Start your music career off right with this fun guide to the music industry Music Business For Dummies explains the ins and outs of the music industry for artists and business people just starting out. You'll learn how file-sharing, streaming, and iTunes have transformed the industry, and how to navigate your way through the new distribution models to capitalize on your work. It all begins with the right team, and this practical guide explains who you need to have on your side as you begin to grow and get more exposure. Coverage includes rehearsing, performing, recording, publishing, copyrights, royalties, and much more, giving you the information you need to start your career off smart. Music industry success has never been easy to achieve, and recent transformations and disruptions to the business side have made the whole idea even more daunting than before. This guide gives you a roadmap around the landmines, and provides expert advice for starting out on the right foot. * Find the right players, agents, and business managers * Make more money from your work with smart distribution * Build your brand and get people talking about you * Get gigs, go on tour, and keep on growing If music is your calling, you need to plan your career in a way that sets you up for success from the very beginning. Put the right people in place, get the most out of your investments, and learn how to work the crowd both virtually and in person. Music Business For Dummies is your companion on your journey to the music career you want.

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.

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

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.

Drawing on interdisciplinary research methods from musicological and legal scholarship, this book maps the historical terrain of forensic musicology. It examines the contributions of musical expert witnesses, their analytical techniques, and the issues they encounter assisting courts in clarifying the blurred lines of music copyright.

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.

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.

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

- 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 Enterprising Musician's Guide to Performer Contracts is an empowering resource that provides detailed, plain-language explanations of the clauses commonly found in legal agreements such as engagement (gig) contracts, artist-management contracts, and producer agreements. Musicians from all musical styles will be able to decipher contracts offered to them and improve terms to their benefit. In clear detail, David Williams dissects the most common clauses in performer contracts, revealing how to avoid pitfalls and properly amend content to address each musician's needs. Seasoned performers, emerging artists, and music students of all levels will find this handy volume an invaluable compendium of conflict-free guidance as they navigate their careers in the music industry.

* 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

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.

- 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

Many young musicians will admit they know little about personal finance. They have trouble budgeting what little money they make from their part-time jobs, carry debt incurred by ringing up credit cards on studio equipment they cannot afford, and get lured into using the latest investment apps that have them putting grandma's birthday card money into investments they may not even understand. Even worse, when that rare musician gains financial and career success, they often go on a mad spending spree only to end up completely broke ten years later. You don't want this to happen to you, right? This is why a simple and easy-to-read book written specifically for musicians about personal finance is so vital to understanding and success. Written by a 30-year expert in the music business together with a 30-year specialist in the investment industry, Personal Finance for Musicians provides a brief overview of everything you should have learned in school but didn't. Topics include: developing the right mind-set, paying-off debt, budgeting and saving, building credit, dealing with banks, paying taxes, insuring your assets, understanding investments, examining music revenue streams, learning the lingo, seeking financial help, avoiding financial noise, and more. This book provides an excellent introduction for musicians whose knowledge is limited or who are new to the critically important subject of personal finance. The objective is to help put you on the right track to better financial health and inspire you to learn more without intimidating you, or even worse-boring you.

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.

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.

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.

Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced in twenty-first century digital recording studios, and is there a "digital aesthetics" to contemporary recordings of traditional music? In Digital Traditions: Arrangement and Labor in Istanbul's Recording Studio Culture, author Eliot Bates answers these questions and more with a case study into the contemporary practices of recording traditional music in Istanbul. Bates provides an ethnography of Turkish recording studios, of arrangers and engineers, studio musicianship and digital audio workstation kinesthetics. Digital Traditions investigates the moments when tradition is arranged, and how arrangement is simultaneously a set of technological capabilities, limitations and choices: a form of musical practice that desocializes the ensemble and generates an extended network of social relations, resulting in aesthetic art objects that come to be associated with a range of affective and symbolic meanings. Rich with visual analysis and drawing on Science & Technology Studies theories and methods, Digital Tradition sets a new standard for the study of recorded music. Scholars and general readers of ethnomusicology, Middle Eastern studies, folklore and science and technology studies are sure to find Digital Traditions an essential addition to their library.

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.

Are you tired of living paycheck-to-paycheck, being broke and in debt, and watching everyone else become independently wealthy? Well, you've come to the right place. Many musicians will admit they know little about personal finance. In Personal Finance for Musicians, music industry and finance experts Bobby Borg and Britt Halsey coach you on how to: Make and save money Increase your credit score Protect yourself from identity theft Get out of debt Understand investment apps Invest responsibly Protect your assets Build a "freedom fund" for the future Limit your tax liability And so much more... With step-by-step action tips and short digestible chapters that can be read in any order, this book is presented in a no-nonsense, easy-to-read style that any musician can grasp. The objective is to educate and inspire you, without intimidating, or even worse-boring you. Let this book be your guide to financial success today!

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.

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.

From the end of the Second World War through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to "ask the experts," adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was two-fold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but in doing so they also determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music-making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants' sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how "expertise" served as an exclusionary form of cultural and social capital that prevented racial minorities and non-dominant groups from fully participating.