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Book
154 pages ; 24 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .C665 2014 Unknown
Book
xi, 202 pages : illustrations, maps ; 24 cm
  • Musicians and the segregated city : Chicago in the early 1900s-1930s
  • From south to south side : musicians in 1940s Chicago
  • Redefining the music industry : independent music in Chicago, 1948-1953
  • From south side to the south and the nation, 1954-1963
  • Dissonance and the desegregation of Chicago's musicians' union, 1963-1967.
  • Musicians and the segregated city : Chicago in the early 1900s-1930s
  • From south to south side : musicians in 1940s Chicago
  • Redefining the music industry : independent music in Chicago, 1948-1953
  • From south side to the south and the nation, 1954-1963
  • Dissonance and the desegregation of Chicago's musicians' union, 1963-1967.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3479 .A26 2014 Unknown
Book
336 p. ; 23 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3535.5 .T32 2014 Unavailable At bindery Request
Book
427 pages : illustrations (some color) ; 22 cm
  • Vorwort
  • Einleitung
  • Einführung : das Label
  • Definition
  • Aufgaben eines Labels
  • Struktur eines Labels
  • Unterschiede Indie vs. Majors : Spezialisten vs. Allrounder
  • Über die Notwendigkeit von Labels
  • Die Musikindustrie
  • Die Entstehung und Entwicklung der Musikindustrie
  • Der Musikmarkt in Deutschland
  • Orientierungsinstrumente der Musikindustrie
  • Das Konzept Genre
  • Die Marke
  • Genres und Marken in der Musikindustrie
  • Zwischenbilanz : die Beziehungen zwischen Genres und Marken in der Musik
  • Die Bedeutung des Medienumbruchs für die Musikb6ranche
  • Die Time-Konvergenz
  • Das Tsunami-Modell
  • Merkmale und Eigenschaften der Neuen Medien
  • Auswirkungen auf die Musikbranche
  • Genres und Marken in der digitalen Musikwelt
  • Orientierungsinstrumente in der heutigen Musikindustrie
  • Das Konzept Genre bei Labels in der Praxis
  • Markenführungsansätze bei Labels in der Praxis
  • Labels und die Orientierungsinstrumente Genre und Marke
  • Ausblick
  • Quellen und Literatur.
  • Vorwort
  • Einleitung
  • Einführung : das Label
  • Definition
  • Aufgaben eines Labels
  • Struktur eines Labels
  • Unterschiede Indie vs. Majors : Spezialisten vs. Allrounder
  • Über die Notwendigkeit von Labels
  • Die Musikindustrie
  • Die Entstehung und Entwicklung der Musikindustrie
  • Der Musikmarkt in Deutschland
  • Orientierungsinstrumente der Musikindustrie
  • Das Konzept Genre
  • Die Marke
  • Genres und Marken in der Musikindustrie
  • Zwischenbilanz : die Beziehungen zwischen Genres und Marken in der Musik
  • Die Bedeutung des Medienumbruchs für die Musikb6ranche
  • Die Time-Konvergenz
  • Das Tsunami-Modell
  • Merkmale und Eigenschaften der Neuen Medien
  • Auswirkungen auf die Musikbranche
  • Genres und Marken in der digitalen Musikwelt
  • Orientierungsinstrumente in der heutigen Musikindustrie
  • Das Konzept Genre bei Labels in der Praxis
  • Markenführungsansätze bei Labels in der Praxis
  • Labels und die Orientierungsinstrumente Genre und Marke
  • Ausblick
  • Quellen und Literatur.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .S561 2014 Unknown
Book
xiv, 306 pages, 28 unnumbered pages of plates : illustrations ; 24 cm
  • Herbert's victory
  • Buck stops here
  • Radio waves
  • TV vs. rock 'n' roll
  • The comeback
  • Seeding the garden of creativity
  • New blood, Nashville, and Capitol Hill
  • Gridlock, grants, and gigabytes
  • A common cause
  • Follow the dollar
  • Playback and fast forward.
On February 13, 1914, a group of the nation's most distinguished and popular songwriters gathered together in New York City to support the mission of ASCAP, a new organization for publishers and songwriters. A few years later, ASCAP received its mandate from the Supreme Court to collect royalties for the public performance of copyrighted material. Over the course the next century, ASCAP has been as prominent a force for the advancement and nurture and financial well-being of songwriters as any record label or publishing outfit one would care to name. With a responsive board of directors made up entirely of songwriter/composer and publisher members, ASCAP has defended creators' rights at every turn against those who would seek to devalue music. Today, with copyright under renewed assault, its mission is as resonant and vital as ever, along with its relatively new role as a nurturer of the young artists who represent the future of music. Award-winning music writer Bruce Pollock explores the growth and changes within this complex society and its relationship to emerging technologies, in the context of 100 years of an ever-evolving music business, to see how ASCAP has become, for those who hope to make a living making music, now more than ever, a friend in the music business.
(source: Nielsen Book Data)
  • Herbert's victory
  • Buck stops here
  • Radio waves
  • TV vs. rock 'n' roll
  • The comeback
  • Seeding the garden of creativity
  • New blood, Nashville, and Capitol Hill
  • Gridlock, grants, and gigabytes
  • A common cause
  • Follow the dollar
  • Playback and fast forward.
On February 13, 1914, a group of the nation's most distinguished and popular songwriters gathered together in New York City to support the mission of ASCAP, a new organization for publishers and songwriters. A few years later, ASCAP received its mandate from the Supreme Court to collect royalties for the public performance of copyrighted material. Over the course the next century, ASCAP has been as prominent a force for the advancement and nurture and financial well-being of songwriters as any record label or publishing outfit one would care to name. With a responsive board of directors made up entirely of songwriter/composer and publisher members, ASCAP has defended creators' rights at every turn against those who would seek to devalue music. Today, with copyright under renewed assault, its mission is as resonant and vital as ever, along with its relatively new role as a nurturer of the young artists who represent the future of music. Award-winning music writer Bruce Pollock explores the growth and changes within this complex society and its relationship to emerging technologies, in the context of 100 years of an ever-evolving music business, to see how ASCAP has become, for those who hope to make a living making music, now more than ever, a friend in the music business.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .P66 2014 Unknown
Book
xiv, 306 pages, 28 unnumbered pages of plates : illustrations ; 24 cm
  • Herbert's victory
  • Buck stops here
  • Radio waves
  • TV vs. rock 'n' roll
  • The comeback
  • Seeding the garden of creativity
  • New blood, Nashville, and Capitol Hill
  • Gridlock, grants, and gigabytes
  • A common cause
  • Follow the dollar
  • Playback and fast forward.
On February 13, 1914, a group of the nation's most distinguished and popular songwriters gathered together in New York City to support the mission of ASCAP, a new organization for publishers and songwriters. A few years later, ASCAP received its mandate from the Supreme Court to collect royalties for the public performance of copyrighted material. Over the course the next century, ASCAP has been as prominent a force for the advancement and nurture and financial well-being of songwriters as any record label or publishing outfit one would care to name. With a responsive board of directors made up entirely of songwriter/composer and publisher members, ASCAP has defended creators' rights at every turn against those who would seek to devalue music. Today, with copyright under renewed assault, its mission is as resonant and vital as ever, along with its relatively new role as a nurturer of the young artists who represent the future of music. Award-winning music writer Bruce Pollock explores the growth and changes within this complex society and its relationship to emerging technologies, in the context of 100 years of an ever-evolving music business, to see how ASCAP has become, for those who hope to make a living making music, now more than ever, a friend in the music business.
(source: Nielsen Book Data)
  • Herbert's victory
  • Buck stops here
  • Radio waves
  • TV vs. rock 'n' roll
  • The comeback
  • Seeding the garden of creativity
  • New blood, Nashville, and Capitol Hill
  • Gridlock, grants, and gigabytes
  • A common cause
  • Follow the dollar
  • Playback and fast forward.
On February 13, 1914, a group of the nation's most distinguished and popular songwriters gathered together in New York City to support the mission of ASCAP, a new organization for publishers and songwriters. A few years later, ASCAP received its mandate from the Supreme Court to collect royalties for the public performance of copyrighted material. Over the course the next century, ASCAP has been as prominent a force for the advancement and nurture and financial well-being of songwriters as any record label or publishing outfit one would care to name. With a responsive board of directors made up entirely of songwriter/composer and publisher members, ASCAP has defended creators' rights at every turn against those who would seek to devalue music. Today, with copyright under renewed assault, its mission is as resonant and vital as ever, along with its relatively new role as a nurturer of the young artists who represent the future of music. Award-winning music writer Bruce Pollock explores the growth and changes within this complex society and its relationship to emerging technologies, in the context of 100 years of an ever-evolving music business, to see how ASCAP has become, for those who hope to make a living making music, now more than ever, a friend in the music business.
(source: Nielsen Book Data)
Law Library (Crown)
Status of items at Law Library (Crown)
Law Library (Crown) Status
Basement
ML3790 .P66 2014 Unknown
Book
214 pages ; 23 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
ML3790 .N395 2014 Available
Book
293 pages : color illustrations ; 24 cm.
Stanford University Libraries
Status of items at Stanford University Libraries
Stanford University Libraries Status
On order
(no call number) Unavailable On order Request
Book
1 online resource (xvi, 250 pages) : illustrations
Florian Grote investigates how a local Berlin music scene integrates online media into its cultural practice, and why located interaction in clubs and at concert events remains one of the most important forms of communication. Based on detailed empirical data and innovative analytical methods, social situations are described that can only happen as communication in the field deals with the potentials and challenges of online media. The interwoven forms of online and offline activity are presented in a coherent model of public communication within contemporary cultural practice. With its current topic and an innovative set of methods, this study covers new ground for research in the cultural sciences of the digital age.
Florian Grote investigates how a local Berlin music scene integrates online media into its cultural practice, and why located interaction in clubs and at concert events remains one of the most important forms of communication. Based on detailed empirical data and innovative analytical methods, social situations are described that can only happen as communication in the field deals with the potentials and challenges of online media. The interwoven forms of online and offline activity are presented in a coherent model of public communication within contemporary cultural practice. With its current topic and an innovative set of methods, this study covers new ground for research in the cultural sciences of the digital age.
Book
239 pages : illustrations ; 20 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
ML3790 .K485 2014 Available
Book
306 pages : illustrations (some color) ; 24 cm.
  • Musikwirtschaft 2.0. Bestandsaufnahmen und Perspektiven : eine Einführung / Steffen Höhne und Wolf-Georg Zaddach
  • Musikpolitik : Voraussetzungen, Aufgaben und Ziele der öffentlichen Musikförderung / Martin Pfleiderer
  • Wandel vor der Digitalisierung : die Schallplatte als Perspektive für die Musikwirtschaft der 1950er und 1960er Jahre / Christian A. Müller
  • The British music industry : challenges and adaption in the Twenty-first century / Stuart Moss
  • Der deutsche Klassikmarkt : eine wirtschaftliche Betrachtung / Martin Lücke
  • Unbestimmtheiten der Musikindustrie 2.0 : eine Prozessperspektive / Matthias Maier und Nancy Richter
  • Perspektive Kreativunternehmer? Rollenbilder und -modelle zwischen künsderischem Anspruch und Realität, zwischen Zuschreibung und Erwartung / Steffen Höhne
  • Erfolgreiche Handlungskompetenz : Musiker zwischen Kreativität und Entrepreneurship / Elmar D. Konrad
  • Die Rolle des Konsumenten, neue Erlösmodelle und Property-Rights-Ausgestaltung in der digitalen Musikindustrie / Jutta Emes und Christin Friedemann
  • Musik & Recht im digitalen Zeitalter : zwischen Ohnmacht und Aufbruch / Pascal Charles Amann
  • "Music is an enginge of the digitale world" : Musik und Musikwirtschaft im Zeitalter des Social Web / Wolf-Georg Zaddach
  • #Fusionfestival : Tribal-Tagging bei Twitter am Beispiel des Fusion Festivals in Lärz 2013 / Ekkehard Knopke und Carsten Wernicke
  • Automatic retrieval of rhythmic patterns for the global music database, a joint-project between musicologists and audio engineers / Nina Graeff, Philip Küppers, Felix Pfeifer und Tiago de Oliveira Pinto
  • Charakterisierung des Konsumenten von Musik im Internet / Ian Pascal Volz
  • Zukunftsperspektive Musikfestival? Musikfestivals im Wandel / Uwe Wagner
  • Freiberuflich als Komponist / Ludger Vollmer
  • Autoren.
  • Musikwirtschaft 2.0. Bestandsaufnahmen und Perspektiven : eine Einführung / Steffen Höhne und Wolf-Georg Zaddach
  • Musikpolitik : Voraussetzungen, Aufgaben und Ziele der öffentlichen Musikförderung / Martin Pfleiderer
  • Wandel vor der Digitalisierung : die Schallplatte als Perspektive für die Musikwirtschaft der 1950er und 1960er Jahre / Christian A. Müller
  • The British music industry : challenges and adaption in the Twenty-first century / Stuart Moss
  • Der deutsche Klassikmarkt : eine wirtschaftliche Betrachtung / Martin Lücke
  • Unbestimmtheiten der Musikindustrie 2.0 : eine Prozessperspektive / Matthias Maier und Nancy Richter
  • Perspektive Kreativunternehmer? Rollenbilder und -modelle zwischen künsderischem Anspruch und Realität, zwischen Zuschreibung und Erwartung / Steffen Höhne
  • Erfolgreiche Handlungskompetenz : Musiker zwischen Kreativität und Entrepreneurship / Elmar D. Konrad
  • Die Rolle des Konsumenten, neue Erlösmodelle und Property-Rights-Ausgestaltung in der digitalen Musikindustrie / Jutta Emes und Christin Friedemann
  • Musik & Recht im digitalen Zeitalter : zwischen Ohnmacht und Aufbruch / Pascal Charles Amann
  • "Music is an enginge of the digitale world" : Musik und Musikwirtschaft im Zeitalter des Social Web / Wolf-Georg Zaddach
  • #Fusionfestival : Tribal-Tagging bei Twitter am Beispiel des Fusion Festivals in Lärz 2013 / Ekkehard Knopke und Carsten Wernicke
  • Automatic retrieval of rhythmic patterns for the global music database, a joint-project between musicologists and audio engineers / Nina Graeff, Philip Küppers, Felix Pfeifer und Tiago de Oliveira Pinto
  • Charakterisierung des Konsumenten von Musik im Internet / Ian Pascal Volz
  • Zukunftsperspektive Musikfestival? Musikfestivals im Wandel / Uwe Wagner
  • Freiberuflich als Komponist / Ludger Vollmer
  • Autoren.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
ML3790 .M865 2014 Available
Book
2 volumes : illustrations ; 26 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3916 .O95 2014 V.1 Unknown
ML3916 .O95 2014 V.2 Unknown
Book
ix, 265 pages : illustrations ; 23 cm
  • Introduction: a changing master-narrative of cultural production
  • PART 1: My version of events
  • 1. A personal perspective
  • 2. Innovation or bust: a short history of recorded music
  • PART 2: Stakeholder voices
  • 3. Value shift
  • 4. Custodial tensions
  • 5. Hindsight and strategic sense-making
  • PART 3: A storytelling contest
  • 6. The analysis of discourse
  • 7. Strategy as storytelling
  • 8. Identification of key constructs
  • 9. A narrative world
  • 10. The inventor's tale
  • 11. Power and ideology
  • PART 4: The pirate's tale: reform of copyright and the future
  • 12. Pirates, property and privatization
  • 13. Enclosing the commons of the mind
  • 14. The 300-year war of copyright
  • 15. My version of events: the future.
  • Introduction: a changing master-narrative of cultural production
  • PART 1: My version of events
  • 1. A personal perspective
  • 2. Innovation or bust: a short history of recorded music
  • PART 2: Stakeholder voices
  • 3. Value shift
  • 4. Custodial tensions
  • 5. Hindsight and strategic sense-making
  • PART 3: A storytelling contest
  • 6. The analysis of discourse
  • 7. Strategy as storytelling
  • 8. Identification of key constructs
  • 9. A narrative world
  • 10. The inventor's tale
  • 11. Power and ideology
  • PART 4: The pirate's tale: reform of copyright and the future
  • 12. Pirates, property and privatization
  • 13. Enclosing the commons of the mind
  • 14. The 300-year war of copyright
  • 15. My version of events: the future.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .W493 2014 Unknown
Book
x, 201 pages : illustrations ; 24 cm.
  • Introduction 1. Enter The End User: A New Audience for A New Media 2. Why Don't We Give it Away?: The Value of Free for a New Music Industry 3. Retail Climate Change: From Selling Music to Selling a Service 4. Opening Pandora's Box: The Problematic Promise of Radio on the Internet 5. Radio on the TV: Music Supervision Taken Seriously 6. In a Land of 360 deals a 1,000 True Fans Can't Be Wrong: Financing the Social Musician and Online Relationships Conclusion.
  • (source: Nielsen Book Data)
In the late 1990s, the MP3 became the de facto standard for digital audio files and the networked computer began to claim a significant place in the lives of more and more listeners. The dovetailing of these two circumstances is the basis of a new mode of musical production and distribution where new practices emerge. This book is not a definitive statement about what the new music industry is. Rather, it is devoted to what this new industry is becoming by examining these practices as experiments, dedicated to negotiating what is replacing an "object based" industry oriented around the production and exchange of physical recordings. In this new economy, constant attention is paid to the production and licensing of intellectual property and the rise of the "social musician" who has been encouraged to become more entrepreneurial. Finally, every element of the industry now must consider a new type of audience, the "end user", and their productive and distributive capacities around which services and musicians must orient their practices and investments.
(source: Nielsen Book Data)
  • Introduction 1. Enter The End User: A New Audience for A New Media 2. Why Don't We Give it Away?: The Value of Free for a New Music Industry 3. Retail Climate Change: From Selling Music to Selling a Service 4. Opening Pandora's Box: The Problematic Promise of Radio on the Internet 5. Radio on the TV: Music Supervision Taken Seriously 6. In a Land of 360 deals a 1,000 True Fans Can't Be Wrong: Financing the Social Musician and Online Relationships Conclusion.
  • (source: Nielsen Book Data)
In the late 1990s, the MP3 became the de facto standard for digital audio files and the networked computer began to claim a significant place in the lives of more and more listeners. The dovetailing of these two circumstances is the basis of a new mode of musical production and distribution where new practices emerge. This book is not a definitive statement about what the new music industry is. Rather, it is devoted to what this new industry is becoming by examining these practices as experiments, dedicated to negotiating what is replacing an "object based" industry oriented around the production and exchange of physical recordings. In this new economy, constant attention is paid to the production and licensing of intellectual property and the rise of the "social musician" who has been encouraged to become more entrepreneurial. Finally, every element of the industry now must consider a new type of audience, the "end user", and their productive and distributive capacities around which services and musicians must orient their practices and investments.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .A64 2014 Unknown
Book
p. ; cm.
  • PART I - RECORDING. Introduction. 1. How Microphones Work. 2. Common Microphones. 3. Basic Recording Equipment. 4. Digital Audio Workstation Recording Overview. 5. Basic Stereo Miking Techniques. 6. Basic Recording Techniques. 7. Preparing The Drum Kit For Recording. 8. Recording The Drum Kit. 9. Individual Instrument Miking Techniques. 10. Recording Basic Tracks. 11. Recording Overdubs. 12. Surround Recording Techniques. PART II - THE INTERVIEWS. Chuck Ainlay. Steve Albini. Michael Beinhorn. Michael Bishop. Bruce Botnick. Ed Cherney. Wyn Davis. Frank Filipetti. Jerry Hey. Eddie Kramer. Mark Linett. Mack. Al Schmitt. Addendum 1: Final Recording Checklists. Glossary. Index.
  • (source: Nielsen Book Data)
This completely updated edition of a music-industry classic, The Recording Engineer's Handbook, Third Edition, is the most comprehensive book available on the subject of audio recording. This new edition has been created with special emphasis on the latest in technology and the evolving marketplace, including a new, complete overview of recording as it's done by most musicians and enthusiasts today - in the home studio. In the book's first section, Recording, you'll learn everything from how microphones work to specific techniques for recording drums, individual instruments, vocals, and much more. In the second section, The Interviews, you'll benefit from the wisdom and down-to-earth practical advice offered by a host of recording professionals, including greats like Chuck Ainlay, Steve Albini, and many others. These interviews with engineers working in various musical genres will introduce you to the thoughts and creative processes behind not only today's hits but the classic cuts we've enjoyed for years. Pick up your copy of The Recording Engineer's Handbook, Third Edition and see why this book has become a standard text on audio recording in college courses all over the world.
(source: Nielsen Book Data)
  • PART I - RECORDING. Introduction. 1. How Microphones Work. 2. Common Microphones. 3. Basic Recording Equipment. 4. Digital Audio Workstation Recording Overview. 5. Basic Stereo Miking Techniques. 6. Basic Recording Techniques. 7. Preparing The Drum Kit For Recording. 8. Recording The Drum Kit. 9. Individual Instrument Miking Techniques. 10. Recording Basic Tracks. 11. Recording Overdubs. 12. Surround Recording Techniques. PART II - THE INTERVIEWS. Chuck Ainlay. Steve Albini. Michael Beinhorn. Michael Bishop. Bruce Botnick. Ed Cherney. Wyn Davis. Frank Filipetti. Jerry Hey. Eddie Kramer. Mark Linett. Mack. Al Schmitt. Addendum 1: Final Recording Checklists. Glossary. Index.
  • (source: Nielsen Book Data)
This completely updated edition of a music-industry classic, The Recording Engineer's Handbook, Third Edition, is the most comprehensive book available on the subject of audio recording. This new edition has been created with special emphasis on the latest in technology and the evolving marketplace, including a new, complete overview of recording as it's done by most musicians and enthusiasts today - in the home studio. In the book's first section, Recording, you'll learn everything from how microphones work to specific techniques for recording drums, individual instruments, vocals, and much more. In the second section, The Interviews, you'll benefit from the wisdom and down-to-earth practical advice offered by a host of recording professionals, including greats like Chuck Ainlay, Steve Albini, and many others. These interviews with engineers working in various musical genres will introduce you to the thoughts and creative processes behind not only today's hits but the classic cuts we've enjoyed for years. Pick up your copy of The Recording Engineer's Handbook, Third Edition and see why this book has become a standard text on audio recording in college courses all over the world.
(source: Nielsen Book Data)
Book
1 online resource : illustrations (black and white)
This book provides a theoretically grounded account of the impact of digital technology on the music business, and develops the concept of the musical network to understand the transformation of this economy over space and through time.
This book provides a theoretically grounded account of the impact of digital technology on the music business, and develops the concept of the musical network to understand the transformation of this economy over space and through time.
Book
232 pages : illustrations ; 23 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3916 .M385 2014 Unknown
Book
358 p. : ill. ; 23 cm.
  • Akustisches Kapital : Perspektiven auf veränderte Wertschöpfungskonfigurationen in der Musikwirtschaft / Hans-Joachim Bürkner, Bastian Lange und Elke Schüßler
  • Beispiele neuer Wertschöpfungskonfigurationen
  • Trackproduktion als Trial and error? : Wertschöpfungsvarianten in der elektronischen Clubmusikproduktion zwischen Digitalisierung, Internet und lokalen Szenen / Hans Joachim Bürkner
  • Interview John Muder/Johnjon und Chi-Thien Nguyen/Chopstick, DJs und Produzenten
  • Interview Jürgen von Knoblauch, DJ und Produzent
  • Kompositionen Neuer Musik : zur ästhetischen Ordnung urbaner Räume / Christoph Michels
  • Interview Tim Renner, Musikmanager und Professor für Musikbusiness
  • Klassisch digital : der Virtuelle Konzertsaal der Berliner Philharmoniker / Birgit Stöber
  • Interview Sebastian Dresel, Beauftragter für Kultur- und Kreativwirtschaften und Janina Klabes, Clustermanagerin
  • Intermediäre in Wertschöpfungsprozessen
  • "Underground" und Kulturproduktion : die Rolle von Distinktionen beim Veranstalten Berliner Techno-Partys / Jan-Michael Kühn
  • Interview Alex Ardelean/100Tons, DJ
  • Journalisten in der Musikwirtschaft : De-Professionalisierung durch Algorithmen? / Bastian Lange
  • Interview Jonathan Scheiner, Musikjoumalist
  • Niemand kauft das Recht Musik zu hören : Performative Wertschöpfung in digitalen Zeiten / Malte Friedrich
  • Interview Sascha Kösch, Musikjournalist
  • Musikevents als Bühnen für den Urheberrechtsdiskurs / Elke Schüßler und Leonhard Dobusch
  • Interview Alex Schulz, Musik- und Eventmanager
  • Wertschöpfung und neue Medien
  • Das 360°-Musikschaffen im Wertschöpfungsnetzwerk der Musikindustrie / Peter Tschmuck
  • Interview Olaf Kretschmar, Clustermanager und Vorstandsvorsitzender der Berlin Music Commission
  • Die Entwicklung der Medien als "Ursachen" und als "Wesen" musikbezogener Wertschöpfung / Carsten Winter
  • Interview Wolfgang Voigt, Künstler und Musikproduzent
  • Zu den Autorinnen und Autoren.
  • Akustisches Kapital : Perspektiven auf veränderte Wertschöpfungskonfigurationen in der Musikwirtschaft / Hans-Joachim Bürkner, Bastian Lange und Elke Schüßler
  • Beispiele neuer Wertschöpfungskonfigurationen
  • Trackproduktion als Trial and error? : Wertschöpfungsvarianten in der elektronischen Clubmusikproduktion zwischen Digitalisierung, Internet und lokalen Szenen / Hans Joachim Bürkner
  • Interview John Muder/Johnjon und Chi-Thien Nguyen/Chopstick, DJs und Produzenten
  • Interview Jürgen von Knoblauch, DJ und Produzent
  • Kompositionen Neuer Musik : zur ästhetischen Ordnung urbaner Räume / Christoph Michels
  • Interview Tim Renner, Musikmanager und Professor für Musikbusiness
  • Klassisch digital : der Virtuelle Konzertsaal der Berliner Philharmoniker / Birgit Stöber
  • Interview Sebastian Dresel, Beauftragter für Kultur- und Kreativwirtschaften und Janina Klabes, Clustermanagerin
  • Intermediäre in Wertschöpfungsprozessen
  • "Underground" und Kulturproduktion : die Rolle von Distinktionen beim Veranstalten Berliner Techno-Partys / Jan-Michael Kühn
  • Interview Alex Ardelean/100Tons, DJ
  • Journalisten in der Musikwirtschaft : De-Professionalisierung durch Algorithmen? / Bastian Lange
  • Interview Jonathan Scheiner, Musikjoumalist
  • Niemand kauft das Recht Musik zu hören : Performative Wertschöpfung in digitalen Zeiten / Malte Friedrich
  • Interview Sascha Kösch, Musikjournalist
  • Musikevents als Bühnen für den Urheberrechtsdiskurs / Elke Schüßler und Leonhard Dobusch
  • Interview Alex Schulz, Musik- und Eventmanager
  • Wertschöpfung und neue Medien
  • Das 360°-Musikschaffen im Wertschöpfungsnetzwerk der Musikindustrie / Peter Tschmuck
  • Interview Olaf Kretschmar, Clustermanager und Vorstandsvorsitzender der Berlin Music Commission
  • Die Entwicklung der Medien als "Ursachen" und als "Wesen" musikbezogener Wertschöpfung / Carsten Winter
  • Interview Wolfgang Voigt, Künstler und Musikproduzent
  • Zu den Autorinnen und Autoren.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
ML3790 .A38 2013 Available
Book
307 pages : illustrations ; 25 cm
Explores "what's behind the phenomenal success of entertainment businesses such as Warner Bros., Marvel Entertainment, and the NFL--along with such stars as Jay-Z, Lady Gaga, and LeBron James--[and] which strategies give leaders in film, television, music, publishing, and sports an edge over their rivals"--Dust jacket flap.
Explores "what's behind the phenomenal success of entertainment businesses such as Warner Bros., Marvel Entertainment, and the NFL--along with such stars as Jay-Z, Lady Gaga, and LeBron James--[and] which strategies give leaders in film, television, music, publishing, and sports an edge over their rivals"--Dust jacket flap.
Business Library
Status of items at Business Library
Business Library Status
Stacks
P96 .E25 E53 2013 Unknown
Book
361 pages : color illustrations ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
HD9697 .P563 E263 2013 Available

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