Music industry Books

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.

Read more less

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

Read more less

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

Read more less

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

Read more less

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

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

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

Read more less

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

Read more less

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.

Read more less

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

Read more less

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.

Read more less

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

Read more less