Music industry Books

Book Synopsis''The greatest book ever written on British independent music'' Guardian''One of the best British music books of the last ten years'' MojoFounded by Alan McGee in 1983, Creation Records achieved notoriety as the home of Primal Scream, the Jesus and Mary Chain and other anti-Establishment acts. During the Britpop boom of the mid-90s, the astonishing success of Oasis brought Creation fame on the world stage. In 1999, however, McGee announced his shock departure as his label''s influence over a generation of British music came to a confusing and disappointing end. Containing interviews with Creation musicians, employees, supporters and detractors, this is the inside story of Creation Records - and of British music since the 1980s.

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Book SynopsisIntroducing the business models, organisational structures, and fundamentals of orchestras, this book takes readers on a journey through the evolution of orchestra management.The author explores the dynamics between artistic excellence and financial sustainability. Key aspects of orchestra management are examined in detail, including artistic programming, strategic planning, financial and compliance/legal matters, audience development, resilience and adaptability, governance and board relations, diversity and inclusion, partnerships, and the role of technology and innovation.With actionable resources, such as checklists, templates, and frameworks, for current and future orchestra leaders and managers, this comprehensive guide empowers readers in education and practice to navigate the complexities of orchestra management confidently and effectively.Trade Review"I have no doubt that this companion is an unprecedented contribution to comprehending the 'business' of orchestra management, an essential foundation for supporting these remarkable institutions in navigating the present and preparing for the future." Christopher Brenner, University of Music & Conservatorio della Svizzera italiana, Switzerland"As First Concertmaster of the Tonhalle Zürich Orchestra, I am actively engaged in both strategic and day-to-day artistic decisions for the ensemble. In this role, I find that Dr Salvaggio's book is proving to be an invaluable resource. Had this book been available a decade ago, it would have significantly increased my capacity to make well-informed decisions, not just artistically but also at the management level within the orchestral field."Klaidi Sahatchi, First Concertmaster, Tonhalle Zürich Orchestra"During my 6-year term as Qatar Foundations’s Vice President for Research, Development, and Innovation, Salvino served as my Chief of Staff, effectively managing a team of over 500 and diverse research projects. His new book is a synthesis of his love for classical music and his managerial expertise. It stands as a pivotal resource, offering transformative approaches to orchestral management in a rapidly changing, multicultural world. For those committed to best management practices and innovation within the orchestral field, this book is not just beneficial—it's essential."Dr Richard O'Kennedy, Former VP for Research, Development and Innovation, Qatar Foundation"Over my 30-year career devoted to playing, conducting and cultivating youth orchestras and choirs in Europe, North and South America, Asia, Oceania, and the Middle East, I could see firsthand the inner workings of orchestra management from the stage across diverse cultural landscapes. Dr. Salvaggio's insightful book peels back the curtain to reveal the complexities involved in running a successful orchestra in today's competitive cultural landscape. His research and framework provide an invaluable guide for current and aspiring orchestra managers and artistic directors striving for excellence across a variety of cultures and business backgrounds. Actually, to my knowledge, this is the first book that pays such a deep attention to the classical orchestra industry globally. An absolute must-read!” Giovanni Pasini, Principal Viola & Resident Freelance Conductor, Qatar Philharmonic Orchestra - Qatar Youth Orchestra - Qatar Concert Choir; Guest Principal of BBC Philharmonic and BBC Wales Orchestras, Australian Chamber Orchestra, La Monnaie (Bruxelles), Opéra de Lyon, RAI Italian Radio Orchestra, Toscanini Philharmonic Parma, Les Violons du Roi (Quebec), among others."As a freshly graduated master’s student in management, I found Dr. Salvaggio's new book to be hugely insightful to understand the business of arts & culture institutions. His in-depth global research on orchestras is remarkably unique and valuable. The book's detailed comparative analysis gives readers a panoramic understanding of orchestra management best practices across diverse continents and cultures. This will be an indispensable manual for any management student, also because, among other benefits, the practical resources provided at the end of the book are a goldmine to solve case studies, applicable not just for orchestras but for all arts and culture institutions and even beyond. Well-written, clear, and accessible, without jargon, the book is structured in a reader-friendly manner comprising separate boxes and tables that provide illuminating examples and case studies. In a nutshell: a manual second to none!"Patrick Billiottet, Former student at ESC La Rochelle and EM Lyon (France) business school"Dr. Salvaggio has undertaken a monumental task - rigorously analysing and comparing business and management models of classical orchestras across diverse global settings. His findings provide powerful insights into optimising these arts organisations amidst different cultural environments. Salvaggio makes an invaluable contribution, illuminating effective management strategies and best practices in finance, operations, marketing, artistic directions and more. Importantly, he also explores how arts and culture organisations can leverage the latest disruptive technologies to drive efficiency, expand reach and catalyse innovation. His book is essential reading for students and managers applying the latest thinking in applied economics and management to run a world-class musical institution."Dr Marco Delogu, Professor, Applied Economics, DISEA - State University of Sassari (Italy)Table of Contents1. Introduction 2. A Concise History of Orchestra Management 3. A Typical Orchestra Organisation and Functions 4. The Business Models of Classical Orchestras 5. The Fundamentals of Orchestra Management 6. Contemporary Issues in Orchestra Management 7. Tech Innovation in Modern Orchestra Management 8. The Ideal Profile of the CEO 9. Conclusion 10. Key Resources

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Book SynopsisIn the contemporary world, the role of the commercial composer has grown to include a wide range of new responsibilities. Modern composers not only write music, but also often need to perform, record, and market their own works. The Craft of Contemporary Commercial Music prepares today's music students for their careers by teaching them to compose their own music, produce it professionally, and sell it successfully.The textbook integrates three areas of concentrationmusic theory and composition, audio engineering, and music businessallowing students to understand and practice how to successfully navigate each stage of a score's life cycle from concept to contract. Students will learn how to: Translate musical ideas into scores utilizing music theory and composition techniques Transform scores into professional audio through the production stages of tracking, sequencing, editing, mixing, mastering, and bouncing Table of ContentsAcknowledgments Introduction: The Contemporary Commercial Composer and the Digital Audio Workstation I. Fundamentals of Music and Audio Ia: Fundamentals of Music Chapter 1: Introduction to Pitch Chapter 2: Introduction to Rhythm Chapter 3: Introduction to Harmony Chapter 4: Melody and Counterpoint Ib: Fundamentals of Audio Engineering and Sequencing Chapter 5: Introduction to Audio and MIDI Chapter 6: Manipulating Rhythm in the DAW Environment Chapter 7: Introduction to Acoustics Chapter 8: Melodic Sequencing II. Music Production Essentials IIa. Composition Essentials Chapter 9: Functional Diatonic Harmony Chapter 10: Expanding Your Harmonic Vocabulary Chapter 11: Form and Development Chapter 12: Basic Orchestration IIb. Audio Engineering Essentials Chapter 13: Introduction to Mixing Chapter 14: Recording and Editing Live Instruments Chapter 15: Mixing and Processing Chapter 16: Final Mix Considerations III. Producing Music for Media Chapter 17: The Client/Composer Relationship Chapter 18: Scoring for Short-Form Media Chapter 19: Scoring for Longer-Form Media IV. The Business of Music Composition Chapter 20: The Business of Music Composition Appendix A: List of CC Messages and Their Associated Functions Appendix B: Glossary Permission Acknowledgments Index

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Book SynopsisFirst as a journalist and then a publicist at Warner Brothers Records for nearly twenty years, Barbara Charone has experienced, first-hand, the changes in the cultural landscape. Access All Areas is a personal, insightful and humorous memoir packed with stories of being on the cultural frontline, from first writing press releases on a typewriter driven by Tip Ex, then as a press officer for heavy metal bands taking the bus up to Donnington Festival with coffee, croissants and the much more popular sulfate. To taking on Madonna, an unknown girl from Detroit, and telling Smash Hits ''you don''t have to run the piece if the single doesn''t chart'', and becoming a true pioneer in music, Charone continues to work with the biggest names in music, including Depeche Mode, Robert Plant, Foo Fighters and Mark Ronson at her agency MBCPR.The story of how a music-loving, budding journalist from a Chicago suburb became the defining music publicist of her generation, AccesTrade ReviewBarbara is the quintessential force of nature. In this great memoir her insatiable thirst for beauty and adventure is fabulously quenched, be it by great music, interesting people or ultimately a fine rosé, all for the reader to sit back and enjoy. Of course, having been in the right place at the right time also helps, and every day I thank my lucky stars we crossed paths years ago and I was permitted to join her on such a fabulous adventure. -- Rufus WainwrightFrom Keith Richards to Madonna to Mark Ronson, the inimitable BC is a music industry legend and Access All Areas is the story of a life like no other -- Alexis PetridisBarbara Charone had a massive role in shaping my career over the past 15 years and she's one of the most adored figures in the music industry for good reason. Access All Areas is a warm, funny, boozy take on the last 40 years of the British music industry from the perspective of someone who helped shape it but is also obviously still a massive fan at heart. Her teenager-like enthusiasm for every project and artist she's ever worked beams from very page and as a music trivia junky, I lived for all the 80's Smash Hits-era insider information . . . This book rules -- Mark RonsonI loved this book! Smart, sharp and hilarious -- Suggs

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Book SynopsisWe'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 Trade ReviewThe membrane between media and mind has been dissolving for a century. Cybermedia turns the membrane into an irrigation system. A new kind of practice as much as a book, Cybermedia brings makers, scientists and scholars into dialogues that pass through old borders, subtly transformed and transforming. From comic books to paranoia, neurotransmitters to Radiohead, Cybermedia opens a new landscape of social-technical minds and media as things to study and ways of studying them. * Sean Cubitt, Professor of Screen Studies, University of Melbourne, Australia *Table of ContentsAcknowledgments Contributors Introduction Jonathan Leal and Carol Vernallis Part I: AI and Robotics 1. Could the AI of Our Dreams Ever Become Reality? Jay McClelland 2. Director Alex Garland Converses with Cybermedia’s Scientists and Media Scholars Jonathan Leal and Carol Vernallis 3. (S)Ex Machina and the Cartesian Theater of the Absurd Simon D. Levy and Charles W. Lowney 4. Epiphany, Infinity and Transcendent AI Zachary Mason Part II: Big Data, Sentience, and the Universe 5. A MASSIVE Swirl of Pixels: Algorithms in Radiohead’s ‘Go to Sleep’ Steen Ledet Christiansen 6. The Rise of the Machine: Body-Knowing, Neural Nets, and Emergent Freedom Charles W. Lowney 7. The Quantum Computer as Sci-Fi’s Favorite Character Leonardo P. G. De Assis 8. Composer Ben Salisbury Discusses Scoring Science for Alex Garland Holly Rogers, John McGrath, Carol Vernallis, and Dale Chapman 9. Ex Machina and the Question of Consciousness Murray Shanahan Part III: The Neuroscience of Affect and Event Perception 10. ‘A Solid Popularity Arc’: Affective Economies in Black Mirror’s ‘Nosedive’ Dale Chapman 11. Cognitive Boundaries, ‘Nosedive’ and Under the Skin: Interview with Jeffrey Zacks Carol Vernallis, Jonathan Leal, and Dale Chapman 12. Toward an AI Future of Comics Study and Creation: A Cognitive-Affective Approach Frederick Aldama and Laura Wagner Part IV: The Digital West 13. The Philosophy of Westworld Paul Skokowski 14. New Visions of the Old West: A.I., Self, and Other in Westworld Christopher Minz 15. Scoring Music for Westworld Then and Now: A Cognitive Perspective Annabel J. Cohen Part V: Interface, Desire, Collectivity 16. Director Terence Nance Discusses Random Acts of Flyness Carol Vernallis, Jonathan Leal, Holly Rogers, Liz Reich and the contributors of Cybermedia 17. The Gift of Black Sonics: Interface and Ontology in Sorry to Bother You and Random Acts of Flyness Liz Reich 18. Technology, Chaos, and the Nimble Subversion of Random Acts of Flyness Eric Lyon 19. Expecting the Twist: How Media Navigate the Intersections Among Different Sources of Prior Knowledge Noah Fram 20. Face Color Bevil Conway Part VI: Productive Neuropathologies 21. Digital Vitalism Marta Figlerowicz 22. Neuroplasticity: From Experience to Healing Sara Ferrando Colomer 23. Where is My Mind? Mr. Robot and the Digital Neuropolis Patricia Pisters 24. Dopamine Circuits: Wanting, Liking, Habits, and Goals. An Interview about Mr. Robot with Neuroscientist Talia Lerner Jonathan Leal, Carol Vernallis, and Patricia Pisters 25. The Taste of Cybermedia: An Interview with Hojoon Lee, The Lee Lab at Northwestern University Julia Peres Guimaraes, Selmin Kara, and Carol Vernallis Index

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Book SynopsisThe Beatles, the Bible and Bodega Bay presents two portraits: the young man in London on top of the Apple building (and on top of the world!) as he watches the Beatles perform for the last time, and the older man on a remote Sonoma beach on his knees looking out to sea and into the heart of his Creator.#1 Best Selling Beatles Book – Amazon.com #2 “Books About the Beatles” – Senior Editor, Rock, Amazon.com (Beatles Anthology listed as #1) MAJOR PRESS REVIEWS Barnes&Noble.com (Kevin Giordano) “There is something quite Lennonesque about Mansfield’s soul-searching—his tales are astonishingly clear and vivid.” Amazon.com (Gail Hudson) “It is his writing talent and depth of personal story that makes this spiritual memoir rock.” Fox News Channel “A fabulous book about the Fab Four. It’s historical and a must-have.” Publishers Weekly, June 2000 “Eschewing the usual druggy histories of musicians, Mansfield delivers a book that is more philosophical than tell-all. There are enough tidbits to satiate any Beatle maniac, Library Journal, August 2000 “This is a ruminative and ultimately very personal journey through a man’s life and his personal relationships with each member of the Fab Four. Washington Post, October 2000 “This account is a warm-hearted look at an exciting period, related by an observer who was often at the right place at the right time.” ********************************** *Because of Ken’s personal relationship, respect and loyalty to Apple and the Beatles he sought all necessary official and personal approvals from Capitol, Apple, and each of the Beatles including Yoko on John’s behalf. At the time of the original release of The Beatles, The Bible and Bodega Bay he was informed that outside of their own Anthology that this was the only book approved by them. Once again, out of that same respect there have been no changes or updates—the content before you is exactly the same as the original book. These are the thoughts and events exactly as they were happening then…a unique insider’s look at a time that will never exist again.

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Book SynopsisLiving in Toronto has its challenges, especially when duct tape-wielding landlords and ever-encroaching developers are involved. For Lenny, the antidote to the chaos at home is the realization of a dream: opening a used record store with a carefully curated selection. He works hard, sneaking bites of cold noodles between customers, and politely tolerating even the most ridiculous requests. Unfortunately, Lenny's store isn't much more stable than his home life. Rent is sky-high, and sales are sporadic. Some days, he's run off his feet while other days, smashing unwanted records is the only way to pass the time. Hope arrives in the form of an old press release tucked away in the sleeve of a record. The discovery launches Lenny into his next quest: to track down the long-lost record collection of Hot Walter, an elusive and aging disco DJ. But will it be enough to save Lenny's Vinyl Boutique? On Vinyl is a love letter to vinyl and an exploration of the role nostalgia plays in the decisions we make.

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Book SynopsisAn Uncut Magazine Book of the Year A Telegraph Book of the Year A Financial Times Book of the Year'An adventurer, an entrepreneur, a buccaneer, a visionary' - BONOAs the founder of Island Records, renowned music producer Chris Blackwell has discovered and worked with some of the most legendary artists of the second half of the twentieth century - from Steve Winwood to Cat Stevens, Bob Marley to Grace Jones, U2 to Roxy Music, via Nick Drake, the B-52's and Robert Palmer. A maverick free spirit himself, Blackwell turned Island into a home for groundbreaking musicians and their wildly divergent music styles, playing an instrumental role in bringing reggae to the world stage.Now, as he turns eighty-five, the great raconteur takes us back to the island where it all began: Jamaica - the paradise where his family once partied with the likes of Noël Coward, Ian Fleming and Errol Flynn and where, as local Jamaican sounds began to adopt contemporary American trends, Blackwell's burgeoning musical instincts flourished. It was also the birthplace of the cutting-edge Island Records, founded by Blackwell in 1959. But that was just the start of a truly remarkable career...Winding through the music industry, this fascinating memoir makes for a giddy ride, encountering Island's many esteemed collaborators over the years and unpacking the initiatives, decisions and risks that ultimately brought such enduring success to Blackwell, both in music and beyond.Trade Review'As you're about to find out through the pages in this book, Chris Blackwell - who looms large in U2's life and was in fact our lifeline into the music world - is an adventurer, an entrepreneur, a buccaneer, a visionary and a gentleman. I'm proud to know him.' -- Bono'C.B. had this way of throwing me in the deep end knowing that I would thrive on being challenged. As you'll read in The Islander, he knows how to get the very best out of people - he's a mover and a shaker and a mischief-maker.' -- Grace Jones'I read Chris Blackwell's autobiography in one sitting, unable to tear myself away. From "My Boy Lollipop" and Bob Marley, via Swinging London and punk, all the way to Talking Heads and U2, I felt like I was reading the inside story of the music of my life.' -- Salman Rushdie'A thoroughly quotable autobiography, a book that's hard to put down. 4/5' -- Mojo'Fascinating. 8/10' -- Uncut'Highly readable.' -- The Guardian'A compelling autobiography.' -- The Observer'A story told with disciplined coherence that plunges deep beneath the surface.' -- Daily Telegraph'Highly recommended.' -- Kirkus'If you're even a minor fan of music books ... buy this autobiography. Fascinating.' -- Variety'A page-turner of an autobiography.' -- Record Collector'Fascinating autobiography of the Island Records founder. The Islander is a treasure.' -- Prog'A rip-roaring yarn, the ultimate behind-the-scenes insider look at the coolest label ever on the planet.' -- The Quietus'A compelling, juicy book.' -- Irish Times'An absorbing read.' -- Echoes'An extraordinary story and a wonderful book. It couldn't be more enthusiastically recommended.' -- Mark Ellen'Highly entertaining, rapid-fire, hard-to-put-down memoir.' -- Air Mail'There are amazing insights. If you want to know how it was ... read The Islander.' -- Bob Lefsetz

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Book SynopsisThe music industries are fuelled by statistics: sales targets, breakeven points, success ratios, royalty splits, website hits, ticket revenues, listener figures, piracy abuses and big data. Statistics are of consequence. They influence the music that consumers get to hear, they determine the revenues of music makers, and they shape the policies of governments and legislators. Yet many of these statistics are generated by the music industries themselves, and their accuracy can be questioned. This original new book sets out to explore this shadowy terrain. While there are books that offer guidelines about how the music industries work, as well as critiques from academics about the policies of music companies, this is the first book that takes a sustained look at these subjects from a statistical angle. This is particularly significant as statistics have not just been used to explain the music industries, they are also essential to the ways that the industries work: they drive signing policy, contractual policy, copyright policy, economic policy and understandings of consumer behaviour. This edited collection provides the first in-depth examination of the use and abuse of statistics in the music industries. The international group of contributors are noted music business scholars and practitioners in the field. The book addresses five key areas in which numbers are employed: sales and awards; royalties and distribution; music piracy; music policy; and audiences and their uses of music. The authors address these subjects from a range of perspectives. Some of them test the veracity of this data and explore its tactical use by music businesses. Others are helping to generate these numbers: they are developing surveys and online projects and offer candid self-observations in this volume. There are also authors who have been subject to statistics; they deliver first-hand accounts of music industry reporting. The digital age is inherently numerical. Within the music industries this has prompted new ways of tracking the usage and recompense of music. In addition, it has generated new means of monitoring and engaging audience behaviour. It has also led to increased documentation of the trade. There is more reporting of the overall revenues of music industry sectors. There is also more engagement between industry and academia when it comes to conducting analyses and offering numerical recommendations to politicians. The aim of this collection is to expose the culture and politics of data. Music industry statistics are all-pervasive, yet because of this ubiquity they have been under-explored. This book provides new ways by which to learn music by numbers. A timely examination of how data and statistics are key to the music industries. Widely held industry assumptions are challenged with data from a variety of sources and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses and manipulates the data that digital technologies have made available. Primary readership will be among popular music academics, undergraduate and postgraduate students working in the fields of popular music studies, music business, media studies, cultural studies, sociology and creative industries. The book will also be of interest to people working within the music industries and to those whose work encounters industry statistics.Trade Review'In a world increasingly reflected and cognised through numerical computation, this well curated collection proves a useful reference resource. Expansive, detailed and well-researched, Music by Numbers is a commendable contribution to the understanding of our digital age.' -- Chris Woods, Popular Music'Music by numbers provides a valuable contribution to our understanding of the use and abuse of data and statistics in the music industries. It employs a critical stance and unpacks the various ways in which numbers are instrumental to industry goals and details various strategies employed to manipulate them accordingly. [...] This book undoubtedly provides useful guidelines for future research on statistics, data and metrics in the music business.' -- Erik Hitters, International Journal of Music Business Research'In fourteen distinct and loosely connected chapters the contributors variously analyze, dispute, or contribute statistics on the music industries. As Osborne notes in his excellent introduction, the book was Laing’s idea; however, it is largely due to Osborne that this volume saw the light of day, as Laing sadly passed away in January 2019. Osborne was thus forced to contribute more than he had initially planned and wrote all three chapters for Part I on the music industries’ “winners and losers.” These are some of the most interesting chapters of the book. They range in topic from how the United Kingdom singles chart has historically both reflected and driven musical popularity, to the peculiar celebration of sales figures by rewarding gold or platinum status, to the disputable but highly influential rhetoric of the “one-inten” success ratio that is still frequently heard today. Music By Numbers provides popular music scholars with an important and useful foundation for the continued investigation of “the use and abuse” of numbers in the music industries. It is also a fine tribute to the late Dave Laing.' -- Robert Prey, Journal of Popular Music Studies'Music by Numbers is a useful read for professionals at any level in the music industry. Each chapter deals with statistics and data in an accessible way without weakening their rigorous critiques of music industry practices. It would be an illuminating read for all artists and music industry professionals.' -- Margaret Grumeretz, Music Reference Services Quarterly“The book could have been called ‘Doing a Number on Music Data’ as it does just that. It reveals the tricks and traps that seemingly objective statistics conceal and puts paid once and for all the notion that they should be taken at face value. Everyone should understand the basis for claims backed by data and actual or potential sources of bias. This book is a very good source for doing just that in the music industry.” -- Ruth Towse, professor of economics of creative industries, Bournemouth University“Music By Numbers is a major contribution to popular music studies. The analyses and accounts here are detailed, rigorous, and inclusive, providing crucial resources for comparative and critical research as well as substantial counterweights to industry- and policy-serving materials.” -- Matt Stahl, associate professor of Information and Media Studies, Western University, Ontario“From the Hit Parade to Spotify, whether in arguments about royalties, piracy or the relative value of the live and recorded sectors, the political economy of popular music has always been shaped by statistics. This collection of essays provides a thoughtful, sceptical and instructive guide to why and how music businesses use and abuse numerical data.” -- Simon Frith, emeritus professor of Music, University of Edinburgh“This book offers a timely examination of how data and statistics lie at the heart of the music industries – in making decisions, lobbying governments, and discussing internet piracy. Commonly held industry assumptions are challenged with recourse to a variety of data sources and methodologies, and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses, abuses and manipulates the vast quantities of data that digital technologies have made available.” -- Chris Anderton, associate professor in Cultural Economy, Solent University, Southampton“Everyone who is interested in music is, in one way or another, influenced by numbers - from tracks, hits and streams to profit margins, ticket prices and piracy rates. What the chapters in this collection demonstrate is that these numbers are never neutral; they are inherently political - constructed and presented in specific ways to suit particular interests. This book offers essential guidance for anyone who wants to make sense of the statistics that surround the music industry, and - fortunately - you don't need to be a maths whizz to understand it. In an age when the 'data' about music is constantly increasing, this collection will only increase in importance, helping future readers to make sense of numbers yet to be invented.” -- Lee Marshall, professor of Sociology, University of BristolTable of ContentsRichard Osborne, ‘Introduction’ PART ONE: Winners and Losers Richard Osborne, ‘At the Sign of the Swingin’ Symbol: The Manipulation of the UK Singles Chart’ Richard Osborne, ‘The Gold Disc: One Million Pop Fans Can’t Be Wrong’ Richard Osborne, ‘“I Am a One in Ten”: Success Ratios in the Recording Industry’ PART TWO: Policy David Arditi, ‘The Global Music Report: Selling a Narrative of Decline’ Shain Shapiro, ‘Popular Music Funding in Canada’ PART THREE: Live Music Adam Behr, Matt Brennan, Martin Cloonan and Emma Webster, ‘Stop Making Census! Some Experiential Reflections on Conducting a Live Music Census’ Dave Laing, ‘What’s It Worth? Calculating the Economic Value of Live Music’ Richard Osborne, ‘Live Music vs. Recorded Music’ PART FOUR: Piracy Lucas Logan, ‘Selling the Numbers on Music Piracy to Burn Down the Digital Library’ Lola Costa Galvez, ‘Educar para crear: The Use of Statistics and Surveys in Spanish Music Anti-piracy Policies’ Vanessa Bastian and Dennis Collopy, ‘Measuring the Unmeasurable’ PART FIVE: Digital Solutions Mike Jones, ‘One Penny from Brazil: Music Publishing Revived but Untransformed’ Marcus O’Dair (Middlesex University), ‘Tokens and Techno-Economic Paradigms: On the Value of Blockchain Technology to the Music Industries’ Craig Hamilton, ‘The Harkive Project: Computational Analysis and Popular Music Reception’

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Book SynopsisIn 1974, with Apple winding down, George Harrison still aspired to help new artists, so rather than trying to salvage Apple, he set up his own label Dark Horse Records, on a much smaller scale. His plan was to release records from new artists as well as some of his old friends, with an eye to eventually releasing his own music. While Dark Horse had an encouraging beginning with a hit single from Splinter, the label Suffered increasing problems, failing to establish itself in the way Harrison hoped. However, some incredible and varied music was created from 1974 to 1977, including some of Harrison’s best solo material. Towards the end of its initial life, Dark Horse dropped most of its artists and released mainly Harrison’s solo work. Thankfully, since 2020, Dhani Harrison has taken the reins and has made Dark Horse viable once again, signing Cat Stevens and Billy Idol and releasing music from Joe Strummer and Leon Russell. Finally, in 2023, it was announced that Harrison’s entire solo catalogue was going to be re-released on Dark Horse. This book tells the story of the label from the beginning, through its struggles and on to its exciting renaissance in the new millennium.

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Book SynopsisAre you interested in learning how to cultivate sustainable success in the popular music industry whilst prioritising your health? If so, this book is for you. Inside you'll find research-informed advice and information that aims to help musicians, as well as those that work with them, navigate their way through what can be a challenging and demanding industry.This book covers the mental and physical health problems research suggests musicians might come up against and offers lots of tools and techniques to help aid prevention. You''ll also find information about the structure of the industry, money management, and how to improve your skills as a performer, creator, and CEO of your career.Expect original interviews with leading researchers, health experts, business execs and a host of famous musicians. Widely supported by some of the biggest companies in the music business, Sound Advice is the ultimate guide for both seasoned

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisJim Simpson of Big Bear Records has been involved in the music business for nearly 60 years, as musician, bandleader, promoter, record producer, festival director, manager, journalist and photographer. In his candid, constantly surprising, frequently amusing and occasionally shocking account you will encounter the joys and difficulties of managing Black Sabbath or of running a jazz festival in sun-kissed, crime-ridden Marbella. At home in Birmingham meet some of the characters who have enlivened 35 years of the Jazz Festival and read Jim's take on the scandals that closed the city’s premier jazz club. Revisit the exciting Brum Beat scene, take to the road with some 40 of the best (in some cases, most eccentric) American bluesmen of the 1970s, encounter the Blues Brothers Band in surprising places and enjoy Jim's tributes to some of the great names in British jazz, such as Humphrey Lyttelton and Kenny Baker, with whom he worked closely.

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Book SynopsisThe 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 FiendTrade Review“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"[An] utterly candid work...Bozorgmehr's stirring account gives readers the insider's view of musical outlaws who possessed the best intentions of elevating hip-hop from its street moorings to more stylish, chic surroundings, and whose efforts exploded in a crisis of bad media coverage and soulless pharmaceutical drug merchants."Publishers Weekly

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Book SynopsisMy 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.

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Book SynopsisChosen as one of the Best Architecture and Design books Summer 2022 by the Financial Times. Why British record store carrier bags are graphic design icons: While they’ve never carried the kudos of sleeve designs and music posters, record shop bags offer a fascinating insight into 20th century British music culture, high-streets and more. – Creative Review Jonny Trunk’s extensive collection of record shop bags weaves together a less conventional history of British music, celebrating the shops where musicians and fans bought and sold their first LPs. This book is a love letter to these forgotten spaces, accompanied by a juicy selection of anecdotes and little known facts about the record shops and their bags. Readers, gear up for a “brilliant ride down the old British high streets and low streets too.” – It's Nice That Jonny Trunk and FUEL present A-Z of Record Shop Bags – a publication celebrating the humble record store bag. This exhaustive collection of the record shop bag provides a unique perspective of record shopping in the UK over the last century, bringing together over 500 incredible bags (some possibly the only surviving examples) to document the fascinating story of British high street record shopping. Bags from famous chains such as NEMS, Our Price and Virgin (the amazingly rare Roger Dean bags), sit alongside designs from local shops run by eccentric enthusiasts. Packed with stories such as the first Jewish ska retailer, the record sellers who started the premier league, famous staff (David Bowie, Dusty Springfield, Morrissey, etc.) and equally infamous owners, these anecdotes of mythical vinyl entrepreneurs will entertain and delight. With vinyl record sales at their highest ever for decades (outselling CDs in the US), this publication acts as an amazing insight into the history, culture and visual language of record collecting. Following Own Label, Wrappers Delight and Auto Erotica – A-Z of Record Shop Bags: 1940s to 1990s is the next book in the series by Jonny Trunk and FUEL, examining overlooked aspects of our collective past.

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Book SynopsisThis 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.Table of ContentsIntroduction: Industry Overview and Theoretical Approaches Getting Started: Building Teams and Understanding Management Functions Artist Development Strategies Creating a Buzz Music Marketing Public Relations and Promotion Online Music: Media Platforms, Music Streaming and Music Recommendation Concerts and Festivals Branding and Sponsorship Copyright, Funding and Revenue Streams Beyond the Music: Well-Being and Equality Conclusion

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Book SynopsisHow 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 NationAs addictive as its subject' Sunday Times Trade ReviewRevelatory, funny, and full of almost unbelievable details -- Eric Schlosser, author of 'Fast Food Nation'As addictive as its subject * Sunday Times *A gripping investigation of modern hitmaking… Seabrook’s writing is as sleek and swift as a dolphin * New Statesman *This is a fascinating tale about an amazing phenomenon -- Walter Isaacson, author of 'Steve Jobs'Seabrook subtly explores not only the insides of a song, but how a song gets inside us * Observer *Revealing, frightening, funny and unsettling -- Roddy DoyleSeabrook’s book takes the reader into a hidden world behind some of the most high-profile cultural products of the era * Guardian *A highly engaging narrative * Economist *Weaving its way through two-and-a-half decades, one of The Song Machine’s greatest achievements is to situate the pop song within a shifting matrix of technological evolution, diminishing revenue streams, and warring egos * Independent *Seabrook takes us on a lucid and well-researched tour of the places where modern hits are created -- Peter Clark * Literary Review *

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Book SynopsisVoices for Change in the Classical Music Profession lays the groundwork for empirically-founded, theoretically-informed, and practice-based approaches to tackling inequalities in the classical music profession.Trade ReviewVoices for Change in the Classical Music Profession: New Ideas for Tackling Inequalities and Exclusions, implies that rather than wholly a new approach, diversity has long been an implicit theme of the lyric stage. * Opera Now Magazine *The classical music industry is finally beginning to grapple the issues of diversity, equality, and justice. But what are the real issues, barriers, and stakes? With a combination of empirical data, incisive analysis, and first-person voices on the ground, this immensely important volume pushes the debate far beyond benevolent inclusion and token diversity to reckon with the societal, economic, and institutional underpinnings of 'classical music. * Mari Yoshihara, Professor of American Studies, University of Hawai'i *Finally, a volume that tackles the issue of inequality in classical music. Compelling and beautifully curated, this is a must-read for anyone who cares about the future of music and those who work within it. * Professor Dawn Bennett, Assistant Provost, Bond University and Founder of the Employ-ability Initiative *A closed world of elite artforms, whether for performers or for audiences, is not a sustainable future for the cultural sector. How to open up the arts is a crucial question. Voices for Change in the Classical Music Profession is essential reading for anyone hoping that classical music, and indeed many other parts of the cultural world, can be open to all. * Dave O'Brien, Professor of Cultural and Creative Industries, University of Sheffield *Table of ContentsIntroduction Anna Bull and Christina Scharff PART I THE MAKING OF CLASSICAL MUSICIANS 1. Class and Gender Inequalities in the Recruitment of Classical Musicians: Reflections on the Case of Italian Music Conservatoires Clementina Casula 2. The Role of Music Conservatoires in the Making of Classical Music Careers Rainer Prokop and Rosa Reitsamer 3. Social Inclusion in Contemporary British Conservatoires: Alumni Perspectives Jennie Joy Porton 4. Inside Looking In: Strategies to Counteract Misconduct in Artistic Teaching within Higher Music Education David-Emil Wickström PART II PROBLEMATIZING INSTITUTIONAL CHANGE 5. (Un)settling Institutional Hegemony: Challenges of Diversity Strategies in the "Western" Classical Music Sector Kristina Kolbe 6. "To Share Music with Children": The LA Phil and Neoliberal Philanthropy in Inglewood Mina Yang 7. A Critical Perspective on Diversity and Inclusion in US Classical Music Discourse Marianna Ritchey 8. Staging a Loose Canon: Scripture, Tradition, and Embedded Exclusion in Opera Production Caitlin Vincent 9. Disability Representation in Opera Charlotte Armstrong PART III MARGINALIZED VOICES 10. Gender and Class: An Account of a Female Percussionist in the Classical Music Industry Beth Higham-Edwards 11. Making Space for Disability and Music to Interact: An Interview with Composer Oliver Vibrans Oliver Vibrans 12. Black on the Podium: An Interview with Conductor Brandon Keith Brown Brandon Keith Brown 13. Creolization, Mixing, and Plurality: An Interview with Composer Hannah Kendall Hannah Kendall PART IV RACIAL INEQUALITIES 14. The New "Yellow Peril" in "Western" European Symphony Orchestras Maiko Kawabata 15. Irreconcilable Senses of Belonging: Transnational Japanese Artists in the Quest for Authenticity in the World of Classical Music Beata M. Kowalczyk 16. [Re- ]training Classical Musicians Toward Polymusicality and Hybridization: An Interview with Jon Silpayamanant Jon Silpayamanant 17. Inclusion and Diversity in the Early Music Scene in the US: A Conversation with Patricia Ann Neely Patricia Ann Neely 18. On Leaving Classical Music: An Interview with Anthony Gray Anthony Gray PART V ACTIVISM STARTING WITH THE SELF 19. (Dis)orient Yourself!: Disrupting White Ontologies in Classical Music Eleanor Ryan 20. Everyday Bridges: A View from the Field Cayenna Ponchione-Bailey 21. Illuminating Women's Music: Exploring the Canonic Ethos behind the Illuminate Women's Music Concert Series Angela Elizabeth Slater 22. Changing Classical Music from the Inside: An Interview with Chi- chi Nwanoku Chi-chi Nwanoku PART VI ACTIVISM: BUILDING NETWORKS FOR CHANGE 23. (Un)Silencing Blacktivism in Opera: An Interview with Quodesia Johnson about the Letter to the Opera Field from Black Administrators Antonio C. Cuyler 24. Reflecting on the Work of Gender Relations in New Music: Institutional Critique and Activist Strategies Brandon Farnsworth and Rosanna Lovell 25. Addressing Inequalities in the Music Industry before, during, and after COVID- 19: The Campaigning Work of the UK's Independent Society of Musicians Deborah Annetts, Vick Bain, Chris Collins, Vinota Karunasaagarar, and Dr. Kathryn Williams 26. "A Community of 30,000 Musicians behind You": An Interview with John Shortell from the UK Musicians' Union John Shortell Afterword Gillian Moore Discussion Questions for Teachers, Students, Reading Groups, and Industry Leaders References Index

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Book SynopsisCaring for the Whole Musician brings together insights from two expert musicians and educators to consider the relationship between mental and physical health and artistic practice for musicians. Offering a holistic perspective that encompasses the whole being â body, mind, and heart â this book provides emerging musicians with tools, practices, and mindsets to address key challenges throughout their journey.The first part, Awareness, addresses wellness and embodiment in music, exploring how our bodies are constructed and how the use of our bodies as instruments affects function. Using approaches including Body Mapping and the Alexander Technique, this part helps readers discover adverse habits that interfere with natural movement, and nurture awareness of the body. The second part, Mindfulness, explores how meditative practice can be incorporated into every stage of concert preparation and embedded within the daily life of the musician. Offering mindfuTable of ContentsPART ONE: AWARENESS 1. The Well of Awareness2. Know Thyself3. Alexander Technique Principles4. The Well Never Runs DryRecommended MaterialsPART TWO: MINDFULNESS 5. The Musician and the Monk6. Pre-Game Strategies7. Mid-Game Strategies8. Post-Game Strategies and Final Thoughts

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Book SynopsisEvery orchestra in the world oscillates between crisis and survival. This perpetual movement makes innovation, both in organizational form and in artistic product, vital to the sustainability of the symphony orchestra. Based on case study research in Flanders, Amsterdam and London, this book reflects on the sustainability crisis of the orchestra by framing it as a legitimacy crisis that affects both the orchestraâs artistic and organizational identity. The aim of this book is to explore the dynamics between various and often conflicting factors in the orchestraâs quest for survival, and to show how these organizational dynamics relate to the orchestraâs repertoire. By highlighting the importance of every organizationâs specific environment to which it needs to adapt, this book illustrates that the orchestra field is not a field that relies on best practices. The book reflects on conventional as well as innovative orchestra models, making the comparative point of view r

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisWith an example-driven, hands-on approach, New Channels of Music Distribution offers a practical, comprehensive study of the music industry's evolving distribution system. While paying careful attention to the variables that impact success, C. Michael Brae examines the functionality and components of music distribution, as well as the music industry as a whole.This book is a one-stop guide and resource for all musicians, performers, songwriters, and label owners in understanding all the elements and efficiency of music distribution. Through its hands-on exploration of the music business, this book provides insightful strategies for executing marketing, radio, retail campaigns, and much more.Here you will find:* Specific DIY methods and strategies for distributing music throughout every platform possible* Case studies and discussions highlighting wholesale and retail markups, pricing strategies, major chains, rack jobbers, one-stops, mom and pop stores, and other retail outlets* Tips on how to incorporate retail distribution networks supporting Soundscan and employ marketing techniques using cutting-edge web technology* Distribution methods and promotion tactics to help you increase an effective sell-through on your musicAn accompanying website (www.routledge.com/cw/brae) features examples of distribution, licensing, and co-publishing agreements, sample Midem charts, sample proposals, quiz questions, web links and key terms.Table of ContentsChapter 1: Music Industry Study and FactsChapter 2: Music Copyright, Publishing & LicensingChapter 3: Manufacturing Processes, Systems, Product Platforms & Music ProductionChapter 4: Types of Distributors & Indie Distribution AssociationsChapter 5: Distribution ProcessesChapter 6: Distribution ResourcesChapter 7: Alternative Selling and Total ExposureChapter 8: Internet MarketingChapter 9: RadioChapter 10: Promotional Campaigns & PlanningChapter 11: Company StructureChapter 12: Record Label OrganizationChapter 13: International MarketsAppendix 1Appendix 2Appendix 3Appendix 4Appendix 5Appendix 6Appendix 7Appendix 8Glossary

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Book SynopsisPopular music scholars have long been interested in the connection between place and music. This collection brings together a number of key scholars in order to introduce readers to concepts and theories used to explore the relationships between place and music. An interdisciplinary volume, drawing from sociology, geography, ethnomusicology, media, cultural, and communication studies, this book covers a wide-range of topics germane to the production and consumption of place in popular music. Through considerations of changes in technology and the mediascape that have shaped the experience of popular music (vinyl, iPods, social media), the role of social difference and how it shapes sociomusical encounters (queer spaces, gendered and racialised spaces), as well as the construction and representations of place (musical tourism, city branding, urban mythologies), this is an up-to-the-moment overview of central discussions about place and music. The contributors explore a range of contextsTrade ReviewThe latest addition to Bloomsbury’s Popular Music Handbook series is a well-conceived and intelligently organized introduction to one of the most interesting areas of contemporary popular music scholarship: the study of musical spaces and places. The editors do an excellent job of arranging a variety of voices and bring together contrasting approaches in a way that makes coherent a topic that is, it seems, limitless! There are essays here on the bedroom, the studio and the record shop; on the toilet circuit of small gigs and the portaloo logistics of large festivals; on French banlieus, South African townships, Brazilian favelas and English suburbia; on musical cities as conceived by policy makers, tourists and musicians; on travelling at home with a Frank Sinatra album and feeling at home in the circuits of the digital universe; on the historical space of heritage and musical nationalism; on experiencing the noise of cities and the sounds of the countryside. This is a rich field of scholarship indeed! -- Simon Frith, Professor of Music, University of Edinburgh, Scotland, author of Performing Rites: On the Value of Popular Music (1998)The experience and the forms of music might seem to become ever less tethered to locality, but this collection of essays from many disciplines and countries shows how space cannot but structure sound, from global commodity flows to the banlieu and the bedroom. With succinct chapters providing evocative case studies and quick access to the relevant theoretical literatures, the Handbook will be much appreciated as the primary gateway into researching the variegated geographies of today’s popular music. -- Arun Saldanha, Associate Professor in the Department of Geography, Environment and Society at the University of Minnesota, USA, author of Space After Deleuze (Bloomsbury, 2017)This is not another book about the relationship between music and the city. It is not another book about musical cities. Nor is it a book about musical scenes. Following the primordial path of Simmel or Lefebvre, this edited book expands, systematizes and updates the fruitful (and foundational) relations between music, space and place from a theoretical and empirical point of view. It is a crucial work of transdisciplinary profile that equates space, place (and even the non-place) in a dialogical relationship through the presentation of the different dynamics and means of appropriation and consumption of music spaces and places - home, radio, record store, nightclub, live concert, mobile devices. It unveils the relationships between space, place, music production and performance in the city, in the bedroom, in the (virtual-) studio, in the record or in the live gig. Music does not exist without space and the place. Considering the contemporary metamorphosis of this equation, this edited book shows us the impressive number of 29 chapters dedicated to the different issues, disciplines, theories, methods and geographical latitudes that are at stake. It ranges from suburban breakout, to South African township life, Rio de Janeiro's Favelas funk, postcolonial noise and even trans-national music. The plethora of meanings of the relationship between music, space and place is further explored in terms of its historicity, heritage, memory, tourism, events/festivals or cinema. In short, this edited book has come to occupy a place - which was empty because fragmentary - for all the academics, researchers, students, music lovers, managers and politicians who have music and its 'territories' as their field of action. Moreover, I can tell you how much I missed it. -- Paula Guerra, Professor of Sociology, University of Porto, Portugal, co-editor of Punk, Fanzines and DIY Cultures in a Global World: Fast, Furious and Xerox (2020) and Underground Music Scenes and DIY Cultures (2019)Table of ContentsList of contributors Introduction (Geoff Stahl, Victoria University of Wellington, New Zealand and J. Mark Percival, Queen Margaret University, Edinburgh) Section I: Theory & method 1. Music, space, place and non-place (Geoff Stahl, Victoria University of Wellington, New Zealand) 2. Rhythmanalysis and circulation (Will Straw, McGill University, Canada) 3. Global, local, regional and translocal: Towards a relational approach to scale in popular music (Hyunjoon Shin, Sungkonghoe University, South Korea and Keewong Lee, Sungkonghoe University, South Korea) 4. Sociological perspectives on music and place (Andy Bennett, Griffith University, Australia) 5. Ethnomusicology and place (Kimberly Cannady, Victoria University of Wellington, New Zealand) 6. Political economies of urban music (Shane Homan, Monash University, Australia) 7. Sensobiographic walking and ethnographic approach of the Finnish school of soundscape studies (Helmi Järviluoama, University of Eastern Finland, Finland) Section II: Space, place and consumption 8. At Home with Sinatra (Keir Keightley, University of Western Ontario, Canada) 9. Music radio (J. Mark Percival, Queen Margaret University, UK) 10. The record shop (Nabeel Zuberi, University of Auckland, New Zealand) 11. The nightclub (Hillegonda C Rietveld, London South Bank University, UK) 12. The live venue (Robert Kronenburg, University of Liverpool, UK) 13. Mobile listening cultures (Raphaël Nowak, Griffith University, Australia) Section III: Space, place, production and performance 14. In the City - Glasgow (Martin Cloonan, University of Turku, Finland) 15. Bedroom production (Emília Barna, Budapest University of Technology and Economics, Hungary) 16. The Studio (Ruth Dockwray, University of Chester, UK) 17. The virtual studio (Martin K. Koszolko, RMIT, Australia) 18. The space of the record: Something happening somewhere (Simon Zagorski-Thomas, University of West London, UK) 19. The live gig (Sam Whiting, RMIT, Australia) Section IV: Cities, suburbs, nations and beyond 20. Suburban breakout: Nomadic reverie in British pop (Andrew Branch, University of East London, UK) 21. Sounding South African township life (Kathryn Olsen, University of KwaZulu-Natal, South Africa) 22. Funk - A musical symbol of Rio de Janeiro's favelas (Vincenzo Cambria, UNIRIO/Federal University of the State of Rio de Janeiro, Brazil) 23. Banlieue: Postcolonial noise: How did French rap (re)invent 'the banlieue'? (Christina Horvath, University of Bath, UK) 24. Music and the nation (Melanie Schiller, University of Groningen, The Netherlands) 25. Transnational music (Simone Krüger Bridge, Liverpool John Moores University, UK) Section V: Selling, celebrating, representing space and place 26. Music and Heritage (Catherine Strong, RMIT, Australia) 27. Music and Tourism (Leonieke Bolderman, Erasmus University, The Netherlands) 28. Festivals (Chris Anderton, Solent University, UK) 29. Cinematic places: Popular music soundtracks and the charge of the real (Kate Bolgar Smith, SOAS University of London, UK) Index

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Book SynopsisThe one-hit wonder has a long and storied history in popular music, exhorting listeners to dance, to teach the world to sing in perfect harmony, to ponder mortality, to get a job, to bask in the sunshine, or just to get up and dance again. Catchy, memorable, irritating, or simply ubiquitous, one-hit wonders capture something of the mood of a time. This collection provides a series of short, sharp chapters focusing on one-hit wonders from the 1950s to the present day, with a view toward understanding both the mechanics of success and the socio-musical contexts within which such songs became hits. Some artists included here might have aspired to success but only managed one hit, while others enjoyed lengthy, if unremarkable, careers after their initial chart success. Put together, these chapters provide not only a capsule history of popular music tastes, but also ruminations on the changing nature of the music industry and the mechanics of fame.Trade ReviewOne-hit wonders are pop’s overachieving underachievers, winners-but-losers that stretch categories – up to a point. In this big book of small fries, academics and musicians reckon with the results, from bubblegum to global pop – every musical identity ersatz, every twist and turn a chance to marvel, yet again: “How Bizarre.” -- Eric Weisbard, Professor of American Studies, University of Alabama, author of Top 40 Democracy: The Rival Mainstreams of American Popular Music (2014)A fascinating look at the cultural and personal context around one-hit wonders, this collection deftly explains why some of these songs escaped obscurity — and makes excellent cases why others might be best left in the past. -- Annie Zaleski, editor, music journalist, and author of Duran Duran’s Rio (2021) in Bloomsbury's 33 1/3 seriesOne-Hit Wonders is a treasure trove of analysis into why particular songs resonate at specific moments in history and how quickly they can date. Hill’s collection is full of insight into the vagaries of taste, the nature of audiences and why certain musical moments remains timeless. It poses fascinating questions about what happens to those whose careers are defined by that one hit song. -- Kirsty Fairclough, Reader in Screen Studies, School of Digital Arts (SODA), Manchester Metropolitan University, UK, co-editor of Prince and Popular Music: Critical Perspectives on an Interdisciplinary Life (Bloomsbury, 2020)One-Hit Wonders unveils the many layers behind those familiar, catchy, (and sometimes grating) hit songs that all too often evade the pop music history textbooks. Covering a wide variety of songs, as though you are turning a radio dial that traverses a Top 40 format across decades, this engaging collection emphasizes that these songs are not standalone entities but are deeply embedded in larger cultural movements and moments. -- Brian Fauteux, Associate Professor of Popular Music and Media Studies, University of Alberta, Canada, author of Music in Range: The Culture of Canadian Campus Radio (2015)Table of ContentsList of Figures Acknowledgements The Chart of the Book: One-Hit Wonders' Top Hits Introduction Sarah Hill, St Peter's College, University of Oxford, UK 1. Buchanan & Goodman, "The Flying Saucer" Parts 1 & 2 (1956) Paul Carr, University of South Wales, UK 2. The Kingsmen, "Louie Louie" (1963) Samuel Murray, Middlesex University, UK 3. ? and the Mysterians, "96 Tears" Adam Behr, Newcastle University, UK 4. The Easybeats, "Friday on My Mind" (1966) Dai Griffiths, Independent Scholar, Oxford, UK 5. Norman Greenbaum, "Spirit in the Sky" (1969) Philip Auslander, Georgia Institute of Technology, USA 6. The Archies, "Sugar Sugar" (1969) Jon Stewart, BIMM Institute, Brighton, UK 7. Serge Gainsbourg, "Je t’aime(moi non plus" (1969) Philippe Gonin, University of Burgundy Franche-Comté, France; trans. Jackie Ortiz 8. Blue Swede, "Hooked On a Feeling" (1974) Sarah Hill, St. Peter's College, Oxford, UK; with Bengt Palmers 9. Wild Cherry, "Play That Funky Music" (1976) Robert Fink, UCLA Herb Alpert School of Music, USA 10. Althea and Donna, "Uptown Top Ranking" (1977) Paul Long, Monash University, Australia 11. Plastic Bertrand, "Ça Plane Pour Moi" (1977) Patrick McGuinness, St. Anne's College, Oxford, UK 12. Nick Gilder, "Hot Child in the City" (1978) Richard Parfitt, Independent Scholar, Wales, UK 13. The Vapors, "Turning Japanese" (1980) Abigail Gardner, University of Gloucestershire, UK 14. Aneka, "Japanese Boy" (1981) Richard Elliott, Newcastle University, UK 15. Toni Basil, "Mickey" (1981) Tim J. Anderson, Old Dominion University, USA 16. Trio, "Da Da Da" (1981) Tim Quirk, Singer and Lyricist, USA 17. Nena, "99 Luftballons/99 Red Balloons" (1983) Melanie Schiller, University of Groningen, Netherlands 18. The Grateful Dead, "Touch of Grey" (1987) Tom Irvine, University of Southampton, UK 19. A View from the Ground: Latin Quarter, "Radio Africa" (1986) Michael Jones, Senior Lecturer in Music, University of Liverpool, UK 20. A View from the Desk: Product Management Sarah Hill, St. Peter's College, Oxford, UK 21. Shakespear’s Sister, "Stay"(1992) Áine Mangaoang, University of Oslo, Norway 22. OMC, "How Bizarre" (1996) Geoff Stahl, Victoria University of Wellington, Aotearoa/New Zealand 23. The Butthole Surfers, "Pepper" (1996) Gina Arnold, University of San Francisco, USA 24. Chumbawamba, "Tubthumping" (1997) Matt Grimes, Birmingham City University, UK 25. Meredith Brooks, "Bitch" (1997) Asya Draganova, Birmingham City University, UK 26. New Radicals, "You Get What You Give" (1998) Jon Gower, Independent Scholar, UK 27. Las Ketchup, "Aserejé" (2002) Eulalia Febrer Coll, Conservatori Superior de Música de les Illes Balears and Universidad Internacional de La Rioja, Spain 28. Gotye ft. Kimbra, "Somebody That I Used to Know" (2011) Ellis Jones, University of Leeds, UK List of Contributors Index

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Book SynopsisThe music industry is one of the most dynamic and fascinating business sectors. Its business model has had to evolve and adapt to continually changing technologies that impact at every level from distribution to artist management. Its latest challenge has been the closure of live music venues during the Covid-19 pandemic. The second edition of this much used introduction to the economic workings of the music business has been updated to include analysis of the impact of the pandemic as well as new trends in the industry, such as the increasing dominance of tech companies and big data and the growing importance of collective management organizations as market players, which has impacted on new business contracts. At a time when live performance outstrips music sales as the primary source of income for today’s musicians, this new edition also examines how different stakeholder positions have shifted. The book remains a rigorous presentation of the industry’s business model, the core sectors of publishing, recording and live music, and the complex myriad of licensing and copyright arrangements that underpin the industry. The revenue streams of recording companies are analysed alongside the income stream of artists to show how changing formats and distribution platforms impact both industry profit margins and artists’ earnings.Trade ReviewComprehensive and well documented, drawing on the author's prodigious knowledge of the industry. -- David Throsby, Times Literary SupplementTable of ContentsIntroduction1. A short economic history of the music business2. Microeconomics of music: music as an economic good3. The economics of music copyright4. Music publishing5. Sound recording6. Live music7. Secondary music markets8. Music labour markets9. Economics of the digital music businessConclusionGlossary

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Book SynopsisThe music industries are fuelled by statistics: sales targets, breakeven points, success ratios, royalty splits, website hits, ticket revenues, listener figures, piracy abuses and big data. Statistics are of consequence. They influence the music that consumers get to hear, they determine the revenues of music makers, and they shape the policies of governments and legislators. Yet many of these statistics are generated by the music industries themselves, and their accuracy can be questioned. This original new book sets out to explore this shadowy terrain. While there are books that offer guidelines about how the music industries work, as well as critiques from academics about the policies of music companies, this is the first book that takes a sustained look at these subjects from a statistical angle. This is particularly significant as statistics have not just been used to explain the music industries, they are also essential to the ways that the industries work: they drive signing policy, contractual policy, copyright policy, economic policy and understandings of consumer behaviour. This edited collection provides the first in-depth examination of the use and abuse of statistics in the music industries. The international group of contributors are noted music business scholars and practitioners in the field. The book addresses five key areas in which numbers are employed: sales and awards; royalties and distribution; music piracy; music policy; and audiences and their uses of music. The authors address these subjects from a range of perspectives. Some of them test the veracity of this data and explore its tactical use by music businesses. Others are helping to generate these numbers: they are developing surveys and online projects and offer candid self-observations in this volume. There are also authors who have been subject to statistics; they deliver first-hand accounts of music industry reporting. The digital age is inherently numerical. Within the music industries this has prompted new ways of tracking the usage and recompense of music. In addition, it has generated new means of monitoring and engaging audience behaviour. It has also led to increased documentation of the trade. There is more reporting of the overall revenues of music industry sectors. There is also more engagement between industry and academia when it comes to conducting analyses and offering numerical recommendations to politicians. The aim of this collection is to expose the culture and politics of data. Music industry statistics are all-pervasive, yet because of this ubiquity they have been under-explored. This book provides new ways by which to learn music by numbers. A timely examination of how data and statistics are key to the music industries. Widely held industry assumptions are challenged with data from a variety of sources and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses and manipulates the data that digital technologies have made available. Primary readership will be among popular music academics, undergraduate and postgraduate students working in the fields of popular music studies, music business, media studies, cultural studies, sociology and creative industries. The book will also be of interest to people working within the music industries and to those whose work encounters industry statistics.Trade Review'In a world increasingly reflected and cognised through numerical computation, this well curated collection proves a useful reference resource. Expansive, detailed and well-researched, Music by Numbers is a commendable contribution to the understanding of our digital age.' -- Chris Woods, Popular Music'Music by numbers provides a valuable contribution to our understanding of the use and abuse of data and statistics in the music industries. It employs a critical stance and unpacks the various ways in which numbers are instrumental to industry goals and details various strategies employed to manipulate them accordingly. [...] This book undoubtedly provides useful guidelines for future research on statistics, data and metrics in the music business.' -- Erik Hitters, International Journal of Music Business Research'In fourteen distinct and loosely connected chapters the contributors variously analyze, dispute, or contribute statistics on the music industries. As Osborne notes in his excellent introduction, the book was Laing’s idea; however, it is largely due to Osborne that this volume saw the light of day, as Laing sadly passed away in January 2019. Osborne was thus forced to contribute more than he had initially planned and wrote all three chapters for Part I on the music industries’ “winners and losers.” These are some of the most interesting chapters of the book. They range in topic from how the United Kingdom singles chart has historically both reflected and driven musical popularity, to the peculiar celebration of sales figures by rewarding gold or platinum status, to the disputable but highly influential rhetoric of the “one-inten” success ratio that is still frequently heard today. Music By Numbers provides popular music scholars with an important and useful foundation for the continued investigation of “the use and abuse” of numbers in the music industries. It is also a fine tribute to the late Dave Laing.' -- Robert Prey, Journal of Popular Music Studies'Music by Numbers is a useful read for professionals at any level in the music industry. Each chapter deals with statistics and data in an accessible way without weakening their rigorous critiques of music industry practices. It would be an illuminating read for all artists and music industry professionals.' -- Margaret Grumeretz, Music Reference Services Quarterly“The book could have been called ‘Doing a Number on Music Data’ as it does just that. It reveals the tricks and traps that seemingly objective statistics conceal and puts paid once and for all the notion that they should be taken at face value. Everyone should understand the basis for claims backed by data and actual or potential sources of bias. This book is a very good source for doing just that in the music industry.” -- Ruth Towse, professor of economics of creative industries, Bournemouth University“Music By Numbers is a major contribution to popular music studies. The analyses and accounts here are detailed, rigorous, and inclusive, providing crucial resources for comparative and critical research as well as substantial counterweights to industry- and policy-serving materials.” -- Matt Stahl, associate professor of Information and Media Studies, Western University, Ontario“From the Hit Parade to Spotify, whether in arguments about royalties, piracy or the relative value of the live and recorded sectors, the political economy of popular music has always been shaped by statistics. This collection of essays provides a thoughtful, sceptical and instructive guide to why and how music businesses use and abuse numerical data.” -- Simon Frith, emeritus professor of Music, University of Edinburgh“This book offers a timely examination of how data and statistics lie at the heart of the music industries – in making decisions, lobbying governments, and discussing internet piracy. Commonly held industry assumptions are challenged with recourse to a variety of data sources and methodologies, and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses, abuses and manipulates the vast quantities of data that digital technologies have made available.” -- Chris Anderton, associate professor in Cultural Economy, Solent University, Southampton“Everyone who is interested in music is, in one way or another, influenced by numbers - from tracks, hits and streams to profit margins, ticket prices and piracy rates. What the chapters in this collection demonstrate is that these numbers are never neutral; they are inherently political - constructed and presented in specific ways to suit particular interests. This book offers essential guidance for anyone who wants to make sense of the statistics that surround the music industry, and - fortunately - you don't need to be a maths whizz to understand it. In an age when the 'data' about music is constantly increasing, this collection will only increase in importance, helping future readers to make sense of numbers yet to be invented.” -- Lee Marshall, professor of Sociology, University of BristolTable of ContentsRichard Osborne, ‘Introduction’ PART ONE: Winners and Losers Richard Osborne, ‘At the Sign of the Swingin’ Symbol: The Manipulation of the UK Singles Chart’ Richard Osborne, ‘The Gold Disc: One Million Pop Fans Can’t Be Wrong’ Richard Osborne, ‘“I Am a One in Ten”: Success Ratios in the Recording Industry’ PART TWO: Policy David Arditi, ‘The Global Music Report: Selling a Narrative of Decline’ Shain Shapiro, ‘Popular Music Funding in Canada’ PART THREE: Live Music Adam Behr, Matt Brennan, Martin Cloonan and Emma Webster, ‘Stop Making Census! Some Experiential Reflections on Conducting a Live Music Census’ Dave Laing, ‘What’s It Worth? Calculating the Economic Value of Live Music’ Richard Osborne, ‘Live Music vs. Recorded Music’ PART FOUR: Piracy Lucas Logan, ‘Selling the Numbers on Music Piracy to Burn Down the Digital Library’ Lola Costa Galvez, ‘Educar para crear: The Use of Statistics and Surveys in Spanish Music Anti-piracy Policies’ Vanessa Bastian and Dennis Collopy, ‘Measuring the Unmeasurable’ PART FIVE: Digital Solutions Mike Jones, ‘One Penny from Brazil: Music Publishing Revived but Untransformed’ Marcus O’Dair (Middlesex University), ‘Tokens and Techno-Economic Paradigms: On the Value of Blockchain Technology to the Music Industries’ Craig Hamilton, ‘The Harkive Project: Computational Analysis and Popular Music Reception’

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Book Synopsis''I see my story as a suite of songs that have a magical connection. I never understood that connection until I sat down to write. It was then that the magic started to flow.''Let Love Rule is a work of deep reflection. Lenny Kravitz looks back at his life with candor, self-scrutiny, and humour. ''My life is all about opposites,'' he writes. ''Black and white. Jewish and Christian. The Jackson 5 and Led Zeppelin. I accepted my Gemini soul. I owned it. I adored it. Yins and yangs mingled in various parts of my heart and mind, giving me balance and fueling my curiosity and comfort.''Let Love Rule covers a vast canvas stretching from Manhattan''s Upper East Side, Brooklyn''s Bedford-Stuyvesant, Los Angeles''s Baldwin Hills, Beverly Hills, and finally to France, England and Germany. It''s the story of a wildly creative kid who, despite tough struggles at school and extreme tension at home, finds salvation in music. We see him grow as a musici

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Book SynopsisFirst as a journalist and then a publicist at Warner Brothers Records for nearly twenty years, Barbara Charone has experienced, first-hand, the changes in the cultural landscape. Access All Areas is a personal, insightful and humorous memoir packed with stories of being on the cultural frontline, from first writing press releases on a typewriter driven by Tip Ex, then as a press officer for heavy metal bands taking the bus up to Donnington Festival with coffee, croissants and the much more popular sulfate. To taking on Madonna, an unknown girl from Detroit, and telling Smash Hits 'you don't have to run the piece if the single doesn't chart', and becoming a true pioneer in music, Charone continues to work with the biggest names in music, including Depeche Mode, Robert Plant, Foo Fighters and Mark Ronson at her agency MBCPR. The story of how a music-loving, budding journalist from a Chicago suburb became the defining music publicist of Trade ReviewBarbara is the quintessential force of nature. In this great memoir her insatiable thirst for beauty and adventure is fabulously quenched, be it by great music, interesting people or ultimately a fine rosé, all for the reader to sit back and enjoy. Of course, having been in the right place at the right time also helps, and every day I thank my lucky stars we crossed paths years ago and I was permitted to join her on such a fabulous adventure. -- Rufus WainwrightFrom Keith Richards to Madonna to Mark Ronson, the inimitable BC is a music industry legend and Access All Areas is the story of a life like no other -- Alexis PetridisBarbara Charone had a massive role in shaping my career over the past 15 years and she's one of the most adored figures in the music industry for good reason. Access All Areas is a warm, funny, boozy take on the last 40 years of the British music industry from the perspective of someone who helped shape it but is also obviously still a massive fan at heart. Her teenager-like enthusiasm for every project and artist she's ever worked beams from very page and as a music trivia junky, I lived for all the 80's Smash Hits-era insider information . . . This book rules -- Mark RonsonI loved this book! Smart, sharp and hilarious -- Suggs

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Book SynopsisHailed as an “indispensable” guide (Forbes), How to Make It in the New Music Business returns in a significantly revised and expanded third editionTrade Review"There is a great divide between what the young musician thinks being a rock star is and what actually working as a musician entails. Ari fills in the blanks with his light-hearted yet blunt demeanour. He's the informed older brother most of us never got in this crazy, confusing industry." -- Andy Grammer, chart-topping singer/songwriter"It's a fun and informative read for every artist out there looking to live off their creative craft. The book does a great job of explaining the process of generating royalties and crowdfunding goals, all while delivering important info in a witty and wise tone that’s comprehensive but never condescending." -- Joshua Kanter - Rolling Stone"An indispensable and comprehensive manual on how to navigate the modern music business." -- Forbes"The best ‘how to’ book of its kind. As a working artist himself, Herstand knows of what he speaks.... The book crackles with the actual experience of being a working artist. Highly recommended." -- Music Connection

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Book Synopsis‘The Edge is a scathing portrait of the music industry, and a love letter to Los Angeles – but most of all it's a meditation on growing up and letting go.’ Janelle Brown, author of Watch Me Disappear ‘Insightful and true, The Edge is the real deal.’ Alan Parks, author of Bloody January WHAT COMES AFTER THE HIGH? Los Angeles. Sex and drugs, and rock and roll. It’s the life we all dream of, right? Brit Adam Fairhead has everything he ever wanted. At least he thought he did. But the life he now leads and the music industry he works in feel increasingly vapid and the comedowns he’s experiencing are harder to come up from. Disillusioned with what once seemed so pulsatingly cool, Adam has to decide what he actually wants, and more importantly, how to get it. The Edge is a hilarious and candid novel about how things can go wrong even when all your dreams come true.Trade Review'A sharp-eyed look into the global 21st-century music industry from someone who not only lived it, but actively managed the madness. In a land where the car reigns supreme, The Edge never forgets the hidden wilds of Los Angeles.' * Ryan Gattis, author of All Involved *'The realest human I met in the music industry, because he never sugar coats nothing, he just speaks truth.' * Wiley *‘Jamie Collinson’s gimlet eye is keen and unrelenting. The Edge is a scathing portrait of the music industry, and a love letter to Los Angeles – but most of all it's a meditation on growing up and letting go. Modern and mordant.’ * Janelle Brown, author of Watch Me Disappear * ‘Insightful and true, The Edge is the real deal.’ * Alan Parks, author of Bloody January *

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Book SynopsisContemporary music, like other arts, is dealing with the rise of "curators" laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

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Book SynopsisMusic festivals have become important events for people to experience music collectively and take a break from their everyday lives. Companies and institutions like to use music festivals as opportunities for advertising their products and services through sponsorship. Dominik Nösner examines professional stakeholder's assessments of the market as well as patterns of existing procedural elements of sponsorship culture, factors determining existing communication and decision-making culture and interrelations between sponsors and audience with emphasis on university popular music festivals. Building on that, he further explores motivational constructs for popular music festival attendance via a survey study.

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Book SynopsisErard: A Passion for the Piano shows how the Erard piano played an important and often leading role in the history of the instrument, beginning in the late eighteenth century and continuing into the final decades of the nineteenth.Trade ReviewThe infusion of new perspectives and insights into the lives of the Erard brothers and their immediate family does much to position Adelson's new book as a meaningful and valuable contribution to Erard scholarship...Adelson's book, meticulously researched, is an accessible and enticing chronicling of the Erard family and their firm's history. Integrating the contents of a previously undiscovered archive with an already sizeable body of documentary evidence is no small feat. Adelson has produced a work that is deeply informative, yet flows with ease. With this wide appeal, it stands to become the go to volume for gaining understanding of the people and pianos behind the formidable Erard firm. * Elly Langford, The Galpin Society Journal *An excellent and eminently readable book. * Tilman Skowroneck, Eighteenth-Century Music *The text is replete with felicitous wordings ...This also makes it a very enjoyable, pleasant reading! * Marvin J. Ward, CVNC *This is a valuable book for music historians and those interested in the history of the piano and pianism in the 19th century. * K. Boyd, CHOICE Connect, Vol. 59 No. 8 *Drawing on newly-discovered family archives, this vivid and fascinating book combines narrative verve and impeccable scholarship to tell the story of the Érards in an age of revolution and discovery, from Louis XVI to Queen Victoria. Their contributions to the harp and piano are with us today, as is the great music they inspired. * Christopher Clarke, Early keyboard specialist and piano builder *Erard is a valuable, welcome addition to historical business studies. * Pheaross Graham, H-France Review Vol. 23 *Erard: A Passion for the Piano provides an invaluable service in assembling and conveying a considerable wealth of background information concerning the Erard piano business and its historical context, details about the piano itself and Sébastien Erard's contribution to its development are sparse and unreliable. A definitive work on Erard and the piano remains to be written. * Fred Sturm, Notes: the Quarterly Journal of the Music Library Association vol. 80 *Table of ContentsFigures Abbreviations Editorial note Erard family tree Introduction Acknowledgements 1. Making a harpsichord sound like a piano 2. Founding a workshop 3. Square pianos and piano-organs 4. A modern business 5. Harps, the Revolution and London 6. The French grand piano 7. Gifts for Haydn, Beethoven and many others 8. Financial struggles 9. Faster and louder: the double-escapement action 10. Liszt and the introduction of the new piano 11. Piano wars 12. Family strains and secrets 13. Mendelssohn and the Erards 14. Passing the flame 15. Camille Erard and the end of the Erard Empire Afterword Notes Bibliography

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