Music industry Books

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

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

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Book SynopsisThis book is your guide to the study and practice of music management and the fast-moving music business of the 21st century. Covering a range of careers, organisations, and practices, this expert introduction will help aspiring artists, managers, and executives to understand and succeed in this exciting sector. Featuring exclusive interviews with industry experts and discussions of well-known artists, it covers key areas such as artist development, the live music sector, fan engagement, and copyright. Other topics include: Managing contracts and assembling teams. Using data audits of platforms to adapt campaigns. Shaping opinions about music, musicians, events. How the music industry can be more diverse, inclusive, and equitable for the benefit of all. Working with venues, promoters, booking agents, and tour managers. Branding, sponsorship, and endorsement. Funding, crowdsourcing and royalty collection. Ongoing digital developments such as streaming income and algorithmic recommendation. Balancing the creative and the commercial, it is essential reading for students of music management, music business, and music promotion – and anybody looking to build their career in the music industries. Dr Chris Anderton, Johnny Hopkins, and James Hannam all teach on the BA Music Business at the Faculty of Business, Law and Digital Technologies at Solent University, Southampton, UK.Table of ContentsIntroduction: Industry Overview and Theoretical Approaches Getting Started: Building Teams and Understanding Management Functions Artist Development Strategies Creating a Buzz Music Marketing Public Relations and Promotion Online Music: Media Platforms, Music Streaming and Music Recommendation Concerts and Festivals Branding and Sponsorship Copyright, Funding and Revenue Streams Beyond the Music: Well-Being and Equality Conclusion

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

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

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

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

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

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

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

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

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

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Book SynopsisThe book’s focus is on successful music entrepreneurship and career development in the global music and entertainment industry. The list of specialized occupations filled by musicians is lengthy, e.g. performer, producer, arranger, composer, songwriter, lyricist, music editor, publicist, recording engineer, conductor, sound technician, manager, entertainment lawyer, promoter, booking agent, tour manager, music educator, vocal coach, private instructor, music supervisor, music programmer, electronic DJ, etc. There are also careers ancillary to music, such as event organizer, music therapist, radio station director, or entertainment director. Music plays an important role in advertising, marketing, video games, film, and digital media as well, and there are tie-ins to tourism, restaurant, and the hospitality industry. Music as an industry is multifaceted, and is a subset of the broader entertainment industry which includes sports, cinema, broadcasting, and creative digital media. The entertainment industry in aggregate is viewed as a potential growth area by governments and by commercial concerns, and often targeted and supported as a tool for sustainable international economic, social, and cultural development. There is even such a thing as music diplomacy, as a component of cultural or “soft power” diplomacy. As with many professions, the set of skills, knowledge, and strategies required to become successfully employed in the music and entertainment-related fields are not the same set of skills needed to do the actual jobs. Young musicians and others with the ambition to work in the music industry are often baffled by the many options available, conflicting information, and the lack of a clear path to success. They are thirsty for balanced and reliable knowledge about and clear direction on how to prepare for a career in the industry. Universities, colleges, and specialty training schools offer programs designed to help individuals prepare for careers in music, leading to certificates, diplomas, or degrees, including at the graduate level. But the focus of the trainings and curricula are most often only on the skills needed to perform the work and not on how to access the work through careful career preparation and entrepreneurial thinking. There is a dearth of relevant information about how to access the opportunities, leverage the training and the networks gained in school, and how to succeed through meeting the true demands of the industry. This book aims to fill this need.

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Book SynopsisThe Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology.Once a field that addressed music's socio-political or performative contexts, applied musicology today encompasses study and practice in areas as diverse as psychology, ecomusicology, organology, forensic musicology, music therapy, health and well-being, and other public-oriented musicologies. These rapid advances have created a fast-changing field whose scholarship and activities tend to take place in isolation from each other. This volume addresses that shortcoming, bringing together a wide-ranging survey of current approaches.Featuring 39 authors, The Routledge Companion to Applied Musicology falls into five partsDefining and Theorising Applied Musicology; Public Engagement; New Approaches and Research Methods; Representation and Inclusion; and Musicology in/Table of ContentsList of FiguresList of ContributorsIntroduction Chris DromeyPart I. Defining and Theorising Applied Musicology1. From Spitta to Seeger: Early Theories of Applied Musicology Malik Sharif 2. Musicology’s Applied Foundations (or, How Music was Musealised) Miloš Zapletal and Chris Dromey3. The Late Nineteenth-Century Concert as Applied Musicology Natasha Loges4. “Applied” before Musicology? George Grove, Programme Notes, and the Dictionary Bruno Bower5. Phenomenology, Practice-led Research, and Applied Musicology Nancy November6. The Locations of Musical Meaning and Subjectivity Alastair WilliamsPart II. Public Engagement7. Shaping the Narrative: Musicology for a Public Leah Broad8. Exhibiting Ethnomusicology: Curation Across Cultures and Disciplines Frances Wilkins, Barbara Alge and the Aanischaaukamikw Cree Cultural Institute9. Club Inégales, Curation, and Processes of Public Musicology Helen Julia Minors10. Cultural and Artistic Citizenship in Classical Music Constanze Wimmer and Chris Dromey11. Musicology and/as Knowledge Exchange Toby Young12. ‘So wide is the field’: Edward Taylor’s Public Music Lectures Rachel JohnsonPart III. New Approaches and Research Methods13. The Sound Commons and Applied Ecomusicologies Aaron S. Allen, Taylor Leapaldt, Mark Pedelty and Jeff Todd Titon14. Perceptions of Melodic Symmetry: A Priming Study Michael Thorpe15. Opera Virgins at the Movies: Audience Research and the Ontology of Opera Cinema Joe Attard16. Towards an Applied Health Musicology: Aesthetic Music Therapy and Beyond Colin Andrew Lee and Chris Dromey17. “Parental Advisory”: Making Explicit the Value and Authenticity of a Music Degree Paul FleetPart IV. Representation and Inclusion18. Rethinking Representation in Music Education: Strategies to Integrate Pan-African Music Karen Cyrus19. Whose ‘Better World’? Reflections on Applied Music Interventions in the Andes Xabier Etxeberria Adrien and Henry Stobart20. Rethinking (Self-)Care in Musicology Klisala Harrison21. The Legality and Morality of Rap at Court Lily E. Hirsch22. Strategies for Using Music Theory to Inform Music Education, Psychology, and Therapy Research Adam OckelfordPart V. Musicology in/for Performance23. “Mahler am Tisch”: Experimenting with Imagined and Emergent Audiences Ties van de Werff, Veerle Spronck and Imogen Eve24. On Organology: Taxonomy and Transdisciplinarity Rachael Durkin and Darryl Martin25. Dialogues with Recordings: Digital Memory and the Archive Neil Heyde26. Intersections Between Northern Irish Choral Practices and Community Music Principles Sarah-Jane Gibson and Lee Higgins27. Music for Buildings, Building for Music Neil Thomas Smith and Peter PetersReferencesIndex

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Book SynopsisThis book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity.In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will beTable of Contents1. Introduction; 2. Crowdfunding as a New Form of Financing Creative Activity; 3. Crowdfunding Independent Cinema; 4. Crowdfunding and Independence in Music; 5. Conclusions; References

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Book SynopsisMaking It Happen is a comprehensive guide to navigating the modern music industry, that redefines what making it' means for musicians, and inspires and educates musicians on the different options for generating revenue from their art. This book offers theoretical and practical advice on making music, creating promotional content and embracing traditional and emerging social media platforms into your marketing strategies. Through interviews with music industry experts, readers can expect professional tips and advice, as well as clear instructions on how to build a dream team, make content, share that work and grow an audience to enable long-term business sustainability. In the modern music industry, having multiple revenue streams leads to a stable income.Making It Happen offers unique insights into the innovations and technologies available to contemporary music makers, making it essential reading for independent musicians, music business students, muTrade Review"Making It Happen brilliantly addresses not just the logistics but the inner mindset needed for success in music. A must-read for every serious musician."Derek Sivers, founder of CD BabyTable of ContentsPart 1: Clarify 1. Making It 2. What Do You Want? 3. What’s Stopping You? 4. Why You Should Just Do It Part 2: Calibrate 5. How To Start 6. Carving Your Own Path 7. It Starts With The Music 8. Building Your Dream Team 9. Distributing Music Digitally 10. Sharing Your Work Part 3: Create 11. Creating Content 12. Protecting Your Work 13. Making Money 14. Evolving 15. Conclusion

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

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

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Book SynopsisThis book explores the fundamentals of popular music performance for students in contemporary music institutions. Drawing on the insights of performance practice research, it discusses the unwritten rules of performances in popular music, what it takes to create a memorable performance, and live popular music as a creative industry. The authors offer a practical overview of topics ranging from rehearsals to stagecraft, and what to do when things go wrong. Chapters on promotion, recordings, and the music industry place performance in the context of building a career. Performing Popular Music introduces aspiring musicians to the elements of crafting compelling performances and succeeding in the world of today's popular music.Trade Review"Cashman and Garrido’s accessible book provides an absolutely first rate overview of all things related to the global live music industry. Based on their own extensive experience and interviews with live music stakeholders, the authors take the reader on a progressive journey through a multitude of factors related to this overlooked industry, ranging from experiencing live performance, to ‘types’ of performance, to advice on rehearsal and practice, to contracts and logistics, to earning a living from and monetising the industry. Written in jargon free language and crammed full of useful advice, the book is an ideal starting point for both the undergraduate student or any practitioner interested in musical performance Although not a research text in the traditional sense, the book does provide many areas for consideration, such as methods of stage communication, attracting audiences, rehearsal methodologies, stage showmanship and the mechanics of ‘experience’, all of which are fascinating points of discussion and analysis. I would imagine this book would be a really useful course text for all institutions teaching popular music performance and I certainly recommend it."—Paul Carr, Professor of Popular Music, University of South Wales"Never has the value of an engaged performance become more evident than during the social isolation enforced on much of the world during the 2020 COVID-19 pandemic. Musicians quickly adapted where they could to the online environment, where the virtual barrier of the computer screen meant that knowledge and skill in creating an evocative and affective performance were never more crucial. And while the live music industry itself struggled, understanding the workings of the industry and knowing how to monetise performances became all the more essential. The release of Cashman and Garrido’s overview of the live music industry and how to successfully navigate it predates the pandemic by only months, and it is testament to the book's thoroughness and breadth that it is as relevant to the live music industry now as it was then, if not more. Covering topics from performance and stagecraft, from preparation to delivery, technology and the business of music, it is packed with useful and accessible information for not only the aspiring contemporary music student, but any music practitioner seeking to hone their skillset. I highly recommend it as a set text for any higher education institution in which popular music performance is studied."—Donna Weston, Associate Professor and Head of Popular Music, Queensland Conservatorium, Griffith University, Australia"Written in a relaxed, informal manner and drawing upon the experiences of the authors and a number of industry professionals, the book not only explores the mindsets of popular musicians when it comes to creating successful performances, but also those of jazz and classical musicians too. Touching upon areas such as individual and group rehearsal techniques, constructing dynamically effective setlists, engaging a band manager and navigating the various roles of musicians within ensembles, the various challenges and necessary skillsets are all outlined very well. ... The last chapter of the book could be considered compulsory reading for those looking to undertake a career in music. Those who are finding their feet in the industry will find this book informative and insightful, whilst those with more experience will enjoy the philosophical and psychological nuggets of wisdom with regard to live performance."—Jenna Doyle, IASPM JournalTable of ContentsIntroduction Section 1 - Creating Memorable Performances 1. What Makes a Performance Memorable? 2. Creating Memorable Live Performances 3. The Role of Personal Practice in Preparing for Your Performance 4. Rehearsing in a Group 5. Your Audience 6. Working as a Musician Section 2 - Making the Money: The Business of the Live Music Industry 7. The Players in the Live Music Industry 8. Earning an Income in the Live Music Industry 9. Planning Your Product 10. Technology and Live Performance 11. Getting the Gigs: Promotion, Travel, Contracts, and Talking Business 12. The Unwritten Rules of Music Performance Conclusion GlossaryBibliographyIndex

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