Branding Sound: Porter Robinson, Virtual Self and the Influence of Brand on Music

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dc.contributor.advisorWolf, Juan Eduardo
dc.contributor.authorOizumi, Holly
dc.date.accessioned2019-09-18T19:23:07Z
dc.date.available2019-09-18T19:23:07Z
dc.date.issued2019-09-18
dc.description.abstractThis thesis investigates the branding strategies of DJ-producer Porter Robinson and his side-project Virtual Self. This project situates both brands within their generic, historical, and cultural contexts. After an introductory chapter that explains the structure and methodology of this project, Chapter II explores the Porter Robinson brand. I suggest that Robinson’s branding strategy reflects Mark Samples’ conception of the artist brand, pitting both him and his music against the commercial mainstream. Chapter III then considers Robinson’s shift to suggesting a different branding model under Virtual Self: interstitial branding. The interstitial branding model allows Robinson to maintain the subcultural capital accrued under this artist brand strategy while also interacting more closely with the EDM mainstream. This thesis contributes to the pre-existing scholarly discourse on music-branding by suggesting a continuum of commercial and anti-commercial appeals to consider what happens “in between,” expanding the possibilities for future studies on music-branding.en_US
dc.identifier.urihttps://hdl.handle.net/1794/24888
dc.language.isoen_US
dc.publisherUniversity of Oregon
dc.rightsAll Rights Reserved.
dc.subjectelectronic dance musicen_US
dc.subjectmusic-brandingen_US
dc.subjectPorter Robinsonen_US
dc.subjectVirtual Selfen_US
dc.titleBranding Sound: Porter Robinson, Virtual Self and the Influence of Brand on Music
dc.typeElectronic Thesis or Dissertation
thesis.degree.disciplineSchool of Music and Dance
thesis.degree.grantorUniversity of Oregon
thesis.degree.levelmasters
thesis.degree.nameM.A.

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