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dc.rights.licenseCC-BY-NC-ND
dc.contributor.advisorLambrecht, S.M.L.
dc.contributor.authorPennings, K.P.H.
dc.date.accessioned2019-09-03T17:01:14Z
dc.date.available2019-09-03T17:01:14Z
dc.date.issued2019
dc.identifier.urihttps://studenttheses.uu.nl/handle/20.500.12932/33907
dc.description.abstractTribute acts and concerts are a monthly business for most pop and rock venues in the Netherlands. In the last few years this has become a trend. Another remarkable development is that a growing number of Dutch acts who already have an established career pay tribute to a certain act in a tribute tour. Why do all these established acts want to undertake a tribute project? Is it because of the tribute trend in pop venues? This research researches what are reasons for established Dutch acts to undertake a tribute project. In addition, this research also researches the opinion of the music industry regarding established acts undertaking tribute projects. According to music industry professionals of the podcast Klap van de Molen, this is a delicate subject which can cause established acts to lose their reputation. This research utilises theories on authenticity by Philip Auslander, Hans Weisethaunet and Ulf Lindberg to test and ground the ideas of artists and music industry mentioned in the research. The results of qualitative interviews with three established Dutch acts prove the motives for undertaking a tribute project are financial and well-planned to avoid losing their reputation. The results of qualitative interviews with five programmers of pop venues in combination with two music industry podcasts prove that the opinion on tribute projects vary per person. The most popular opinion is that tribute projects can be beneficial for established acts, because it gives them perquisites within the music industry. However, the programmers warn that a project cannot be too long, or it can harm the act’s career. This research became a footnote to the general discussion within the Dutch pop industry about musician’s earnings and proves that the moderate view on tribute projects is caused by goodwill regarding the chance of perquisites.
dc.description.sponsorshipUtrecht University
dc.format.extent752243
dc.format.mimetypeapplication/pdf
dc.language.isoen
dc.titleThis is just a tribute: Views on tribute projects by established Dutch acts and the Dutch music industry
dc.type.contentMaster Thesis
dc.rights.accessrightsOpen Access
dc.subject.keywordstribute, tribute act, tribute band, established act, rock authenticity, Marlboro Flashback tour, Dutch music industry
dc.subject.courseuuApplied Musicology


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