Another assumption taken as a foundation for the research was that negative publicity could potentially harm an artist's reputation and thus, it was essential to find a healthy balance between an artist's personal life and their career, not totally disclosing personal information. Nevertheless, while the research aimed to assess how detrimental the effect of negative publicity was, it did not examine whether negative publicity could, on the contrary, be a way to market an artist. Had this research objective been set, the research could have obtained information on whether “anti”-marketing was an efficient channel of grasping new audience.

In addition to this, by using other methods of research, different information could have been obtained. For instance, when evaluating the motivations behind an individual desire to share music-related content on their personal accounts, an experiment could have been conducted. Throughout this experiment, the participants could have been offered to look through a number of posts on social media (different in their nature and appealing to various motivational factors, both internal - for instance, perceived by an individual as informative, etc. - and external - offering an incentive for a reblog) and reblog those perceived as the most appealing. Thus, by conducting such an experiment, it would have been possible to evaluate the actual motivations behind an individual desire to share content on social media. Similarly, when assessing channels through which people discover new artists, they could have been encouraged to search the Internet for new artists and compile a playlist of music - thus, the information on this aspect could have been obtained through an experiment.

The topic of this particular research has potential for further development and analysis in further research. Some suggestions for future studies may be offered. First of all, it could be useful to make a comparison between different countries in order to understand how results differ among various cultures and various economies. For instance, it may be worthwhile comparing the marketing practices and trends among the biggest music markets (US, Japan, Germany, UK). Provided each of these markets has its own social and cultural background, it could be interesting to explore how those discrepancies could affect the means of music marketing, promotion, branding, etc.

Secondly, it could be interesting to go deeper into the examination of music business. For instance, on the basis of this research, it could be interesting toanalyze how these findings correspond with the practices implemented within record labels.Moreover, it could be interesting to talk to people who represent foreign music industry, conduct interviews with them and compare their answers to the answers provided by the representatives of the Russian industry.

Finally, it is likely that after the COVID-19 pandemic, the music industry and music business will change. At the moment, it is difficult to accuratelyevaluate how much COVID-19 pandemic will have influenced the music industry by the time it is over. However, at some point in the future, it will be possible to conduct a comparative analysis and draw additional conclusions on how music industry adapted to changes in the market.

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Appendix 1

Questions for the survey

Appendix 2

Questions for the interviews

1. Which platforms do you use as a channel of interaction with your audience?

2. Which offline and online channels do you use for promotional activity? In case you use targeted advertising, which criteria are set for targeting?

3. Do people stream your music, or do they purchase digital/physical copies?

4. Do you organize marketing campaigns preceding your upcoming releases? If you do, what do they consist of? How far in advance do you start promoting your upcoming music?

5. Do you perform live in concerts or festivals? Does participation in festivals results in audience inflow?

6. Have you ever had your music reviewed by media? If yes, how did it affect the size of your audience?

7. How do you interact with your audience? Which content do your upload to your social media? Which content gains the most audience engagement?

8. Do you motivate your followers externally to share your music/content?

9. Have you ever had your music featured in playlists on streaming platforms; how has it affected the number of your streams, your audience? How can an artist get his song included in a curated playlist?

10. How has the COVID-19 pandemic affected your productivity and performance; your channels of interaction with your audience?

11. Do you produce merchandize products? What are some of your motivations behind producing merchandize products?

12. Do you make featuring tracks and collaborations with other artists? How do they affect your audience growth?

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