Search results

436 results

View results as:
Number of results to display per page
Book
154 pages ; 24 cm.
  • Introduction 1. The Technology of Music 2. Rise of the Machine 3. Digital Music 4. The New Intermediaries 5. Star Wars 6. What about Me? 7. Shaking the Foundations 8. It's the Music, Stupid Appendix 1 Bibliography Discography Filmography.
  • (source: Nielsen Book Data)
Description The music industry, as with most other media forms, is in the middle of a period of enormous transformation. Digital technologies have empowered producers and consumers of music - traditional ways of making and distributing music are under threat as musicians and their audiences embrace new opportunities, many of which bypass the incumbent middlemen. Whilst it is clear that the music industry is thriving, the traditional recording industry, dominated by a handful of multinational corporations is struggling to stay relevant. The changes are so dramatic that the term "Music 2.0" has become commonly used to delineate old and new business models and approaches. But the demise of the traditional music industry is overstating things - the reality is that (whilst their profits may be diminishing) they still dominate a multi-billion dollar marketplace and exercise unprecedented control over the star-making process. And, of course, they have the resources to be able to reinvent themselves. The actual future of music is a complex and contested one. This book aims to unpack that complexity, map the changes and explain the causes and motivations surrounding an industry undergoing change. It explores the world of popular music from three distinct perspectives. Firstly, it examines the new opportunities available to consumers of music - interrogating how the lines between production and consumption are blurring, creating fans who do much more than just listen to music. Secondly, it draws on interviews with a diverse range of musicians explaining their place in the brave new world and trying to articulate their newly defined roles. Finally, it examines the industry itself, and unpack the responses to current challenges from new and old players alike.
(source: Nielsen Book Data)
  • Introduction 1. The Technology of Music 2. Rise of the Machine 3. Digital Music 4. The New Intermediaries 5. Star Wars 6. What about Me? 7. Shaking the Foundations 8. It's the Music, Stupid Appendix 1 Bibliography Discography Filmography.
  • (source: Nielsen Book Data)
Description The music industry, as with most other media forms, is in the middle of a period of enormous transformation. Digital technologies have empowered producers and consumers of music - traditional ways of making and distributing music are under threat as musicians and their audiences embrace new opportunities, many of which bypass the incumbent middlemen. Whilst it is clear that the music industry is thriving, the traditional recording industry, dominated by a handful of multinational corporations is struggling to stay relevant. The changes are so dramatic that the term "Music 2.0" has become commonly used to delineate old and new business models and approaches. But the demise of the traditional music industry is overstating things - the reality is that (whilst their profits may be diminishing) they still dominate a multi-billion dollar marketplace and exercise unprecedented control over the star-making process. And, of course, they have the resources to be able to reinvent themselves. The actual future of music is a complex and contested one. This book aims to unpack that complexity, map the changes and explain the causes and motivations surrounding an industry undergoing change. It explores the world of popular music from three distinct perspectives. Firstly, it examines the new opportunities available to consumers of music - interrogating how the lines between production and consumption are blurring, creating fans who do much more than just listen to music. Secondly, it draws on interviews with a diverse range of musicians explaining their place in the brave new world and trying to articulate their newly defined roles. Finally, it examines the industry itself, and unpack the responses to current challenges from new and old players alike.
(source: Nielsen Book Data)
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 Unknown
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
190 p. : ill. ; 21 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3790 .T647 2014 Unavailable On order Request
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
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
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
Stacks 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.
  • Contents -- 1. Anytime/Anywhere? An Introduction to the Devices, Markets and Theories of Mobile Music -- Sumanth Gopinath and Jason Stanyek -- Part I: Theorizing Mobile Music -- 2. How the MP3 Became Ubiquitous -- Jonathan Sterne -- 3. Is a Download a Performance? -- Marc Perlman -- 4. Divisible Mobility: Music in an Age of Cloud Computing -- Martin Scherzinger -- 5. iPod Use, Mediation and Privatization in the Age of Mechanical Reproduction -- Michael Bull -- 6. Changing Cultural Coordinates: The Transistor Radio and Space / Time / Identity -- Tim Wall and Nick Webber -- Part II: Mobility, Sound and Communication -- 7. Labor, Machines, IVR Enabled Automated Call Centers, and the Design of an Audible Workplace -- David McCarthy -- 8. Mobile Semiotics -- Evelyn Nien-Ming Ch'ien -- 9. Calling my Name: Sound, Orality and the Cell Phone Contact List -- Heather A. Horst -- 10. What Is that Noise? An Analysis of Sound Quality and Music in Mobile Devices -- Katie M. Lever-Mazzuto -- 11. Aural Armor: Charting the Militarization of the iPod in Operation Iraqi Freedom -- J. Martin Daughtry -- Part III: Devices That Listen (The Politics of Aurality) -- 12. Cochlear Implants after Fifty Years: An Interview with Charles Graser -- Mara Mills -- 13. Music Ethnography and Recording Technology in the Unbound Digital Era -- Anna Schultz and Mark Nye -- Part IV: Children, Adolescents and Mobile Music Listening -- 14. Forever and Ever: Mobile Music in the Life of Young Teens -- Arild Bergh, Tia DeNora, and Maia Bergh -- 15. Earbuds Are Good for Sharing: Children's Headphones as Social Media at a Vermont School -- Tyler Bickford -- Part V: Urban Ecologies and Politics -- 16. Can You Hear Us Now? Ringtones and Politics in the Contemporary Philippines -- Jan M. Padios -- 17. Stereos in the City: Moving Through Music in South India -- Sindhumathi Revuluri -- 18. Urban Echoes: The Boombox and Sonic Mobility in the 1980s -- Joseph Schloss and Bill Bahng Boyer -- Part VI: National Mobile Music Markets -- 19. Mexican Mobile Music: Una Convergencia con Sabor -- Patrick Burkart and Christopher Joseph Westgate -- 20. Music Piracy, Commodities, and Value: Digital Media in the Indian Marketplace -- Jayson Beaster-Jones -- 21. A Tale of Two Countries: Online Radio in the United States and Japan -- Noriko Manabe -- 22. Mobile Tactics in the Brazilian Independent Music Industry -- Kariann Goldschmitt -- Index.
  • (source: Nielsen Book Data)
The Oxford Handbook of Mobile Music Studies consolidates an area of scholarly inquiry that examines how electrical technologies and their corresponding economies of scale have rendered music and sound increasingly mobile - portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place from the late nineteenth to the early twenty-first centuries. The first volume of the handbook treats the devices, markets, and theories of mobile music, incorporating epistemologies and methodologies from a number of disciplines, including music studies, sound studies, mobility studies, communication studies, new media studies, performance studies, and more. The contributors draw on political economy and economic sociology, ethnography and autoethnography, musical and sonic transcription, analysis and hermeneutics, and historical and archival research as its primary methods. The book treats a significant number of devices, including the transistor radio, the portable gramophone, the Walkman, the iPod, the boom box, headphones and earbuds, and the cochlear implant. Its chapters cover a large swath of the world - the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India - and a similarly broad array of musical styles and practices, from the recondite and subcultural to the mass-popular and global. The most comprehensive book of its kind, this handbook is a necessary reference for scholars in multiple fields.
(source: Nielsen Book Data)
  • Contents -- 1. Anytime/Anywhere? An Introduction to the Devices, Markets and Theories of Mobile Music -- Sumanth Gopinath and Jason Stanyek -- Part I: Theorizing Mobile Music -- 2. How the MP3 Became Ubiquitous -- Jonathan Sterne -- 3. Is a Download a Performance? -- Marc Perlman -- 4. Divisible Mobility: Music in an Age of Cloud Computing -- Martin Scherzinger -- 5. iPod Use, Mediation and Privatization in the Age of Mechanical Reproduction -- Michael Bull -- 6. Changing Cultural Coordinates: The Transistor Radio and Space / Time / Identity -- Tim Wall and Nick Webber -- Part II: Mobility, Sound and Communication -- 7. Labor, Machines, IVR Enabled Automated Call Centers, and the Design of an Audible Workplace -- David McCarthy -- 8. Mobile Semiotics -- Evelyn Nien-Ming Ch'ien -- 9. Calling my Name: Sound, Orality and the Cell Phone Contact List -- Heather A. Horst -- 10. What Is that Noise? An Analysis of Sound Quality and Music in Mobile Devices -- Katie M. Lever-Mazzuto -- 11. Aural Armor: Charting the Militarization of the iPod in Operation Iraqi Freedom -- J. Martin Daughtry -- Part III: Devices That Listen (The Politics of Aurality) -- 12. Cochlear Implants after Fifty Years: An Interview with Charles Graser -- Mara Mills -- 13. Music Ethnography and Recording Technology in the Unbound Digital Era -- Anna Schultz and Mark Nye -- Part IV: Children, Adolescents and Mobile Music Listening -- 14. Forever and Ever: Mobile Music in the Life of Young Teens -- Arild Bergh, Tia DeNora, and Maia Bergh -- 15. Earbuds Are Good for Sharing: Children's Headphones as Social Media at a Vermont School -- Tyler Bickford -- Part V: Urban Ecologies and Politics -- 16. Can You Hear Us Now? Ringtones and Politics in the Contemporary Philippines -- Jan M. Padios -- 17. Stereos in the City: Moving Through Music in South India -- Sindhumathi Revuluri -- 18. Urban Echoes: The Boombox and Sonic Mobility in the 1980s -- Joseph Schloss and Bill Bahng Boyer -- Part VI: National Mobile Music Markets -- 19. Mexican Mobile Music: Una Convergencia con Sabor -- Patrick Burkart and Christopher Joseph Westgate -- 20. Music Piracy, Commodities, and Value: Digital Media in the Indian Marketplace -- Jayson Beaster-Jones -- 21. A Tale of Two Countries: Online Radio in the United States and Japan -- Noriko Manabe -- 22. Mobile Tactics in the Brazilian Independent Music Industry -- Kariann Goldschmitt -- Index.
  • (source: Nielsen Book Data)
The Oxford Handbook of Mobile Music Studies consolidates an area of scholarly inquiry that examines how electrical technologies and their corresponding economies of scale have rendered music and sound increasingly mobile - portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place from the late nineteenth to the early twenty-first centuries. The first volume of the handbook treats the devices, markets, and theories of mobile music, incorporating epistemologies and methodologies from a number of disciplines, including music studies, sound studies, mobility studies, communication studies, new media studies, performance studies, and more. The contributors draw on political economy and economic sociology, ethnography and autoethnography, musical and sonic transcription, analysis and hermeneutics, and historical and archival research as its primary methods. The book treats a significant number of devices, including the transistor radio, the portable gramophone, the Walkman, the iPod, the boom box, headphones and earbuds, and the cochlear implant. Its chapters cover a large swath of the world - the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India - and a similarly broad array of musical styles and practices, from the recondite and subcultural to the mass-popular and global. The most comprehensive book of its kind, this handbook is a necessary reference for scholars in multiple fields.
(source: Nielsen Book Data)
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 PART I: MY VERSION OF EVENTS 1. A Personal Perspective 2. Innovation or Bust - a Short History of Recorded Music PART II: STAKEHOLDER VOICES 3. Value Shift 4. Custodial Tensions 5. Hindsight PART III: 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 IV: 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 Bibliography Notes.
  • (source: Nielsen Book Data)
This book is a rare and unusually reflective insider account of the transformational challenges of the cultural industries over the past 15 years. Opening with a fresh new perspective on music industry history, it explores how the industrial world evolves more by narrative plausibility than by strategic precision, recognizing that corporate identity, purpose and power can be both reinforced and subverted by modifications to various cultural master-plots and their traditional heroes and villains. Of most interest are the insights into the strategic struggles faced by corporate managers and by intellectual property policymakers dealing with the seismic new millennium shifts in technology, communications and related social behaviour. Illustrating how a satisfactory 'postprivate' master-narrative of social equality in the digital age has yet to emerge, the book also helps to loosen the industrial-political deadlock in the debate over copyright reform. It is essential reading for anyone who takes an interest in the changing processes of creation, dissemination and industrialization of knowledge and culture.
(source: Nielsen Book Data)
  • Introduction PART I: MY VERSION OF EVENTS 1. A Personal Perspective 2. Innovation or Bust - a Short History of Recorded Music PART II: STAKEHOLDER VOICES 3. Value Shift 4. Custodial Tensions 5. Hindsight PART III: 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 IV: 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 Bibliography Notes.
  • (source: Nielsen Book Data)
This book is a rare and unusually reflective insider account of the transformational challenges of the cultural industries over the past 15 years. Opening with a fresh new perspective on music industry history, it explores how the industrial world evolves more by narrative plausibility than by strategic precision, recognizing that corporate identity, purpose and power can be both reinforced and subverted by modifications to various cultural master-plots and their traditional heroes and villains. Of most interest are the insights into the strategic struggles faced by corporate managers and by intellectual property policymakers dealing with the seismic new millennium shifts in technology, communications and related social behaviour. Illustrating how a satisfactory 'postprivate' master-narrative of social equality in the digital age has yet to emerge, the book also helps to loosen the industrial-political deadlock in the debate over copyright reform. It is essential reading for anyone who takes an interest in the changing processes of creation, dissemination and industrialization of knowledge and culture.
(source: Nielsen Book Data)
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)
  • 1. Crisis? What Crisis? -- 2. Time-Space (and Digital) Compression: Software Formats, Musical Networks, and the Reorganization of the Music Industry -- 3. Scary Monsters? Software Formats, Peer-to-Peer Networks, and the Spectre of the Gift -- 4. On the Reproduction of the Musical Economy after the Internet -- 5. The Software Slump?: Digital Music, the Democratization of Technology, and the Decline of the Recording Studio Sector Within the Musical Economy -- 6. A Social Experiment in the Musical Economy: Terra Firma, EMI and Calling Creativity to Account -- 7. Afterword.
  • (source: Nielsen Book Data)
The impact of digital technology on the musical economy has been profound. From its production, reproduction, distribution, and consumption, the advent of MP3 and the use of the Internet as a medium of distribution has brought about a significant transformation in the way that music is made, how it is purchased and listened to, and, significantly, how the musical economy itself is able to reproduce itself. In the late 1990s the obscure practice of 'ripping' tracks from CDs through the use of compression programmes was transformed from the illegal hobby of a few thousand computer specialists to a practice available to millions of people worldwide through the development of peer-to-peer computer networks. This continues to have important implications for the viability of the musical economy. At the same time, the production of music has become more accessible and the role of key gatekeepers in the industry-such as record companies and recording studios- has been undermined, whilst the increased accessibility of music at reduced cost via the Internet has revalorised live performance, and now generates revenues higher than recorded music. The early 21st century has provided an extraordinary case study of an industry in flux, and one that throws light on the relationship between culture and economy, between passion and calculation. This book provides a theoretically grounded account of the implications of digital technology on the musical economy, and develops the concept of the musical network to understand the transformation of this economy over space and through time.
(source: Nielsen Book Data)
  • 1. Crisis? What Crisis? -- 2. Time-Space (and Digital) Compression: Software Formats, Musical Networks, and the Reorganization of the Music Industry -- 3. Scary Monsters? Software Formats, Peer-to-Peer Networks, and the Spectre of the Gift -- 4. On the Reproduction of the Musical Economy after the Internet -- 5. The Software Slump?: Digital Music, the Democratization of Technology, and the Decline of the Recording Studio Sector Within the Musical Economy -- 6. A Social Experiment in the Musical Economy: Terra Firma, EMI and Calling Creativity to Account -- 7. Afterword.
  • (source: Nielsen Book Data)
The impact of digital technology on the musical economy has been profound. From its production, reproduction, distribution, and consumption, the advent of MP3 and the use of the Internet as a medium of distribution has brought about a significant transformation in the way that music is made, how it is purchased and listened to, and, significantly, how the musical economy itself is able to reproduce itself. In the late 1990s the obscure practice of 'ripping' tracks from CDs through the use of compression programmes was transformed from the illegal hobby of a few thousand computer specialists to a practice available to millions of people worldwide through the development of peer-to-peer computer networks. This continues to have important implications for the viability of the musical economy. At the same time, the production of music has become more accessible and the role of key gatekeepers in the industry-such as record companies and recording studios- has been undermined, whilst the increased accessibility of music at reduced cost via the Internet has revalorised live performance, and now generates revenues higher than recorded music. The early 21st century has provided an extraordinary case study of an industry in flux, and one that throws light on the relationship between culture and economy, between passion and calculation. This book provides a theoretically grounded account of the implications of digital technology on the musical economy, and develops the concept of the musical network to understand the transformation of this economy over space and through time.
(source: Nielsen Book Data)
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

Looking for different results?

Modify your search: Remove limit(s) Search all fields

Search elsewhere: Search WorldCat Search library website