Five years before starting my studies at the University of Applied Sciences Bremen, I absolved an apprenticeship at Warner Music Germany, one of the leading major music labels. During these 2 ½ years, I gained a thorough insight of the various departments a record label has to offer such as TV, radio and press promotion, A&R as well as licensing and retail. I continued working for Warner Music after graduation and put my gained knowledge to good use.
My interest for music and the music industry in general didn’t end when I chose to study Applied Business Languages (emphasis Japanese) and International Management in Bremen, and during my yearlong stay in Japan, I couldn’t help but notice the abundance of pop music “made in Japan” and some peculiar differences on how music seemed to be promoted.
Why shouldn’t there be differences anyway? Japan is unlike the rest of the world in so many ways, why shouldn’t this be the case for the music business? This train of thought led to the subject of this bachelor thesis.
In order to compare the promotion tools of both markets, it is important to gain an overview of both music industries first: chapter three defines the current status as well as some of the characteristics of the Japanese and German music market.
Chapter four takes a closer look at the marketing mix and presents the most important promotion methods used in Japan while comparing these to the German market such as testimonials and the tie-in system. It also gives examples of new ways of advertising both in Japan and Germany.
The next chapter deals with the empiric research conducted for this thesis in order to support and/or disprove the claims and observations made in the previous chapters. Possible reasons for the differences between theory and practice are presented as well.
Last but not least, chapter six sums up all important information about the differences and similarities in a nutshell.
Table of Contents
2. introduction
3. the Japanese and the German music market: overview
3.1. comparing the current status
3.2. characteristics of the Japanese music market
3.2.1. the trend evolution velocity
3.2.2. fan following in Japan
3.2.3. the idol industry
3.2.4. otaku
3.2.5. domestic vs. international repertoire
3.2.6. karaoke
3.2.7. CD rental shops
3.2.8. ringtones / chaku uta
3.3. music diversity
3.3.1. domestic repertoire
3.3.1.1. enka
3.3.1.2. kayokyoku
3.3.1.3. J-pop
4. advertising
4.1. defining the term marketing mix
4.2. one of 4 Ps: Promotion
4.3. media and its role regarding advertising in both countries
4.3.1. television
4.3.2. radio
4.3.3. press
4.3.4. internet
4.4. testimonials
4.4.1. definition
4.4.2. use of testimonials in Japan and Germany
4.5. the tie-in system
4.5.1. definition
4.5.2. TV tie-ins in Japan
4.5.3. TV tie-ins in Germany
4.6. the influence of mobile downloads for advertising in Japan
4.7. new ways of advertising
4.7.1. MySpace
4.7.2. games
4.7.3. other collaborations
5. online survey
5.1. assumption and goal of survey
5.2. survey structure and procedure
5.3. results
5.3.1. socio-demographics
5.3.2. media use
5.3.3. tie-in system
5.3.3.1. games
5.3.3.2. TV series
5.3.3.3. anime
5.3.4. ring tones
5.3.5. testimonials.
5.3.6. music in German television
5.3.7. MySpace
6. conclusion
Research Objectives and Core Topics
This bachelor thesis examines and compares the distinct music marketing strategies employed within the Japanese and German music industries, specifically focusing on the promotion of recorded music and the effectiveness of diverse advertising channels. The research investigates whether observed differences are rooted in consumer behavior, technological infrastructure, or cultural variations.
- Comparison of traditional and modern music promotion methods (e.g., tie-ins, testimonials).
- Analysis of the unique impact of digital mobile music services in the Japanese market.
- Evaluation of media influence (TV, Radio, Internet, Press) on consumer purchasing decisions.
- Empirical validation of marketing theories through comparative online survey results.
Excerpt from the Book
3.2.3 THE IDOL INDUSTRY
The term “アイドル” (pronounced “aidoru”, from the English word “idol”) characterizes young female and male performers whose common trait is the image of “the girl or boy next door” while being an object of worship. Some of these artists even toy with the gender representation while presenting themselves as androgynous. (Aoyagi 2005: 16, 31) Idol performers are typically presented as pure, innocent, childlike and cute. (Aoyagi 2005: 33) They represent a subgenre of Japanese pop music, emerging from kayokyoku in the late 60s. While kayokyoku was more targeted towards a more mature audience, the main audience for idols was teenagers. (Aoyagi 2005: 4)
Besides selling music in form of CDs and downloads, the main goal of idols is to act as lifestyle role models in order to gain a large fan following which will buy “アイドルグッズ” (pronounced “aidoru guzzu”, Japanese for “idol goods”), merchandise such as photo albums, key chains, apparel such as shirts, pencil cases etc. (Aoyagi 2005: 3f)
The idol phenomenon is not limited to Japan: throughout the years, there have also been international artists or groups being idolized worldwide, such as the New Kids on the Block in the 80s, the Backstreet Boys and the Spice Girls in the 90s and in recent years Britney Spears and Christina Aguilera. (Aoyagi 2005: 4) The difference is the sheer size of the Japanese idol industry and the vast amount of players involved: there are various idol promotion agencies whose sole purpose is to scout, train and turn young potentials into marketable commodities, organizing castings and auditions every year. (Aoyagi 2005: 46f) Then there are advertising agencies such as Dentsu, Japans biggest ad agency, which has a division being devoted to bring together these promotion agencies representing the idols and marketing corporations which hire idols for ad campaigns to heighten the image of their product. (Aoyagi 2005: 136) Then there are media institutions, especially tabloids, which rely on young idols to fill their magazine pages with stories about them, having enough power to end or to start idol careers. (Aoyagi 2005: 48) Last but not least, there are plenty of companies such as manufacturers of confectionery, toiletries and electronic products which are the main employers of these idols, because the company products and the idol personalities both appeal to young consumers. (Aoyagi 2005: 49)
Summary of Chapters
2. introduction: Provides the motivation for the thesis, outlining the author's background and the comparative scope of the music marketing research.
3. the Japanese and the German music market: overview: Analyzes the market status, technological trends, and consumer habits, highlighting the role of mobile digital content and CD rental markets.
4. advertising: Details the marketing mix, focusing on media roles, testimonial strategies, and the pervasive tie-in system utilized in Japan and Germany.
5. online survey: Presents the methodology and results of a comparative survey assessing music discovery channels, advertising effectiveness, and brand perception.
6. conclusion: Synthesizes the empirical findings, emphasizing commonalities in marketing techniques while identifying cultural and infrastructural differences in their application.
Keywords
Music Marketing, Japan, Germany, Tie-in System, Testimonials, Digital Music, Mobile Downloads, J-Pop, Idol Industry, Media Consumption, Advertising Strategies, Consumer Behavior, Online Survey, CD Rental, Music Promotion
Frequently Asked Questions
What is the core focus of this bachelor thesis?
This thesis examines and compares the differences and similarities in how music is marketed in Japan and Germany, exploring promotion tools and consumer responses.
What are the primary thematic areas covered?
The work covers marketing mix strategies, the role of mass media, testimonial advertising (idol culture), the tie-in system, and modern digital promotion.
What is the main research objective?
The objective is to compare promotional tools used in both markets and to investigate the underlying reasons for the differences in their application and success.
Which scientific methodology is employed?
The research uses a mix of literature-based theoretical analysis and primary empirical research via an online survey conducted with both Japanese and German participants.
What is addressed in the main body of the text?
The main body defines the current state of both music markets, details specific promotional methods like testimonials and tie-ins, and presents the findings of the empirical survey.
Which keywords define the research?
Key terms include music marketing, J-Pop, the tie-in system, testimonials, mobile downloads, and media consumption habits.
How does the idol industry function in Japan?
The idol industry involves a complex network of talent agencies, media institutions, and manufacturing corporations that turn performers into marketable lifestyle role models.
Why are TV tie-ins so significant in the Japanese music market?
They are highly effective due to the heavy reliance on TV as a primary influence on public taste and the abundance of J-pop artists seeking broad exposure.
What impact does mobile technology have on the Japanese music industry?
It acts as a primary distribution channel and promotion tool through "chaku-uta" (ringtones), which serve as key markers for potential hits and test-marketing releases.
Why did the survey results differ from the initial theory regarding games and anime?
The survey results likely diverged due to the specific socio-demographic profile of the participants, which may not align with the younger target audiences typically reached through games and anime.
- Arbeit zitieren
- Yves Gilbert (Autor:in), 2009, Differences and similarities in marketing music between the Japanese and the German music market, München, GRIN Verlag, https://www.grin.com/document/323906
