* Features over thirty contributors from a diverse range of backgrounds within the field of composing for film and TV from across the world. * Illustrates how students and aspiring professionals can break into the industry and apply the technical skills they have. * Provides accessible and relatable perspectives on topics such as how to break into the field; how to develop, nurture, and navigate business relationships; and how to do creative work under pressure.

Listening to, buying and sharing music is an immensely important part of everyday life. Yet recent technological developments are increasingly changing how we use and consume music. This book collects together the most recent studies of music consumption, and new developments in music technology. It combines the perspectives of both social scientists and technology designers, uncovering how new music technologies are actually being used, along with discussions of new music technologies still in development. With a specific focus on the social nature of music, the book breaks new ground in bringing together discussions of both the social and technological aspects of music use. Chapters cover topics such as the use of the iPod, music technologies which encourage social interaction in public places, and music sharing on the internet.

Prof. Dorothy Miell, (Open University) and Associate Dean (Curriculum ad Awards) in the Social Sciences Faculty, Milton Keynes, UK says: "A highly original and stimulating collection of contributions addressing aspects of our everyday music experiences in the modern world. The picture it paints of music as highly social and collaborative, yet deeply personal, is a rich and complex one which advances thinking about the many functions music plays in our lives. It is often the case that new ideas and exciting developments emerge at the boundaries between existing disciplines and bodies of knowledge, and in this text the editors have succeeded in bringing together work from music, technical and social science backgrounds to point out possibilities for researchers at these boundaries as they can be applied to a fast moving and exciting area of knowledge."

A valuable collection for anyone concerned with the future of music technology, this book will be of particular interest to those designing new music technologies, those working in the music industry, along with students of music and new technology.

My real story starts with a disaster, an unmitigated, pull-the-rug-from-under-you, clean-out-the-bank-account disaster. But had it not happened, The Police would never have risen to become the biggest rock band in the world; Jools Holland would not have ended up on TV; The Bangles, The Go-Go s, R.E.M., and many other music stars might never have made it either. It s strange how a fluke, a disaster, an unlikely event can lead to incredible results. But that is in essence what happened to me . . . Two Steps Forward, One Step Back tells the extraordinary story of a maverick manager, promoter, label owner, and all-round legend of the music industry. It opens in the Middle East, where Miles grew up with his father, a CIA agent who was stationed in Syria, Egypt, and Lebanon. It then shifts to London in the late 60s and the beginnings of a career managing bands like Wishbone Ash and Curved Air only for Miles s life and work to be turned upside down by a pioneering yet disastrous European tour. From the ashes of near bankruptcy, Miles enters the world of punk, sharing office space with Malcolm McLaren and Sniffin Glue, before shifting gears again as manager of The Police, featuring his brother, Stewart, on drums. Then, after founding IRS Records, he launches the careers of some of the most potent musical acts of the new wave scene and beyond, from Squeeze and The Go-Go s to The Bangles and R.E.M. Finally, the story comes full circle as Miles finds himself advising the Pentagon on how to win over hearts and minds in the Middle East and introducing Arabic music to the United States. Never let the truth get in the way of a good story, his father would tell him. Sometimes, though, the truth is all you need.

A DAILY TELEGRAPH BOOK OF THE YEAR AN IRISH TIMES BOOK OF THE YEAR 'Genuinely eye-popping.' Guardian 'Electrifying.' Kerrang 'Essential.' Classic Rock 'Required reading.' Irish Times The must-read music book of the year, now with a brand new chapter covering the death of Taylor Hawkins and his massive Wembley memorial concert. In Bodies, author Ian Winwood explores the music industry's many failures, from addiction and mental health issues to its ongoing exploitation of artists. Much more than a touchline reporter, Winwood also tells the story of his own mental health collapse, following the shocking death of his father, in which extinction-level behaviour was given perfect cover by a reckless industry. 'This is such a shrewd, funny, psychologically perceptive, frank, well-written, jawdropping book . Absolutely buy and read the hell out of this.' DAVID STUBBS 'Winwood makes a compelling argument and overturns some long-held notions about "rock and roll excess" by deftly tying together a vast amount of information . . . and liberally lacing it with dark, self-deprecating humour.' ALEXIS PETRIDIS

Live music events are synonymous with fun but seldom associated with international trade. This book serves to transform this mindset, through describing the economic value of live music and analysing the factors affecting international trade in Caribbean live music services. Race and ethnicity, unachieved regionalism within the Caribbean, and perceived biases in international trade agreements are assessed in relation to their impact on this trade. Several topics presented in this book are based on empirical findings from a previous microeconomic study, dedicated entirely to international trade in live music. Moreover, this book is unique because it compares the Caribbean and South Korea to assess the effectiveness of strategies aimed at developing international trade in live music services. This comparison should inspire robust policy initiatives for advancing international trade in Caribbean live music, given that South Korea is presently a heavyweight in the export of its entertainment services, despite language barriers. Given the interdisciplinary nature of this book, it will appeal to a wide range of readers such as postgraduate students or researchers of microeconomics, intraregional trade, international trade, international business, international relations, public policy, and cultural studies, as well as IP legal professionals, live music stakeholders, cultural practitioners, and policymakers.

Rough Trade's Book of the Year Electronic Sound Magazine's Book of the Year Mute Records is one of the most revered and influential independent music labels of all time. Through the music of its tight-knit community of artists - ranging from Cabaret Voltaire, Throbbing Gristle, Nick Cave's The Birthday Party and Einsturzende Neubauten to Depeche Mode, Yazoo, Erasure, Laibach and Goldfrapp - it has had an incalculable impact on popular music for forty years. This authoritative, sumptuously illustrated history of the label features stunning artwork and photography - much of it previously unseen - and insights from those who have worked with the label. Text contributions from key players, together with ground-breaking shots and video stills from lengendary photographers, make this book the definitive chronicle of the iconic label, which today has offices in the USA, UK, Germany and France and an unparalleled reputation worldwide.

When a musician dies, it is rarely the end of their story. While death can propel megastars to even further success, artists overlooked in their lifetime might also find a new type of fame. But a badly timed move or the wrong deal can see the artist die all over again. Colonel Tom Parker, the former carnival huckster, understood this high-wire act implicitly and the posthumous career of Elvis Presley has provided a template for everyone else. Estates have two jobs: keeping the artist's name alive and ensuring they continue to make money. These can sometimes be compatible goals, but often they spark a tension that is unique in the music business. Drawing on interviews with those running music estates as well as music lawyers, record company executives and archivists, Leaving the Building reveals how the music industry is constantly striving to perfect the business of death.

Flea, the iconic bassist and co-founder, alongside Anthony Kiedis, of the immortal Red Hot Chili Peppers finally tells his fascinating origin story, complete with all the dizzying highs and the gutter lows you'd expect from an LA street rat turned world-famous rock star. Michael Peter Balzary was born in Melbourne, Australia, on October 16, 1962. His more famous stage name, Flea, and his wild ride as the renowned bass player for the Red Hot Chili Peppers was in a far and distant future. Little Michael from Oz moved with his very conservative, very normal family to Westchester, New York, where life as he knew it was soon turned upside down. His parents split up and he and his sister moved into the home of his mother's free-wheeling, jazz musician boyfriend - trading in rules, stability, and barbecues for bohemian values, wildness, and Sunday afternoon jazz parties where booze, weed, and music flowed in equal measure. There began Michael's life-long journey to channel all the frustration, loneliness, love, and joy he felt into incredible rhythm. When Michael's family moved to Los Angeles in 1972, his home situation was rockier than ever. He sought out a sense of belonging elsewhere, spending most of his days partying, playing basketball, and committing petty crimes. At Fairfax High School, he met another social outcast, Anthony Kiedis, who quickly became his soul brother, the yin to his yang, his partner in mischief. Michael joined some bands, fell in love with performing, and honed his skills. But it wasn't until the night when Anthony, excited after catching a Grandmaster Flash concert, suggested they start their own band that he is handed the magic key to the cosmic kingdom. Acid for the Children is as raw, entertaining and wildly unpredictable as its author. It's both a tenderly evocative coming of age story and a raucous love letter to the power of music and creativity

This text brings together spokespersons from several different disciplines who can present their arguments for or against rational suicide as a viable concept and, consequently, a realistic option. The pros and cons of the discussion format bring the readers to search for their beliefs, and the final decision of acceptance or rejection of the concept is left to each individual reader.

This fully updated and complete guide takes you inside the world of creating music for film, television, and-unique to this third edition-video games. It addresses a wide range of topics including musical aesthetics, cutting-edge technology and techniques, and current business aspects of the industry. The Reel World is packed with insider's tips and interviews with some of the most influential film, TV, and video game composers, along with music editors, music supervisors, agents, contractors and studio executives. Rona also advises how to nurture positive relationships with your creative team and professionals in the industry. For the aspiring film, TV or video game composer, this book is a veritable cornucopia of useful information for pursuing scoring to picture as a career. Includes interviews with John Williams, Carter Burwell, James Newton Howard, Hans Zimmer, Mark Isham, Basil Poledouris, Ludwig Goeransson, Marc Shaiman, John Powell, Wendy and Lisa, Joseph Trapanese, and Michael Giacchino. This book explores... The Creative Process: Making good musical choices The psychology of a good score Continuity and contrast, economy and musicality The importance of styles Technology: The best gear for film, TV and video game scoring Home studio design Synchronization Mixing for film, TV and video game scoring Career: Getting started Industry politics Demoing and finances

The emergence of social media in the early 21st century promised to facilitate new "DIY" cultural approaches, emphasizing participation and democratization. However, in recent years these platforms have been criticized as domineering and exploitative. For DIY musicians in scenes with lengthy histories of cultural resistance, is social media a powerful emancipatory and democratizing tool, or a new corporate antagonist to be resisted? DIY Music explores the significant challenges faced by artists navigating this fraught cultural landscape. How do anti-commercial musicians operate in the competitive, attention-seeking world of social media? How do they deal with a new abundance of data and metrics? How do they present their activity as "cultural resistance"? This book shows that a platform-enabled DIY approach is now the norm for a wide array of cultural practitioners; this "DIY-as-default" landscape threatens to depoliticize the call to "do-it-yourself."

Anyone managing an artist's career needs to be well versed and have a savvy understanding of the moving parts of the music business. Learn how and why those moving parts "move," as well as how to manage and navigate a music-based career. Artist Management for the Music Business gives a comprehensive view of how to generate income through music and how to strategically plan for future growth. The book is full of valuable practical insights. It includes interviews and case studies with examples of real-world management issues and outcomes. Updates to this new edition include a new chapter for independent, self-managing artists, expanded and updated sections on networking, social media, and streaming, and a basic introduction to data analytics for the music business. This book gives access to resources about artist management and the music business at its companion website, www.artistmanagementonline.com.

Widespread distribution of recorded music via digital networks affects more than just business models and marketing strategies; it also alters the way we understand recordings, scenes and histories of popular music culture. This Is Not a Remix uncovers the analog roots of digital practices and brings the long history of copies and piracy into contact with contemporary controversies about the reproduction, use and circulation of recordings on the internet. Borschke examines the innovations that have sprung from the use of recording formats in grassroots music scenes, from the vinyl, tape and acetate that early disco DJs used to create remixes to the mp3 blogs and vinyl revivalists of the 21st century. This is Not A Remix challenges claims that 'remix culture' is a substantially new set of innovations and highlights the continuities and contradictions of the Internet era. Through an historical focus on copy as a property and practice, This Is Not a Remix focuses on questions about the materiality of media, its use and the aesthetic dimensions of reproduction and circulation in digital networks. Through a close look at sometimes illicit forms of composition-including remixes, edits, mashup, bootlegs and playlists-Borschke ponders how and why ideals of authenticity persist in networked cultures where copies and copying are ubiquitous and seemingly at odds with romantic constructions of authorship. By teasing out unspoken assumptions about media and culture, this book offers fresh perspectives on the cultural politics of intellectual property in the digital era and poses questions about the promises, possibilities and challenges of network visibility and mobility.

Legendary Grammy Award-winning and Academy Award-nominated record producer George Martin shares tales from his life and musical career with the Fab Four.

George Martin spotted the Beatles' talent, and recorded and produced The Fab Four from the start right through to The Beatles Anthology. Often called “the fifth Beatle,” Martin not only produced but also arranged some of the band’s most iconic and distinctive songs, including “Yesterday.” In this witty and charming autobiography, Martin describes exactly what it was like to work in the studio with the Beatles―from their first audition (and his decision to scrap Pete Best on drums) to the wild experimentation of Sgt. Pepper, complete with sound effects, animal noises, and full orchestras in evening dress at the direct request of Paul McCartney.

All You Need Is Ears is an intimate insider’s look at the most important pop group of all time, and how they made the music that changed the world: it’s an inimitable look at the Beatles’ creative process, and at the interplay of genius and practical improvisation that gave them their sound. It’s an indispensable read for Beatle lovers and anyone interested in how the world of popular music really works.

The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53 chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.

'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

Beyond Sound: The College and Career Guide in Music Technology is a must-read for anyone who loves music technology and wants to build a career in this competitive, fast-paced and exciting world. It is an outstanding resource for college and high school students, high school career centers, university placement centers, and libraries. Beyond Sound reflects on major technological advancements in recent history and explains why now is the ideal time to start a music technology career. An in-depth consideration of music technology education looks at over 200 schools that offer Music Technology, Music Recording, Music Industry, and Music Business programs. Beyond Sound considers the differences between BM, BS, BA, and BFA degrees as well as Graduate School, Trade School, and Art school programs. The reader is given the tools to research and make informed decisions about where to go to pursue their own formal music technology education. Beyond Sound provides practical guidance on career preparation, including how to get a great internship, how to land that first job, and how to make connections and move up in the business. Music technology jobs in recording, live sound, television and film, digital media, video games, retail sales, and education are described in great depth and clarity. Successful professionals in each of these fields share their stories, experiences, advice, and suggestions in candid interviews that provide the reader with a rare glimpse inside the professional world of music technology. Author Scott L. Phillips draws on his seventeen-year career as a technology trainer and educator, his scholarly research of music technology programs, and his extensive network of music technology professionals to bring the reader an intimate and accurate view of the exciting world of music technology. With this book, the aspiring music technologist will be able to learn about, prepare for, and begin a successful career that goes far Beyond Sound.

What is the role of classical music in the 21st Century? How will classical musicians maintain their relevance and purpose? This book follows the working activities of professional orchestral musicians and opera singers as they move off stage into schools, community centres, prisons, libraries and corporations, engaging with their communities in new, rich ways through education and community engagement programmes. Key examples of collaborative partnership between orchestras, opera companies, schools and music services in the delivery of music education are investigated, with a focus on the UK's Music Hub system. The impact of these partnerships is examined, both in terms of how they inspire and foster the next generation of musicians as well as the extent to which they broaden access to quality music education. Detailed case studies are provided on the impact of classical music education programmes on social cohesion, health and wellbeing and education outcomes for students from low socio-economic communities. The implications for the future training of classical musicians are analysed, as are the new career paths for orchestral musicians and composers straddling performance and education. Opening Doors: Orchestras, Opera Companies and Community Engagement investigates the ways in which the classical music industry is reinventing its sense of purpose, never a more important or urgent pursuit than in the present decade.

Music videos play a critical role in our age of ubiquitous streaming digital media. They project the personas and visions of musical artists; they stand at the cutting edge of developments in popular culture; and they fuse and revise multiple frames of reference, from dance to high fashion to cult movies and television shows to Internet memes. Above all, music videos are laboratories for experimenting with new forms of audiovisual expression. The Rhythm Image explores all these dimensions. The book analyzes, in depth, recent music videos for artists ranging from pop superstar The Weeknd to independent women artists like FKA twigs and Dawn Richard. The music videos discussed in this book all treat the traditional themes of popular music: sex and romance, money and fame, and the lived experiences of race and gender. But they twist these themes in strange and unexpected ways, in order to reflect our entanglement with a digital world of social media, data gathering, and 24/7 demands upon our attention.

Why don't Guitar Hero players just pick up real guitars? What happens when millions of people play the role of a young black gang member in Grand Theft Auto: San Andreas? How are YouTube-based music lessons changing the nature of amateur musicianship? This book is about play, performance, and participatory culture in the digital age. Miller shows how video games and social media are bridging virtual and visceral experience, creating dispersed communities who forge meaningful connections by "playing along" with popular culture. Playing Along reveals how digital media are brought to bear in the transmission of embodied knowledge: how a Grand Theft Auto player uses a virtual radio to hear with her avatar's ears; how a Guitar Hero player channels the experience of a live rock performer; and how a beginning guitar student translates a two-dimensional, pre-recorded online music lesson into three-dimensional physical practice and an intimate relationship with a distant teacher. Through a series of engaging ethnographic case studies, Miller demonstrates that our everyday experiences with interactive digital media are gradually transforming our understanding of musicality, creativity, play, and participation.

Interest in the management of creative and cultural organisations has grown at pace with the size of this sector. This textbook uniquely focuses on how innovation in these industries transforms practice. Uncovering the strategic role of innovation for organizations in the creative and cultural sector, the book provides readers with practical guidance to help traverse seismic disruptions brought about by global health and economic crises. The authors examine how innovation in business models, products, services, and technology has disrupted the competitive landscapes of the arts world. Innovations are characterized as deriving from other industries as well as via exogenous shocks that privilege some companies over others. Case studies bring to life how innovation is used strategically in different ways around varying competitive forces. Enhanced by conceptual tools and replete with industry examples, this textbook is an ideal resource for students and reflective practitioners to understand how innovation can be a productive tool for transforming their own creative and cultural industry practice and performance during a period of rapid technological change and unprecedented societal challenge.