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E-grāmata: Popular Music Industries and the State: Policy Notes

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(Monash University, Australia), ,
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Popular Music Industries and the State: Policy NotesPalielināt
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This volume studies the relationships between government and the popular music industries, comparing three Anglophone nations: Scotland, New Zealand and Australia. At a time when issues of globalization and locality are seldom out of the news, musicians, fans, governments, and industries are forced to reconsider older certainties about popular music activity and their roles in production and consumption circuits. The decline of multinational recording companies, and the accompanying rise of promotion firms such as Live Nation, exemplifies global shifts in infrastructure, profits and power. Popular music provides a focus for many of these topics—and popular music policy a lens through which to view them.

The book has four central themes: the (changing) role of states and industries in popular music activity; assessment of the central challenges facing smaller nations competing within larger, global music-media markets; comparative analysis of music policies and debates between nations (and also between organizations and popular music sectors); analysis of where and why the state intervenes in popular music activity; and how (and whether) music fits within the ‘turn to culture’ in policy-making over the last twenty years. Where appropriate, brief nation-specific case studies are highlighted as a means of illuminating broader global debates.

Acknowledgements vii
1 Introduction: Popular Music Policy
1(21)
1.1 Introduction
1(2)
1.2 What Is (Popular Music) Policy?
3(5)
1.3 The Case Study Nations
8(4)
1.4 Research Design and Methods
12(6)
1.5 Outline of the Book
18(4)
2 Making Music Policy: International Perspectives, National Solutions
22(35)
2.1 Introduction
22(1)
2.2 Scotland
22(15)
2.3 Australia
37(7)
2.4 New Zealand
44(9)
2.5 Conclusion: Governing the National
53(4)
3 Local, National or Global? National Identity and Policy
57(27)
3.1 Introduction
57(1)
3.2 Music and Identity
58(1)
3.3 Australia
59(10)
3.4 Popular Music and Scottish Identity
69(5)
3.5 New Zealand
74(6)
3.6 Conclusion
80(4)
4 Popular Music and the Creative/Cultural City
84(31)
4.1 Introduction
84(3)
4.2 Melbourne
87(7)
4.3 Glasgow
94(8)
4.4 Wellington
102(8)
4.5 The Music City: Future Policy Terrain
110(5)
5 Too `Popular': Music as Intellectual Property
115(21)
5.1 Introduction
115(1)
5.2 Australia
116(7)
5.3 New Zealand
123(4)
5.4 Scotland
127(4)
5.5 Conclusion: A New Settlement
131(5)
6 Indigenous Music Policy: Australia and New Zealand
136(36)
6.1 Introduction
136(2)
6.2 The Relationship between Indigenous Peoples and the Crown
138(1)
6.3 Indigenous Mediascapes: New Zealand
139(5)
6.4 Indigenous Mediascapes: Australia
144(4)
6.5 National Arts Funding
148(4)
6.6 Export Development and National Branding
152(2)
6.7 Intellectual Property
154(5)
6.8 Decision Making and Advocacy
159(6)
6.9 Conclusion
165(7)
7 Policy Research and the Music Industries
172(23)
7.1 Introduction
172(3)
7.2 Playing the (Policy) Notes: Scotland
175(5)
7.3 Playing the (Policy) Notes: Australia
180(10)
7.4 Conclusion: Being Useful
190(5)
8 Conclusion: Policy Futures
195(10)
8.1 Digital Evolution, Policy Evolution?
195(1)
8.2 Intellectual Property
196(1)
8.3 Cities
197(2)
8.4 Funding
199(2)
8.5 Popular Music Policy as Cultural Policy
201(4)
Appendix 205(4)
References 209(30)
Index 239
Shane Homan is Associate Professor of English, Communications, and Performance Studies at Monash University, Australia.



Martin Cloonan is Professor of Popular Music Politics at the University of Glasgow, UK.



Jennifer Cattermole is Lecturer in Music at Otago University, New Zealand.
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