Music industry Books
Rowman & Littlefield Career Choices in Music beyond the Pandemic:
Book SynopsisChoosing a career is one of the most important decisions we make in our lifetime. Career choice is more than working to earn a living but also an important window into how we identify and feel about ourselves. There are multiple issues involved in every career choice, particularly in the pursuit of a career in music performance. Influenced by her hybrid background in music performance, psychology, and psychoanalysis, Julie Jaffee Nagel addresses the joys and challenges of career choice in music, with a specific focus upon the classical performing musician. She addresses a wide range of pressing topics related to such a career choice at a time when jobs and income for musicians are diminishing and COVID-19 has had a monumental, long-term impact on the arts. This includes feelings of burnout, career change and redirection, the need for self-care, mental health issues related to the lack of jobs and income, and the oftentimes crippling standards of professional performing musicians. In addition, Nagel also points to potential opportunities and advocates new roles for musicians in the wake of a transformed music industry and society. Despite the numerous challenges performing musicians face in their careers, music can play a powerful role in mental life and society, helping us cope with the ravages and losses of the pandemic and other important events, and this can serve as much inspiration and reinvigorate professional musicians questioning the purpose of their career. All of these themes are developed through stories, clinical examples, anecdotes, research data, and personal reflection.Trade ReviewJulie Nagel knows the field as a trained musical performer and a practicing clinician who is an international authority on work inhibition and performance block. There is none better! -- Peter Loewenberg, history and political psychology, professor emeritus, University of California Los AngelesTable of ContentsPreludeAcknowledgmentsChapter 1 WorkChapter 2 Musicians and Money in the Wake of the PandemicSome Financial Facts: A Wake Up CallWhat Do Musicians Contribute?The Musician as “Product”Creative Responses to the PandemicWhy Should You Care About Music?Your Money or Your LifeChapter 3 Musical Development and Psychological Development Erik Erikson: Development Over a Lifetime“Ratios”: Life as a Balancing ActCarolyn’s MonkeyErikson’s Eight Stages for the MusicianEarly Stages (ages 1-4)Middle Stages (ages 5-7)Late Stage: Stage 8 (ages 65+)Chapter 4 The Meaning of Money and “Psychic Income”Early Issues about Giving and ReceivingAttention and Money: Symbolic NourishmentWhat Do Money and Stage Fright Share in Common?How Much are You Worth? Patrons and AngelsBuying LoveNourishing Starving ArtistsChapter 5 Four Types of Personality Who Seek Music CareersThe Identity Status InterviewThe Four Categories of the ISIWhat Does ISI Data Explain?Ken: Integrating Past and PresentConclusion: Research and Clinical WorkChapter 6 Pursuit of Perfection The Disillusionment of OmnipotenceGrowing Pains and Emotional GrowthPursuit of Perfection: All the Right NotesMs. GMr. DResolution of Disillusionment: Grieving, Mourning, and Moving ForwardChapter 7 The Golden Allure of Celebrity: Reflections on Boundary Crossings in Psychoanalysis and MusicPlanning for the Big MeetingTemptationsDeeply DisappointedThe #MeToo Movement and Music EducationA “Perfect Storm”: Private Music LessonsA Rescue through “Love”A Higher Cost for EducationInstitutional CollusionsThe Bad Apple Doesn’t Fall Far From the TreeTreatment IssuesCodaChapter 8 Rethinking Music EducationAsked and (as Yet) Unanswered QuestionsTeaching Talented Musicians: The University and ConservatoryNurturing Healthy MusiciansHow to Destroy Creativity in Music Students: A Paraphrase of Otto KernbergEducating Healthy People Who Are MusiciansA Healthy Music ProfessionChapter 9 Music and Mind Outside the BoxThe Value of Music: Past and FutureThe Impact of Music: Historical PrecedentsMusicians and Mental Health Professionals as Non-Traditional First RespondersMusic and Therapy in and beyond the Consulting RoomBeyond the Teaching Studio and Concert HallHas Anything Good Resulted from the Pandemic?A Conclusion and a BeginningAbout the Author
£27.00
Rowman & Littlefield Making It in Country Music: An Insider's Look at
Book SynopsisRich Redmond, drummer for superstar Jason Aldean, provides a shot of inspiration for those interested in jump-starting a music career. Any successful musician will tell you the most common question asked of them is, “What does it take to make it?” Rich Redmond is no different. He moved to Nashville more than twenty-five years ago with his drums, a cat, and a vision, and he’s made his dreams come true. Over one too many lattes, he decided to put all of his advice in one place.Making It in Country Music is filled with practical advice, stories of how Redmond did it himself, and insights from a chorus of other musicians. This is the ultimate behind-the-scenes and fun-to-read book looking at the country music industry and music careers.Redmond takes you on a tour of Nashville and many other country music meccas: from the massive stadiums to the honky-tonks and the wide variety of jobs that make the industry go. You’ll learn the various skill sets needed to become successful in the industry as well as predictions for the future of country music among many other things. There is no better guide to the country music business than Redmond with his unique blend of encouragement, detailed advice, humor, and experience.
£18.99
Rowman & Littlefield Business Basics for Musicians: The Complete
Book SynopsisUnleash your music career and conquer the dynamic new music industry! In a high-tech world overflowing with ever-changing information, don't let the business side of music be your downfall. Business Basics for Musicians is the ultimate layperson’s handbook to mastering the industry. The third edition provides: Cutting-edge insights into AI, NFTs, and the limitless potential of the metaverse Comprehensive knowledge on traditional and emerging music royalties to ensure fair compensation New and captivating pro interviews and compelling anecdotes that ignite inspiration Game-changing DIY strategies that skyrocket your career and bring success on your terms Updated information on social media, including TikTok Major-label record, publishing, and merchandising deal updates that can propel your global presence Writing in an engaging tone and easily digestible format, music industry veteran Bobby Borg provides a comprehensive resource that expertly simplifies complex concepts into actionable steps. He addresses five vital areas: pursuing a successful career, building powerful relationships, assembling a winning team, unlocking lucrative deals and dollars, and paving your path to success in 2030 and beyond. This handbook will empower you to navigate the music industry while adeptly avoiding those who seek to exploit your talent.Trade Review"An exceptionally well-written, thorough, and competent book for an author who is a non-attorney. Bobby’s book is extremely valuable to anyone trying to understand the new music business.” -- Ryan Farish, Grammy Award-nominated songwriter and top ten Billboard charting artist“The new music business is full of ever-changing minefields and challenges. Business Basics for Musicians helps steer you through them in a way that lets you enjoy the journey. It’s packed with clear explanations, and information you'll use time and again.” -- Don Gorder, chairman, Music Business/Management Department, Berklee College of Music“Bobby has the ability to make complex topics understandable and instantly applicable and the knowledge and enthusiasm to empower independent musicians with the skills necessary to succeed in the music industry—from the classroom straight to the stage!” -- Pascale Cohen-Olivar, UCLA Extension Entertainment Studies Program"Business Basics for Musicians provides a solid foundation for understanding the business at large, yet it comes at you from an everyman’s perspective. If you want to learn more about new business essentials from someone who’s survived and thrived the biz, this book is a great read.” -- Neil Gillis, President, Round Hill Music"Bobby Borg’s no nonsense and honest approach to helping musicians and artists understand the complex dynamics of the music business is extremely valuable and insightful for both beginners and seasoned pros. " -- Ryan Farish, Grammy Award-nominated songwriter and top ten Billboard charting artist
£65.70
Rowman & Littlefield Business Basics for Musicians: The Complete
Book SynopsisUnleash your music career and conquer the dynamic new music industry! In a high-tech world overflowing with ever-changing information, don't let the business side of music be your downfall. Business Basics for Musicians is the ultimate layperson’s handbook to mastering the industry. The third edition provides: Cutting-edge insights into AI, NFTs, and the limitless potential of the metaverse Comprehensive knowledge on traditional and emerging music royalties to ensure fair compensation New and captivating pro interviews and compelling anecdotes that ignite inspiration Game-changing DIY strategies that skyrocket your career and bring success on your terms Updated information on social media, including TikTok Major-label record, publishing, and merchandising deal updates that can propel your global presence Writing in an engaging tone and easily digestible format, music industry veteran Bobby Borg provides a comprehensive resource that expertly simplifies complex concepts into actionable steps. He addresses five vital areas: pursuing a successful career, building powerful relationships, assembling a winning team, unlocking lucrative deals and dollars, and paving your path to success in 2030 and beyond. This handbook will empower you to navigate the music industry while adeptly avoiding those who seek to exploit your talent.
£27.00
Rowman & Littlefield How To Build Relationships in the Music Industry:
Book SynopsisMusicians: are you frustrated with promoters and other key, industry people leaving your emails unanswered? Do you wish to get more bookings and promote your projects but don’t know how to network and approach the right people?Oftentimes, promoters are overwhelmed by hundreds of emails a day, making responses difficult, so getting that first moment of contact just right can be daunting for any musician. Adding to that, emails are sometimes drafted poorly; social media presence is either lacking or spammy; and there is no real aim or strategy other than pushing for immediate results—except that isn't how the industry works: We are not in the sales business. We are in the people business. That is the mantra of this book, written by an award-winning jazz publicist and marketing / media director with over ten years of experience behind the scenes. Through interviews with dozens of industry professionals—many with diverse backgrounds and from across the globe—How to Build Relationships in the Music Industry presents valuable insights, do’s, don’ts, and anecdotes that will help any musician present their next project in a way that works in the long term. The book will help all musicians understand key characteristics of effective, professional communication in the music business which will ultimately lead to better relationships, more bookings, and a stronger following.Table of ContentsAcknowledgementsIntroductionChapter 1: Doing Your HomeworkChapter 2: The Industry & The People In It Chapter 3: Emailing & Online CommunicationChapter 4: Your WebsiteChapter 5: Content & Social MediaChapter 6: NewslettersChapter 7: Crowdfunding Your ProjectChapter 8: Offline Etiquette Chapter 9: Releasing Your MusicChapter 10: Touring & PerformingChapter 11: Getting Signed (or not) Appendix: Samples 1. Gig pitch email2. Press pitch email 3. EPK 4. Press release 5. Tour callsheet 6. Standard license agreementBibliography
£65.70
Rowman & Littlefield How To Build Relationships in the Music Industry:
Book SynopsisMusicians: are you frustrated with promoters and other key, industry people leaving your emails unanswered? Do you wish to get more bookings and promote your projects but don’t know how to network and approach the right people?Oftentimes, promoters are overwhelmed by hundreds of emails a day, making responses difficult, so getting that first moment of contact just right can be daunting for any musician. Adding to that, emails are sometimes drafted poorly; social media presence is either lacking or spammy; and there is no real aim or strategy other than pushing for immediate results—except that isn't how the industry works: We are not in the sales business. We are in the people business. That is the mantra of this book, written by an award-winning jazz publicist and marketing / media director with over ten years of experience behind the scenes. Through interviews with dozens of industry professionals—many with diverse backgrounds and from across the globe—How to Build Relationships in the Music Industry presents valuable insights, do’s, don’ts, and anecdotes that will help any musician present their next project in a way that works in the long term. The book will help all musicians understand key characteristics of effective, professional communication in the music business which will ultimately lead to better relationships, more bookings, and a stronger following.Table of ContentsAcknowledgementsIntroductionChapter 1: Doing Your HomeworkChapter 2: The Industry & The People In It Chapter 3: Emailing & Online CommunicationChapter 4: Your WebsiteChapter 5: Content & Social MediaChapter 6: NewslettersChapter 7: Crowdfunding Your ProjectChapter 8: Offline Etiquette Chapter 9: Releasing Your MusicChapter 10: Touring & PerformingChapter 11: Getting Signed (or not) Appendix: Samples 1. Gig pitch email2. Press pitch email 3. EPK 4. Press release 5. Tour callsheet 6. Standard license agreementBibliography
£27.00
Hal Leonard Publishing Corporation Jazz for Young People Vol 2 a Teachers Resouce
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£33.74
Hal Leonard Corporation The Plain And Simple Guide To Music Publishing: Uk Edition
£23.39
Shawnee Press (TN) Sacred Songs for Young Voices
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£29.99
![Six-Figure Musician - How to Sell More Music, Get More People to Your Shows, and Make More Money in the Music Business (Music Marketing [dot] Com Presents)](//bookcurl.com/cdn/shop/files/9781608423330.jpg?v=1758726940&width=645)
Kathode Ray Enterprises, LLC Six-Figure Musician - How to Sell More Music, Get More People to Your Shows, and Make More Money in the Music Business (Music Marketing [dot] Com Presents)
£15.70
Nova Science Publishers Inc Music Licensing Rights & Royalty Issues
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£39.74
Universal Publishers Band AIDS: A Program Guide for the New Band Director
£19.95
Hal Leonard Corporation Oceans of Fun Sing and Learn
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£19.99
Hal Leonard Corporation Oceans of Fun Sing and Learn
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£67.49
Skyhorse Publishing How to Grow as a Musician: What All Musicians
Book SynopsisA Friendly Guide to Launching and Maintaining Your Musical Career It's tough to make a living from one's love of music, but Sheila E. Anderson shows readers how to do just that in How to Grow as a Musician. This encouraging yet realistic guide covers everything from developing and learning one's craft to managing the business aspects of a musical
£14.44
Skyhorse Publishing The Musician's Career Guide: Turning Your Talent
Book SynopsisAn Engaging and Accessible Guide to Achieving Sustained Access in the Music Industry As a musician, how can you blend art and survival and still keep loving the business? The Musician’s Career Guide, written from the perspective of someone who has engaged in the daily struggle that all artists encounter, provides clear strategic support and advice in a knowledgeable, reader-friendly voice.From preparing for an audition to business planning to protecting one’s mental and emotional well-being, The Musician’s Career Guide marries practical tips with in-depth resources, anecdotes and stories to learn from, and comments for consideration and self-reflection. This book is a tool musicians can use to develop a realistic roadmap for success in the careers they desire. Part textbook, part self-directed learning tool, and full mentor, this information-packed text speaks with the voice of experience in a way that is realistic and attainable. The authors address topics including the following fundamental areas: Career development Touring Roles within the music industry Recording deals and industry PR and marketing for artists Keys to community engagement The mental side of being a musician The path and commitment to mastery as professional musician The Musician's Career Guide offers a foundation for both new and experienced musicians who yearn to clarify and achieve their individual goals of personal success and fulfillment through their craft. It's essential reading for any musician.
£16.99
University of Massachusetts Press Writing the Record: 'The Village Voice' and the
Book SynopsisDuring the mid-1960s, a small group of young journalists made it their mission to write about popular music, especially rock, as something worthy of serious intellectual scrutiny. Their efforts not only transformed the perspective on the era's music but revolutionised how Americans have come to think, talk, and write about popular music ever since.In Writing the Record, Devon Powers explores this shift by focusing on The Village Voice, a key publication in the rise of rock criticism. Revisiting the work of early pop critics such as Richard Goldstein and Robert Christgau, Powers shows how they stood at the front lines of the mass culture debates, challenging old assumptions and hierarchies and offering pioneering political and social critiques of the music. Part of a college-educated generation of journalists, Voice critics explored connections between rock and contemporary intellectual trends such as postmodernism, identity politics, and critical theory. In so doing, they became important forerunners of the academic study of popular culture that would emerge during the 1970s.Drawing on archival materials, interviews, and insights from media and cultural studies, Powers not only narrates a story that has been long overlooked but also argues that pop music criticism has been an important channel for the expression of public intellectualism. This is a history that is particularly relevant today, given the challenges faced by criticism of all stripes in our current media environment. Powers makes the case for the value of well-informed cultural criticism in an age when it is often suggested that everyone is a critic.
£29.11
Morgan James Publishing llc Pop Music Legends: Compendium of Recorded Music
Book Synopsis“Music affects every person. It is the soundtrack of our happiness, zest for achievement and relationships to others. Music brings great ideas and feelings. It soothes the soul. It creates and sustains memories.” – Hank MoorePop Music Legends covers change and growth of the music recording industry. It is based on the Hank Moore’s involvement in music over the years, interviews with hundreds of music stars and his knowledge of pop culture. It is the only book that encompasses a full-scope music perspective and is designed to have high appeal mass appeal, historical, entertainment and is applicable to a broad audience.
£13.49
Morgan James Publishing llc Pop Music Legends: Compendium of Recorded Music
Book Synopsis“Music affects every person. It is the soundtrack of our happiness, zest for achievement and relationships to others. Music brings great ideas and feelings. It soothes the soul. It creates and sustains memories.” – Hank MoorePop Music Legends covers change and growth of the music recording industry. It is based on the Hank Moore’s involvement in music over the years, interviews with hundreds of music stars and his knowledge of pop culture. It is the only book that encompasses a full-scope music perspective and is designed to have high appeal mass appeal, historical, entertainment and is applicable to a broad audience.
£28.01
Grey House Publishing Inc Careers in the Music Industry
Book SynopsisA musician might start by playing guitar in their teenaged bedroom, but the machinery behind their career is significant. Songwriters, composers, singers, all levels of musicians, and conductors train with individual teachers and often attend arts and music schools. Performance spaces managers and booking agents, sound engineers, promoters, and traveling crews are all crucial in bringing live performances to their audiences.On the business side, talent and business managers guide careers, and entertainment attorneys review contracts. The evolving recording business hosts a variety of careers as vinyl recording reemerge, and streaming platforms take the place of live performances due to the pandemic. Musicians in recording and digital media can also work on a range of projects such as recording radio and TV commercials or video game and film scores. Career options in the music industry are more varied than ever before, and technology just expands the field.
£105.40
Permuted Press The Beatles, The Bible and Bodega Bay: A Long and
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.
£11.69
Forefront Books The Business Behind the Song: Navigating a Career
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£21.00
BenBella Books 21-Hit Wonder: Flopping My Way to the Top of the
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£20.39
Microcosm Publishing Why to Resist Streaming Music & How
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£5.95
Hal Leonard Corporation A Cappella 101: A Beginner's Guide to
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£22.94
Barbershop Harmony Society Arranging Barbershop Vol. 1 Getting Started
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£30.80
Conundrum Press On Vinyl: First Hand Tales from a Second Hand
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.
£10.44
Equinox Publishing Ltd She's at the Controls: Sound Engineering,
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
£23.70
Equinox Publishing Ltd Sounds Irish, Acts Global: Explaining the Success
Book SynopsisSounds Irish, Acts Global critically examines both the history of Ireland's popular music industry as well as the current music scene in the country. By placing recent industry developments in the context of that history, the authors present a new way of examining any nation state's music industry - to understand the industry, the local scene must be examined. This approach highlights the multiple and changing ways by which the local scene prepares artists for both domestic and international success. In Ireland's case the scene, with its supportive network of friends, families and fans, has developed the artists who then sign with the major transnational music firms. This book is of interest to business students as well as popular music scholars in addition to non-academic readers.Table of Contents1. The Irish Arrive: Early Stages in the Music Industry Michael Mary Murphy 2. 1930s Ireland: Law and Order, Business and Nationalism Michael Mary Murphy 3. The Global Music Industries and Ireland Jim Rogers 4. The 1950s: Elvis and Ireland’s Catholic Pop Michael Mary Murphy 5. Horslips: Advancing DIY and Enterprise in the Irish Music Scene Michael Mary Murphy 6. U2: Local and Global Michael Mary Murphy 7. How Teenagers and Students Shaped Culture Michael Mary Murphy 8. Enya: “…Not Created by the Record Industry” Michael Mary Murphy 9. The Corrs: “Genetically Engineer the Perfect Pop Group” Michael Mary Murphy 10. Riverdance: Creating Profitable Local Culture Michael Mary Murphy 11. Boyzone: “Search is on for an Irish Take That” Michael Mary Murphy 12. Westlife: “He’s Got to be Kidding Me” Michael Mary Murphy 13. U2, the Virgin Prunes and Graphic Art Michael Mary Murphy Conclusion Michael Mary Murphy and Jim Rogers
£23.70
Octopus Publishing Group Telling Stories: Photographs of The Fall
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.
£27.00
Oneworld Publications The Edge
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 *
£14.99
Music Sales Ltd BRABEC MUSIC MONEY AND SUCCESS 8TH EDITION BK
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.
£22.94
Edward Elgar Publishing Ltd The Economics of Music
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
£283.10
Agenda Publishing The Economics of Music
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
£75.00
Agenda Publishing The Economics of Music
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
£22.99
Bonnier Books Ltd The Islander: My Life in Music and Beyond
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
£17.60
Bonnier Books Ltd The Islander: My Life in Music and Beyond
Book Synopsis'An adventurer, an entrepreneur, a buccaneer, a visionary' - BONOAs the founder of Island Records, fabled music producer Chris Blackwell has discovered and worked with some of the most important musicians of the second half of the twentieth century - from Steve Winwood to Cat Stevens, Bob Marley to Grace Jones, U2 to Roxy Music, plus countless others. He is also widely credited with having brought reggae music to the world stage.Now, as reflects on his life, Blackwell takes us back to the island where it all began: Jamaica - the place where his family once partied with the likes of Noël Coward, Ian Fleming and Errol Flynn and where, as Jamaican local music began to adopt contemporary American trends, Blackwell's burgeoning musical instincts flourished. It was also the birthplace of the now-legendary Island Records, founded by Blackwell in 1959.Five years later, while living in London selling Jamaican records to Caribbean immigrants, Blackwell came across the vocal talents of teenager Millie Small, who he paired with the song 'My Boy Lollipop'. The producer added a ska beat and released what would be a worldwide hit.But this was just the beginning of a truly remarkable career. In this fascinating memoir, including up to fifty photos supplied by Blackwell's team, the music icon will discuss the many artists he's worked with over the years, as well as unpicking the initiatives, decisions and risks that ultimately brought such success to both Blackwell and his esteemed musical collaborators.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. ****' * MOJO *'Fascinating. 8/10' * UNCUT *'A rip-roaring yarn, the ultimate behind-the-scenes insider look at the coolest label ever on the planet.' * THE QUIETUS *'Fascinating autobiography of the Island Records founder. The Islander is a treasure.' * PROG *'Highly recommended.' * KIRKUS *'There are amazing insights. If you want to know how it was...read The Islander.' -- BOB LEFSETZ'Highly readable' * The Guardian *'Highly entertaining, rapid fire, hard to put down memoir' * Air Mail *'If you're even a minor fan of music books....buy this autobiography. Fascinating' * Variety *'A compelling autobiography' * The Observer *'A compelling juicy book' * The Irish Times *'An absorbing read' * Echoes *'An extraordinary story and a wonderful book. It couldn't be more enthusiastically recommended' -- Mark Ellen * Word in Your Ear *
£9.89
Bonnier Books Ltd Pandamonium!: How (Not) to Run a Record Label
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'What a book; Simon perfectly captures the joy, excitement and sheer buzz of so many sides of the music industry. It's written with warmth, love and with just the right amount of humour that keeps you going during the darkest passages of his story.' -- Rick McMurray, Ash'A thoroughly entertaining, emotional and frank look into one of the most underestimated indie labels and the most overly modest man behind it. Simon and Fierce Panda were a huge part of the band's history and we are eternally grateful.' -- Rod Jones, Idlewild'Simon Williams was there from the very start. Like a lot of bands we wouldn't be where we are today without his initial enthusiasm. One of the true music aficionados.' -- Danny McNamara, Embrace
£18.00
Bonnier Books Ltd Pandamonium!: How (Not) to Run a Record Label
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
£9.89
Bonnier Books Ltd Rave New World: Confessions of a Raving Reporter
Book Synopsis'Love this book! It triggers so many memories of the rave era. Thoroughly recommended.' - FATBOY SLIM'Captures the hedonism and humour of the nineties with a laugh-out-loud honesty. The perfect Ibiza holiday read...if you can get it through customs!' -JUDGE JULES As a humble barman at the M25 Orbital raves, Kirk Field witnessed the moment acid house exploded. Inspired by media lies to start writing the truth about what he saw unfolding, Kirk became a 'raving' reporter for the clubbers' bible Mixmag, covering the historic parties from the inside and sending sweat-soaked dispatches from distant dancefloors as the scene expanded across Europe and beyond.With a cast of characters including Diego Maradona, Timothy Leary, the KLF, Michael Eavis, Genesis P-Orridge, Brigitte Nielsen, Boris Yeltsin, Boy George, Saddam Hussein's wife, the president of Tunisia, the CIA, the KGB, Dave Courtney, Norman Lamont's dominatrix and even Her Majesty the Queen, Kirk's whirlwind account of the golden age of clubbing tells the story of what really happened in the 'naughty '90s', exposing the seedy underbelly of rave culture while also capturing the nostalgic spirit of the era.Told through a mixture of vivid first-person narrative, surreal insider anecdotes and incisive social commentary, this honest, hilarious and uncensored postcard of hedonism will appeal to anyone who's ever put their hands in the air like they just don't care.
£14.39
ACC Art Books Vinyl London: A Guide to Independent Record Shops
Book SynopsisLondon's record shop scene is at its most vital and buoyant point since the 1990s, following a resurgence of interest in vinyl over recent years. Tom Greig, who has immersed himself in the world of London's record shops for close to two decades, profiles and tells the story of 60 distinctive independent record stores, selling both new and used vinyl. Vinyl London is at once a practical guide, featuring maps, addresses, opening times and stock information, and an attractive visual celebration of London's record shops. The book is organised geographically, and contains the following chapters; Soho; North; East; South; West; Suburbs; Markets; Vinyl Cafes. Also in the series: Rock 'n' Roll London ISBN 9781788840163 London Peculiars ISBN 9781851499182 Art London ISBN 9781788840385Trade Review'The book is an indispensable, lovingly crafted, and worthy addition to any vinyl fan's collection...Where else could you discover the shop that puts all its new records out on a Saturday morning, with a fresh line of those in the know queueing outside?' Every Record Tells A Story
£14.25
Reaktion Books Lamestains: Grunge, Sub Pop and the Music of the
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.
£15.99
Intellect Books Music by Numbers: The Use and Abuse of Statistics
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’
£76.50
Intellect Books Music by Numbers: The Use and Abuse of Statistics
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’
£23.70
Sonicbond Publishing Dark Horse Records: The Story of George
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.
£16.19
Lexington Books Cruisicology: The Music Culture of Cruise Ships
Book SynopsisSince the 1990s the cruise industry has become one of the largest employers of musicians in the world. Thousands of professional musicians work on cruise ships daily, entertaining millions of passengers. Cruisicology: The Music Culture of Cruise Ships provides the first in-depth account of the culture and the industrial determinants of cruise ship music. Based on interviews with working musicians and coauthor David Cashman’s experience as a cruise ship musician, this book investigates how music is organized and made onboard a cruise ship. David Cashman and Philip Hayward study the working life of musicians, why and how corporate shipping lines include music onboard their vessels, the history of musicians on passenger shipping, and the likely future directions of musical entertainment within the industry. Cashman and Hayward illustrate the positive and negative experience of artists making music every day in confined spaces with close proximity to their audiences.Table of ContentsChapter One: Music and Cruising – A Historical and Institutional Introduction Chapter Two: Musical Contexts and LocationsChapter Three: Musicians’ Experiences and Lifestyles on Cruise ShipsChapter Four: 21st Century Diversification
£69.30
Lexington Books Forensic Musicology and the Blurred Lines of
Book SynopsisDrawing on interdisciplinary research methods from musicological and legal scholarship, this book maps the historical terrain of forensic musicology. It examines the contributions of musical expert witnesses, their analytical techniques, and the issues they encounter assisting courts in clarifying the blurred lines of music copyright.Trade ReviewKatherine Leo offers the first in-depth study of the evolution of the role of ‘forensic musicologists’ from the mid-1800s through the present day. Leo plumbs the essential question behind the ‘precarious ethics’ of the work of these experts: how two experts, applying the same knowledge, could reasonably hold diametrically opposed opinions on the question of similarity of original expression between two musical works. Leo deftly traces, in language accessible to all readers, how seminal copyright cases in the twentieth century circumscribed the role of music experts, yet ultimately did not diminish their significance in the adjudication of infringement claims. Meticulously researched and sparely and clearly written, Forensic Musicology and the Blurred Lines of Copyright History should appeal to anyone interested in copyright or music, but especially to those interested in both. -- Charles Cronin, Gould School of Law at the University of Southern California, MCIR websiteThis manuscript explores in depth, and for the first time, many important arguments regarding consistency of methodology in forensic musicology. It focuses on the role of the forensic musicologist as an expert witness, with reference to high profile case studies of music copyright infringement disputes. The approach is helpfully chronological, which is desirable given the co-evolution of copyright law, music creativity, and lawsuit ‘culture’ in the U.S. The strongest features of the work are clear and accessible writing style, adherence to real-world cases, and the thoroughness of the scholarship. -- Joe Bennett, Consultant Forensic Musicologist / Resident Scholar at Berklee College of MusicTable of ContentsChapter 1: The Foundations of Music Copyright Law and Musical Expertise Chapter 2: Judges, Experts, and Ordinary Listeners Chapter 3: Arnstein, Krofft, and the Narrowing Role of Expertise Chapter 4: The Problems with Arnstein and Krofft Chapter 5: Sampling Cases and the Digital Audio Revolution Chapter 6: New Standards of Musical Expertise Conclusion: The “Blurred Lines” of Contemporary Music Copyright Litigation
£72.90
Lexington Books Forensic Musicology and the Blurred Lines of
Book SynopsisDrawing on interdisciplinary research methods from musicological and legal scholarship, this book maps the historical terrain of forensic musicology. It examines the contributions of musical expert witnesses, their analytical techniques, and the issues they encounter assisting courts in clarifying the blurred lines of music copyright.Trade ReviewKatherine Leo offers the first in-depth study of the evolution of the role of ‘forensic musicologists’ from the mid-1800s through the present day. Leo plumbs the essential question behind the ‘precarious ethics’ of the work of these experts: how two experts, applying the same knowledge, could reasonably hold diametrically opposed opinions on the question of similarity of original expression between two musical works. Leo deftly traces, in language accessible to all readers, how seminal copyright cases in the twentieth century circumscribed the role of music experts, yet ultimately did not diminish their significance in the adjudication of infringement claims. Meticulously researched and sparely and clearly written, Forensic Musicology and the Blurred Lines of Copyright History should appeal to anyone interested in copyright or music, but especially to those interested in both. -- Charles Cronin, Gould School of Law at the University of Southern California, MCIR websiteThis manuscript explores in depth, and for the first time, many important arguments regarding consistency of methodology in forensic musicology. It focuses on the role of the forensic musicologist as an expert witness, with reference to high profile case studies of music copyright infringement disputes. The approach is helpfully chronological, which is desirable given the co-evolution of copyright law, music creativity, and lawsuit ‘culture’ in the U.S. The strongest features of the work are clear and accessible writing style, adherence to real-world cases, and the thoroughness of the scholarship. -- Joe Bennett, Consultant Forensic Musicologist / Resident Scholar at Berklee College of MusicTable of ContentsChapter 1: The Foundations of Music Copyright Law and Musical Expertise Chapter 2: Judges, Experts, and Ordinary Listeners Chapter 3: Arnstein, Krofft, and the Narrowing Role of Expertise Chapter 4: The Problems with Arnstein and Krofft Chapter 5: Sampling Cases and the Digital Audio Revolution Chapter 6: New Standards of Musical Expertise Conclusion: The “Blurred Lines” of Contemporary Music Copyright Litigation
£28.50
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