- 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 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.

* 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

'Essential reading for anyone interested in the heady, vulgar, marvellous miasma of British music and culture in the nineties' - Irving Welsh 'A true believer in the power of music and more importantly a believer in the people that make music. He gave me and many more like me a chance to change my life' - Noel Gallagher Alan McGee's Creation Stories is a star-studded, outrageous, funny and anarchic account of the record label he set up and the bands that defined an era, including Primal Scream and Oasis. A charismatic Glaswegian who partied just as hard as any of the acts on his notoriously hedonistic label, Alan McGee became an infamous character in the world of music in the nineties. In Creation Stories he tells his story in depth for the first time, from leaving school at sixteen to setting up the Living Room club in London which showcased many emerging indie bands, from managing the Jesus and Mary Chain to co-founding Creation when he was only twenty-three. His label brought us acts like My Bloody Valentine, House of Love, Ride and, of course, Primal Scream. Embracing acid house, Alan decamped to Manchester and hung out at the Hacienda. His drug-induced breakdown, when it came, was dramatic. But as he climbed back to sobriety, he oversaw Oasis's rise to become one of the biggest bands in the world. Alan himself becoming one of the figureheads of Britpop. Having sold the label to Sony to stave off bankruptcy, he became disenchanted with the increasingly corporate ethos and left in 1999. Since then he's continued to be an influential figure in the music industry, managing the Libertines and setting up a new label, 359 Music, with Cherry Red. 'Studded with diamond anecdotes . . . From mixing sound for My Bloody Valentine on mushrooms, via driving motorists off the road by commissioning billboard posters of Kevin Rowland flashing his pants, to escorting Carl Barat to A&E with one eyeball hanging out of its socket, the book bursts with tall-but-true tales.' - NME

Amid enormous changes in higher education, audience and music listener preferences, and the relevant career marketplace, music faculty are increasingly aware of the need to reimagine classical music performance training for current and future students. But how can faculty and administrators, under urgent pressure to act, be certain that their changes are effective, strategic, and beneficial for students and institutions? In this provocative yet measured book, Michael Stepniak and Peter Sirotin address these questions with perspectives rooted in extensive experience as musicians, educators, and arts leaders. Building on a multidimensional analysis of core issues and drawing upon interviews with leaders from across the performing arts and higher education music fields, Stepniak and Sirotin scrutinize arguments for and against radical change, illuminating areas of unavoidable challenge as well as areas of possibility and hope. An essential read for education leaders contemplating how classical music can continue to thrive within American higher education.

- 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

During the last thirty years Eastern Europe has been a place of radical political, economic, and social transformation, and these changes have affected the cultural industries of its countries. This volume consists of twelve chapters by leading international researchers. Stories are documented of various organisations that once dominated the 'communist music industries' - such as state-owned record companies, music festivals, and collecting societies. The strategies employed by artists and industries to join international music markets after the fall of communism are explained and evaluated. Political and economic transformations that coincided with the advent of digitalisation and the Internet intensified the changes. All these issues posed challenges both to record labels and artists who, after adjusting to the rules of the free-market economy, were faced with the falling record sales of records caused by the advent of new communication technologies. This book examines how these processes have all affected the music scene, industries, and markets in various Eastern European countries.

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.

'One of the most rewarding pieces of hip-hop criticism ever written' Jeff Chang 'Brilliant' Giles Peterson 'Will Ashon's dazzling study gets to the heart of hip hop, pop culture and the history of contemporary America. Essential' Matt Thorne 'Each of these chambers contains wonders of history, destiny and mythology' Margo Jefferson Will Ashon tells, in 36 interlinked 'chambers', the story of Enter the Wu-Tang (36 Chambers) and how it changed the world. As unexpected and complex as the album itself, Chamber Music ranges from provocative essays to semi-comic skits, from deep scholarly analysis to satirical celebration, seeking to contextualise, reveal and honour this singularly composite work of art. From the FBI's war on drugs to the porn theatres of 42nd street, from the history of jazz to the future of politics, Chamber Music is an explosive and revelatory new way of writing about music and culture.

Musicians in Crisis is a music ethnography of contemporary Athens, before and during the infamous economic and political crisis. It spans two contrasting periods in Greece: the last few years of relative economic prosperity and social cohesion (2005-2009) and the following period of austerity and socio-political turmoil (2010-2017). Based on the author's participation and professional involvement in the local music scenes since 2005, the monograph untangles a web of creative practices, economic strategies and social ideologies through the previously unheard voices of Athenian music professionals. The book follows the life stories of freelance musicians of different genders, ages, educational backgrounds and musical genres, while they 'work' and 'play' in Athenian venues, recording studios and classrooms. Adding to the growing literature on precarity and resistance in the creative industries, it traces the effects of unprecedented socioeconomic circumstances on musicians' everyday experience, as well as the actions and solidarities that help them to navigate personal and collective devastation. Through rich and evocative testimonies from the labourers of an industrious popular music scene, Musicians in Crisis contests popular narratives of the Greek predicament as they are reported by political and financial elites through international media. In this process, the book tells a story about how popular music is made in the liminal spaces between East and West, affuence and poverty, harmony and turmoil.

Developing and executing marketing strategies is a vital aspect of any business and few books currently cover this with relation to creative industries. This textbook provides students and managers in the creative industries with a solid grounding in how to maximize the impact of their marketing efforts across a range of business types in the creative and cultural industries. The author, an experienced cultural marketing educator, provides sector-contextual understanding to illuminate the field by: * taking a strategic approach to developing marketing plans; * bringing together strategic planning, market research, goal setting, and marketing theory and practice; * explaining how content marketing on social media encourages a relationship with consumers so that they co-promote the creative product. With a range of learning exercises and real-life examples throughout, this text shows students how to create successful marketing plans for their creative businesses. This refreshed edition is a valuable resource for students and tutors of creative, cultural and arts marketing worldwide.

Professionalisation was a key feature of the changing nature of work and society in the nineteenth century, with formal accreditation, registration and organisation becoming increasingly common. Trades and occupations sought protection and improved status via alignment with the professions: an attempt to impose order and standards amid rapid social change, urbanisation and technological development. The structures and expectations governing the music profession were no exception, and were central to changing perceptions of musicians and music itself during the long nineteenth century. The central themes of status and identity run throughout this book, charting ways in which the music profession engaged with its place in society. Contributors investigate the ways in which musicians viewed their own identities, public perceptions of the working musician, the statuses of different sectors of the profession and attempts to manipulate both status and identity. Ten chapters examine a range of sectors of the music profession, from publishers and performers to teachers and military musicians, and overall themes include class, gender and formal accreditation. The chapters demonstrate the wide range of sectors within the music profession, the different ways in which these took on status and identity, and the unique position of professional musicians both to adopt and to challenge social norms.

The study of the business of opera has taken on new importance in the present harsh economic climate for the arts. This book presents research that sheds new light on a range of aspects concerning marketing, audience development, promotion, arts administration and economic issues that beset professionals working in the opera world. The editors' aim has been to assemble a coherent collection of essays that engage with a single theme (business), but differ in topic and critical perspective. The collection is distinguished by its concern with the business of opera here and now in a globalized market. This includes newly commissioned operas, sponsorship, state funding, and production and marketing of historic operas in the twenty-first century.

This volume brings together academics, executives and practitioners to provide readers with an extensive and authoritative overview of the classical music industry. The central practices, theories and debates that empower and regulate the industry are explored through the lens of classical music-making, business, and associated spheres such as politics, education, media and copyright. The Classical Music Industry maps the industry's key networks, principles and practices across such sectors as recording, live, management and marketing: essentially, how the cultural and economic practice of classical music is kept mobile and alive. The book examining pathways to professionalism, traditional and new forms of engagement, and the consequences of related issues-ethics, prestige, gender and class-for anyone aspiring to 'make it' in the industry today. This book examines a diverse and fast-changing sector that animates deep feelings. The Classical Music Industry acknowledges debates that have long encircled the sector but today have a fresh face, as the industry adjusts to the new economics of funding, policy-making and retail The first volume of its kind, The Classical Music Industry is a significant point of reference and piece of critical scholarship, written for the benefit of practitioners, music-lovers, students and scholars alike offering a balanced and rigorous account of the manifold ways in which the industry operates.

Classical Concert Studies: A Companion to Contemporary Research and Performance is a landmark publication that maps out a new interdisciplinary field of Concert Studies, offering fresh ways of understanding the classical music concert in the twenty-first century. It brings together essays, research articles, and case studies from scholars and music professionals including musicians, music managers, and concert designers. Gathering both historical and contemporary cases, the contributors draw on approaches from sociology, ethnology, musicology, cultural studies, and other disciplines to create a rich portrait of the classical concert's past, present, and future. Based on two earlier volumes published in German under the title Das Konzert (The Concert), and with a selection of new chapters written for the English edition, this companion enables students, researchers, and practitioners in the classical and contemporary music fields to understand this emerging field of research, go beyond traditional disciplinary boundaries and methodologies, and spark a renaissance for the classical concert.

This edited collection considers various meanings of the "Spotification" of music and other media. Specifically, it replies to the editor's call to address the changes in media cultures and industries accompanying the transition to streaming media and media services. Streaming media services have become part of daily life all over the world, with Spotify, in particular, inheriting and reconfiguring characteristics of older ways of publishing, distributing, and consuming media. The contributors look to the broader community of music, media, and cultural researchers to spell out some of the implications of the Spotification of music and popular culture. These include changes in personal media consumption and production, educational processes, and the work of media industries. Interdisciplinary scholarship on commercial digital distribution is needed more than ever to illuminate the qualitative changes to production, distribution, and consumption accompanying streaming music and television. This book represents the latest research and theory on the conversion of mass markets for recorded music to streaming services.

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.

Since the first edition was published in 2009, Patrik Wikstroem's The Music Industry has become a go-to text for students and scholars. This thoroughly updated third edition provides an international overview of the music industry and its future prospects in the world of global entertainment. The music industry has experienced two turbulent decades of immense change brought about in part by the digital revolution. How has the industry been transformed by these economic and technological upheavals, and how is it likely to change in the future? What is the role of music in this digital age? Wikstroem illuminates the workings of the industry, deftly capturing the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public. New to this third edition are expanded sections on the changing structure of the music industry, the impact of digitization on music listening practices, and the evolution of music streaming platforms. Engaging and comprehensive, The Music Industry is a must-read for students and scholars of media and communication studies, cultural studies, popular music, sociology and economics.

Today's music business is more challenging than ever, but music's availability and the consumption of this powerful force offer unprecedented opportunities for those with the desire to succeed. Music Business Essentials: A Guide for Aspiring Professionals takes musicians and beginning business students on a journey full of vital nuts and bolts knowledge as well as practical wisdom from a veteran industry professional. Although the dynamic music industry is always changing, Mark Cabaniss's concise and encouraging, yet realistic approach reveals unchanging principles to guide readers towards successful and fulfilling careers in music. From band dynamics and touring to songwriting and publishing and from branding and promotion to record labels and revenue streams, Cabaniss covers the entire music machine from the talent to the tax returns. Music Business Essentials is an easy-to-read introduction that will prove an invaluable handbook for reference time and again. It is ideal for college students, high school students, and anyone interested in a career in music.

Once conduits to new music, frequently bypassing the corporate music industry in ways now done more easily via the Internet, record stores championed the most local of economic enterprises, allowing social mobility to well up from them in unexpected ways. Record stores speak volumes about our relationship to shopping, capitalism, and art. This book takes a comprehensive look at what individual record stores meant to individual people, but also what they meant to communities, to musical genres, and to society in general. What was their role in shaping social practices, aesthetic tastes, and even, loosely put, ideologies? From women-owned and independent record stores, to Reggae record shops in London, to Rough Trade in Paris, this book takes on a global and interdisciplinary approach to evaluating record stores. It collects stories and memories, and facts about a variety of local stores that not only re-centers the record store as a marketplace of ideas, but also explore and celebrate a neglected personal history of many lives.

The Bloomsbury Handbook of Popular Music Policy is the first thorough analysis of how policy frames the behavior of audiences, industries, and governments in the production and consumption of popular music. Covering a range of industrial and national contexts, this collection assesses how music policy has become an important arm of government, and a contentious arena of global debate across areas of cultural trade, intellectual property, and mediacultural content. It brings together a diverse range of researchers to reveal how histories of music policy development continue to inform contemporary policy and industry practice. The Handbook maps individual nation case studies with detailed assessment of music industry sectors. Drawing on international experts, the volume offers insight into global debates about popular music within broader social, economic, and geopolitical contexts.

'A valuable and distinctive contribution to the penumbra debate, refreshingly shedding light on some of the cliches of copyright, and alerting readers to the extra-legal factors that cannot be ignored in any socially-embedded study of copyright' - Stuart Hannabuss, Aberdeen Business School 'Bootlegging is a smart, provocative and highly readable analysis of the high theory and low practices of music copyright and its transgressors. It is most refreshing to read a sociological analysis of a topic usually left to lawyers and industry apologists. An essential book for anyone who wants to understand the contemporary music industry' Simon Frith - Professor of Film and Media Studies, University of Stirling. Bootlegs - live concert recordings or studio outtakes reproduced without the permission of the rights holder - hold a prominent position in the pantheon of popular music. They are also much misrepresented and this fascinating book constitutes the first full length academic treatment of the subject. By examining the centrality of Romantic authorship to both copyright and the music industry, the author highlights the mutual dependence of capitalism and Romanticism, which situates the individual as the key creative force while challenging the commodification of art and self. Marshall reveals how the desire for bootlegs is driven by the same ideals of authenticity employed by the legitimate industry in its copyright rhetoric and practice and demonstrates how bootlegs exist as an antagonistic but necessary component of an industry that does much to prevent them. This book will be of great interest to researchers and students in the sociology of culture, social theory, cultural studies and law.

This book presents the days of live music production in the UK spanning the late '60s to the mid-'80s, when rock music was enjoying a meteoric rise in popularity. The author, Richard Ames, will take you on a true behind-the-scenes journey of discovery. You'll learn who the people were, where they came from and how they went on to pioneer the first companies that would become the lifeblood of a unique industry. The interviews contained in this book record and present the raw stories of a few of the original innovators who set the stage for their performers but also for the hundreds of technicians who would tour the world following in their footsteps. The pioneers presented in these interviews share with the reader countless candid anecdotes that convey how their curious enthusiasm, energy, dedication, and general can-do attitude was the driving force behind the creation of the many companies we know of as common place today. The book presents interviews that span varied aspects of live music production including lighting, sound, rigging, staging, trucking, bussing and catering. Live Music Production captures a piece of social history that promises to inform, entertain and delight.