Book
xxviii, 584 pages : illustrations (some color) ; 26 cm
  • Part 1: Setting the Stage Chapter 1: Overture Music and Society: We've Got Music in Us Art Versus Commerce: Music Changes Everything Historical Development Chapter 2: The Digital Millennium The Double-Edged Sword Internet Synergy Labels Sow Seeds of Self-Destruction Smaller, Cheaper, Faster, Better (?) The Economics of Digital Distribution: Change and Evolution The New Economic Order The Digital Future Chapter 3: The Music Business System Help Wanted! Getting Through the Maze Show Me the Money Tools of the Trade: Everybody's Gotta Learn Sometime Part 2: Copyright, Songwriting, Publishing, and Licensing Chapter 4: 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 Changing Laws Rights in Names and Trademarks A Final Note on Law Chapter 5: 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 Chapter 6: Music Publishing Types of Publishers Subpublishing Administration Contracts With Writers Split Publishing, Copublishing Copyright Protection: Sampling Promotion, Advertising Income Sources Trade Associations and Rights Administration Chapter 7: Music Licensing Music Rights: An Overview Performing Rights Organizations Keeping Track of the Music Membership Options Mechanical Licenses Synchronization Licenses Cable Television Licenses Video Licenses Transcription Licenses Special Use Permits Jukebox Licenses Dramatic Music Rights Creative Commons Part 3: Managing Artist Relationships Chapter 8: Agents, Managers, and Attorneys Agents Managers Attorneys Chapter 9: Artist Management Discovering Each Other The Financial Relationship Manager's Commission The Manager's Role Advancing the Career Personal Management Agreement Chapter 10: 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 4: The Recorded Music Industry Chapter 11: Record Labels Perspective Major Labels Independent Labels Specialty Labels Record Company Structure Trade Associations Chapter 12: Artists' Recording Contracts AFTRA Agreements AFM Agreements Royalty Artist Contracts Chapter 13: 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 Chapter 14: Record Label Marketing and Distribution The Marketing Plan The Elements of a Marketing Plan Record Distribution Chapter 15: Marketplace Research Understanding the Consumer Research Topics Data Sources Part 5: Live Performance Chapter 16: Concert Production Concert Promotion Getting Started Booking the Artist Making an Offer The Art of the Deal Contracts Marketing Publicity and Public Relations Sponsorships The Future of Live Chapter 17: Concert Venues Venue Contracts Ticketing Licensed Merchandise Venue Trade Association Chapter 18: Arts Administration Perspective Representative Organizations Symphonic Music Funding the Arts Classical Artist Management Administration Part 6: Music in the Marketplace Chapter 19: Music in Radio Types of Broadcast Radio Stations Audience Identification and Market Research Spectrum of Formats How Commercial Radio Stations Work Chapter 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 Chapter 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 Chapter 22: Music in Advertising Influences on Style Jobs Music Uses Budgets Station Branding Logos The Agency Role Spot Production Chapter 23: Music and Theater Types of Musical Theater Theater Associations Production Components Chapter 24: Music Products Music Retailers Sales Leaders Promotion of Musical Products A Changing Industry Trade Associations Opportunities for Employment Chapter 25: Business Music and Production Libraries Foreground and Background Music Business Music Production Music Libraries Part 7: The Entrepreneurial Musician Chapter 26: The DIY Toolkit The Economics of Indie The Direct-to-Fan Era Doing the Math Making Money With "Free" Tools of the Trade Online Platforms: Now You See It, Now You Don't Conclusion Chapter 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 8: Career Planning and Development Chapter 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 Chapter 29: Career Development Defining Goals Climbing the Ladder Finding Work Part 9: The Global View Chapter 30: The World Outside the United States Chapter 31: International Copyright Copyright Conventions Multilateral Agreements Bilateral Treaties Intergovernmental Bodies and International Industry Organizations.
  • (source: Nielsen Book Data)
This powerhouse best-selling text maintains is the most comprehensive, up-to-date guide to the music industry. Music business newcomers and professionals alike will find Baskerville's handbook an indispensable resource, whatever their specialty is within the field music. Key Features: * Expanded and enhanced coverage of state-of-the-art technology and its implications for the music industry, including digital downloads, changing production technologies, marketing via social networking, and new distribution channels including video games * Discusses new and emerging business models and their implications including the topics of Internet outlets, the independent musician, the evolving role of producers, and satellite and Internet radio * Information on careers, especially in the context of a changing business environment * Discussion of the concert business, once a minor source of revenue but now as robust as the revenue stream of recorded music * Coverage of alternatives to radio airplay and to incentivising teens to visit local record stores, in light of the weakened format of radio and the disappearance of neighborhood music shops * Examination of sophisticated marketing research tools for the industry, due to consumer clicks that illuminate customer buying behavior and changes in tastes and desires * Reflection on the global shift of the music business world as it becomes less centered on American companies and culture. It is ideal as the core textbook in courses such as Introduction to the Music Business, Music and Media, Music Business Foundations, and survey courses. This book can also be used for more specialized courses on the record industry, music merchandising, music careers, artist management, music and the law, arts administration, and music in popular culture.
(source: Nielsen Book Data)
Music Library
Book
xiii, 276 pages : illustrations ; 23 cm
  • Preface: Down Crenshaw Boulevard
  • Introduction: rap dreams and existential urgency
  • Becoming rappers
  • Growing up in gangland
  • Masters of ceremony
  • Freestyle
  • The battle
  • Trying to blow up
  • Cautionary tales
  • Almost famous
  • Ditching the day job
  • Gang violence and dreams derailed
  • Conclusion: nurturing the creative lives of young black men
  • Shout outs
  • Methods appendix: videos in ethnography.
Dr. Dre. Snoop Dogg. Ice Cube. Some of the biggest stars in hip hop made their careers in Los Angeles. And today there is a new generation of young, mostly black, men busting out rhymes and hoping to one day find themselves blowin up getting signed to a record label and becoming famous. Many of these aspiring rappers get their start in Leimart Park, home to the legendary hip hop open-mic workshop Project Blowed. In "Blowin Up, " Jooyoung Lee takes us deep inside Project Blowed and the surrounding music industry, offering an unparalleled look at hip hop in the making. While most books on rap are written from the perspective of listeners and the market, "Blowin Up" looks specifically at the creative side of rappers. As Lee shows, learning how to rap involves a great deal of discipline, and it takes practice to acquire the necessary skills to put on a good show. Along with Lee who is himself a pop-locker we watch as the rappers at Project Blowed learn the basics, from how to hold a microphone to how to control their breath amid all those words. And we meet rappers like E. Crimsin, Nocando, VerBS, and Flawliss as they freestyle and battle with each other. For the men at Project Blowed, hip hop offers a creative alternative to the gang lifestyle, substituting verbal competition for physical violence, and provides an outlet for setting goals and working toward them. Engagingly descriptive and chock-full of entertaining personalities and real-life vignettes, "Blowin Up" not only delivers a behind-the-scenes view of the underground world of hip hop, but also makes a strong case for supporting the creative aspirations of young, urban, black men, who are often growing up in the shadow of gang violence and dead-end jobs.".
(source: Nielsen Book Data)
Music Library
Book
vii, 233 pages : illustrations ; 25 cm
Music Library
Book
ix, 173 pages : illustrations ; 23 cm.
  • "Nothing but realism": early hillbilly music's blend of rural and urban
  • "Country comes to town": a new urban identity for country music in the 1960s
  • "You sound like us but you look like them": the racial politics of country music in the city of Nashville
  • "Country music is wherever the soul of a country music fan is": Opryland U.S.A. and the importance of "home" in country music
  • "They're not as backward as they used to be": country music's commercial success in the 1990s and the transformation of downtown Nashville.
Country music evokes a simple, agrarian past, with images of open land and pickup trucks. While some might think of the genre as a repository of nostalgia, popular because it preserves and reveres traditional values, Jeremy Hill argues that country music has found such expansive success because its songs and its people have forcefully addressed social and cultural issues as well as geographic change. Hill demonstrates how the genre and its fans developed a flexible idea of ""country, "" beyond their rural roots, and how this flexibility allowed fans and music to ""come to town, "" to move into and within urban spaces, while retaining a country ""character."" To understand how the genre has become the far-reaching commercial phenomenon that it is today, Hill explores how various players within the country music fold have grappled with the notion of place. He shows both how the industry has transformed the city of Nashville and how country music -- through song lyrics, imagery associated with the music, and branding -- has reshaped ideas about the American landscape and character. As the genre underwent significant change in the last decades of the twentieth century, those who sought to explain its new styles and new locations relied on a traditional theme: ""You can take the boy out of the country, but you can't take the country out of the boy."" Hill demonstrates how this idea -- that you can still be ""country"" while no longer living in a rural place -- has been used to expand country's commercial appeal and establish a permanent home in the urban space of Nashville.
(source: Nielsen Book Data)
Music Library
Book
vii, 128 pages : illustrations ; 23 cm.
Music Library
Book
xiii, 314 pages : illustrations ; 20 cm
  • Part One - the Music Environment: Introduction: The Need for the Music Entrepreneur-- Chapter One: The Music Environment-- Chapter Two: The Music Entrepreneur in the Global Marketplace-- Chapter Three: Music as Space and Place Identity. Part Two - Case Studies: Case-study One: Recorded Music-- Case-study Two: Live Performance-- Case-study Three: Festival and Spectacle-- Case-study Four: Publishing-- Case-study Five: Artist and Artist Management-- Case-study Six: Digital Media.
  • (source: Nielsen Book Data)
The music industries hinge on entrepreneurship. The recent, rapid convergence of media and the parallel ongoing evolution of music businesses have again seen the focus shift to independent companies and individual entrepreneurs. Opportunities tend not to be advertised in professional music and practically everyone begins on their own: forming a band, starting a record label, running events, or building a website. But it's not an easy territory to navigate or get a handle on. Music Entrepreneurship features an analysis of the changing landscape of the music industries and the value of the entrepreneur within them through a series of focused chapters and case studies. Alongside contributions from key academics across the globe, expert contributors from across the industry highlight successful entrepreneurs and offers practical help to the reader trying to navigate the business. Sectors examined include: The value of the music industries Recorded music Live events Branding in music Artist management Digital distribution.
(source: Nielsen Book Data)
Music Library
Book
xx, 262 pages : illustrations ; 24 cm.
  • Introduction Part I Chinese cultural policy * Cultural policy in Republican China * Towards mass culture under Mao Zedong * Beyond propaganda in Reform China * Chinese cultural industries Part II Economic and administrative institutions of control * Nationalisation and the installation of CCP control * The emergence of private production companies * Towards commercialisation with constrained private participation * Piracy and the emerging copyright regime Part III The censorship and propaganda systems * Formation of modern political censorship and propaganda * Erosion of political-ideological control in the 1980s and 1990s * Institutional renovation with private producers' participation * Mass media control Part IV Private film and music production companies as agents of change * Group formation * Business associations and collective lobbying * Individual coping strategies, individual lobbying and political embeddedness Conclusion.
  • (source: Nielsen Book Data)
Economic liberalisation processes and the rapid development of the private sector are widely visible signs of over thirty years of reform policies in the People's Republic of China. Nevertheless, the Chinese Communist Party (CCP) has managed to preserve the basic political institutions of the Leninist Party-state, including its own unrestrained position of political power. Against this background, this book investigates the interrelationship between processes of marketisation and commercialisation, and the stability of the CCP regime. The aim of the book is to complement existing literature on adaptive governance in China and on the reasons for the CCP regime's relative stability, while providing new information about the relationship between the Chinese party-state and private entrepreneurs. Taking case studies from the film and music industries, the book gives a detailed account of the political and economic history of these industries in China, with special attention given to the role played by private production companies as intermediaries between artistic creation, political and ideological constraints, and the market. A historical institutionalist approach is employed to trace the effect of Chinese policies on popular culture and the institutions of administrative, economic, political and ideological control over the film and music industries back to the 1950s, revealing the mechanisms and prospects of CCP hegemony in the cultural sector. Examining the effects of the marketisation and commercialisation processes on the communist regime and vice versa, this book also offers a fresh perspective on the origins of today's Chinese popular cultural mainstream. It will therefore be of great interest to students and scholars of Chinese politics, Chinese culture and media and Chinese government-business relations.
(source: Nielsen Book Data)
Green Library
Book
xx, 471 pages : illustrations ; 24 cm
  • Marketing concepts
  • Markets, market segmentation, and consumber behavior
  • Market research
  • Branding in the music business
  • Marketing plan
  • Industry numbers
  • Label operations
  • Record label finances
  • Publicity
  • Social media
  • The business of radio
  • Promotion, airplay, and the charts
  • Music video
  • Distribution and retail
  • Technology
  • Tour support and sponsorship
  • Grassroots
  • Advertising.
Record Label Marketing, Third Edition is the essential resource to help you understand how recorded music is professionally marketed. Fully updated to reflect current trends in the industry, this edition is designed to benefit marketing professionals, music business students, and independent artists alike. As with previous editions, the third edition is accessible for readers new to marketing or to the music business. The book addresses classic marketing concepts while providing examples that are grounded in industry practice. Armed with this book, you'll master the jargon, concepts, and language to understand how music companies brand and market artists in the digital era. Features new to this edition include: * Social media strategies including step-by-step tactics used by major and independent labels are presented in a new section contributed by Ariel Hyatt, owner of CYBER PR. An in-depth look at SoundScan and other big data matrices used as tools by all entities in the music business. * An exploration of the varieties of branding with particular attention paid to the impact of branding to the artist and the music business in a new chapter contributed by Tammy Donham, former Vice President of the Country Music Association. * The robust companion website, focalpress.com/cw/macy, features weblinks, exercises, and suggestions for further reading. Instructor resources include PowerPoint lecture outlines, a test bank, and suggested lesson plans.
(source: Nielsen Book Data)
Archive of Recorded Sound
Book
xxii, 516 pages : illustrations ; 24 cm
  • First Steps
  • How to pick a team
  • Personal managers
  • Business managers
  • Attorneys
  • Agents
  • Broad-strokes overview of the record business
  • Advances and recoupment
  • Real-life numbers
  • Other major deal points
  • Producer and mixer deals
  • Advanced royalty computations
  • Advanced record deal points
  • Loan-out, independent production, label, and distribution deals
  • Copyright basics
  • Publishing companies and major income sources
  • Secondary publishing income
  • Songwriter deals
  • Copublishing and administration deals
  • Advanced copyright concepts
  • Even more advanced copyright concepts
  • Groups
  • Personal appearances : touring
  • Tour merchandising
  • Retail merchandising
  • Classical music
  • Overview of motion picture music
  • Performer deals
  • Film songwriter deals
  • Composer agreements
  • Licensing existing recordings and existing songs
  • Music supervisors
  • Soundtrack album deals.
"For more than twenty years, All You Need to Know About the Music Business has been universally regarded as the definitive guide to the music industry. Now in its ninth edition, this latest edition leads novices and experts alike through the crucial, up-to-the-minute information on the industry's major changes in response to today's rapid technological advances and uncertain economy, " -- Amazon.com.
Law Library (Crown)
Book
387 pages ; 22 cm
SAL3 (off-campus storage)
Book
viii, 119 pages ; 23 cm
SAL3 (off-campus storage)
Book
xi, 239 pages : illustrations, maps ; 23 cm.
  • Introduction 1. The South African Recording Industry 2. Recent Industry Developments 3. A Segmented Music Market and Attempts to Capture it 4. The Wholesaling and Retailing of Music 5. Negotiating Value in the Music Chain 6. Organizing Relationships in the Recording Industry 7. Continuities in Patronage Arrangements Conclusion.
  • (source: Nielsen Book Data)
Contracts, Patronage and Mediation studies the long-term developments in the South African recording industry. It adds to the existing literature an understanding of the prevalence of informal negotiations over rights, rewards and power in the recording industry. The book is original in that it uses several disciplines' approaches and methods. It combines a wide array of different industry participants' -often vividly expressed- views and experiences with statistical information and the existing literature's findings. The book argues that alongside the global contract model, in South Africa there exists another mode of organizing recording industry relationships, which is based on the patronage model. Furthermore, the book states that such features are probably not unique to South Africa, but can also be found in recording industries elsewhere, even though they have not previously been thoroughly investigated.
(source: Nielsen Book Data)
Green Library
Book
606 pages : illustrations (chiefly color) ; 24 cm
SAL3 (off-campus storage)
Book
1 online resource (xxv, 293 pages) : illustrations (some color).
  • How direct licensing increased competition. Introduction
  • Music licensing process
  • Copyright law and natural monopolies
  • Traditional blanket license
  • Direct licensing as an alternative to the traditional blanket license
  • Conclusion
  • Why putting music content creators first is important. Introduction
  • Roles of publishers, record labels, and producers
  • Possible new entrant
  • Why the merger could be a viable option
  • Conclusion.
This book discusses the economics of the music industry in the context of the changing landscape brought about by innovation, technological change, and rapid digitization. The ability of digital technology to reduce the transaction costs of music copyright licensing has all but destroyed the traditional media business models of incumbent Performance Rights Organizations (PROs), music publishers, record labels, and radio and television stations. In a climate where streaming services are rapidly proliferating and consumers prefer subscription models over direct ownership, new business models, such as direct licensing, are developing. This book provides an overview of the economics of the traditional music industry, the technology-induced changes in business models and copyright law, and the role of publishers, copyright holders and songwriters in the emerging direct licensing model. In Part One, the author examines the economic aspects of direct licensing as an alternative to the traditional blanket license for copyrighted musical compositions, with an emphasis on the often monopolistic nature of PROs. In Part Two, the author focuses on the music publisher and the role direct licensing and competition may play in the changing business models in the music industry and the potential benefits this may bring to copyright holders, such as songwriters. To compliment this model, the author proposes a maximum statutory fixed-rate for musical performances to further streamline the royalty process, especially where distributors such as Google and YouTube are concerned. This book adds to the growing body of literature on the economics of music licensing in the digital age. It will be useful to those in the fields of economics and law, as well as music executives, musicians, songwriters, composers, and other industry professionals who are interested in understanding how technology, innovation and competition have reshaped the music industry.
(source: Nielsen Book Data)
Book
xxv, 293 pages : illustrations (some color) ; 25 cm
  • How direct licensing increased competition. Introduction
  • Music licensing process
  • Copyright law and natural monopolies
  • Traditional blanket license
  • Direct licensing as an alternative to the traditional blanket license
  • Conclusion
  • Why putting music content creators first is important. Introduction
  • Roles of publishers, record labels, and producers
  • Possible new entrant
  • Why the merger could be a viable option
  • Conclusion.
This book discusses the economics of the music industry in the context of the changing landscape brought about by innovation, technological change, and rapid digitization. The ability of digital technology to reduce the transaction costs of music copyright licensing has all but destroyed the traditional media business models of incumbent Performance Rights Organizations (PROs), music publishers, record labels, and radio and television stations. In a climate where streaming services are rapidly proliferating and consumers prefer subscription models over direct ownership, new business models, such as direct licensing, are developing. This book provides an overview of the economics of the traditional music industry, the technology-induced changes in business models and copyright law, and the role of publishers, copyright holders and songwriters in the emerging direct licensing model. In Part One, the author examines the economic aspects of direct licensing as an alternative to the traditional blanket license for copyrighted musical compositions, with an emphasis on the often monopolistic nature of PROs. In Part Two, the author focuses on the music publisher and the role direct licensing and competition may play in the changing business models in the music industry and the potential benefits this may bring to copyright holders, such as songwriters. To compliment this model, the author proposes a maximum statutory fixed-rate for musical performances to further streamline the royalty process, especially where distributors such as Google and YouTube are concerned. This book adds to the growing body of literature on the economics of music licensing in the digital age. It will be useful to those in the fields of economics and law, as well as music executives, musicians, songwriters, composers, and other industry professionals who are interested in understanding how technology, innovation and competition have reshaped the music industry.
(source: Nielsen Book Data)
Law Library (Crown)
Book
195 pages : illustrations ; 22 cm
Music Library
Book
xviii, 461 pages ; 24 cm
Song publishing is the one constant in the carousel of recorded music now spanning the past century, and has been the way that song-credits and publishing revenue have caused ructions and recriminations, and inspired writers by making them poor and lawyers rich. Whether it be Procul Harum going to court to decide who really wrote 'Whiter Shade of Pale' or the Moody Blues wanting their fair share of 'Nights of White Satin', when the song-credits get divvied up, a parting of the ways citing 'musical differences' is almost inevitable. So here are some choice examples of poplore held up to the light, some familiar to music fans others not, designed to prove that Dylan knew of what he wrote when he suggested, 'Money doesn't talk, it swears'. Between them, they provide the unvarnished story of popular song from the days jukeboxes and radio replaced wax cylinders and piano rolls to the era of digital downloads, legal and illegal...
(source: Nielsen Book Data)
Music Library
Book
263 pages : illustrations, charts, plans ; 24 cm.
  • L'oeuvre musicale et sa représentation -- Introduction -- Au début était le musicien. -- Apprentissage de l'entrepreneuriat -- Collectivisation et virtuosité -- Consécration des droits des musiciens -- Perfectionnement technique et industrialisation -- Formation d'un public -- Spécialisation et multiplication des salles de spectacles -- Premières entreprises musicales -- Le bien musical -- La nature du bien musical -- D'improbables gains de productivité -- La valeur du bien musical -- Le poids économique et social des biens musicaux -- Une pluralité de biens -- L'oeuvre -- L'interprète -- Une chaîne de coopération -- La production de spectacles musicaux -- Des fabriques à musique -- Programmer, au carrefour de l'artistique et de l'économique -- La musique vivante : un écosystème -- Introduction -- Les entreprises musicales -- Les entreprises dans l'écosystème -- Classer les entreprises musicales -- La structure de l'offre musicale -- Les oeuvres -- Les interprètes -- Les salles -- Les concerts et les représentations -- L'animation du marché -- L'éditeur -- L'agent de concert -- La régulation du marché -- Fonction des politiques culturelles -- Un arsenal juridique incitatif et répressif -- La fixation des prix -- Éléments réglementés -- Éléments fixés par accord collectif -- Éléments fixés par le marché -- Le prix des places de concert et d'opéra -- Le prix comme critère de classement des marchés -- La question de la gratuité -- Les marchés de la musique vivante au XXIe siècle -- Introduction -- Et pourtant, le spectacle continue. -- Que devient la loi de Baumol? -- Maîtriser le risque -- Comment justifier la dépense culturelle? -- Une politique de l'offre et ses limites -- La relativité des frontières musicales -- Les nouveaux visages du bien musical -- Une nouvelle place pour le musicien dans la société -- La figure réunifiée du musicien -- Les métamorphoses du concert -- De nouvelles frontières géographiques -- Multiples aspects de l'internationalisation -- Essai de cartographie de la musique vivante.
"Ce livre constitue la première approche de la musique vivante entendue comme un bien au sens économique du terme, ou plutôt comme la combinaison de différents biens (oeuvres, interprètes, salles, etc.) concourant à la production des concerts et des représentations. Au travers d'analyses à la fois historiques, juridiques et économiques, il permet de saisir le rôle de chacun au sein de cet écosystème, ainsi que leurs interactions et les mécanismes de fixation des prix. Les agences de concert, leur fonctionnement et leurs missions n'avaient jamais fait l'objet d'une étude de cette nature, qui prend également en compte leur rôle macroéconomique au niveau mondial. Enfin, l'ouvrage fait le point sur les grandes mutations que vit la musique vivante en ce début de siècle, tant en France, pays aux fortes singularités, qu'au niveau international. Écrit par un musicologue doté d'une expérience de près de vingt ans dans des entreprises musicales de premier plan, ce livre offre une approche innovante d'une question moins étudiée que les politiques culturelles ou l'économie de la musique enregistrée. En cela, il constitue un outil précieux pour l'étudiant ou l'universitaire qu'intéresse l'avenir de la musique dans sa forme représentée, mais aussi pour les professionnels (musiciens, agents, entrepreneurs de spectacles) auxquels il offre une vision détaillée et stratégique de leur environnement."--P. [4] of cover.
Music Library
Book
250 pages ; 24 cm
  • 1. Introduction 2. Adele-o-nomics 3. The Never Ending Death of Music 4. Does Anyone Know Anything About Anything? 5. The Production and Supply of Music 6. Consumption of Music 7. Age 8. Gender 9. Race and Ethnicity 10. International Trade 11. Conclusion.
  • (source: Nielsen Book Data)
Much recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase. This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guides the reader through issues relating to production, supply, consumption and trends, wider considerations such as the international trade in music, and in particular through divisions of age, race and gender. Providing an engaging overview of this fascinating topic, this book will be of interest and relevance to students and scholars of cultural economics, management, musicology, cultural studies and those with an interest in the music industry more generally.
(source: Nielsen Book Data)
Music Library
Book
xi, 741 pages : illustrations, music ; 24 cm.
  • Vorwort
  • Notre-Dame-Musik / Andreas Traub
  • Musik des 14. Jahrhunderts : Machaut und Landini / Andreas Traub
  • Immer noch wenige Werke von Lassus" : zur Editionsgeschichte der Werke des Münchner Hofkapellmeisters Orlando di Lasso / Bernhold Schmid
  • Collected works of Claudio Monteverdi : the Malipiero and cremona editions / Jeffrey Kurtzman
  • Schütz-Gesamtausgaben / Werner Breig
  • Froberger-Editionen / Matthias Schneider
  • Geschichte der Bemühungen um eine Lully-Gesamtausgabe / Herbert Schneider
  • Die Editionen der Werke Georg Philipp Telemanns / Ute Poetzsch
  • damit auch kein eintziger Thon von diesem vortrefflichen Mann verlohren gehen möchte" : die Editionen der Werke Georg Friedrich Händeis / Wolfgang Hirschmann
  • Editionen der Werke Johann Sebastian Bachs / Reinmar Emans, Sven Hiemke
  • Christoph Willibald Gluck-Sämtliche Werke / Daniela Philippi
  • Editionen der Werke Carl Philipp Emanuel Bachs / Wolfram Enßlin
  • Editionen der Werke Joseph Haydns / Armin Raab
  • Zur Editionsgeschichte der Werke von Wolfgang Amade Mozart / Ulrich Leisinger
  • Zur Editionsgeschichte der Werke Ludwig van Beethovens : ein Überblick / Bernhard R. Appel
  • Zur Idee und Geschichte einer Weber-Gesamtausgabe / Joachim Veit, Frank Ziegler
  • Vom Erlafsee zur Gesamtausgabe : die Ausgaben der Werke Franz Schuberts / Walther Dürr, Michael Kube, Michael Raab
  • Erst nach jahrelangem Warten" : zur Herausgabe der musikalischen Werke von Felix Mendelssohn Bartholdy / Christian Martin Schmidt
  • Die Editionen der Werke Robert Schumanns / Michael Beiche, Armin Koch, Ute Scholz
  • Die Editionen der Werke Richard Wagners / Klaus Döge
  • Die Editionen der Schriften Richard Wagners / Peter Jost
  • Zur Editionsgeschichte der Briefe Richard Wagners / Werner Breig
  • The works of Niels W. Gade (1817-1890) / Finn Egeland Hansen
  • Zur Edition der Musik von Johannes Brahms / Michael Struck, Katrin Eich
  • The Carl Nielsen Edition / Niels Krabbe
  • Jean Sibelius Werke / Timo Virtanen
  • Max Reger : Editionen eines unbequemen Komponisten / Susanne Popp, Stefan König
  • Die Editionen der Werke Arnold Schönbergs / Ulrich Krämer
  • Die Editionen von Paul Hindemiths Werken / Luitgard Schader
  • Zur Geschichte der Eisler-Editionen / Thomas Ahrend
  • Denkmälerausgaben / Wolfgang Horn.
Music Library

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