K. 1992 p.20) distinguishes two categories of musician; techno-phobic and techno-euphoric. It is curious to note that 8bit musicians fall into both these divisions. On the one hand, this is a techno-phobic group of artists who seem to shun modern technology for production, and yet on the other hand, they are techno-euphoric about a specific point in technology’s history and make full use of the internet and social networking websites to communicate with each other. This provides a different view of “8bit” to the sociological views outlined above.

Economic and Industrial Factors Affecting Genre

Wall (2003) cites Earl (1986) and attributes the commercialisation of music to the “Industrialisation and unbanisation in Europe from 1850" resulting in music as a commodity and a profession.

Fabri’s (as cited in Frith 1998???p.????) Commercial and Juridical rules govern how a genre acts with respect to the music industry - how an artist distributes work to consumers, the rate of return the artist receives for this, and the extent of this remuneration (and by whom it is paid) are all governed by this aspect of the genre. This rule forms a key part of the conceptual framework for the following primary research as these factors will determine to what extent artists and fans of 8bit will tolerate commercial exploitation.

Negus (1999 p.47) references Frith’s (1996 p. 85) view of using genre to make the marketing of music more efficient by dividing music into manageable parts that can be relatively easily found by the consumer, and targeted by the company. Negus takes this further by posing the idea that by basing the structure of a label around the genres that it deals with, individual units are formed and can be monitored for signs of growth or a fall in sales. Negus is then able to apply the idea of the “Boston Box Matrix” to the roster of a labels acts, genres or sub-labels to determine which are performing and to what level. This enables a company to effectively manage their portfolio based on genre.

Negus, K (1999) writes at length about the relationship between genre and the corporate culture of the recorded music industry. He highlights several key theories relevant to this study. The central theme of his book “Music Genres and Corporate Cultures” (1999) is that “an industry produces culture and a culture produces industry” (p. 14).

The use of corporate strategy in the music industry allows record labels to organize and control some of the uncertainties that are inherent in the business of commodifying an emotionally based product for sale on a mass scale. Corporate strategy also allows a company (be it an entertainment company or not) to increase the predictability of certain aspects of the business, and also hold accountable those who do not perform for the business. In the entertainment business, corporate strategy allows a company to balance the production of a product with the consumption of it (Negus, K. 1999 p.47).

Market intelligence, a concept that the research is primarily concerned with, is exploration of what Negus describes as two key concepts – purchase and consumption and is inextricably linked with Fabbri’s fifth genre rule. This can be done in many ways, from elaborate market research through focus groups to profiling artists and considering the massive amounts of statistical data available through such sources as “Soundscan” in the US (the source of the billboard chart) or through the BPI in the UK. Some of the general questions raised by Negus (p. 53) as being part of this are:

• Who buys what, where and when?
• How frequently do they buy?
• Is price/image/etc an influencing factor?
• Are DJs/Clubs/Radio/TV an influencing factor and if so which ones?
• Do people buy singles or albums of a particular artist?
• Which single lead to the purchase of the album?
• How does music buying fit into the consumer’s lifestyle?
• Where, with whom and for how long do people listen to music?


Negus however questions the value of research (p. 60). Whilst research can help the process of strategy and decision making, Negus feels that it can distort the reality of the business of selling a cultural product. There is a very real danger when conducting this kind of research of fabricating a reality that simply is not there.

“Semiotic rules” are concerned with the way a genre communicates, the roll a singer plays in the music, what type of meaning is conveyed and how this is achieved. These rules form the bases of the dialogue between artist and consumer.




Define the concepts under investigation

Discuss the relationship between concepts (form framework)

Examine and summarise essential lit

Locate your topic in the lit. Show research builds on existing knowledge

State clearly the purpose of research

Provide a rational for the study.

the 8bit survey!

As part of my final university project, I am conducting a study into 8bit. I need as many fans of 8bit music as possible to take the survey - it's only short and should only take a couple of min, but enough responses will significantly improve the quality of the results!

Click here to take survey

I hope you can find the time to complete it!
Thanks,
Adam x

A case-study into 8bit music and the use of genre theory to describe and explain a market for the purposes of inclusion in corporate strategies.

Introduction.

Rationale.
Genre theory has many facets. One of these is that by studying a genre, certain questions become apparent as to why a genre has a certain quirk. It has been said that fanzines, popular with fans of rock music and an effective marketing space, have never really gripped hip-hop fans. In order to effectively market within a genre, an understanding of how that genre works is required. By applying genre theories, this information is revealed and can be used to better understand a market a record label may otherwise miss.
The research will attempt to use genre theory to identify the factors affecting the way genre develops. The research will attempt to explain the market the genre represents, and attempt to describe the current state of that market. The research hopes to show how, buy using genre theory, record labels can better understand a market and so better deal with an emerging opportunity quickly and efficiently.
To investigate this, the emerging genre “8bit” has been used as case-study for the applications of these theories. This is because, whilst the genre is still comparatively quite small, it is small enough yet significant enough to represent an opportunity to use genre theory to attempt to predict what might happen as the genre evolves, and how to best approach the genre.
Hypothesis.
Genre theories can be applied to an emerging genre to better describe the market the genre represents in terms of the recorded music industry thus enabling a record label to act quickly and correctly on the genre.



Background Reading - Previous Key Findings.
Wall (20003) provides a frame work of factors that can affect a genre. These being: sociological, economic, and technological.
Frith (1996) notes that genre are categories used to group similar music, and cites Fabri’s “socially accepted rules” as a way of describing a genre through common factors such as ideology and behavior.
Wall (2003) discusses popular music culture and …
Background Reading – 8bit.
Whilst “Chiptune” would seem to have become an all encompassing term for music made using the sound chips and interfaces of these old machines, including covers of the original video game music, music inspired by the original video game music, and original compositions, (vorc.org, 2007) Mclaren, M (2003) used the term “8bit” to describe a sub-genre of Chiptune that looks forward musically, whilst looking backwards for it’s technology. The result is a new genre of electronic music that takes a wide range of musical influences and reproduces them using lo-fidelity computer equipment to create a new type of sound. This is the definition 8bit used throughout this investigation. From the days of hackers writing their own musical introductions to computer games that they had cracked and shared with friends, the popularity of making music on home computers has increased dramatically and we have seen, with the increased processing power of recent computers, fully fledged digital audio workspaces that even rival professional recording studios become available to the home producer. 8bit musicians, however, shun this readily available technology, preferring instead to concentrate their efforts on making music with the simplest and least powerful hardware, i.e. sticking to the original constraints of low-capability hardware, even though these were surpassed long ago.
David E. Sugar and Pixleh8 have both recently been mentioned in an article in the “Metro” newspaper See apendix. The article by Williams, A. (2007) is the latest mention of the genre in the mainstream press. Sugar has featured on BBC Radio 6 Music and Rob Da Bank (BBC Radio 1 DJ) has previously dedicated a whole show to 8bit and demonstrates 8bit is beginning to garner media attention.
The recent 8bitpeoples release 8BP050 (June 2006?????????) comprises artists from across the world, that are only aware of each other through internet community sites such as micromusic.net, vorc.org and myspace.com. The main form of marketing for this music is also, unsurprisingly, internet based. The Internet plays a key roll in the dissemination of information about 8bit as the genre is spread across continents.
Micromusic.net publishes its server status on its home page, which gives information on its users. At the time of writing, their server held sixteen thousand, seven hundred and fifty three accounts, all of which represents a unique person in the world able to upload and download their chiptunes for free. Micromusic.net also provides the users of the site the capability to log their location on the “micromembers world map”, a Macromedia Flash applet designed to allow users to enter their longitude and latitude to pinpoint their position in the world. Whilst the map is not very accurate, it can readily be seen that the main areas of the location of micromusic.net users is northern Europe, followed by the United States of America. From this it is clear why, for the consumers of 8bit, the internet is a vital connection to new releases and events.

Methods.
Purpose of investigation
The purpose of this investigation was to apply the genre theory outlined above to the emergence of the new genre of music, “8bit”. It was hoped that significant data collection and analysis of the emerging genre might lead to valuable information about this new genre (such as weather or not to invest in the new market) based on the application of existing genre theory. As outlined in the theoretical framework of the literature review, the theories applied are largely based on notions from Negus, K (1999, p. 53), Fabbri (as cited in Frith 1998, p. 93) and Wall (2003) and will consider how various factors have had an impact on the formation of this “new” genre and describe the current market.
In particular, the aim of the research was to describe or attempt to explain the following factors:
• (Why) does the consumer buy “8bit” music?
• (Where) does the consumer purchase “8bit” music?
• How does the consumer find out about new “8bit”?
• Where do fans of “8bit” discuss the genre
• What is the current interest in the market? Which artists are most prominent?
• Where are the most likely expansions in “8bit” music popularity likely to occur? (Mobile phones?)
• How has the market developed over time?
Choice of research approach
The primary research methodology was to collect data from a sample population of “8bit” music consumers by means of interview and questionnaire. This data was supplemented, where possible, with information on “8bit” usage obtained directly from the internet. This meant that interviewing a statistically relevant sample of “8bit” consumers, in order to determine such things as their buying habits, where they find out about music, where they discuss music, and also how genre rules affect their decisions. Determining these attributes allowed a clearer picture of the current and likely future of “8bit” music market to be drawn. As the internet is the major communication channel for users of this genre, it was felt that this would be a viable and credible source of data, and also the optimum way to reach consumers of “8bit”.
A social survey in the form of a questionnaire was used for the reason of the advantages stated by McNiell, (1985, p.??), these being the ability to reach large numbers of people relatively easily, the minimization of personal influence from the researcher and the natural inclination toward quantitative data that can be more easily expressed statistically. Mixtures of quantitative and qualitative questions were however asked in order to allow candidates to express themselves in their own terms and limit the constriction of the candidate’s responses by offering opportunities to answer at verbatim.
Secondary research, in the form of the literature review, was carried out in order to develop a theoretical framework. The aim of developing this framework was to allow the consideration of a range of genre theories, including points of agreement and points of contention between different genre theories. From this, the key concepts of the research could be pinpointed and the focus of the research made clear. (Kumar, R (2005))

Research Methodology
The formation of a hypothesis, based on reading, research and observation, helps to rationalize the questions chosen (McNiell, (1985), p.19). The hypothesis used for this research, although not formalized, was that technological, sociological, and economical/industrial factors as highlighted in the literature, have affected the development and subsequent market of the genre “8bit” and that by applying genre theory, a description of the market can be made.
de. Vaus, DA (1995?) notes the importance of defining the concepts under investigation and the indicators of these concepts. The concepts used in this research are demonstrated in the table below, along with the indicators of those concepts.
Concept Indicator
Fans refuse to purchase 8bit music and believe it should be free. Based on Farri’s “Commercial and Juridical rules”. Express dismay at an artist signing a record contract.
Express the view that music should be free
Fans are happy to accept that artists sell their art and should be payed a fair price for their work Fans own some “8bit” on any format.
Fans are to some extent dismissive of technology, but also appreciate the convenience and benefits it represents. Expresses reservations of technology, or preferences for older formats, in either the recording process or the product.
Fans are unconcerned with the technological aspect of “8bit” May use any formant but has no opinion on technology in the production process.
Market intelligence helps to describe “8bit” and develop corporate strategies for use in the market of “8bit”. Statistical data based on a range of questions detailed below.
McNiell, (1985, p.19) states fourteen steps to a completed social survey. Among these, he describes several points relevant at this juncture, which are discussed below.
Identifying the population to be surveyed can prove difficult if no clear-cut candidates are self-selected by the research topic. However, for this research, it was determined that a simple qualifying question would be enough to establish that the candidate is suitable as the survey requires only general fans of “8bit”, whoever they might be.
The drafting of a questionnaire or interview schedule, which can be done through informal interviews, helped define that which may need further investigation or clarification. Also it ensured that the indicators used were easily identifiable, wording of the question was suitable and the questions allowed for a truthful response from the candidate. This was done with ten fans of “8bit” gathered at random from the internet and invited to take the survey. The conducting of a pilot survey allowed the functionality of the survey to be tested and helped to ensure the questions were understood by the sample group. Alterations were then made based on discussion with the initial sample group via e-mail. The test-sample group was deemed to be as statistically relevant as possible to the actual sample group, although these surveys were not anonymous.
Sampling methodology
There are three basic different methods of collecting data (Levy, Lemeshow “Sampling of Populations” Wiley, 1991). These are: extraction of data from records; self-administered questionnaire; direct interview. This research dealt with the latter two of these.
The participants in the self-administered questionnaire sample were gathered by posting links to an online survey on the profiles of prominent “8bit” artists on social networking site MySpace.com, as this is one of the most prevalent networking sites and has profiles for most of the major artists connected with the genre. Due to the nature of the genre, this was the only way a representative group of people could feasibly be contacted and complete the questionnaire. It was deemed that a statistically relevant number of responses would be fifty fans of “8bit”.
The results were collected using an on-line form that collected responses to the questions in a data base. This allowed quick statistical analysis of the results, as well as improving the accuracy of the data collection, and minimizing interviewer influence.
The questions were chosen to elicit the required information to investigate the stated concepts and indicators. They were chosen so that there should be no reason for the respondent to not want to answer the question. They were kept as simple as possible, to allow as many people to be eligible to answer them and prevent misunderstanding.
Information to be collected
Age and sex of the participant
What equipment they use to listen to “8bit”
How they obtain “8bit”
Do they purchase “8bit”
How much “8bit” music they have
Have they been to a live concert that used “8bit”
How they hear of a new “8bit” release
How do they discuss “8bit”
Their views on technology and “8bit”
Formation of the Questionnaire
Sirken (YEAR??/?) suggests a five step procedure for designing survey forms. These are:
1/. Specify the information to be collected.
2/. Select the data collection strategy.
3/. Order the questions (group the questions in a meaningful way).
4/. Structure the questions (the way the questions are worded).
5/. Space the questions (the appearance of the form).
Assuring the Quality of the Data
To ensure that the execution of the survey was in accordance with the design of the questionnaire, a subset of people who filled in the form were interviewed to check there were no misunderstandings, and an independent colleague volunteered to check all received answers.
As an internet form was used to collect data, it was possible to group and space questions over several pages, and use “form logic” to maneuver candidates through the form, thus avoiding anyone having to answer questions unnecessarily (i.e. if a candidate answers that they only by online, they are not then asked what their favorite high-street retailer is). The questions were, on the advice of McNiell, (1985) worded as far as possible using every-day layman’s terms to avoid confusion and clearly structured.
Table 1: Questionnaire form

“8bit” Music Questionnaire
Please do not provide identification!
Age years
Gender Male  Female 
Are you aware of “8bit” music? This is music made using old computer consoles and sound chips to create new original compositions. Artist you may have heard in connection with the genre are: Nullsleep, Bitshifter, David E. Sugar, GoTo80, Roll Model. yes
no 
Equipment used to listen to music (tick all that apply) PC 
MAC  iPod 
turntable(s) 
radio/TV 
other (state)

How many “8bit” tracks do you have? (select one) less than 10 
between 100 and 500  between 10 and 100 
over 500 
Do you agree with the statement: “8bit” music should be sold in shops and online so the artist can get paid. Strongly Agree
Agree
Neither agree nor disagree Disagree
Strongly disagree
(if agree to neither agree nor disagree above)
How many have you paid for? (select one) less than 10 
between 100 and 500  between 10 and 100 
over 500 
What format do you prefer to purchace “8bit” in? MP3
Vinyl
Other (state) Cassette
CD

Do you agree with the use of modern technology when producing (recording, mixing and mastering) an “8bit” record? Strongly Agree
Agree
Neither agree nor disagree Disagree
Strongly disagree
How many “8bit” fans do you know personally less than 10 
between 50 and100  between 10 and 50 
over 100
How many “8bit” fans do you know on-line. less than 50 
between 500 and 1000  between 50 and 500 
over 1000
Have you been to a concert where “8bit” music was played? Yes  No 
How do you discover new “8bit” muisc? Myspace 
Micromusic
Other Froum (state)
Printed media
Radio
Word of mouth
How do you most often discuss “8bit”? Myspace 
Micromusic
Other Froum (state)
Verbally (face to face or on the phone)


Anything you would like to add on any of the topics raised in this questionnaire?
Thank you!



Interview
A total of ten “8bit” music consumers were interviewed either face to face (preferred) or over the telephone, or via chat rooms on the internet. The purpose of the interview was to explore further some aspects of the questions asked in the questionnaire. The aim was to ensure that the interpretation of the questions by the interviewees was as the interviewer expected and to confirm that the interviewer understood correctly the answers given to the questionnaire.
A total of eight questions were posed, and the interviewees were allowed to determine the extent of their answers. As few follow-up questions or clarifying statements were made, during the course of the interview, as possible.
Questions
The following questions were put to each interviewee:
1/. Age and sex
2/. How many recordings of 8bit do you have and where did you get them?
3/. What are your thoughts on technology in the recording process?
4/. How much do you use the internet to find out about and discuss 8bit music?
5/.
6/.
7/.
8/.

Frith (1996 p. 91-93) also cites Fabbri’s genre rules. These are rules that can be used to help define what genre a piece of music belongs to by looking at the various aspects of the genre.

“Formal and Technical rules” looks at how the music is played and the instrumentation used, what level of skill is required to perform it, and the musical structure of the music.

“Semiotic rules” are concerned with the way a genre communicates, the roll a singer plays in the music, what type of meaning is conveyed and how this is achieved. These rules form the bases of the dialogue between artist and consumer.

“Behavioral rules” determine the way an artist is represented to the consumer. From the way the artist acts on stage and the way the fans react to the performance to the way an artist appears in a promotional photograph, behavioral aspects of the artist are communicated to the consumer.

“Social and Ideological rules” emphasise the values of the artist. They govern what it is that the artist is supposed to stand for and the values associated with the genre. “It’s better to bun out that to fade away” *heavier that heaven?* attitude of grunge is an example of this.

“Commercial and Juridical rules” govern how a genre acts with respect to the music industry - how an artist distributes work to consumers, the rate of return the artist receives for this, and the extent of this remuneration (and by whom it is paid) are all governed by this aspect of the genre. This rule forms a key part of the conceptual framework for the following primary research as these factors will determine to what extent artists and fans of 8bit will tolerate commercial exploitation.

Literature Review
Introduction
In order to answer whether or not there is a commercially viable sub-genre of 8bit music, background knowledge of genre theory may be used. Therefore the topics that will be discussed are firstly the concept of genre as a whole - why it is such a fundamental concept within the industry of recorded music and how it has come to play such a key roll in the production and marketing of popular music.

Secondly, it is important to explore factors that affect the way a genre develops. These range from sociological and ideological factors (i.e. how people relate to music) to the way that the commercial strategy of a record label can promote or demote certain aspects of a genre for commercial gain. By analysing this, one can determine the ways that a genre can be formed and cemented, and the processes that lead to a definite final genre.

Finally, it is important to look at how a genre is marketed. What information do record labels need to know etc., What ties artists together regardless of their record labels? How is a unified generic front presented to the record buying public?

This literature review aims to provide a theoretical framework, based on the current literature available, around which the above questions can be answered and, as such, point to the nature of the subsequent primary research that shall need to be carried out. In this manner, the theoretical framework leads to a particular conceptual framework, and this will then act as a focus for the research and enable it to specifically answer our question. The literature review will survey several key texts regarding genre theory and how, based on these theories, a genre can be marketed (but without looking at texts relating specifically to marketing, as this is another area of academic interest that is beyond the scope of this project). The review will compare and contrast the theories presented in these books to determine common grounds of agreement, as well as any grounds for dispute. The review will also highlight any gaps in the knowledge that may hinder further research.

There is a considerable volume of literature relating to genre theory, so that, where possible, concepts that are covered in greater depth, or with greater relevance to this particular research, are reviewed at length here, whilst literature that overlaps with these key works are duly acknowledged.