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E-grāmata: Understanding the Music Industries

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  • Formāts: 248 pages
  • Izdošanas datums: 14-Dec-2012
  • Izdevniecība: Sage Publications Ltd
  • Valoda: eng
  • ISBN-13: 9781446290798
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Understanding the Music IndustriesPalielināt
  • Formāts: 248 pages
  • Izdošanas datums: 14-Dec-2012
  • Izdevniecība: Sage Publications Ltd
  • Valoda: eng
  • ISBN-13: 9781446290798
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Everyone knows music is big business, but do you really understand how ideas and inspiration become songs, products, downloads, concerts and careers? This textbook guides students to a full understanding of the processes that drive the music industries. More than just an expose or how to guide, this book gives students the tools to make sense of technological change, socio-cultural processes, and the constantly shifting music business environment, putting them in the front line of innovation and entrepreneurship in the future.





Packed with case studies, this book:









Takes the reader on a journey from Glastonbury and the X-Factor to house concerts and crowd-funded releases;



Demystifies management, publishing and recording contracts, and the world of copyright, intellectual property and music piracy;



Explains how digital technologies have changed almost all aspects of music making, performing, promotion and consumption;



Explores all levels of the music industries, from micro-independent businesses to corporate conglomerates;



Enables students to meet the challenge of the transforming music industries.









This is the must-have primer for understanding and getting ahead in the music industries. It is essential reading for students of popular music in media studies, sociology and musicology.

Recenzijas

This is an invaluable book for anyone who wants to know how the modern music industry works. Students will find it clear and enjoyable to read, musicians will find it revealing and helpful, and budding music entrepreneurs will find it provides real insights. It is up-to-date, informed by the realty of the modern music business, and balances theory with practice. Tim Wall Professor of Radio and Popular Music Studies, Birmingham City University

Boxes and Figures ix
Notes on Authors and Contributors x
Introduction 1(1)
Questioning `Traditional' Models of the Music Industry 1(1)
Structure of the Book 2(1)
Acknowledgments 3(1)
1 Studying the Music Industries
4(19)
Key Findings
4(1)
Getting Started
4(1)
Organizational Structure
5(1)
Political Economy
5(3)
Culture Industry
8(1)
Sociology
9(1)
Musicology
10(1)
Metanarrative
11(1)
Historical Analysis
12(2)
Technological Development
14(2)
Media Ecology
16(2)
Digital Technologies
18(2)
Issues
20(1)
Conclusion
21(1)
Further Reading
22(1)
2 The Recorded Music Industry
23(22)
Key Findings
23(1)
The Structure and Size of the Recording Industry
23(3)
A Brief History of the Recorded Music Industry
26(4)
The Majors: Business Structures and Characteristics
30(3)
The Independent Sector: Definitions and Types
33(3)
The Ideology of Independence
36(3)
Strategies for Dealing with Uncertainty and Risk
39(4)
Conclusion
43(1)
Further Reading
44(1)
3 Songwriting and Publishing
45(19)
Key Findings
45(1)
Songwriters, Performers and Publishers
45(2)
Motivations
47(2)
Songwriting as Commercial Practice
49(4)
Songwriting Methods and Tools
53(2)
Music Publishing
55(3)
Traditional Income Streams
58(1)
`New' Income Streams
59(1)
Sampling
60(3)
Conclusion
63(1)
Further Reading
63(1)
4 Music Production
64(20)
Key Findings
64(1)
Changing Models and the Mythology of the Recording Studio
64(2)
The Production Process
66(2)
Tracking
68(3)
Mixing
71(2)
Mastering
73(3)
Manufacturing
76(1)
Production Careers and Roles
77(3)
Project Studios, MIDI and Other Developments
80(3)
Conclusion
83(1)
Further Reading
83(1)
5 Music Distribution
84(16)
Key Findings
84(1)
Introducing Music Distribution
84(2)
Physical Distribution
86(3)
Mass-Market Retailers
89(2)
Independent Retailers
91(1)
Second-hand Retailers
92(1)
Online Music Distribution
93(3)
Streaming Services
96(1)
Music Media Distribution
97(1)
Unauthorized Distribution
98(1)
Conclusion
98(1)
Further Reading
99(1)
6 Music Promotion
100(25)
Key Findings
100(1)
Marketing, Branding and Gatekeeping
100(3)
The Promotional Campaign
103(3)
Music Journalism
106(5)
Radio
111(6)
Television
117(1)
Point of Sale (POS) Marketing and In-store Music
118(1)
Sponsorships and Endorsements
119(1)
Grassroots Marketing
120(2)
Social Media/Mobile Media
122(1)
Conclusion
123(1)
Further Reading
123(2)
7 The Live Music Industries
125(21)
Key Findings
125(1)
The Resurgence of Live Music
125(1)
A Brief History of the Live Music Industry
126(5)
Motivations for Live Concert Touring
131(3)
Authenticity and Live Performance
134(1)
Live Music Sponsorship
135(1)
Roles and Responsibilities
136(3)
Live Performance Contracts
139(1)
Concert and Festival Ticketing
140(3)
The Relationship between the Recorded and the Live Music Industries
143(2)
Conclusion
145(1)
Further Reading
145(1)
8 Music Audiences
146(15)
Key Findings
146(1)
Understanding Music Audiences
146(4)
Music on the Move: from the Walkman to the iPhone
150(2)
Music and Social Media Consumption
152(2)
Heritage and Nostalgia
154(2)
Record Collecting
156(3)
Conclusion
159(1)
Further Reading
160(1)
9 Copyright and Music Piracy
161(22)
Key Findings
161(1)
Introducing Copyright
161(2)
Copyright Basics
163(2)
Key Terms in UK Copyright Law
165(5)
US Copyright Law: Key Differences
170(1)
Collection Societies
171(3)
Music Piracy
174(2)
Music Industry Responses to Piracy
176(3)
Artist Responses to Piracy
179(2)
Conclusion
181(1)
Further Reading
182(1)
10 Contractual Agreements and Relationships
183(20)
Key Findings
183(1)
Artist Management Agreements
184(5)
Music Publishing Agreements
189(4)
Recording Agreements
193(8)
Conclusion
201(1)
Further Reading
202(1)
Conclusion
203(4)
Complexity and Symbiosis
203(1)
Be Wary of Metanarratives
203(1)
Diversity and Reorganization
204(1)
Where Next?
205(2)
Glossary 207(9)
References 216(11)
Index 227
Dr Chris Anderton is Associate Professor in Cultural Economy at Solent University, Southampton, UK. His research interests focus on the music industries, music culture and music history. He is author or co-editor of several books including Understanding the Music Industries (2013), Music Festivals in the UK. Beyond the Carnivalesque (2019), and the forthcoming books Media Narratives in Popular Music and Researching Live Music: Gigs, Tours, Concerts and Festivals. He has also guest edited issues of the academic journals Rock Music Studies and Arts & the Market, and published in numerous other edited collections and journals.

Martin James is professor of music industries at Southampton Solent University.

Martin joined Southampton Solent University from the University of Sunderland in July 2007. He studied for his first degree at Nottingham Trent University where he was awarded a BA (Hons) Communication Studies.

He gained an MA Media and Cultural Studies at the University of Sunderland, where he also received a PhD. His doctoral thesis was called Versioning Histories and Genres, a commentary on his books State of Bass: Jungle The Story So Far(1997) and French Connections: From Discotheque to Discovery (2002).

Prior to becoming a lecturer in 2004, Martin was an internationally renowned music journalist who had worked on the editorial teams of some of the biggest magazines on the market. He also regularly contributed to almost every major music and lifestyle magazine, and numerous daily broadsheet newspapers. Martin has also written several internationally published and critically acclaimed books about music, including biographies of The Prodigy and Dave Grohl.

Since 2009 Martin has coordinated Southampton Solent Universitys associations with some of the UKs finest independent festivals including Glade, Bestival, Camp Bestival, Blissfields and Common People. Through these link-ups our students have been able to gain experience in various areas of music and media performance and production industries.

In 2009 Martin organised the Universitys first music industries conference Solent Music Industries Live Event (SMILE). Featuring some of the biggest names in the world of music sharing their knowledge with students. SMILEfest is now an annual student organised event that includes gigs, club nights, employability challenges, masterclasses and workshops.

In 2014 he co-edited the Music Journalism Special Edition of the peer-reviewed International Association for the Study of Popular Music (IASPM) journal.In 2015 Martin launched IAMJREP (The International Association of Music Journalism Researchers, Educators and Practitioners), a collaborative venture with scholars throughout the world.
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