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.

"Everything I Know About The Music Business I Learned From My Cousin Rick" helps musicians navigate the complicated path to success in the industry. Author Dave Rose's lifelong experience in all facets of the music business offers unique insight into the obstacles, complexities, and triumphs that are crucial to a musician's ability to thrive. Rose teaches practical and relevant tactics on how to properly gauge and monitor success, and wisdom on how to avoid and quickly correct common - yet often detrimental - mistakes. This book is entertaining and informative, not filled with difficult legal jargon or complex royalty algorithms, but instead it teaches through first-hand accounts and stories from some of the greatest artists in the business.

They had just a few hundred pounds, one band missing a drummer, a sock drawer for an office, more dreams than sense and not a clue between them how to run a record company. But when Alan Horne and Edwyn Collins decided to start their own label from a shabby Glasgow flat in 1979, nobody was going to stand in their way. Postcard Records was the mad, makeshift and quite preposterous result. Launching the careers of Orange Juice, Aztec Camera and cult heroes Josef K, the self-styled 'Sound of Young Scotland' stuck it to the London music biz and, quite by accident, kickstarted the 1980s indie music revolution. Simon Goddard has interviewed everyone involved in the making of the Postcard legend to tell this thrilling rock'n'roll story of punk audacity, knickerbocker glories, broken windscreens, raccoon-fur hats, comedy, violence and creating something beautiful from nothing, against all the odds.

After spending the last twenty years working in many positions within the music industry, as of the start of my studies I have been in a privileged position to monitor and record the major upheaval that is currently ensuing throughout the new media industry of the present day. From 1997 onwards I have tracked the developments within new media distribution via the Internet and have followed with interest the revolution and phenomenons that have followed. This thesis tries in part to address the spiritual, mental and physical aspects of a phenomenon that has started to re-shape how we communicate and distribute information to each other. This process of new media distribution, which has had a cathartic and sometimes revolutionary feel to its movement, has not at present been resolved and I have tried to understand both sides of the argument from the consumer to industry professionals.