From the early days of radio through the rise of television after World War II to the present, music has been used more and more to sell goods and establish brand identities. And since the 1920s, songs originally written for commercials have become popular songs, and songs written for a popular audience have become irrevocably associated with specific brands and products. Today, musicians move flexibly between the music and advertising worlds, while the line between commercial messages and popular music has become increasingly blurred. Timothy D. Taylor tracks the use of music in American advertising for nearly a century, from variety shows like The Clicquot Club Eskimos to the rise of the jingle, the postwar upsurge in consumerism, and the more complete fusion of popular music and consumption in the 1980s and after. The Sounds of Capitalism is the first book to tell truly the history of music used in advertising in the United States and is an original contribution to this little-studied part of our cultural history.

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

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.

How do you make a song into a global smash hit that is guaranteed to make millions? Read The Song Machine and find out! From Tin Pan Alley and Motown to Rihanna and Taylor Swift, manufactured music has existed since the record industry began. But who are the hit-manufacturers that can create a tune that is so catchy, so wildly addictive, that it sticks in the minds of millions of listeners? In The Song Machine, John Seabrook dissects the workings of this machine, travelling the world to reveal its hidden formulas, and interview its geniuses - 'the hitmakers' - at the centre of it all. Hilarious and jaw-droppingly shocking, this book will change how you think and feel about music, as well as how you listen to it. 'Revelatory, funny, and full of almost unbelievable details', Eric Schlosser, author of Fast Food Nation 'As addictive as its subject' Sunday Times

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.

The Bloomsbury Handbook of Popular Music Policy is the first thorough analysis of how policy frames the behavior of audiences, industries, and governments in the production and consumption of popular music. Covering a range of industrial and national contexts, this collection assesses how music policy has become an important arm of government, and a contentious arena of global debate across areas of cultural trade, intellectual property, and mediacultural content. It brings together a diverse range of researchers to reveal how histories of music policy development continue to inform contemporary policy and industry practice. The Handbook maps individual nation case studies with detailed assessment of music industry sectors. Drawing on international experts, the volume offers insight into global debates about popular music within broader social, economic, and geopolitical contexts.

Choosing a career is one of the most important decisions we make in our lifetime. Career choice is more than working to earn a living but also an important window into how we identify and feel about ourselves. There are multiple issues involved in every career choice, particularly in the pursuit of a career in music performance. Influenced by her hybrid background in music performance, psychology, and psychoanalysis, Julie Jaffee Nagel addresses the joys and challenges of career choice in music, with a specific focus upon the classical performing musician. She addresses a wide range of pressing topics related to such a career choice at a time when jobs and income for musicians are diminishing and COVID-19 has had a monumental, long-term impact on the arts. This includes feelings of burnout, career change and redirection, the need for self-care, mental health issues related to the lack of jobs and income, and the oftentimes crippling standards of professional performing musicians. In addition, Nagel also points to potential opportunities and advocates new roles for musicians in the wake of a transformed music industry and society. Despite the numerous challenges performing musicians face in their careers, music can play a powerful role in mental life and society, helping us cope with the ravages and losses of the pandemic and other important events, and this can serve as much inspiration and reinvigorate professional musicians questioning the purpose of their career. All of these themes are developed through stories, clinical examples, anecdotes, research data, and personal reflection.

Many young musicians will admit they know little about personal finance. They have trouble budgeting what little money they make from their part-time jobs, carry debt incurred by ringing up credit cards on studio equipment they cannot afford, and get lured into using the latest investment apps that have them putting grandma's birthday card money into investments they may not even understand. Even worse, when that rare musician gains financial and career success, they often go on a mad spending spree only to end up completely broke ten years later. You don't want this to happen to you, right? This is why a simple and easy-to-read book written specifically for musicians about personal finance is so vital to understanding and success. Written by a 30-year expert in the music business together with a 30-year specialist in the investment industry, Personal Finance for Musicians provides a brief overview of everything you should have learned in school but didn't. Topics include: developing the right mind-set, paying-off debt, budgeting and saving, building credit, dealing with banks, paying taxes, insuring your assets, understanding investments, examining music revenue streams, learning the lingo, seeking financial help, avoiding financial noise, and more. This book provides an excellent introduction for musicians whose knowledge is limited or who are new to the critically important subject of personal finance. The objective is to help put you on the right track to better financial health and inspire you to learn more without intimidating you, or even worse-boring you.

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

Drawing on interdisciplinary research methods from musicological and legal scholarship, this book maps the historical terrain of forensic musicology. It examines the contributions of musical expert witnesses, their analytical techniques, and the issues they encounter assisting courts in clarifying the blurred lines of music copyright.

The Best Jobs in the Music Industry is an essential career guide for those who love music and are exploring different areas of the music industry beyond the obvious performer route. This second edition includes updates and even more interviews, giving a look at how music jobs have changed and the long-term impacts of COVID-19 on the industry. Michael Redman boils down the job requirements, skill sets, potential revenue, longevity, benefits, and challenges of a variety of music careers, from performer to label executive to recording engineer and music producer. Each description of a job starts with a short summary, followed by stories of the paths to success and the challenges you may confront-all in the words of real pros. Redman interviews over sixty professionals in the business, including Lee Sklar (session and touring musician), Damon Tedesco (scoring mixer), Brian Felsen (CEO of CD Baby), Mike Boris (worldwide director of music for McCann Advertising), David Newman (composer), Michael Semanick (re-recording mixer), Conrad Pope (orchestrator), Todd Rundgren (musician), Gary Calamar (music supervisor), Mark Bright (producer), and Scott Mathews (producer).

The second edition of iTake-Over: The Recording Industry in the Streaming Era sheds light on the way large corporations appropriate new technology to maintain their market dominance in a capitalist system. To date, scholars have erroneously argued that digital music has diminished the power of major record labels. In iTake-Over, sociologist David Arditi suggests otherwise, adopting a broader perspective on the entire issue by examining how the recording industry strengthened copyright laws for their private ends at the expense of the broader public good. Arditi also challenges the dominant discourse on digital music distribution, which assumes that the recording industry has a legitimate claim to profitability at the expense of a shared culture. Arditi specifically surveys the actual material effects that digital distribution has had on the industry. Most notable among these is how major record labels find themselves in a stronger financial position today in the music industry than they were before the launch of Napster, largely because of reduced production and distribution costs and the steady gain in digital music sales. Moreover, instead of merely trying to counteract the phenomenon of digital distribution, the RIAA and the major record labels embraced and then altered the distribution system.

The book's focus is on successful music entrepreneurship and career development in the global music and entertainment industry. The list of specialized occupations filled by musicians is lengthy, e.g. performer, producer, arranger, composer, songwriter, lyricist, music editor, publicist, recording engineer, conductor, sound technician, manager, entertainment lawyer, promoter, booking agent, tour manager, music educator, vocal coach, private instructor, music supervisor, music programmer, electronic DJ, etc. There are also careers ancillary to music, such as event organizer, music therapist, radio station director, or entertainment director. Music plays an important role in advertising, marketing, video games, film, and digital media as well, and there are tie-ins to tourism, restaurant, and the hospitality industry. Music as an industry is multifaceted, and is a subset of the broader entertainment industry which includes sports, cinema, broadcasting, and creative digital media. The entertainment industry in aggregate is viewed as a potential growth area by governments and by commercial concerns, and often targeted and supported as a tool for sustainable international economic, social, and cultural development. There is even such a thing as music diplomacy, as a component of cultural or "soft power" diplomacy. As with many professions, the set of skills, knowledge, and strategies required to become successfully employed in the music and entertainment-related fields are not the same set of skills needed to do the actual jobs. Young musicians and others with the ambition to work in the music industry are often baffled by the many options available, conflicting information, and the lack of a clear path to success. They are thirsty for balanced and reliable knowledge about and clear direction on how to prepare for a career in the industry. Universities, colleges, and specialty training schools offer programs designed to help individuals prepare for careers in music, leading to certificates, diplomas, or degrees, including at the graduate level. But the focus of the trainings and curricula are most often only on the skills needed to perform the work and not on how to access the work through careful career preparation and entrepreneurial thinking. There is a dearth of relevant information about how to access the opportunities, leverage the training and the networks gained in school, and how to succeed through meeting the true demands of the industry. This book aims to fill this need.

The relationship between popular music and consumer brands has never been so cosy. Product placement abounds in music videos, popular music provides the soundtrack to countless commercials, social media platforms offer musicians tools for perpetual promotion, and corporate-sponsored competitions lure aspiring musicians to vie for exposure. Activities that once attracted charges of 'selling out' are now considered savvy, or even ordinary, strategies for artists to be heard and make a living. What forces have encouraged musicians to become willing partners of consumer brands? At what cost? And how do changes in popular music culture reflect broader trends of commercialization? Selling Out traces the evolution of 'selling out' debates in popular music culture and considers what might be lost when the boundary between culture and commerce is dismissed as a relic.