This lively and readable study explores popular music between the wars, the era of Noel Coward and Ivor Novello, Gracie Fields and George Formby. James J. Nott tells the story from the days of the jazz mania of the 1920s to the outbreak of the Second World War. He examines the huge popularity of dance halls such as the fabled Hammersmith Palais, and concludes with a fascinating checklist of the most popular songs.

Making Money, Making Music offers tools to encourage creative and adaptive entrepreneurship in the music business. Written for the classroom and the workplace, it introduces readers to core principles and processes and shows how to apply them adaptively to new contexts, facilitating a deeper understanding of how and why things work in the music business. By applying essential concepts to a variety of real-life situations, readers improve their capacity to critically analyze and solve problems and to predict where music and money will converge in a rapidly evolving culture and marketplace.

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.

Tens of thousands of songs are needed each year for TV, movies, and commercials. The songwriting techniques and marketing tips in this book will show you how to craft your music and lyrics to give the Film and TV industry what it needs, make broadcast quality recordings, and pitch your songs to today's fastest growing and largest market for music. You'll learn: 16 secrets to writing powerful lyrics that will work in hundreds of scenes, 10 techniques for creating energy, mood, and atmosphere in your songs, 21 strategies for making broadcast quality recordings on a budget, 17 Shortcuts that help you lay the business groundwork and start pitching your songs, plus 50 more Shortcuts, including an in-depth look at the Top Ten ways songs are used in Film and TV, tips on writing for Film and TV musicals, and exclusive interviews with top music supervisors and buyers.

For the first time, "Appetite for Self-Destruction" recounts the epic story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world -- and the advent of file sharing brought it to its knees. In a comprehensive, fast-paced account full of larger-than-life personalities, "Rolling Stone" contributing editor Steve Knopper shows that, after the incredible wealth and excess of the '80s and '90s, Sony, Warner, and the other big players brought about their own downfall through years of denial and bad decisions in the face of dramatic advances in technology.

Big Music has been asleep at the wheel ever since Napster revolutionized the way music was distributed in the 1990s. Now, because powerful people like Doug Morris and Tommy Mottola failed to recognize the incredible potential of file-sharing technology, the labels are in danger of becoming completely obsolete. Knopper, who has been writing about the industry for more than ten years, has unparalleled access to those intimately involved in the music world's highs and lows. Based on interviews with more than two hundred music industry sources -- from Warner Music chairman Edgar Bronfman Jr. to renegade Napster creator Shawn Fanning -- Knopper is the first to offer such a detailed and sweeping contemporary history of the industry's wild ride through the past three decades. From the birth of the compact disc, through the explosion of CD sales in the '80s and '90s, the emergence of Napster, and the secret talks that led to iTunes, to the current collapse of the industry as CD sales plummet, Knopper takes us inside the boardrooms, recording studios, private estates, garage computer labs, company jets, corporate infighting, and secret deals of the big names and behind-the-scenes players who made it all happen.

With unforgettable portraits of the music world's mighty and formerly mighty; detailed accounts of both brilliant and stupid ideas brought to fruition or left on the cutting-room floor; the dish on backroom schemes, negotiations, and brawls; and several previously unreported stories, "Appetite for Self-Destruction" is a riveting, informative, and highly entertaining read. It offers a broad perspective on the current state of Big Music, how it got into these dire straits, and where it's going from here -- and a cautionary tale for the digital age.

(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.

Visual Music Instrument Patents Volume One is a collection of primary source documents for visual music instruments, often called "color organs," gleaned from the United States Patent Office. Information about these devices is often only available through the inventor's patent applications, but these applications are not currently available except through the time-consuming process of searching Patent Office databases. This volume is an informational resource for those instruments that are already known and studied (Bishop, Rimington, Wilfred, Fischinger), and includes a number of patents for other instruments that have not been examined as thoroughly (Munsell, Hallock-Greenwalt, others). Volume One also includes a few patents that are related to visual music instruments such as systems of notation for writing visual music and devices for determining "color harmony" through a relationship to musical form.

Over the past fifty years Roger Sessions has developed, in articles, lectures, and addresses, various themes that reflect the stages of his own musical and intellectual growth. These themes form the basis of the present collection of essays. Many of the essays deal with specific problems that musicians, especially composers, have faced during the past five decades: problems related to new musical styles and techniques, to the position of composers in society, to their responsibilities as teachers, to their role during the period of the world wars, to the mutual reactions of composer and audience, and to the basic questions of musical form and expression. The collection also includes a set of critical essays on such seminal figures as Bloch, Schoenberg, and Stravinsky. Roger Sessions is the composer of a recently recorded cantata on Whitman's "When Lilacs Last in the Dooryard Bloom'd" as well as numerous other works. He is the author of The Musical Experience of Composer, Performer, and Listener (Princeton). Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"The Big Payback" takes readers from the first $15 made by a "rapping DJ" in 1970s New York to the multi-million-dollar sales of the Phat Farm and Roc-a-Wear clothing companies in 2004 and 2007. On this four-decade-long journey from the studios where the first rap records were made to the boardrooms where the big deals were inked, "The Big Payback" tallies the list of who lost and who won. Read the secret histories of the early long-shot successes of Sugar Hill Records and Grandmaster Flash, Run DMC's crossover breakthrough on MTV, the marketing of gangsta rap, and the rise of artist/ entrepreneurs like Jay-Z and Sean "Diddy" Combs.

300 industry giants like Def Jam founders Rick Rubin and Russell Simmons gave their stories to renowned hip-hop journalist Dan Charnas, who provides a compelling, never-before-seen, myth-debunking view into the victories, defeats, corporate clashes, and street battles along the 40-year road to hip-hop's dominance.

"Prince: All the Songs is a major achievement...[It] may be the definitive single-volume book about Prince for both its breadth and the way it views his life through the songs that were the true essence of his being." - Psychobabble Spanning nearly 50 years of albums, EPs, B-sides, and more, read the full story behind all of the songs that Prince ever released. Moving chronologically through his epic back catalogue, expert author Benoit Clerc analyses everything there is to know about each song and session. No stone is left unturned across more than 600 pages, illustrated with incredible photography throughout. From the inspiration behind the lyrics and melody to the recording process and even the musicians and producers who worked on each track, uncover the stories behind the music in this truly definitive book - a must-have for every Prince fan.

This is your backstage pass to the hidden side of the music industry - the tantrums, the fights, the tensions, the indulgence, the sex, the alcohol, the drugs. The roadies see it all, and now they are sharing their secrets. Roadies are the unsung heroes of the Australian music industry. They unload the PAs and equipment, they set it all up, they make sure everything is running smoothly before, during and after the gigs. Then they pack everything up in the middle of the night, put it in the back of the truck and hit the road to another town - to do it all over again. They know everything about the pre- and post-show excesses. They bear witness to overdoses, the groupies, the obsessive fans. They are part of - and often organise - all the craziness that goes on behind the scenes of the concerts and pub gigs you go to. From The Rolling Stones to AC/DC, Bob Marley to Courtney Love, Sherbet to The Ted Mulry Gang, INXS to Blondie - the roadies have seen it all. And now they're stepping onto the stage and talking. The Roadies' Creed: If it's wet, drink it. If it's dry, smoke it. If it moves, **** it. If it doesn't move, throw it in the back of the truck. 'Fabulous . . . a bold portrait' SYDNEY MORNING HERALD on Stuart Coupe's GUDINSKI

Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.

Do you want to learn everything you need to know to be a fantastic video game music composer? The Game Music Handbook is for you. This book takes readers on a journey through many of the greatest video game soundscapes to date, discussing key concepts and technical practices for how to create top-level game scores. It organizes game scoring techniques into an applicable methodology that gives readers a clear picture of how to design interactive elements, conceive and create a score, and implement it into the game. Readers will gain a solid understanding of the core techniques for composing video game music, the conceptual differences that separate it from other compositional fields, as well as many advanced techniques and topics essential to excellent game music scoring. These topics include using music to design emotional arc for nonlinear timelines, the relationship between music and sound design, music and immersion, discussion of the player's interaction with audio, and more. For beginning composers, this book makes the learning process as clear as possible. However, it also offers invaluable information for intermediate to advanced readers. It includes discussion of game state and its effect on player interaction, a composer-centric lesson on programming, as well as information on how to work with version control, visual programming languages, procedural audio, and more. It also offers indispensable knowledge about advanced reactive music concepts, scoring for emergent games, music for VR, and other important topics. Overall, this book explores the practical application of player and music interaction through the examination of various techniques employed in games throughout video game history to enhance immersion, emphasize emotion, and create compelling interactive experiences.

We're experiencing a time when digital technologies and advances in artificial intelligence, robotics, and big data are redefining what it means to be human. How do these advancements affect contemporary media and music? This collection traces how media, with a focus on sound and image, engages with these new technologies. It bridges the gap between science and the humanities by pairing humanists' close readings of contemporary media with scientists' discussions of the science and math that inform them. This text includes contributions by established and emerging scholars performing across-the-aisle research on new technologies, exploring topics such as facial and gait recognition; EEG and audiovisual materials; surveillance; and sound and images in relation to questions of sexual identity, race, ethnicity, disability, and class and includes examples from a range of films and TV shows including Blade Runner, Black Mirror, Mr. Robot, Morgan, Ex Machina, and Westworld. Through a variety of critical, theoretical, proprioceptive, and speculative lenses, the collection facilitates interdisciplinary thinking and collaboration and provides readers with ways of responding to these new technologies.

"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.

There's a reason today's ubiquitous pop hits are so hard to ignore-they're designed that way. The Song Machine goes behind the scenes to offer an insider's look at the global hit factories manufacturing the songs that have everyone hooked. Full of vivid, unexpected characters-alongside industry heavy-hitters like Katy Perry, Rihanna, Max Martin, and Ester Dean-this fascinating journey into the strange world of pop music reveals how a new approach to crafting smash hits is transforming marketing, technology, and even listeners' brains. You'll never think about music the same way again. A Wall Street Journal Best Business Book

Die Arbeit behandelt die Musikverwertung mit Hilfe von Tontragern und Netzen. Nach einem kurzen Abriss der Tontragergeschichte wird der bestehende Rechtsrahmen im nationalen, europaischen und internationalen Kontext dargestellt. Die Anreize zur Musikproduktion und -verwertung werden herausgearbeitet. Eine industrieoekonomische Branchenanalyse der deutschen Tontragerwirtschaft folgt. Sie zeigt, dass hohe Konzentration und nur geringer Preiswettbewerb herrscht. Hauptsachlicher Aktionsparameter im Wettbewerb ist die Produktkonkurrenz. Abschliessend werden die technischen Weiterentwicklungen zur netzgebundenen Online-Verwertung von Musik untersucht, die Eintrittspotentiale marktnaher Unternehmen analysiert und wahrscheinliche Veranderungen bei Marktstruktur, -verhalten und -ergebnissen aufgezeigt.

Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.

The music industry's ongoing battle against digital piracy is just the latest skirmish in a long conflict over who has the right to distribute music. Starting with music publishers' efforts to stamp out bootleg compilations of lyric sheets in 1929, Barry Kernfeld's "Pop Song Piracy" details nearly a century of disobedient music distribution, from song sheets to MP3s. In the 1940s and '50s, Kernfeld reveals, song sheets were succeeded by fake books, unofficial volumes of melodies and lyrics for popular songs that were a key tool for musicians. Music publishers attempted to wipe out fake books, but after their efforts proved unsuccessful they published their own. "Pop Song Piracy" shows that this pattern of disobedience, prohibition, and assimilation recurred in each conflict over unauthorized music distribution, from European pirate radio stations to bootlegged live shows. Beneath this pattern, Kernfeld argues, there exists a complex give and take between distribution methods that merely copy existing songs (such as counterfeit CDs) and ones that transform songs into new products (such as file sharing). Ultimately, he contends, it was the music industry's persistent lagging behind in creating innovative products that led to the very piracy it sought to eliminate.

Since 2001, the U.S. Department of State has been sending hip hop artists abroad to perform and teach as goodwill ambassadors. There are good reasons for this: hip hop is known and loved across the globe, acknowledged and appreciated as a product of American culture. Hip hop has from its beginning been a means of creating community through artistic collaboration, fostering what hip hop artists call building. A timely study of U.S. diplomacy, Build: The Power of Hip Hop Diplomacy in a Divided World reveals the power of art to bridge cultural divides, facilitate understanding, and express and heal trauma. Yet power is never single-edged, and the story of hip hop diplomacy is deeply fraught. Drawing from nearly 150 interviews with hip hop artists, diplomats, and others in more than 30 countries, Build explores the inescapable tensions and ambiguities in the relationship between art and the state, revealing the ethical complexities that lurk behind what might seem mere goodwill tours. Author Mark Katz makes the case that hip hop, at its best, can promote positive, productive international relations between people and nations. A U.S.-born art form that has become a voice of struggle and celebration worldwide, hip hop has the power to build global community when it is so desperately needed.

'My favourite moment is when I finish a song, that is the moment I cherish.' - Rod Temperton The Invisible Man tells the remarkable story of how Rod Temperton worked his way up from a Grimsby fish factory to become one of the most successful songwriters of all time. Born in Cleethorpes in 1949, Temperton embarked on a career in music with the funk band Heatwave, for whom he wrote the international hits 'Boogie Nights' and 'Always and Forever', before his songwriting talent caught the attention of Michael Jackson's legendary producer, Quincy Jones. For Jackson's Off the Wall album, Temperton penned both the hit 'Rock with You' and the album's title track. Three years later, he started work on what would become the best-selling album of all time - Michael Jackson's Thriller - writing three songs, including the now legendary title track. And yet despite collaborating with some of music's biggest stars, including Donna Summer and Michael McDonald, Temperton was famously reclusive and seldom gave interviews. Having enjoyed unprecedented access to the great man for his Sony Award-winning radio documentary on Temperton, Jed Pitman presents the fully updated, definitive story of one of music's most talented individuals.