• Section 1 - Graphic Music Analysis
• Chapter 1: Highlighting Notes and Making Connections between Them
• Chapter 2: Figuration
• Chapter 3: The Linear Progression
• Chapter 4: The 5-6 succession
• Chapter 5: Structural Levels
• Chapter 6: The Introduction to Mozart's "Dissonance" Quartet
• Section 2 - Semper idem, sed non eodem modo
• Chapter 7: The Fundamental Structure (Ursatz)
• Chapter 8: Urlinie Descents from
• 3
• Chapter 9: Urlinie Descents from
• 5
• Section 3 - Techniques of Elaborating the Ursatz
• Chapter 10: Substitution
• Chapter 11: Delaying the Initial Tone of the Urlinie
• Chapter 12: Boundary Play and the Obligatory Register
• Chapter 13: Sequences
• Chapter 14: Non-Structural Harmonies
• Chapter 15: Implied Tones
• Chapter 16: Mixture
• Chapter 17: Relocating the Urlinie
• Chapter 18: The Phrygian
• 2
• Chapter 19: The Auxiliary Cadence
• Chapter 20: Non-Tonic Expansions
• Section 4 - Tonal Structure and Musical Form
• Chapter 21: The Parallel Period (A A')
• Chapter 22: Variants of the Parallel Period
• Chapter 23: A B A Form
• Chapter 24: A B A' Form (with simple A)
• Chapter 25: A B A' Form (with compound A)
• Chapter 26: Sonata Form in the Major Mode
• Chapter 27: Sonata Form in the Minor Mode Epilogue.
• (source: Nielsen Book Data)

Graphic Music Analysis presents Schenkerian analysis in a practical and engaging manner that will resonate with musicology, theory, and composition students, as well as performing musicians. With over 650 musical examples, Eric Wen guides students through the step-by-step process of creating graphic representations of music and reveals how Schenkerian ideas evolve out of analytical issues in the works encountered. Rather than promoting an analytic method for its own sake, Wen derives structural techniques from their particular musical situations to help students engage directly with the music. The textbook has an online companion website (textbooks.rowman.com/wen) featuring: oFull scores and recordings of the works discussed in the book oDownloadable workbook of additional pieces to analyze oDetailed commentary on Schenker's own analysis of J. S. Bach's Prelude in C from Book 1 of The Well-Tempered Clavier An instructor's manual with a step-by-step guide to analyzing the supplementary workbook examples is also available. Please email textbooks@rowman.com for more information.
(source: Nielsen Book Data)

• Foreword by Nile Rodgers Preface Online Resources Acknowledgments About the Authors Part I. Setting the Stage
• 1. Overture Music and Society: We've Got Music in Us Adjusting to a Fast-Changing World Historical Development The Digital Future in Context
• 2. The Music Business System Help Wanted! Getting through the Maze Show Me the Money Tools of the Trade: Everybody's Gotta Learn Sometime Part II. Copyright, Songwriting, Publishing, and Licensing
• 3. Music Copyright Background Essential Provisions Key Terms Coverage Exclusive Rights Fair Use of Copyrighted Material Copyright Ownership Transfer or Assignment Work Made for Hire Musical Arrangements Sound Recordings Compulsory Mechanical License Royalty Payments (Section 115[C]) Duration of Copyright Formalities Infringement, Remedy Record Counterfeiting, Penalties Determining Infringement Changing Laws Rights in Names and Trademarks A Final Note on Law
• 4. Professional Songwriting The Market Predictors of Success The Craft The Business of Writing Income Sources Publishing Options Evaluating Publishers The Songwriters Guild of America Contract Reassignment or Default Breaking In
• 5. Music Publishing Types of Publishers Subpublishing Administration Contracts with Writers Split Publishing, Copublishing Sampling Promotion, Advertising Income Sources Trade Associations and Rights Administration
• 6. Music Licensing Music Rights: An Overview Performance Licensing for Compositions Keeping Track of the Music Comparing PROs Regulation of PROs Performance Licensing for Sound Recordings Mechanical Licenses Synchronization Licenses Cable Television Licenses Video Licenses Audio Transcription Licenses Special Use Permits Jukebox Licenses Dramatic Music Rights Creative Commons Part III. Managing Artist Relationships
• Chapter 7. Agents, Managers, and Attorneys Agents Managers Attorneys Professional Associations
• 8. Artist Management Discovering Each Other The Financial Relationship Manager's Commission The Manager's Role Advancing the Career Personal Management Agreements
• 9. Unions and Guilds American Federation of Musicians SAG-AFTRA American Guild of Musical Artists American Guild of Variety Artists Actors' Equity Association International Alliance of Theatrical Stage Employees Other Unions and Guilds Part IV. The Recorded Music Industry
• 10. Record Labels Perspective Major Labels Independent Labels Specialty Labels Record Company Structure Associations
• 11. Artists' Recording Contracts SAG-AFTRA Agreements AFM Agreements Royalty Artist Contracts
• 12. Record Production Record Producers Matching Producer to Artist Production Deals The Recording Studio: Operation and Selection The Five Stages of Record Production Getting Started in the Business Professional Associations
• 13. Record Label Marketing and Distribution The Daunting Challenge The Marketing Plan Digital Distribution and Marketing Physical Product Promotion and Distribution Physical Distribution International Marketing
• 14. Music Streaming Reshaping the Landscape Streaming Technology A Crowded Marketplace: Audio and Video Licensing Sound Recording Rights Streaming Royalties Economics of Streaming Audience Targeting Looking Downstream
• 15. Market Analytics Methodology Research Topics Data Sources Part V. Live Performance
• 16. Concert Promotion and Production Concert Promotion Getting Started Booking the Artist Making an Offer The Art of the Deal Contracts Production Planning Marketing Publicity and Public Relations Sponsorships The Future of Live
• 17. Concert Venues Venue Contracts Ticketing Licensed Merchandise Venue Trade Association
• 18. Arts Administration Perspective Representative Organizations Symphonic Music Funding the Arts Classical Artist Management Administration Part VI. Music in the Marketplace
• 19. Music in Radio Types of Broadcast Radio Stations Audience Identification and Market Research Spectrum of Formats How Commercials Radio Stations Work
• 20. Music in Television and Video Variety and Talk Shows Music Specials/Events/Awards Shows Theme Songs Background Music and Foreground Spotlights The Evolving TV Picture MTV and the Rise of the Music Video Music Video Economics and Distribution DIY Avenues
• 21. Dramatic Scoring for Movies, TV, and Games Background The Craft Music Scoring for TV Music SCoring for Video Games Production Music Libraries Hiring Practices
• 22. Music in Advertising Influences on Style Jobs Music Uses Budgets Station Branding Logos The Agency Role Spot Production
• 23. Music and Theater Types of Musical Theater Theater Associations Production Components
• 24. Music Products Music Retailers Sales Leaders Promotion of Musical Products A Changing Industry Trade Associations Opportunities for Employment
• 25. Business Music and Production Libraries Foreground and Background Music Business Music Production Music Libraries Part VII. The Entrepreneurial Musician
• 26. The DIY Toolkit The Direct-to-Fan Era Doing the Math Making Money with "Free" Tools of the Trade Major Online Platforms: Now You see It, Now You Don't Conclusion
• 27. Starting Your Own Business Getting the Process Started Choosing a Name Forms of Ownership Permits and Legal Issues Raising Funds Marketing Accounting and Finance Keeping Track of the Money Operations Management Management Where to From Here? Part VIII. Career Planning and Development
• 28. Career Options Creative Careers Directing/Producing Careers Performing Careers Teaching Careers Broadcasting/Film/Video Game Careers Music-Related Careers Entrepreneurs/Starting Your Own Business
• 29. Career Development Defining Goals Climbing the Ladder Finding Work Part IX. The Global View
• 30. The World Outside the United States The International Scene New Patterns around the World
• 31. International Copyright Copyright Conventions Multilateral Agreements Bilateral Treaties Intergovernmental Bodies and International Industry Organizations Appendix A: Membership and Copyright Forms Appendix B: Selected Resources Glossary Index.
• (source: Nielsen Book Data)

Both readers new to the music business and seasoned professionals will find David and Tim Baskerville's handbook the go-to source, regardless of their specialty within the music field. The text includes a comprehensive discussion of the streaming revolution and its impact on all parts of the value chain, including composers, performing artists, publishers, and labels. Shifts in the competing platforms of consumption are also analysed, ranging from fast-shrinking physical formats and broadcasting to downloads and subscription services. This edition offers more vignettes than ever, illustrating how individuals in different industry roles advanced their careers, as well as how they've adjusted to the intertwining influences of technology, law, and culture.
(source: Nielsen Book Data)

• Research process and research tools. Guides to the research process and research tools ; Library catalogs ; Music encyclopedias and dictionaries ; Periodical indexes and article databases ; Indexes to music dissertations, theses, conference papers, and Festschriften ; Thematic catalogs ; Indexes to music in complete works editions, musical monuments, historical sets, and anthologies ; Music histories, source readings, and chronologies ; Bibliographies of music and music literature ; Discographies ; Music iconographies ; Digital media
• Writing, style manuals, and citation. Resources for academic writing ; Strategies for writing assignments ; Style manuals and citation of sources.

Concise and practical, Music Research introduces students to the major print and electronic research tools available to them. This unique handbook does not aim to provide an exhaustive introduction to the subject; rather, it is highly selective and guides students to the most significant English-language research tools and resources, reference titles in major areas, and the principal sources in French, German, Italian, and Spanish. Now updated to reflect the growing emphasis on the digital humanities, this is the perfect guide for 21st century music scholars. The text is supplemented by a comprehensive Companion Website that includes supplement links, updates to available bibliographies and readings by chapter, research tools listed by composer, and lists of core music journals and major professional music associations.
(source: Nielsen Book Data)

• 1. The Music Industry and Gender
• 2. Music Production and Gender
• 3. Self-production, Music technology and Gender 4.New Industry and Gender
• 5. Media Representation and Gender.
• (source: Nielsen Book Data)

The field of popular music production is overwhelmingly male dominated. Here, Paula Wolfe discusses gendered notions of creativity and examines the significant under-representation of women in studio production. Wolfe brings an invaluable perspective as both a working artist-producer and as a scholar, thereby offering a new body of research based on interviews and first-hand observation. Wolfe demonstrates that patriarchal frameworks continue to form the backbone of the music industry establishment but that women's work in the creation and control of sound presents a potent challenge to gender stereotyping, marginalisation and containment of women's achievements that is still in evidence in music marketing practices and media representation in the digital era.
(source: Nielsen Book Data)