The music business is a multifaceted, transnational industry that operates within complex and rapidly changing political, economic, cultural and technological contexts. The mode and manner of how music is created, obtained, consumed and exploited is evolving rapidly. It is based on relationships that can be both complimentary and at times confrontational, and around roles that interact, overlap and sometimes merge, reflecting the competing and coinciding interests of creative artists and music industry professionals. It falls to music law and legal practice to provide the underpinning framework to enable these complex relationships to flourish, to provide a means to resolve disputes, and to facilitate commerce in a challenging and dynamic business environment. The Present and Future of Music Law presents thirteen case studies written by experts in their fields, examining a range of key topics at the points where music law and the post-digital music industry intersect, offering a timely exploration of the current landscape and insights into the future shape of the interface between music business and music law.

This book follows Australian musician Kim Salmon, from bands The Scientists, Surrealists and Beasts of Bourbon, from childhood in Perth through his many bands, albums, tours, family upheavals, triumphs and disappointments and examines the characters of the music business he collaborates with along the way.

In the World War II era, big bands and swing music reached the heights of popularity with soldiers as well as friends and loved ones back home. Many entertainers such as Glenn Miller also served in the military, or supported the war effort with bond drives and entertaining the troops at home and abroad. In addition to big band and swing music, musicals, jazz, blues, gospel and country music were also popular. Chapters on each, along with an analysis of the evolution of record companies, records, radios, and television are included here, for students, historians, and fans of the era.

Includes a timeline of the music of the era, an appendix of the Broadway and Hollywood Musicals, 1939-1945, and an appendix of Songs, Composers, and lyricists, 1939-1945. An extensive discography and bibliography, along with approximately 35 black and white photos, complete the volume.

57 Varieties is an amazing page-turning journey through the music scene of the early 1980s featuring an exclusive collection of never-republished vintage interviews with some of the biggest names in music: including Queen, Bob Marley, AC/DC, The Beach Boys, Paul & Linda McCartney, Bruce Springsteen, The Clash, The Sex Pistols, The Jam, The Damned, Marc Bolan, Malcolm McLaren, The Buzzcocks, Iggy Pop, The Who, X-Ray Spex, Blondie, The Stranglers, Dr Feelgood, Ian Dury, Spandau Ballet and many, many more.

What do we mean when we talk about the identity of a musical work and what does such an identity involve? What in fact are the properties that make it something worth protecting and preserving? These issues are not only of legal relevance; they are central to a philosophical discipline that has seen considerable advances over the last few decades: musical ontology. Taking into account its main theoretical models, this essay argues that an understanding of the ontological status of musical works should acknowledge the irreducible ambivalence of music as an "art of the trace" and as a "performative art." It advocates a theory of the musical work as a "social object" and, more specifically, as a sound artefact that functions aesthetically and which is based on a trace informed by a normative value. Such a normativity is further explored in relation to three primary ways of conceiving and fixing the trace: orality, notation and phonography.

The most successful weekend show on Radio 2, Sounds of the Sixties has over 3.5 million listeners every Saturday morning. Presented by Brian Matthew, the programme has become an institution. This new book contains fascinating facts about memorable hits from key Sixties artists, hard-to-find tracks alongside many hidden gems that have never before been made available on any CD or compilation album since their initial Sixties release plus fascinating stories and behind-the-scenes info from producer Phil The Collector Swern. This is a comprehensive collection that music fans and hardened Sixties collectors will cherish.

Based on the world's first university course on Taylor Swift, award-winning literary critic and Harvard Professor Stephanie Burt offers an insightful examination of Swift and her phenomenal career.

Arguably the biggest star in the world, Taylor Swift's meteoric rise to fame has marked her out as a phenomenon of the music industry. Literary critic Stephanie Burt offers the first serious study of Swift that pays close attention to her talent as a songwriter, from her teen country debut to her most recent record-breaking achievement as the highest-grossing touring artist in the world.

Drawing from musical and cultural criticism, poetry, economic theory, American history, as well as personal experience, Burt offers a critical appreciation of Swift that delves into her life, her celebrity and her artistry. She explores how Swift's music and public persona are highly intentional and reward scrutiny, how her career illuminates structures of privilege in America, and ultimately, what makes her body of work so important across styles, eras and generations.

On Taylor Swift is a literary deep-dive into Swift as a music icon, revealing the extraordinary impact of her career and how her songs - and music in general - can change lives.