Music industry Books

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

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Book SynopsisThe music industries hinge on entrepreneurship. The recent, rapid convergence of media and the parallel ongoing evolution of music businesses have again seen the focus shift to independent companies and individual entrepreneurs. Opportunities tend not to be advertised in professional music and practically everyone begins on their own: forming a band, starting a record label, running events, or building a website. But it's not an easy territory to navigate or get a handle on. Music Entrepreneurship features an analysis of the changing landscape of the music industries and the value of the entrepreneur within them through a series of focused chapters and case studies. Alongside contributions from key academics across the globe, expert contributors from across the industry highlight successful entrepreneurs and offers practical help to the reader trying to navigate the business. Sectors examined include: The value of the music industries Recorded music Live events BrandTrade ReviewThe book charts the ongoing evolution of music businesses and the focus shift to independent companies ... helping emerging artists to find opportunities that may be unadvertised in the professional field. * The Glasgow Herald *Table of ContentsPart One – the Music Environment: Introduction: The Need for the Music Entrepreneur; Chapter One: The Music Environment; Chapter Two: The Music Entrepreneur in the Global Marketplace; Chapter Three: Music as Space and Place Identity. Part Two – Case Studies: Case-study One: Recorded Music; Case-study Two: Live Performance; Case-study Three: Festival and Spectacle; Case-study Four: Publishing; Case-study Five: Artist and Artist Management; Case-study Six: Digital Media.

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Book SynopsisSam Whiting is a Lecturer in Creative Industries at the University of South Australia. His research is primarily focused on issues of capital, labour, and value as they relate to music scenes, the creative industries, and the cultural economy more broadly. Dr. Whiting's published work explores issues of access, identity, gender, heritage, live music, cultural policy, and music scenes through the interdisciplinary lens of cultural studies, sociology, and popular music studies.Trade ReviewWhiting's book is a long overdue and critical addition to research on the spaces and places of live music performance and consumption. Small venues are often referred to in passing but rarely a sustained focus in academic scholarship; and yet, as this book masterfully illustrates, they are the lifeblood of local and trans-local music scenes. Crucial reading for anyone who is interested in gaining a deeper knowledge of the social, economic and emotional value of small venues, the challenges they face and the unequivocal part they have played in keeping music “live” for successive generations of music fans around the world. * Andy Bennett, Professor Cultural Sociology, Griffith University, Australia *Small venues are the lifeblood of any music scene: a heady mix of sights, smells and sounds; spaces full of creativity and pleasure, ambition and rivalry; sites where the artistic expression, profit motives and government regulations come in to conflict. Without small venues there is no place for experimentation and failure. Without small venues nothing can develop to fill the larger venues. Sam Whiting’s exploration of these key sites of cultural production and consumption is a must read for any scholars interested in the historic importance of these vital spaces, their relation to sense of place, taste, desires and belonging, and governmental aspects that frustrate artistic endeavours. But most importantly, Small Venues illuminates how precarity and vibrancy, that is, social aspects of the way these spaces feel, are central to the success or closure of venues and therefore whether a creative scene thrives or dies. Bringing together cultural sociology and cultural studies analysis with his own industry experiences and a sharp antenna for bullshit, Whiting’s Small Venues is an important and evocative intervention into the scholarship of music ecosystems and scenes. * Steven Threadgold, Associate Professor of Sociology and Anthropology, University of Newcastle, Australia *This is a welcome and timely study of live music ecologies, made more so by the impact of the pandemic on music-making around the world. Whiting has offered us a cogent study of small venues, for contributions to not only music scenes but also the larger creative cultures within which they exist. * Geoff Stahl, Senior Lecturer, Te Herenga Waka / Victoria University of Wellington, Aotearoa / New Zealand, and editor of The Bloomsbury Handbook of Popular Music, Space and Place (2022) *Table of ContentsPart 1: Live Music and Small Venues Introduction 1. Theorizing Live Music ‘Scenes’, ‘Subcultures’ and the ‘Live Music Ecology’ Part 2: Vibrancy 2. Live Music and the City 3. Place, Space and Small Venues Part 3: Precarity 4. Capital, Value and Cultural Intermediaries Conclusion References Index

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Book SynopsisBacktrack is the star-studded account of Tessa Nilesâ 30 years of working alongside the greatest names in rock and pop; the story of a young girlâs quest to discover her true voice as she charts her rise to become one of the most respected session singers in Britain. Follow Tessa as she records with superstars.

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Book SynopsisThere were approximately 7,000 full-time bandsmen serving in the British army in the interwar years. This was about a third of the total number of musicians in the music profession in the United Kingdom, making the War Office the largest single employer of professional musicians in the country. British army musicians were a key stakeholder in the music industry in the United Kingdom, but also farther afield, where it made a significant contribution to the maintenance of British imperial authority. To sustain the large number of bands, residential institutions provided young boys for recruitment into the army as bandsmen and, as a consequence, the army set the standard for musical training and performance. The music industry relied upon the existence of army bands for its business and the military played a significant part in the adoption of an international standard of musical pitch. Nevertheless, there was a tempestuous relationship between army bands and the BBC, as well as the recording industry as a whole. Using untapped sources and original material, Major David Hammond reveals the role and soft power influence of British army music in the interwar years.Table of ContentsChapter 1: Introduction Part 1: Culture Chapter 2: The gentlemen of the regiment: Musicians in the regular army Chapter 3: 'Breaking in' the young hands: The dependence on band boys Part 2: Performance Chapter 4: Seaside, ceremonial, and an unhappy union: Bands and live performance Chapter 5: A clear and homogenous sound: Performance practice and recording Chapter 6: 'Tonic' music and discord with the BBC: Repertoire and broadcasting Part 3: Influence Chapter 7: Kneller hall and the pitch battle with the War Office Chapter 8: Punching above their weight: Soft power influence of British army bands overseas Chapter 9: The youghal 'outrage': Political appropriation of military bands and the founding of the Irish Free State Appendix 1: Broadcasts (excluding outside broadcasts) by staff bands from January 1932 to September 1933 Appendix 2: Colonel Somerville's list to the BBC of army bands graded 'outstanding' by Kneller Hall in 1933. Appendix 3: Colonel Jervis's 'order of merit' army band list sent to the BBC in 1934, notable for its absence of staff bands. Appendix 4: Walton O'Donnell's BBC audition reports for three bands in Northern Ireland. Appendix 5: Internal 1941 BBC memo rejecting the Kneller Hall band grading system. Appendix 6: Army Council Instruction - 544: Pitch of Instruments of Army Bands Appendix 7: An anonymous humorous poem about the change to low pitch published in The Leading Note in 1929 Bibliography

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Book SynopsisAn innovative investigation of the inner workings of Spotify that traces the transformation of audio files into streamed experience.Spotify provides a streaming service that has been welcomed as disrupting the world of music. Yet such disruption always comes at a price. Spotify Teardown contests the tired claim that digital culture thrives on disruption. Borrowing the notion of “teardown” from reverse-engineering processes, in this book a team of five researchers have playfully disassembled Spotify's product and the way it is commonly understood.Spotify has been hailed as the solution to illicit downloading, but it began as a partly illicit enterprise that grew out of the Swedish file-sharing community. Spotify was originally praised as an innovative digital platform but increasingly resembles a media company in need of regulation, raising questions about the ways in which such cultural content as songs, books, and films are now typically made availa

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Book SynopsisWith artists including David Bowie, The Rolling Stones, Tom Jones and The Moody Blues at Decca, and Ronnie Scott, Cream, Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Eric Clapton, Elton John, Rod Stewart and Stevie Wonder at Klooks, this book records a unique musical heritage.

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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 SynopsisShe’s at the Controls gives a socio-historical examination of the roles of women studio professionals in the UK music industry. At the heart of the book are interviews conducted over six years with 30 female studio practitioners at different stages of their careers and working in different genres of popular music including reggae, hip hop and pop. The edited interviews are followed by an in-depth exploration of the often unseen and unacknowledged gender rules of music industry practice (both personal and technical) that underpin popular music etiquette. A range of supporting material from academic works to technical publications and popular music journalism is used to expand and critique the discourse. She’s at the Controls will appeal to everyone interested in new developments in the music industry, as it recalibrates itself in response to current challenges to its traditional gender stereotypes.Table of ContentsIntroduction 1. Starting Out: Early Engagements with Sound, Music and Technology 2. Becoming Professional: Entering the Music Industry 3. Specialisation and Entrepreneurship 4. The Workplace Experience and Relationships with Clients and Colleagues 5. Male Culture and Studio Territory 6. Gender Ventriloquism: Song Writing, Production and the Mediation of Women’s Voices 7. Fighting Back Against Stereotyping: The Case of EDM 8. Education, Inspiration and Potential for Change 9. Conclusion Bibliography Producer Biographies

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Book SynopsisThe Insider''s Guide to Making Money in the Music Busines is the industry bible and the ultimate guide to making money in the music business. Music is a business of money, contracts, decisions and making the most of every opportunity. To succeed - to make money - to have a career - you have to know what you are doing in both music and business.This invaluable book tells you how the business works, what you must know to succeed, and how much money you can make in films, television, video games, ASCAP, BMI and SESAC, record sales, downloads and streams, advertising, ringtones and ringbacks, interactive toys and dolls, Broadway, new media, scoring contracts and synch licenses, music publishing, foreign countries and much more.This indispensable reference is written by industry insiders Todd Brabec, Educator, Entertainment Law Attorney and former ASCAP Executive Vice President and Worldwide Director of Membership, and Jeff Brabec, Vice President of Business Affairs, Chrysalis Music Publishing.

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Book SynopsisTrade Review"In what is simultaneously a coming-of-age story; an elegy for a bygone, grittier Chicago; and a case study on the many ways the color barrier was crossed musically in the mid-twentieth century, Iglauer and Roberts contextualize the blues' story as America's."--Booklist "Apart from the musicians themselves, few Chicagoans have done more for the genre--or witnessed more of its history from the inside--than Iglauer."--Howard Reich "Chicago Tribune " "Iglauer and coauthor Patrick A. Roberts provide an enlightening view of the music-making process--from scouting talent to obscure clubs to the quest for originality in the studio to marketing and distribution."--DownBeat "This book is long overdue. Alligator Records has been a cornerstone of the blues world for over four decades. The stories about the artists and sessions that have paved the way for so many others are a pleasure to read. As an Alligator artist I am truly grateful for what Bruce and Alligator Records have done for me and this genre."--Shemekia Copeland "Bruce and his history with Alligator Records encompass so much of the richest and most exciting eras of urban blues. All the fascinating stories and behind-the-scenes intrigues are here, and the indelible legacy of his commitment to this music and the artists he cares so passionately about makes this a terrific, important read."--Bonnie Raitt "Bruce Iglauer stepped through the door of Florence's Lounge on Chicago's South Side and into a timeless love affair with the blues. Iglauer's story is about finding talent, nurturing it, and sharing it with others. It's also about staying independent in a world where conglomerates glom and Big Tech assumes more power. His Alligator Records is a soundtrack to modern blues, from Hound Dog Taylor in 1970 on through Son Seals and Albert Collins and to today's JJ Grey & Mofro. There are great stories here."--Robert Gordon, author of Respect Yourself: Stax Records and the Soul Explosion "A fascinating look at one of the great independent record labels, and producers, of our time. For blues fans, this one has teeth."--Library Journal "Blues and gospel have always been first cousins, and Bruce was as supportive and gracious to me as you could imagine, always willing to offer his insight and expertise. He's been a true friend of the blues and independent music."--Mavis Staples "This is a book packed with a yearning nostalgia for a time and place which we British bluesers could only dream about. If you want to get to grips with the electrifying history of Chicago blues, you need this book--it's a houserockin' gem."--Blues Matters "The book is a wealth of blues history that draws both from Iglauer's encyclopedic knowledge of blues along with his vivid, personal experiences with legendary artists."--Chicago Blues Guide "When I was about twenty years old, Hound Dog Taylor & The HouseRockers were my imaginary best friends. They were with me everywhere I went because I always had my portable CD player with me. I know for a fact I wouldn't be in this business if Bruce hadn't released those first two Hound Dog records. The fire Bruce captured on those records is the magic place I'm reaching for every time I'm in my studio."--Dan Auerbach, The Black Keys "You have to admire Bruce Iglauer's dedication and persistence over the years. He acknowledges he's a workaholic but he has also been meticulous in his control of every aspect of his business. He's been tireless and inspired in building up his artist roster, moving away from his early obsession with Chicago artists and branching out, both following and helping to create new blues forms."--Blues & Rhythm "Iglauer's storytelling, his illuminating views of the artists he's worked with, his straightforward recounting of the business--from recording to running the label, and deciding who to sign or drop--kept me going strong, finishing the highly readable book, coauthored by Patrick A Roberts, in just a couple sittings."--Lincoln Journal Star "Bruce Iglauer's autobiographical history of Alligator Records is, in many ways, a story about technological change as much as it is about music. Yet, even more than a book about music or technology, at its heart, Bitten by the Blues is a business tale--the story of how a young college student started his own label to record his favorite musician, and ended up building a successful operation that not only provided for his family, but facilitated dozens of musicians being able to earn a living from their music. . . . Iglauer and his co-writer, Patrick A. Roberts, have written a history that is warmly conversational in tone, the equivalent of sharing stories with a good friend."--All About Jazz "Iglauer imbues Bitten By The Blues with the same wit, humor, and charm that he evinces in person, and his larger-than-life personality shines through every page. . . . Most importantly, perhaps, Bitten By The Blues reveals some of Bruce's vision for the future of the label, a future that's not carved in stone by any means, but is strengthened by the label's discovery and development of young talents like Shemekia Copeland and Selwyn Birchwood as well as the addition of road-tested blues veterans like Tommy Castro, Nick Moss, and Tinsley Ellis to the label's ever-evolving roster. Bitten By The Blues is an insightful and entertaining read for any blues music fanatic or anybody interested in the business of music. The only (admittedly minor) quibble I have with the book is that I'd loved to have seen more photos, but extra credit to Bruce for including a complete Alligator Records discography that we rabid collectors can use as a convenient shopping list. Grade: A+"--That Devil Music "In addition to being an enjoyable read for blues and Chicago enthusiasts, Bitten by the Blues reminds us that one's passion can become one's profession. Genuine Houserockin' Music indeed."--Birmingham Stages "In many ways the story of Alligator Records is the story of the blues over the last fifty years. Bitten by the Blues is the saga of Alligator Records through the eyes of the one person who knows it best--label founder and owner Bruce Iglauer. With his tough business mind, coupled with an often self-effacing sense of humor, Iglauer tells the tale of the Gator with candor and clarity. From the first Hound Dog Taylor record that launched the label, to the meteoric success of artists like Luther Allison and Shemekia Copeland, Alligator Records has, in many ways, defined success in the blues world. Bitten by the Blues is an eye-opening look at one of the most popular independent blues labels in history."--Brett J. Bonner, editor, Living Blues magazine "No book written today has told a more complete story of contemporary Chicago blues and its multitude of musicians as thoroughly as Bitten by the Blues. This is essential reading for any lover and collector of blues."--Blues Music Magazine

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Book SynopsisPepsi turned pop music in commercials from novelty to normwith profound effects on both American culture and commerce

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Book SynopsisOffers tools to encourage creative and adaptive entrepreneurship in the music business. Written for the classroom and the workplace, this book introduces readers to core principles and processes and shows how to apply them adaptively to new contexts, facilitating a deeper understanding of how and why things work in the music business.Trade Review"This book will satisfy the need for a textbook on the music industry that emphasizes its entrepreneurial facets ... Summing up: Recommended" CHOICETable of ContentsIntroduction 1. Musical Experience as Transaction 2. Transience to Permanence 3. The Rise of Commercial Markets 4. Media Revolutions 5. Convergence and Crossover 6. Massification 7. Scaling and Selling Live Performance 8. Visual Media 9. Artists, Audiences, and Brands 10. Digitization 11. State of the Art Notes Bibliography Index

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Book SynopsisOffers information on more than 90 specific jobs, including job duties, salary ranges, skill and education requirements, helpful organizations, and tips for entry. This title includes salary ranges and employment opportunities, as well as comprehensive, appendixes of organizations, periodicals, associations, schools, and resources.Trade Review"...a practical and concise guide...a valuable resource...recommended." - American Reference Books Annual "...organized, comprehensive, and easy to use...Highly recommended." - Choice"

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Book SynopsisThis incisive review analyses the most influential academic research in a burgeoning subject - the economics of music. The literature stems from both mainstream economics journals as well as pertinent works from accountancy, sociology and management sources. Topics discussed include live music, music production, labour markets and ownership and music competitions. This review provides a valuable resource for students and economists involved in this fascinating field, as well as those seeking to enter it.Table of ContentsContents: Acknowledgements Introduction Samuel Cameron PART I HIT MUSIC 1. Storm Gloor (2011), ‘Just How Long Is Your “Fifteen Minutes”? An Empirical Analysis of Artists’ Time on the Popular Charts’, Journal of the Music and Entertainment Industry Educators Association, 11 (1), 61–82 2. David E. Giles (2007), ’Survival of the Hippest: Life at the Top of the Hot 100’, Applied Economics, 39 (15), 1877–87 3. Ken Hendricks and Alan Sorensen (2009), ‘Information and the Skewness of Music Sales’, Journal of Political Economy, 117 (2), April, 324–69 4. Caroline Elliott and Rob Simmons (2011), ‘Factors Determining UK Album Success’, Applied Economics, 43 (30), 4699–705 5. W. Mark Crain and Robert D. Tollison (1997), ‘Economics and the Architecture of Popular Music’, Journal of Economic Behavior and Organization, 32 (2), February, 185–205 6. William A. Hamlen, Jr. (1994), ‘Variety and Superstardom in Popular Music’, Economic Inquiry, XXXII (3), July, 395–406 PART II LIVE MUSIC 7. Robert B. Ekelund, Jr. and Shawn Ritenour (1999), ‘An Exploration of the Beckerian Theory of Time Costs: Symphony Concert Demand’, American Journal of Economics and Sociology, 58 (4), October, 887–99 8. Peter E. Earl (2001), ‘Simon’s Travel Theorem and the Demand for Live Music’, Journal of Economic Psychology, 22 (3), June, 335–58 9. Nancy Bertaux, Kaleel Skeirik and David Yi (2015), ‘Art Music and the Economy: The Modernity Index and the Cincinnati Symphony Orchestra, 1895 to 2013’, International Journal of Economics and Business Research, 9 (4), 376–92 10. Bruno S. Frey (1994), ‘The Economics of Music Festivals’, Journal of Cultural Economics, 18 (1), March, 29–39 11. Grant C. Black, Mark A. Fox and Paul Kochanowski (2007), ‘Concert Tour Success in North America: An Examination of the Top 100 Tours from 1997 to 2005’, Popular Music and Society: Record Charts, 30 (2), May, 149–72 PART III DEMAND FOR MUSIC 12. Stan J. Liebowitz (2016), ‘How Much of the Decline in Sound Recording Sales is Due to File-Sharing?’, Journal of Cultural Economics: Economics of Music, 40 (1), February, 13–28 13. Wilfred Dolfsma (1999), ‘The Consumption of Music and the Expression of VALUES: A Social Economic Explanation for the Advent of Pop Music’, American Journal of Economics and Sociology, 58 (4), October, 1019–46 14. Ercilia García-Álvarez, Tally Katz-Gerro and Jordi López-Sintas (2007), ‘Deconstructing Cultural Omnivorousness 1982–2002: Heterology in Americans’ Musical Preferences’, Social Forces, 86 (2), December, 417–43 PART IV PRODUCTION OF MUSIC 15. William J. Baumol and Hilda Baumol (1994), ‘On The Economics of Musical Composition in Mozart’s Vienna’, Journal of Cultural Economics, 18 (3), September, 171–98 16. F. M. Scherer (2001), ‘The Evolution of Free-Lance Music Composition, 1650–1900’, Journal of Cultural Economics, 25 (4), November, 307–19 17. Karol Jan Borowiecki and Georgios Kavetsos (2015), ‘In Fatal Pursuit of Immortal Fame: Peer Competition and Early Mortality of Music Composers’, Social Science and Medicine, 134, June, 30–42 18. Mark Marotto, Johan Roos and Bart Victor (2007), ‘Collective Virtuosity in Organizations: A Study of Peak Performance in an Orchestra’, Journal of Management Studies, 44 (3), May, 388–413 19. Samuel Cameron and Alan Collins (1997), ‘Transaction Costs and Partnerships: The Case of Rock Bands’, Journal of Economic Behavior and Organization, 32 (2), February, 171–83 20. Cédric Ceulemans, Victor Ginsburgh and Patrick Legros (2011), ‘Rock and Roll Bands, (In)complete Contracts, and Creativity’, American Economic Review: Papers and Proceedings, 101 (3), May, 217–21 21. David Hesmondhalgh (1998), ‘The British Dance Music Industry: A Case Study of Independent Cultural Production’, British Journal of Sociology, 49 (2), June, 234–51 PART V PRICE OF MUSIC RELATED GOODS 22. Kathryn Graddy and Philip E. Margolis (2011), ‘Fiddling with Value: Violins as an Investment?’, Economic Inquiry, 49 (4), October, 1083–97 23. Patrick Georges and Aylin Seçkin (2013), ‘Black Notes and White Noise: A Hedonic Approach to Auction Prices of Classical Music Manuscripts’, Journal of Cultural Economics, 37 (1), February, 33–60 24. Dennis Halcoussis and Timothy Mathews (2007), ‘eBay Auctions for Third Eye Blind Concert Tickets’, Journal of Cultural Economics, 31 (1), March, 65–78 25. Samuel Cameron (2008), ‘E-Baying for Blood?: Noncompetitive Flexible Pricing in Entertainment Ticketing – Some Demand Side Evidence’, Applied Economics, 40 (10), 1315–22 26. Samuel Cameron and Mike Reynolds (2015), ‘The Value of Collecting a Particular Musical Artist: The Case of MiniDiscs’, Briefing Notes in Economics, 91, September, 1–9 PART VI LABOUR MARKETS AND OWNERSHIP 27. Claudia Goldin and Cecilia Rouse (2000), ‘Orchestrating Impartiality: The Impact of “Blind” Auditions on Female Musicians’, American Economic Review, 90 (4), September, 715–41 28. Sam Cameron (2003), ‘The Political Economy of Gender Disparity in Musical Markets’, Cambridge Journal of Economics, 27 (6), November, 905–17 29. Jack Bishop (2005), ‘Building International Empires of Sound: Concentrations of Power and Property in the “Global” Music Market’, Popular Music and Society, 28 (4), October, 443–71 30. Ram D. Gopal, Sudip Bhattacharjee and G. Lawrence Sanders (2006), ‘Do Artists Benefit from Online Music Sharing?’, Journal of Business, 79 (3), May, 1503–33 31. Juan de Dios Montoro Pons and Manuel Cuadrado García (2008), ‘Legal Origin and Intellectual Property Rights: An Empirical Study in the Prerecorded Music Sector’, European Journal of Law and Economics, 26 (2), October, 153–73 32. Samuel Cameron (2006), ‘Rock, Pop and Judicial Efficiency: Economic Considerations in the Spandau Ballet Decisions’, Journal of Interdisciplinary Economics, 17 (3), April, 327–44 33. Maya Bacache-Beauvallet, Marc Bourreau and François Moreau (2016), ‘Information Asymmetry and 360-Degree Contracts in the Recorded Music Industry’, Revue d’Économie Industrielle – Journal of Industrial Economics, 156 (4e trimester – 4th quarter), 57–90 34. Kieran James and Christopher Tolliday (2009), ‘Structural Change in the Music Industry: A Marxist Critique of Public Statements Made by Members of Metallica during the Lawsuit against Napster’, International Journal of Critical Accounting, 1 (1–2), 144–76 PART VII COMPETITIONS 35. Herbert Glejser and Bruno Heyndels (2001), ‘Efficiency and Inefficiency in the Ranking in Competitions: The Case of the Queen Elisabeth Music Contest’, Journal of Cultural Economics, 25 (2), May, 109–29 36. Victor A. Ginsburgh and Jan C. van Ours (2003), ‘Expert Opinion and Compensation: Evidence from a Musical Competition’, American Economic Review, 93 (1), March, 289–96 37. J. Atsu Amegashie (2009), ‘American Idol: Should it be a Singing Contest or a Popularity Contest?’, Journal of Cultural Economics, 33 (4), November, 265–77 38. Luc Champarnaud (2014), ‘Prices for Superstars Can Flatten Out’, Journal of Cultural Economics, 38 (4), November, 369–84 Index

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Book SynopsisThis book is a critical history of Sub Pop, the Seattle independent rock label that launched the careers of countless influential 'grunge' bands in the late 1980s and early 1990s. It focuses in particular on the languages and personas of the 'loser', a term that encompassed the label's founders and personnel, its flagship bands (including Mudhoney, TAD and Nirvana) and the avid vinyl-collecting fans it rapidly amassed. The 'loser' became (and remains) the key Sub Pop identity, but it also grounded the label in the overt masculinity, sexism and transgression of rock history. Rather than the usual reading of grunge as an alternative to the mainstream, Lamestains reveals a more equivocal and complicated relationship that Sub Pop exploited with great success.

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Book SynopsisAlthough Elgar achieved fame, status and recognition in his lifetime, his earnings did not match the standard of living to which he aspired. The late nineteenth century was a propitious time for British composers. But while the demand from music publishers for their works grew substantially, the copyright and royalty terms were such that even successful composers couldnot achieve the levels of earnings enjoyed by other creative artists such as authors, painters and dramatists. However, in the early twentieth century, new sources of earnings emerged, notably performing fees, broadcasting fees and royalties from record sales. Unlike other leading contemporary British composers, who also held prestigious, salaried positions, Elgar was, by his own volition, a freelance composer who relied entirely on the precarious earnings from his works, supplemented by conducting fees and a brief tenure at Birmingham University. As a result, although Elgar achieved fame, status and recognition in his lifetime, both nationally and internationally, his earnings did not match the standard of living to which he aspired. This lack of money, exacerbated by too much expenditure, was a constant source of worry, complaint and frustration to Elgar, even though he had become a beneficiary fromthe new sources of income in the twentieth century. Elgar's Earnings investigates whether Elgar's complaints about a lack of money can be justified by the facts. Drawing on hitherto neglected primary sources, especially the Novello Business Archive, John Drysdale examines the relatively poor terms offered by music publishers to composers of serious music in general and Elgar in particular and explores the reasons why successful painters and authors, such as G. B. Shaw, could obtain much better terms. This comparative analysis enriches our understanding of the economic and social forces at work in nineteenth and early twentieth century Britain and shows how Elgar, despite his insecure financial position, helped to establish the profession of the English composer, to the lasting benefit of future generations. JOHN DRYSDALE is a musicologist and former investment banker.Trade ReviewA fascinating book ... I commend this book to anyone interested in how composers of the time earned an income. * SPIRITED MAGAZINE, ENGLISH MUSIC FESTIVAL *This study widens our understanding of the place of Elgar's music in terms of social, cultural and economic context ... Drysdale's excellent analysis of Elgar's earnings shows the benefits that economically-focused studies of composers bring to the more contextual understanding of the life decisions and artistic choices they made. * MUSICAL TIMES, December 2013 *Drysdale [...] should be congratulated on adding a new chapter in Elgar studies. * MUSICAL OPINION *This is a rare, maybe even unique, book. [...] An unexpected, revealing, and truly fascinating book and one which I recommend wholeheartedly. * ELGAR SOCIETY JOURNAL *Table of ContentsIntroduction Opportunities for British Composers Authors, Painters and Composers Novello and the Music Publishing Business Novello, Royalties and Copyrights to 1914 and the 1904 Royalty Agreement Novello, Royalties and Copyrights 1914 to 1934 and other Music Publishers Royalties and Copyrights on Elgar's Major Works Elgar's Performing Fees and George Bernard Shaw Elgar's Earnings from Broadcasting, Recording and Conducting A Matter of Wills Epilogue Appendix

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