Music industry Books

Book SynopsisThis book recounts the entire story of the most successful British band since The Beatles. From their humble beginnings to the break-up that shook the pop world, to their explosive and successful come-back tour a decade later, TAKE THAT – NOW AND THEN exposes the intimate details of the band that changed pop history.Trade Review‘Buy it now!’***** Closer ‘… [an] honest, detailed account of the boy band of the Nineties’Bella ‘This is simply essential reading for “Thatters” everywhere.’**** Hot Stars (Supp. to OK! magazine) ' Well researched and breezily written.'Observer ‘Compulsory for any fan'.Manchester Evening News

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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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Book SynopsisFrom Stage to Studio: Performances versus Recordings in Classical Music presents a cultural study of classical music-making through the analysis of live and studio performances of orchestral and operatic repertoire conducted by Sir Charles Mackerras.The close listening analysis is based on detailed research into Mackerras's private collection of over 600 reel-to-reel and cassette tapes containing recordings of over 1,000 live performances which he conducted between the 1950s and the late 1990s. This is contextualized with evidence collected during ethnographic fieldwork observations, presenting the opinions of Sir Charles, orchestral musicians from major London orchestras and opera houses with whom he was working (Philharmonia, Orchestra of the Age of Enlightenment, Royal Opera House, English National Opera), and production team members working for recording industry leaders (such as Decca, EMI, and Chandos). This ethnography of classical music-making gives a voice to

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

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Book SynopsisTo what extent is it possible to do good work in music artist management? Drawing upon original research, this shortform book explores and evaluates motivation, remuneration and equity stakes within the music industries.The author ponders the apparent managerial exodus from the music industries and whether this brain drain could be addressed by providing better remuneration via equity. Based on evidence from Australia, the book illuminates how pay in this sector has remained flat despite increasing responsibility.Emphasising the quality of the subjective experience of music artist managers, this concise book provides readers with new insights into the important role managers play in the music business. The result is a book that will be useful reading for academics and reflective practitioners.

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Book SynopsisInnovation in Music: Innovation Pathways brings together cutting-edge research on new innovations in the field of music production, technology, performance, and business. With contributions from a host of well-respected researchers and practitioners, this volume provides crucial coverage on the relationship between innovation and rebellion.Including chapters on mixing desks, digital ethics, soundscapes, immersive audio, and computer-assisted music, this book is recommended reading for music industry researchers working in a range of fields, as well as professionals interested in industry innovations.

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Book SynopsisFinding Your Groove is an inspiring guide that challenges you to rediscover your innate rhythm amid todayâs disjointed, fast-paced world. Drawing on the timeless language of music and the universal patterns of nature, this book reframes everyday challenges as opportunities for creative transformation and genuine connection.Author Barry van Zyl, a veteran drummer and creative thinker from South Africa and his co-author, UK business school academic Dr Chris Dalton, invite you to explore the profound impact of aligning your personal and professional lives with natural rhythms. Their insights blend personal narrative with practical reflection, offering a fresh perspective on leadership, collaboration, and self-awareness. By embracing the principles of Groove â from the beat of an individualâs heart to the synchrony of a well-led team â you can foster resilience, spark innovation, and build more harmonious relationships at work and beyond. Whether you are seeking to enhance your creative potential or to inspire collective change in your organisation, this book provides a compelling, entertaining and thought-provoking realignment with the pulse of life.Finding Your Groove is a call to reclaim the joy of connection, balance, and mindful presence. It invites you to lead with authenticity in an increasingly complex world.

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Book SynopsisFor more than two hundred years, copyright in the United States has rested on a simple premise: more copyright will lead to more money for copyright owners, and more money will lead to more original works of authorship. In this important, illuminating book, Glynn Lunney tests that premise by tracking the rise and fall of the sound recording copyright from 19612015, along with the associated rise and fall in sales of recorded music. Far from supporting copyright''s fundamental premise, the empirical evidence finds the exact opposite relationship: more revenue led to fewer and lower-quality hit songs. Lunney''s breakthrough research shows that what copyright does is vastly increase the earnings of our most popular artists and songs, which - net result - means fewer hit songs. This book should be read by anyone interested in how copyright operates in the real world.Trade Review'Lunney convincingly shows that an intuitively plausible account of copyright's dose-response effect on music production is inaccurate, and that the economic story is far more complicated. By asking us to focus on the marginal artists, not the greatest hitmakers, he productively challenges copyright maximalism as well as some varieties of minimalism. Anyone interested in the music ecosystem, or in the economics of creativity, will learn a lot from this book.' Rebecca Tushnet, Frank Stanton Professor of First Amendment Law, Harvard Law School'A must read for anyone interested in the relationship between copyright law and good music. Lunney combines the firepower of a Ph.D. economist, the incisive thinking of a trained lawyer, and the passion of a music lover in a book that is both eminently readable and scholarly.' Paul J. Heald, Richard W. and Marie L. Corman Research Professor of Law, University of Illinois College of Law'Glynn Lunney presents a comprehensive history of the economics of modern music, all pointing to a striking conclusion: the more money musicians make, the less music they make. His data upends the traditional copyright story. Along the way, we learn any number of facts about the music world, including which artist has the most top-100 hits in the first decade of their career (hint: the Beatles are number 2). Highly recommended.' Mark A. Lemley, William H. Neukom Professor, Stanford Law School'Through patient and inventive analysis of industry data, Glynn Lunney shows that more copyright does not produce more or better music – and that in fact it may produce less. It may be that the proponents of ever-increasing copyright will remain unconvinced. But they will have to confront Lunney's work.' Christopher Jon Sprigman, New York University School of Law'Copyright's Excess is foundational work in the economics of intellectual property.' JotwellTable of Contents1. Introduction; 2. The (surprisingly weak) economic case for copyright; 3. Copyright and revenue in the recording industry; 4. Measuring music output; 5. The search for a correlation: was more money associated with more or better music?; 6. More money meant less music; 7. Rationalizing copyright.

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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 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 SynopsisA Rough Trade Book of the Year'No one has captured the look of alternative UK music over the past half a century more tellingly than Kevin Cummins.' - Simon Armitage'Kevin Cummins is a true master in being able to capture the essence of music, the soul of the band. Whatever he does however he does it is a mystery to me but it's pure genius.' - Rankin'Few photographers had such a close connection to The Fall as Manchester-based Kevin Cummins, and his new book, Telling Stories, is a rich visual history of one of the city's most beloved and enduring bands.' - Record Collector Magazine 'Kevin has the uncanny ability of capturing the inner mood of musicians. Be it the dynamics within a pensive Joy Division, or the sense surrounding the fledgeling Fall that something special was around the corner for us all. Kevin's book is nothing less than a remarkable document of a bewildering and defiant anti-fashion movement born in Prestwich, north Manchester in the grimy mid-70s.' - Marc Riley'Capturing forty years of the band's career via his archive, the legendary photographer (whose recent book, Juvenes, documented the story of Joy Division) gives his take on the phenomenon of The Fall and the late, great Mark E. Smith.' - Vive le Rock Contains never-before-seen images.Foreword by Simon Armitage, Poet Laureate. From chaotic early gigs to their final years, NME photographer Kevin Cummins provides a definitive, unique perspective on cult favourites The Fall. In this stunning visual history spanning four decades, discover how and why they emerged as one of the most innovative, boundary-breaking bands in modern music.With a foreword by Poet Laureate and Fall fan Simon Armitage and an interview with Eleni Poulou, as well as never-before-seen images from Cummins' archive, this is the ultimate visual companion to The Fall.

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Book Synopsis'Hilarious, heart-wrenching and packed with British music history.' - COLDPLAY A Virgin Radio Book of the Year It's a life-and-near-death story. But whose life? And whose near-death?As a one-time NME journalist, former Xfm radio presenter, toilet-circuit promoter and the founder of enduring homespun British record label Fierce Panda, Simon Williams has been at the cutting, cutting, cutting edge of all things 'indie' for over thirty years. During his tenure as managing director of Fierce Panda (a role he holds to this day), Simon was responsible for tripping over bands such as Coldplay, Keane, Placebo and countless other acts of independent hue - some of whom have gone on to achieve earth-shattering musical superstardom, while others have merely baffled the crowd at the Bull & Gate in north London on a wet Wednesday evening.Unfiltered and unflinching, Pandamonium! is the story of Simon's time at the indie coalface, filled with insider anecdotes to entertain music enthusiasts everywhere - from the origins of a bootlegged Oasis release to Chris Martin's delight at reaching number ninety-two in the charts. But it is also the story of how Simon tried to bring a premature end to proceedings, documenting in blunt, matter-of-fact detail his longstanding mental-health struggles.Yet, despite his raw and often poignant honesty, Simon writes with the warmth, wit, self-deprecation and wide-eyed good fortune of someone who has stared into the abyss and survived, bounding down a few indie rabbit holes along the way.Trade Review'Coldplay wouldn't exist without Simon Williams. He was the first journalist to write about our band and released our first single on his legendary label, Fierce Panda. His memoir is hilarious, heart-wrenching and packed with British music history.' -- Coldplay'Remarkable tales from both the frontline of rock journalism and behind the scenes at one of our greatest underplayed British indie labels; open, entertaining and extraordinarily poignant.' -- Steve Lamacq'Williams is a towering colossus of indie. Pandamonium! is filled with autobiographical honesty, engaging humour and some really awful puns.' -- David Quantick'A brilliant memoir: funny, thrilling, but also as moving as any book about music I've ever read. It's full of the same stuff as the best records and gigs - entertainment, but also a sense of life at its most profound.' -- John Harris'Jaw dropping ... really moving. Highly recommend it.' -- Ted Kessler'A truly shocking episode from the recent past helps turn an entertaining romp into something much more moving. 8/10' -- Classic Rock'A dryly self-deprecating and desperately poignant picture of heartfelt endeavour and harsh reality. 4/5' -- Record Collector'Hilariously funny and deeply moving.' * Variety *'A sweet natured romp.' * 4/5 Mojo *'A fascinating book for any lover of indie music and those wanting an insight into the machinations of the unforgiving, cut-throat music industry. It is also a salutary reminder of the fragility of the human condition. Most of all, it is a most entertaining and, ironically, life-affirming read written with Williams' trademark wit, gentle humour and, let's be honest, silliness.' * Louder Than War *'Incredible... beautifully written.' -- Huw Stephens

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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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Book Synopsisstudio bau:ton, the practice founded by Swiss architect Peter Grüneisen, designs buildings rooted in the sphere of imagination and creativity. The practice’s main clients are in the music and film production industry in Los Angeles, for whom it designs private houses and work spaces. The focus is on the combination of high-tech entertainment design with glamorous, exclusive architecture. On the occasion of its 30th anniversary, the Los Angeles-based architectural practice nonzero\architecture is publishing the second monograph. The book includes conversations with well known clients including Hans Zimmer, David Lynch, Bruce Botnik, and Paul Lieberstein. The completed projects include residences, mixed residential/work spaces, through to recording studios and public buildings.

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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 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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