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The phenomenon of the Youtube famous Musicless music videos is finally able to be analyzed and studied for a greater meaning behind the concept. The main conclusion of the article “The Musicless as a Spreadable Meme Video” has allowed researchers to further study the popular content that is one of the main consumptions in the music genre. The Musicless music videos have become so popular in the music culture, having over one million views on the content created. Although Musicless music videos are viewed on many social media platforms such as Facebook and Instagram, Youtube is the number one media site that has allowed this phenomenon to grow. Researchers are faced with three major questions in order to determine why this content has become so popular. The questions include: identifying the formal features of the meme video format, characteristics of the online channels that produce these videos and lastly, what do the videos generate.
The purpose of Musicless music videos is “a user-generated memetic video that alters and parodies an official music video” (Olmos and Viñuela, 2017, p. 1). As technology is advancing the role played by the internet is increasing the consumption of Musicless music videos in today’s society. Musicless videos began to abandon the medium when they reached their peak of popularity, starting on television and then being moved onto the internet. Audio video research has been studied by musicologists such as Cook and Richardson and even experts in the audiovisual communication field such as Sexton. The highly educated individuals were analyzing the transition of the music videos in the internet, the evolution of the genre, the culture that is being promoted from this new medium, and even the production companies (p. 2).
The very important question coming from these individuals is why people get pleasure out of rewriting Musicless music videos. Although, the profit of creating the content is not sustainable for living it allows the creators to gain experience and showcase work for advertising agencies that may be looking for someone. Youtube is a great media platform for Musicless music videos because it allows users to represent identities, share content and express ideas regarding the culture. Musicless videos help to confirm that Youtube is a changing object of study depending on the content. It is important to study the impact that Youtube has on individuals. The term used to study this factor is Spreadability.
Continuing on with the study of Musicless Music videos the research includes the formal features of the videos, the interaction between both music and Musicless videos and lastly, the meaning of the official video. The Musicless music video maintains the singing voice and gestures of the artist who performs on the screen. Musicless and Music videos create a multimedia relationship that allows individuals to create content that is very different from the original meaning. A comparison of the interaction between the content was done resulting in the humour aspect getting more likes and fewer dislikes for Musicless videos. (p. 8). The parody of these videos is what is creating spreadable content, with a huge engagement capacity. Researchers often wondered if the genre of music had any relation to the popularity of Musicless videos and the answer was no.
The Musicless videos had content created from recent to the 1980’s, an example being Queen. The research methods being done included qualitative and quantitative methods. Results were able to show that the official music videos always exceeded three minutes whereas the Musicless music videos hardly exceeded 2 minutes. This resulted in an expansion to contraction method. An example of this was shown that singer Britney Spears in the hit “Oops I did it again” duration of time decreased from around four minutes and was contracted down to almost two minutes. Mario Weather is a pioneer in the creation of Musicless videos and was greatly known for his talent (p. 10).
In conclusion, researchers Knobel and Lankshear were able to carefully analyse the elements that generate such a large engagement for Musicless music videos. The three features that all Musicless videos include are humour, intertextuality, and anonymous juxtaposition (p. 17). Researchers concluded that the removal of music gives more weight to the meaning of the official video. Creators of Musicless videos maintain the music style in the voice and even formal gestures of the images, doing this helps reinforce the theory that defends the musical sense of the images in the music videos (p. 17). The next steps in the future are to analyze whether or not Musicless videos are going to become temper, consolidated or professionalized because they have become so popular over the past four years (p. 17). The popularity of Musicless videos has created worldwide memes that continue to grow each day in the media world.