* Features over thirty contributors from a diverse range of backgrounds within the field of composing for film and TV from across the world. * Illustrates how students and aspiring professionals can break into the industry and apply the technical skills they have. * Provides accessible and relatable perspectives on topics such as how to break into the field; how to develop, nurture, and navigate business relationships; and how to do creative work under pressure.

A music-career book like no other, The Music Producer's Survival Guide offers a wide-ranging, exploratory, yet refreshing down-to-earth take on living the life of the independent electronic music producer. If you are an intellectually curious musician/producer eager to make your mark in today's technologically advanced music business, you're in for a treat. This new edition includes industry and technological updates, additional interviews, and tips about personal finances, income, and budgets. In this friendly, philosophical take on the art and science of music production, veteran producer, engineer, and teacher Brian Jackson shares clear, practical advice about shaping your own career in today's computer-centric "home-studio" music world. You'll cover music technology, philosophy of music production, career planning, networking, craft and creativity, the DIY ethos, lifestyle considerations, and much more. Brian's thoughtful approach will teach you to integrate your creative passion, your lifestyle, and your technical know-how. The Music Producer's Survival Guide is the first music-production book to consider the influence of complexity studies and chaos theory on music-making and career development. It focuses on practicality while traversing a wide spectrum of topics, including essential creative process techniques, the TR-808, the proliferation of presets, the butterfly effect, granular synthesis, harmonic ratios, altered states, fractal patterns, the dynamics of genre evolution, and much more. Carving out your niche in music today is an invigorating challenge that will test all your skills and capacities. Learn to survive-and thrive-as a creative-technical professional in today's music business, with the help of Brian Jackson and The Music Producer's Survival Guide!

In the mid-20th century, African musicians took up Cuban music as their own and claimed it as a marker of black Atlantic connections and of cosmopolitanism untethered from European colonial relations. Today, Cuban/African bands popular in Africa in the 1960s and '70s have moved into the world music scene in Europe and North America, and world music producers and musicians have created new West African-Latin American collaborations expressly for this market niche. World Music and the Black Atlantic follows two of these bands, Orchestra Baobab and AfroCubism, and the industry and audiences that surround them-from musicians' homes in West Africa, to performances in Europe and North America, to record label offices in London. World Music and the Black Atlantic examines the intensely transnational experiences of musicians, industry personnel, and audiences as they collaboratively produce, circulate, and consume music in a specific post-colonial era of globalization. Musicians, industry personnel, and audiences work with and push against one another as they engage in personal collaborations imbued with histories of global travel and trade. They move between and combine Cuban and Malian melodies, Norwegian and Senegalese markets, and histories of slavery and independence as they work together to create international commodities. Understanding the unstable and dynamic ways these peoples, musics, markets, and histories intersect elucidates how world music actors assert their places within, and produce knowledge about, global markets, colonial histories, and the black Atlantic. World Music and the Black Atlantic offers a nuanced view of a global industry that is informed and deeply marked by diverse transnational perspectives and histories of transatlantic exchange.

The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century. This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne. The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert. The arena concert becomes the "real time" centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space. The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century. This volume finds out why.

- Thoroughly revised new edition to reflect changes in the industry, moving away from a record-centric view and towards independent artists - Ideal balance of theory and practice to suit both students and professionals - Supplemented by a companion website with powerpoints, quizzes and lesson plans.

Music Business: The Key Concepts is a comprehensive guide to the terminology commonly used in the music business today. It embraces definitions from a number of relevant fields, including:

• general business
• marketing
• e-commerce
• intellectual property law
• economics
• entrepreneurship

In an accessible A-Z format and fully cross-referenced throughout, this book is essential reading for music business students as well as those interested in the music industry.

Building a Career in Opera from School to Stage: Operapreneurship provides early-career singers with an overview of the structure of the opera industry and tools for strategically approaching a career within it. Today's voice students leave the conservatory with better training than ever, but often face challenges to managing their own careers after graduation. This book addresses what singers need to know in order to craft a career path in the contemporary landscape of opera. Readers learn about the opera industry's structure, common pathways and entry points, non-academic training programs, researching and evaluating opportunities, crafting professional documents and media, and what it means to be a professional opera singer. Written by a singer with recent experience in the industry-and particularly the emerging phase-this book is a practical guide for all singers embarking on a career in opera. The author's website, www.OperaCareers.com, hosts additional resources including databases of training programs, guides and templates for creating professional documents, as well as articles addressing current industry issues and interviews with subject matter experts.

Production Management in Live Music: Managing the Technical Side of Touring in Today's Music Industry is a handbook for the aspiring production manager looking to forge a career in the live music industry. This book outlines the role that a production manager performs and their key responsibilities, and takes the reader step by step through the entire process of preparing a show for a tour. From dealing with artists and management to hiring crew, from booking vendors and scheduling the day-to-day of a busy tour, this text covers everything that is needed to take the show into rehearsals and finally on the road. Every aspect of the job is covered, including the very important challenges that face today's industry in the realms of sustainability, inclusion, diversity and mental health. Whether the show be on a festival, in a small theatre or club, or in a modern arena, this book clearly lays out the tasks and challenges and offers practical solutions to ensure the smooth running of a live performance. Production Management in Live Music is written for students in stage and production management courses and emerging professionals working in live music touring.

Production Management in Live Music: Managing the Technical Side of Touring in Today's Music Industry is a handbook for the aspiring production manager looking to forge a career in the live music industry. This book outlines the role that a production manager performs and their key responsibilities, and takes the reader step by step through the entire process of preparing a show for a tour. From dealing with artists and management to hiring crew, from booking vendors and scheduling the day-to-day of a busy tour, this text covers everything that is needed to take the show into rehearsals and finally on the road. Every aspect of the job is covered, including the very important challenges that face today's industry in the realms of sustainability, inclusion, diversity and mental health. Whether the show be on a festival, in a small theatre or club, or in a modern arena, this book clearly lays out the tasks and challenges and offers practical solutions to ensure the smooth running of a live performance. Production Management in Live Music is written for students in stage and production management courses and emerging professionals working in live music touring.

D'Oyly Carte, Opera, Classical, art management, Richard D'Oyly Carte, theatre production

In an era when performing live is more essential than ever, this is the go-to guidebook for getting your show on the road and making a living from music. Previously published as The Tour Book, this new edition has been extensively revised, reorganized, and updated to reflect today's music industry. Written by a touring professional with over 25 years of experience.

- Filled with contributions from world-leading academics and practitioners, from a variety of backgrounds and countries. - Highly interdisciplinary overview of live music, which will be relevant to professionals and students interested in music business, music technology, music production and performance. - Includes papers on cutting-edge issues, such as augmented reality and virtual reality.

- Filled with contributions from world-leading academics and practitioners, from a variety of backgrounds and countries. - Highly interdisciplinary overview of live music, which will be relevant to professionals and students interested in music business, music technology, music production and performance. - Includes papers on cutting-edge issues, such as augmented reality and virtual reality.

This book explores the nature of the music industries before and after the digital revolution from the point of view of the consumer. Opening an essential interdisciplinary dialogue across music studies, business, and law, it applies business model literature to antitrust law offering a comprehensive history of encounters between the music industry and antitrust and regulatory authorities in the US, UK, and EU. Considering the historically consolidated environment of the music industries, and their rapidly evolving business models in the 21st century, the author argues that there is a need for updated competition design to promote consumer welfare and competition in these markets.

* The convergence framework of career learning and career counselling theories is a timely addition to the growing literature on musician employability and knowledge management * This is not a "how to" book; the focus is placed upon providing young musicians with a framework for helping them to learn what they need to learn, and understanding themselves in their chosen career * Offers educators an effective summary of some career development and career counselling theories that they may be unfamiliar with, and in so doing provides an opportunity for new learning and ideas

Africa is known for its multi-faceted immaterial culture, manifested in highly original music, oral texts, artistic performances and sporting events. These cultural expressions are increasingly regulated by intellectual property rights, as orally transmitted stories are written down, traditional songs broadcast and ownership claimed, and sporting activities once part of village life become national media events. This volume brings together an interdisciplinary team of legal experts, anthropologists and literary scholars to explore, from an African point of view, what happens to intangible cultural goods when they are confronted with large-scale commodification and distribution through media technologies, and globalized and divergent judicial systems, institutions and cultural norms. These transformations are observed in contexts that range from Senegalese wrestling contests to beauty pageants in Mali, from Kenyan hip-hop to the Nigerian novel, from the vuvuzela horn to Cameroonian masks. Contributors address the role of the state and the legacy of the European origination of IP laws, as well as the forms of ownership, technologies of mediation and degrees of commercialization that existed pre-colonially in different African societies. Resisting a single narrative of the imposition of a Western legal regime displacing older African modes, a more complex picture is revealed of the intricate interconnections between pirates, artists, communities, governments and international organizations. It is only when local actors embrace technologies and regulations in a specific historical situation that these become influential forces for change. The question raised is not whether international IP norms conform to African practices, nor whether media impose Western styles, but rather what local actors do with these regulations and how both local and Western practices and technologies impact on each other and co-exist. 'Intellectual property (IP) has become central to global governance but we have little idea of how this international legislation plays out on the ground. This pioneering book shows how local actors use IP rather than the other way around. A must-read for anyone interested in intellectual property.' Isabel Hofmeyr, Visiting Global Distinguished Professor, New York University; Professor of African Literature, University of the Witwatersrand 'A deeply engaging and evidence-rich analysis of the worlds into which intellectual property law, specifically copyright law, has entered in Africa and its effect on these worlds. This collection illustrates the best of what edited volumes can do: create a diverse, informed, and compelling conversation about a specific yet complex topic.' Dr. Hauke Dorsch, AMA African Music Archives, Johannes Gutenberg Universitat Mainz

This book is your guide to the study and practice of music management and the fast-moving music business of the 21st century. Covering a range of careers, organisations, and practices, this expert introduction will help aspiring artists, managers, and executives to understand and succeed in this exciting sector. Featuring exclusive interviews with industry experts and discussions of well-known artists, it covers key areas such as artist development, the live music sector, fan engagement, and copyright. Other topics include: Managing contracts and assembling teams. Using data audits of platforms to adapt campaigns. Shaping opinions about music, musicians, events. How the music industry can be more diverse, inclusive, and equitable for the benefit of all. Working with venues, promoters, booking agents, and tour managers. Branding, sponsorship, and endorsement. Funding, crowdsourcing and royalty collection. Ongoing digital developments such as streaming income and algorithmic recommendation. Balancing the creative and the commercial, it is essential reading for students of music management, music business, and music promotion - and anybody looking to build their career in the music industries. Dr Chris Anderton, Johnny Hopkins, and James Hannam all teach on the BA Music Business at the Faculty of Business, Law and Digital Technologies at Solent University, Southampton, UK.

YouTube has afforded new ways of documenting, performing and circulating musical creativity. This first sustained exploration of YouTube and music shows how record companies, musicians and amateur users have embraced YouTube's potential to promote artists, stage performances, build artistic (cyber)identity, initiate interactive composition, refresh music pedagogy, perform fandom, influence musical tourism and soundtrack our everyday lives. Speaking from a variety of perspectives, musicologists, film scholars, philosophers, new media theorists, cultural geographers and psychologists use case studies to situate YouTube as a vital component of contemporary musical culture. This book works together with its companion text Remediating Sound: Repeatable Culture, YouTube and Music.

- Global scope and focus on transnational encounters provide a new way of looking at the history of sound recording and the music industry - Inclusion of interdisciplinary perspectives makes this book relevant to music, sound studies, media studies, and the history of technology

As the creative force behind Berry Gordy Jr.'s Motown Records in the mid-Sixties, a writing credit from Holland Dozier Holland was virtually a guarantee of chart success. From Stop! In The Name Of Love to How Sweet It Is To Be Loved By You, they were the songwriting and production dream team responsible for some of the greatest songs of the twentieth century. In this compelling autobiography, brothers Eddie and Brian Holland share their story for the first time, starting with growing up in Detroit raised by a single mother and their grandmother, before shining a light on their early musical careers. A gifted lyricist, Eddie started out as a solo singer with Berry Gordy as his manager before partnering up with his brother Brian and Lamont Dozier, both talented arrangers and producers. When Holland Dozier Holland came together, they helped transform Motown Records from a local soul label into a worldwide hit factory, home to international superstars such as Marvin Gaye, Martha & The Vandellas, The Supremes, Smokey Robinson, The Miracles, The Four Tops and The Isley Brothers. After an awe-inspiring tenure they left Motown in 1968, continuing their successes at new labels and with new collaborators for years to come. Featuring honest and open first-hand accounts, Come and Get These Memories is more than just a behind-the-scenes look at Motown Records at its peak: Eddie and Brian set the record straight on both their personal and professional lives and offer a revealing slice of pop-music history.

This collection of interviews captures a period of historic change for the global music business along with a wealth of professional knowledge that extends from the late 1960s through to late 2012 when the interviews were conducted. They record the experiences and insights of people who helped to shape a global business that is quickly passing into history and transforming into something entirely new, often because of decisions the interviewees have been directly involved in making. The material includes the aesthetic, artistic, technical, commercial, legal, and strategic aspects of the music industry. What is said is timeless in its historical significance for the music business and in its relevance for researchers engaged in studies on the dynamics of change in the global commercial music landscape.

This book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity. In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will be of great interest to people looking for a deeper understanding of crowdfunding, how it can influence artistic independence, and what it means for artists and audiences. It will be a stimulating read for scholars and students with an interest in media and cultural studies, digital humanities, fandom, sociology, economics, business studies, and law, while also offering insights to artists and practitioners in the creative industries.