Pursuing the dream of a musical vocation-particularly in rock music-is typically regarded as an adolescent pipedream. Music is marked as an appropriate leisure activity, but one that should be discarded upon entering adulthood. How then do many men and women aspire to forge careers in music upon entering adulthood? In Destined for Greatness, sociologist Michael Ramirez examines the lives of forty-eight independent rock musicians who seek out such non-normative choices in a college town renowned for its music scene. He explores the rich life course trajectories of women and men to explore the extent to which pathways are structured to allow some, but not all, individuals to fashion careers in music worlds. Ramirez suggests a more nuanced understanding of factors that enable the pursuit of musical livelihoods well into adulthood.

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.

Create, Produce, Consume explores the cycle of musical experience for musicians, professionals, and budding entrepreneurs looking to break into the music industry. Building on the concepts of his previous book, Making Money, Making Music, David Bruenger provides readers with a basic framework for understanding the relationships between the artist and audience and the producer consumer by examining the methods underlying creation-production-reception and creation-consumption-compensation. Each chapter offers a different perspective on the processes and structures that lead listeners to discover, experience, and interact with music and musical artists. Through case studies ranging from Taylor Swift's refusal to allow her music to be streamed on Spotify to the rise of artists supported through sites like Patreon, Bruenger offers highly relevant real-world examples of industry practices that shape our encounters with music. Create, Produce, Consume is a critical tool for giving readers the agile knowledge necessary to adapt to a rapidly changing music industry. Graphs, tables, lists for additional reading, and questions for further discussion illustrate key concepts. Online resources for instructors and students will include sample syllabi, lists for expanded reading, and more.

Das Auffuhrungsrecht ist das erste unkoerperliche Recht des Urheberrechts. Dessen Entstehung stellt diese Arbeit anhand der Gesetzesentwicklung von 1837 bis 1901 dar. Der Autor stellt fest, dass die deutsche Entwicklung des musikalischen Auffuhrungsrechts vergleichsweise langsam und spat erfolgte. So bezog sich die gesetzgeberische Diskussion zunachst nur auf das dramatische Auffuhrungsrecht, wahrend die Schutzwurdigkeit musikalischer Werke noch nicht anerkannt war. Der Autor untersucht die Ursachen fur diese spate Entwicklung anhand der gesellschaftlichen Vorbedingungen fur ein musikalisches Auffuhrungsrecht. Dabei zeigt er insbesondere die Kausalitat zwischen dem Bestehen eines oeffentlichen Konzertwesens und einer lohnenswerten Rechteverwertung durch die Komponisten auf.

As traditional music career paths become increasingly scarce, 21st-century musicians must reach out to new and diverse audiences to ensure career success and sustainability. Many universities and conservatories now offer entrepreneurship courses for their students, but musicians already in the working world must also learn to build relationships with their communities, jumpstart and fund new initiatives, engage new audiences, and ultimately create successful and meaningful careers. Creating the Revolutionary Artist challenges performers to build increased audiences through creative action and community involvement. Based on Mark Rabideau's revolutionary online text The 21CM Introduction to Music Entrepreneurship, this book will jumpstart the careers of musicians and artists in all styles and at all levels as it lays out business and project management acumen within a talent-driven spirit of civic-mindfulness. Drawing together the real-world wisdom of world-class musicians and educators, the book includes strength identification and idea creation exercises, inspiring case studies, and a toolkit of how-to guides to lead the reader through a successful community-based project and on to a rewarding career in the arts.

Considerable attention has been given to the EMI Abbey Road Studios in St Johns Wood, particularly because of their association with the Beatles. In contrast, very little has been written about their great rivals Decca, who had recording studios in nearby Broadhurst Gardens, West Hampstead. This book will explore the history of Decca and specifically the Studios, where thousands of records were made between 1937 and 1980. Klooks Kleek, meanwhile, ran from 1961 to 1970 in the Railway Hotel, next door to the Decca Studios. Dick Jordan and Geoff Williams, who ran the club, share their memories here. With artists including David Bowie, The Rolling Stones, Tom Jones and The Moody Blues at Decca, and Ronnie Scott, The Cream, Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Eric Clapton, Elton John, Rod Stewart, Stevie Wonder and Sonny Rollins at Klooks, this book records a unique musical heritage.

In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.

Music producer Sam Phillips and his landmark studio, Sun Records, hold a unique place in the history of rock 'n' roll - by many accounts, before Phillips recorded 'Rocket 88' by Jackie Brenston and his Delta Cats in 1951, rock 'n' roll as we know it didn't even exist. Phillips is simultaneously hailed as the man who discovered Elvis Presley and derided as the man who sold the same artist to RCA for a paltry $35,000. The list of musical legends that passed through the doors of Sun Records is simply astounding, including BB King, Ike Turner, Johnny Cash, Roy Orbison, Jerry Lee Lewis and more. SUN KING strips away the glossy veneer of legend around the Phillips story - which, like his signature sound, was much the result of his own careful crafting - to reveal a man who, from a very young age, heard a musical sound that no one else heard. Complete with a full Sun Records discography, 'Sun King' is an indispensable document in the history of rock music.

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.

"Career Opportunities in the Music Industry, Sixth Edition" provides current information on more than 90 specific jobs, including job duties, salary ranges, skill and education requirements, helpful organizations, tips for entry, and much more. This new edition includes updated salary ranges and employment opportunities, as well as comprehensive, updated appendixes of organizations, periodicals, associations, schools, and resources.

Popular Music in the Post-Digital Age explores the relationship between macro environmental factors, such as politics, economics, culture and technology, captured by terms such as 'post-digital' and 'post-internet'. It also discusses the creation, monetisation and consumption of music and what changes in the music industry can tell us about wider shifts in economy and culture. This collection of 13 case studies covers issues such as curation algorithms, blockchain, careers of mainstream and independent musicians, festivals and clubs-to inform greater understanding and better navigation of the popular music landscape within a global context.

'The most authoritative, intelligent, diligently researched and unpretentious analysis of the British pop scene yet written' Sunday TelegraphBlack Vinyl White Powder charts the amazing fifty year history of the British music business in unparalleled scale and detail. As a key player across the decades, Napier-Bell - who discovered Marc Bolan and managed amongst others The Yardbirds and Wham! - uses his wealth of contacts and extraordinary personal experiences to tell the story of an industry that is like no other. Where bad behaviour is not only tolerated but encouraged, where drugs are sometimes as important as talent, where artists are pushed to their physical and mental limits in the name of profit and ego. The Greatest Ever Book Written about English Pop-Breathtakingly Brilliant' Julie Burchill'The cold print equivalent of a sparkling evening with a world-class raconteur.' Charles Shaar Murray, Independent'Bitchy, glib, fun and shrewd' Daily Telegraph

The widespread perception of singers and musicians as free individuals doing enjoyable and fulfilling work obscures the realities of their occupation. In Unfree Masters Matt Stahl examines recording artists' labor in the music industry as a form of creative work. He begins by considering the television show American Idol and the 2004 rockumentary Dig!, tracing the ways that popular music making is narrativized in contemporary America and showing how such narratives highlight musicians' negotiations of the limits of freedom and autonomy in creative cultural-industrial work. Turning to struggles between recording artists and record companies over laws that govern their working and contractual relationships, he reveals further tensions and contradictions in this form of work. Stahl argues that media narratives of music making, as well as contract and copyright disputes between musicians and music industry executives, contribute to American socioeconomic discourse and expose a foundational tension between democratic principles of individual autonomy and responsibility and the power of employers to control labor and appropriate its products. Stahl asserts that the labor issues that he discloses in music can stimulate insights about the political-economic and imaginative challenges currently facing working people of all kinds.

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.

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.

"[Chertkow and Feehan] are the ideal mentors for aspiring indie musicians who want to navigate an ever-changing music industry." --Billboard Magazine You can make a living with music today. The secret is to tap multiple income streams. Making Money With Music gives you over 100 revenue streams and the knowledge on how to tap them. Whether you're a solo artist, band, DJ, EDM producer, or other musician, this book gives you strategies to generate revenue, grow your fan base, and thrive in today's technology-driven music environment. Plus, it lists hundreds of services, tools, and critical resources you need to run your business and maximize income. Making Money With Music will show you: How to tap over 100 income streams 7 business strategies you can implement immediately How to start your music business for $0. How to register your music to collect all of the royalties you are owed worldwide. 13 ways to compete with free and build experiences to drive fan loyalty and engagement into everything you do to increase your revenue. 45 categories of places to get your music heard and videos seen so you can get discovered, grow your fanbase, generate royalties, and boost licensing opportunities. 10 methods for raising money so you can fund your music production and projects. ...and more. Written by the authors of the critically-acclaimed modern classic The Indie Band Survival Guide (1st & 2nd Editions), Making Money With Music is the third installment in The Indie Band Survival Guide series, and will help you build a sustainable music business no matter what kind of music you make, where you live, and whether you're a novice or professional musician. Improve your income by implementing these ideas for your music business today.

The Bloomsbury Handbook of Music Production provides a detailed overview of current research on the production of mono and stereo recorded music. The handbook consists of 33 chapters, each written by leaders in the field of music production. Examining the technologies and places of music production as well the broad range of practices - organization, recording, desktop production, post-production and distribution - this edited collection looks at production as it has developed around the world. In addition, rather than isolating issues such as gender, race and sexuality in separate chapters, these points are threaded throughout the entire text.

The untold story behind one of the most controversial album releases in modern music history, for fans of the Wu-Tang Clan, hip-hop music, and all those interested in the music industry. Take a kid with a dream. A legendary hip hop group. 6 years of secret recordings. A casing worthy of a king. A single artifact. Hallowed establishment institutions. An iconoclastic auction house. The world's foremost museum of modern art. A bidding war. Endless crises of conscience. An angry mob. A furious beef. A sale. A villain of Lex Luthor-like proportions. Bill Murray. The FBI. The internet gone wild. In 2007, the innovative Wu-Tang producer, Cilvaringz, feeling that digitisation increasingly supported the perception of music as disposable, took an incendiary idea to his mentor, hip hop legend, RZA: create a unique physical copy of a secret Wu-Tang album, to be encased in silver and sold through auction as a work of contemporary art. The plan raised a number of complex questions: Would selling one album for millions be the ultimate betrayal of music? How would fans react to an album that's sold on condition it could not be commercialised? And could anyone justify the ultimate sale of the album to the infamous pharmaceutical mogul Martin Shkreli? "An epic battle between colorful, creative maniacal heroes and one of the blandest beta-villains of our time. Couldn't put it down."Patton Oswalt, comedian and bestselling author of Silver Screen Fiend

Songwriter's Market is the go-to source for songwriters and performing artists who seek career advice and up-to-date information for placing their songs with music publishers, discovering record companies or producers, securing representation with a manager, and much more. With insights from a variety of industry experts and both career and up-and-coming songwriters, this edition features the firsthand and insider knowledge songwriters need to launch their career. You gain access to: Interviews with veterans like Phil Cody, Chip Taylor, and Marc Jordan and rising stars like Simon Wilcox, Francesco Yates, and the Grammy-nominated Erik Blu2th Griggs. Articles on breaking into Nashville, using Twitter to market yourself as a songwriter, and crowdfunding. Hundreds of songwriting-placement opportunities. Listings for songwriting organizations, conferences, workshops, retreats, colonies, contests, venues, and grant sources. + Includes exclusive access to the video "Pat Pattison Masterclass: Rhythm and Form" "Songwriter's Market is the indispensable tool you need to build your songwriting career. From the secrets of hit songwriting craft to an unequaled collection of pitching resources for your final recordings, this book delivers it all." --Robin Frederick, writer and producer of more than 500 songs for television, records, and audio products, and author of top-selling songwriting books

The music business is an exciting, rewarding, confounding, treacherous, and exhilarating way in which to make a living. For those interested in following their dreams to enter this dynamic and ever-changing industry, nothing less than a road map is needed to navigate and strategize the journey. Music Business Essentials will take musicians and beginning business students on a journey which imparts not only vital "nuts and bolts" information about the business of music, but provides inspirational and practical tips from a veteran traveler who has successfully navigated his own music business path to success for over 25 years. This book is the perfect, easy-to-read introduction to the music industry and will be an invaluable handbook for reference time and again.

Selling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the "digital music commodity," Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies - Winamp, metadata, Napster, iTunes, and cloud computing - this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music, Formatting Culture is a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.

Plug your music career into the lucrative new income streams of the digital marketplace
Record deals are so twentieth century. Today, music licensing is the fastest route to widespread exposure and a steady income. Creators of films, television shows, commercials, video games, ringtones, podcasts and other digital-age media hunger for music perfectly suited to their projects--providing endless, lucrative opportunities for savvy musicians. Whether you're an unknown composer, an up-and-coming songwriter, an independent-label performer, or a big label star, there's a place for you in this fast-growing field--as long as you learn to master the game.
How does music licensing work? Where are the most abundant and rewarding opportunities? Find the answers in this authoritative, up-to-the-moment overview of one of the most effective ways to market your talent. It's all here:
The key players in the music licensing business and the best ways to make contacts and bring your music to their attentionTypes of licensing agreements and how to understand themAn inside look at the licensing selection process and how to get a jump on music requestsNegotiating payment and protecting your music in the open marketplace, including international venuesGetting music licensed for television shows, films, commercials, digital media, and less obvious markets like colleges and universities, theater companies, corporate training videos, and restaurantsFirsthand advice from top music executives, marketers, music supervisors, lawyers, talent managers, and filmmakers

Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/