Drawing on extensive fieldwork, explores the contemporary pop music scene in this little understood Southeast Asian country. Burma's Pop Music Industry is the first book to explore the contemporary pop music industry in a country that is little known or understood in the West. Based on years of fieldwork in Burma/Myanmar, Heather MacLachlan's work explores the ways in which aspiring musical artists are forging a place within the highly repressive social and political context that is Burma today. It deals sensitively with issues such as negotiating local and global styles,performance contexts and practices, and, more importantly, with ethical issues such as the anonymity of informants and the place of Western ethnomusicologists in countries outside the West. Drawn from interviews conducted from 2007 through 2009 with Burmese composers, performers, producers, concert promoters, journalists, recording engineers, radio station employees, music teachers, and censors in Yangon -- Burma's largest city and the locus of all pop music production -- Burma's Pop Music Industry represents a significant contribution both to popular music studies and to Southeast Asian studies. Heather MacLachlan is Assistant Professor of Music, University of Dayton.

In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.

Since the 1990s the cruise industry has become one of the largest employers of musicians in the world. Thousands of professional musicians work on cruise ships daily, entertaining millions of passengers. Cruisicology: The Music Culture of Cruise Ships provides the first in-depth account of the culture and the industrial determinants of cruise ship music. Based on interviews with working musicians and coauthor David Cashman's experience as a cruise ship musician, this book investigates how music is organized and made onboard a cruise ship. David Cashman and Philip Hayward study the working life of musicians, why and how corporate shipping lines include music onboard their vessels, the history of musicians on passenger shipping, and the likely future directions of musical entertainment within the industry. Cashman and Hayward illustrate the positive and negative experience of artists making music every day in confined spaces with close proximity to their audiences.

Owning the Masters provides the first in-depth history of sound recording copyright. It is this form of intellectual property that underpins the workings of the recording industry. Rather than being focused on the manufacture of goods, this industry is centred on the creation, exploitation and protection of rights. The development and control of these rights has not been straightforward. This book explores the lobbying activities of record companies: the principal creators, owners and defenders of sound recording copyright. It addresses the counter-activity of recording artists, in particular those who have fought against the legislative and contractual practices of record companies to claim these master rights for themselves. In addition, this book looks at the activities of the listening public, large numbers of whom have been labelled 'pirates' for trespassing on these rights. The public has played its own part in shaping copyright legislation. This is an essential subject for an understanding of the economic, artistic and political value of recorded sound.

(Book). A classic, finally back in print British rock historian Barney Hoskyns (Hotel California, Across the Great Divide: The Band in America) examines the long and twisted rock 'n' roll history of Los Angeles in its glamorous and debauched glory. The Beach Boys, Buffalo Springfield, the Doors, Little Feat, the Eagles, Steely Dan, Linda Ronstadt, Joni Mitchell, and others (from Charlie Parker right up to Black Flag, the Minutemen, Jane's Addiction, Ice Cube, and Guns N' Roses) populate the pages of this comprehensive and extensively illustrated book.

Song publishing is the one constant in the carousel of recorded music now spanning the past century, and has been the way that song-credits and publishing revenue have caused ructions and recriminations, and inspired writers by making them poor and lawyers rich. Whether it be Procul Harum going to court to decide who really wrote 'Whiter Shade of Pale' or the Moody Blues wanting their fair share of 'Nights of White Satin', when the song-credits get divvied up, a parting of the ways citing 'musical differences' is almost inevitable. So here are some choice examples of poplore held up to the light,some familiar to music fans others not, designed to prove that Dylan knew of what he wrote when he suggested, 'Money doesn't talk, it swears'. Between them, they provide the unvarnished story of popular song from the days jukeboxes and radio replaced wax cylinders and piano rolls to the era of digital downloads, legal and illegal...

In the 1960s and 1970s, becoming a rock musician was fundamentally different than playing other kinds of music. It was a learned rather than a taught skill. In On Becoming a Rock Musician, sociologist H. Stith Bennett observes what makes someone a rock musician and what persuades others to take him seriously in this role. The book explores how bands form; the backstage and onstage reality of playing in a band; how bands promote themselves and interact with audiences and music professionals like DJs; and the role of performance.

This book explores the fundamentals of popular music performance for students in contemporary music institutions. Drawing on the insights of performance practice research, it discusses the unwritten rules of performances in popular music, what it takes to create a memorable performance, and live popular music as a creative industry. The authors offer a practical overview of topics ranging from rehearsals to stagecraft, and what to do when things go wrong. Chapters on promotion, recordings, and the music industry place performance in the context of building a career. Performing Popular Music introduces aspiring musicians to the elements of crafting compelling performances and succeeding in the world of today's popular music.

Howard Bloom-called "the greatest press agent that rock and roll has ever known" by Derek Sutton, the former manager of Styx, Ten Years After, and Jethro Tull-is a science nerd who knew nothing about popular music. But he founded the biggest PR firm in the music industry and helped build or sustain the careers of our biggest rock-and-roll legends, including Michael Jackson, Prince, Bob Marley, Bette Midler, Billy Joel, Billy Idol, Paul Simon, Peter Gabriel, David Byrne, AC/DC, Aerosmith, Queen, Kiss, Grandmaster Flash and the Furious Five, Run DMC, ZZ Top, Joan Jett, Chaka Khan, and one hundred more. What was he after? He was on a hunt for the gods inside of you and me. Einstein, Michael Jackson & Me is Bloom's story-the strange tale of a scientific expedition into the dark underbelly of science and fame where new myths and movements are made.

Everywhere you look, musicians are creating, recording, and selling their music without the help of big-name studios, producers, or labels. This book offers tangible-and visually stunning-proof that self-recording is a path to artistic freedom. Each chapter takes on a specific aspect of self-recording through original interviews with musicians and all new photography, revealing the joys and complications of recording music on one's own terms. You'll learn how some of your favorite musicians charted their path to self-recording and how they use emerging technologies to make exceptional music. The book features intimate shots of artists recording in living rooms, backyards, and garages-such as Eleanor Friedberger, Mac DeMarco, Vagabon, Tune-Yards, Yuka Honda, and more. The first book devoted entirely to the practice of self-recording, Mirror Sound charts a way forward for any musician who aspires to make their own music and those who just love to listen.

'There's no mistaking the writing of Sylvia Patterson' Sunday Times 'One of the finest writers in the world' David Quantick How does the big stuff in life truly change us? In late 2019, Sylvia Patterson was a celebrated pop journalist, still merrily writing about the musical greats. But with the diagnosis of a life-threatening disease, a global pandemic and the collapse of her industry, life was about to take a drastic turn. It was a misadventure that would teach her many things. The power of friendship, the shock of mortality and what happens when love is tested. How a walk in the park, a spontaneous dance and a TV hero can save your life. How your perspective can shift on everything, from work, family and music, to what truly makes you happy. And what really happens when your body, never mind your kitchen, falls apart. The follow-up to the Costa-shortlisted I'm Not with the Band, this is Sylvia's unflinching, poignant and gallows-funny odyssey through the mid-life trials we all face, as she tries to answer the big question: would it all change her, or would she stay that same old girl?

Contemporary music, like other arts, is dealing with the rise of "curators" laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

An expanded, updated, and improved second edition of an essential book for aspiring teacher-musicians. Few musicians depend upon performing for their sole source of income. No matter one's level of technical accomplishment or expressive ability, musicians who distinguish themselves as both skilled performers and teachers will have significant career advantages. Authors Cornelia Watkins and Laurie Scott draw on their extensive experience in both pedagogy and performance to provide the structure, information, and tools musicians need to nurture successful students and establish rewarding careers. This second edition promotes diversity and equity in all aspects of music teaching and performance, addresses the pros and cons of virtual instruction, and offers less-frequently considered financial ideas for the self-employed. All are enhanced by the new reader-friendly design, which includes space for readers to log learning reflections. Whether building career possibilities as a music school student or adding teaching to an extensive performance résumé, From the Stage to the Studio offers any vocalist, instrumentalist, or conductor the guidance and support for a fulfilling career as an artist-teacher.

This book explores the effect of commercial and national institutions on the music of one of the foremost British composers of the twentieth century, Benjamin Britten. Radio, the recording industry, government subsidies for the arts, Covent Garden, the post-war establishment of music festivals, were all agents for dramatic changes in the art-music culture which Britten skilfully used to his advantage.

The Recording Industry presents a brief but comprehensive examination of how records are made, marketed, and sold. The book opens with an overview of popular music and its place in American society, along with descriptions of key players in the recording industry. In the book's second part, the making of a recording is traced from production through marketing and retail sales. Finally, in Part III, legal issues, including copyright and problems of piracy, are addressed.
The new edition takes into account the massive changes in the recording industry occurring today due to the revolution of music on the web. This new reality informs all parts of the second edition, from issues of production and distribution to legal issues.

Written from an insider's extraordinary working encounters and packed with never-seen-before pictures, this compelling and entertaining compendium of astonishing (and often hilarious) anecdotes, is a must-read for anyone who appreciates the sounds and sights of the 70s, 80s and 90s. Fascinating encounters and working relationships with over fifty global super-stars - from Madonna to Miles Davis, David Bowie, Little Richard, Ozzy Osbourne, Bryan Ferry, Malcolm Maclaren, Sting, Elton John, Jane Fonda and many more, are described with wry humour. Amongst many, there are first-hand tales of the great Miles Davis being ordered to stop playing his trumpet ("that thing") in a Newcastle pub; Chris paying Madonna's train fare (standard class) with cash in brown envelope; Red Hot Chilli Peppers playing on top of a giant hot dog in Hollywood, and a meeting with Grace Jones wearing a Micky Mouse hat in Birmingham Botanical Gardens. "Namedropper - an unorthodox biography" is jam-packed with similar observations and anecdotes on the rich and famous of the day and is written with huge warmth and wit by broadcaster, film maker and former producer of Channel 4's The Tube, Chris Phipps.

Description The music industry, as with most other media forms, is in the middle of a period of enormous transformation. Digital technologies have empowered producers and consumers of music - traditional ways of making and distributing music are under threat as musicians and their audiences embrace new opportunities, many of which bypass the incumbent middlemen. Whilst it is clear that the music industry is thriving, the traditional recording industry, dominated by a handful of multinational corporations is struggling to stay relevant. The changes are so dramatic that the term "Music 2.0" has become commonly used to delineate old and new business models and approaches. But the demise of the traditional music industry is overstating things - the reality is that (whilst their profits may be diminishing) they still dominate a multi-billion dollar marketplace and exercise unprecedented control over the star-making process. And, of course, they have the resources to be able to reinvent themselves. The actual future of music is a complex and contested one. This book aims to unpack that complexity, map the changes and explain the causes and motivations surrounding an industry undergoing change. It explores the world of popular music from three distinct perspectives. Firstly, it examines the new opportunities available to consumers of music - interrogating how the lines between production and consumption are blurring, creating fans who do much more than just listen to music. Secondly, it draws on interviews with a diverse range of musicians explaining their place in the brave new world and trying to articulate their newly defined roles. Finally, it examines the industry itself, and unpack the responses to current challenges from new and old players alike.

Songs from Sweden shows how Swedish songwriters and producers are the creative forces behind much of today's international pop music. As Ola Johansson reveals, the roots of this "music miracle" can be found in Sweden's culture, economy, and thriving music industry, concentrated in Stockholm. While Swedish writer-producers developed early global recognition for making commercially successful pop music, new Swedish writer-producers have continuously emerged during the last two decades. Global artists travel to Stockholm to negotiate, record, and co-write songs. At the same time, Swedish writer-producers are part of a global collaborative network that spans the world. In addition to concrete commercial accomplishments, the Swedish success is also a result of the acquisition of reputational capital gained through positive associations that the global music industry holds about Swedish music. Ultimately, pop songs from Sweden exhibit a form of cultural hybridity, drawing from both local and global cultural expressions.

When the music impresario Bryan Morrison died aged 66 in 2008, after two years in a coma following a polo accident, he left behind his unpublished memoir. As a music publisher, manager and agent, Morrison had represented the Pretty Things, Pink Floyd, T. Rex, The Jam, Wham! and many others. He was also the founder and owner of the Royal County of Berkshire Polo Club. In this candid and outspoken book, Morrison reveals the true stories behind why Syd Barrett of Pink Floyd once bit his finger to the bone, the Pretty Things were banned for life from New Zealand, and he became involved with the Kray Twins. He also tells how The Jam kissed goodbye to success in the USA, he received death threats when Robin Gibb left the Bee Gees, and signing a publishing deal with George Michael and Andrew Ridgeley as Wham! Spanning the golden age of British rock 'n' roll from the 60s to the 80s, this is the extraordinary story of a cigar-chomping, East End entrepreneur, with a passion for art and design, fashion, music and polo.

"The Sounds of Commerce" is the first book to present a detailed historical analysis of popular music in American film, from the era of sheet music sales, to that of orchestrated pop records by Henry Mancini and Ennio Morricone in the 1960- to the MTV-ready pop songs that occupy soundtrack CDs of today. Jeff Smith's landmark exploration of film and music cross-promotion investigates the combination of historical, economic, and aesthetic factors that brought about the rise of popular music in the movies.Smith employs a sophisticated yet accessible fusion of musicology, film theory, and social history. In one chapter, a musicological unpacking of the theme song from Goldfinger is used to show how the repeated refrain developed massive cultural appeal, leading to huge singles sales and a ubiquitous tune that most Americans can recognize several decades after the film's release. Other chapters look at how the film and music industries became so heavily intertwined, how soundtrack music progressed from orchestral score to pop song, and how certain soundtracks today become chart successes while their accompanying films generate scant box-office interest.Throughout the text, Smith persuasively argues that the popular film score has been as successful as its classical predecessor at enhancing emotions and moods, cueing characters and settings, and signifying psychological states and points of view. With "The Sounds of Commerce, " he challenges film music scholarship to recognize the significance of popular music in modern film.

The Thirteenth Edition of this powerhouse best-selling text maintains its tradition as the most comprehensive, up-to-date guide to the music industry in all of its diversity. Readers new to the music business and seasoned professionals alike will find David Baskerville, Tim Baskerville, and Serona Elton's handbook the go-to source, regardless of their specialty within the music field. Music Business Handbook and Career Guide is ideal for introductory courses such as Introduction to the Music Business, Music and Media, and other survey courses as well as more specialized courses such as the Record Industry, Music Careers, Artist Management, and more. The fully updated Thirteenth Edition includes a comprehensive discussion of the streaming revolution, where this predominant form of music consumption stands today and is heading in the future. Rapid changes in music licensingare addressed and how they impact creators, musical work performance licensing, compulsory and negotiated mechanicals, and sound recording licenses. The new edition also analyzes the changing picture of music video and shows how music video has been upended by on-demand streaming. Lastly, there is all-new coverage of COVID-19and how the concert industry has been impacted as well as digital advances that have been made.

In The Entrepreneurial Artist: Lessons from Highly Successful Creatives, Aaron Dworkin offers an engaging, practical guide to achieving artistic fulfillment, both personally and professionally. Based on the accomplishments of Shakespeare, Mozart, and several contemporary creatives, these lessons will help you realize your goals—no matter your medium. Among those Dworkin personally interviewed for this book are Emmy-winning actor Jeff Daniels, Tony-award winning choreographer Bill T. Jones, Grammy award-winning musician Wynton Marsalis, and Pulitzer Prize winner Lin-Manuel Miranda, among others. The stories of these twelve remarkable individuals come alive with lessons of love, loss, despair, sacrifice, perseverance, and triumph. Some of the artist-entrepreneur takeaways explored in this book include: ·Build partnerships—with peers, patrons, and sponsors ·Embrace diversity ·Expand your focus ·Allow your work to mature Whether one is an aspiring student artist in search of practical tools to build a sustainable career, or a veteran seeking reinvention, The Entrepreneurial Artist offers insights—well-tested, unusual, or innovative—that are meaningful for every kind of creative.