399 pages : illustrations (some color) ; 29 cm
Motown: The Sound of Young America is the definitive, authorised visual history of the Detroit-based independent record company which became a style unto itself, a prolific and hugely successful production line of suave, sassy and sophisticated music through the sixties, seventies and eighties. Featuring extensive, specially commissioned photography of treasures gathered from the archives, this landmark publication also captures the graphic and design iconography which underpinned Motown's extraordinary creativity. Packed with fresh insights gleaned from scores of interviews with key players, this exceptional, revealing book delves into the workings of the Motown machine and details how a dedicated team of backroom believers, white and black, turned a small family business into a popular music powerhouse. This was the home of Stevie Wonder, Smokey Robinson & the Miracles, Diana Ross & the Supremes, Marvin Gaye, the Jackson 5, the Temptations and many more. Motown: The Sound of Young America is a spectacular labour of love befitting an incredible story.
(source: Nielsen Book Data)9780500518298 20161018
Music Library
xiv, 208 pages : illustrations ; 24 cm.
  • Introduction 1. Music as Merchandise, Commodities, Value Discourses in India 2. Music Stores and the Indian Music Industry 3. "Is Se Kuch Sasta Hai?": Music Commodities, Circulation, and Value in Indian Markets 4. Experiencing the Brand, Branding the Experience 5. Putting Music in its Place: Merchandising in Space and Time 6. Store Employees and Customers 7. Conclusion.
  • (source: Nielsen Book Data)9781138947801 20160802
This book examines music stores as sites of cultural production in contemporary India. Analyzing social practices of selling music in a variety of retail contexts, it focuses upon the economic and social values that are produced and circulated by music retailers in the marketplace. Based upon research conducted over a volatile ten-year period of the Indian music industry, Beaster-Jones discusses the cultural histories of the recording industry, the social changes that have accompanied India's economic liberalization reforms, and the economic realities of selling music in India as digital circulation of music recordings gradually displaced physical distribution. The volume considers the mobilization of musical, economic, and social values as a component of branding discourses in neoliberal India, as a justification for new regimes of legitimate use and intellectual property, as a scene for the performance of cosmopolitanism by shopping, and as a site of anxiety about transformations in the marketplace. It relies upon ethnographic observation and interviews from a variety of sources within the Indian music industry, including perspectives of executives at music labels, family-run and corporate music stores, and hawkers in street markets selling counterfeit recordings. This ethnography of the practices, spaces, and anxieties of selling music in urban India will be an important resource for scholars in a wide range of fields, including ethnomusicology, anthropology, popular music studies, and South Asian studies.
(source: Nielsen Book Data)9781138947801 20160802
Green Library
277 pages : illustrations ; 23 cm
  • Der Mythos von der postindustriellen Welt / Werner Plumpe und Andre Steiner
  • Abschied von der Industrie? : Wirtschaftlicher Strukturwandel in West- und Ostdeutschland seit den 1960er Jahren / André Steiner
  • Eine alte Industrie vor neuen Herausforderungen Aufbrüche und Niedergänge im ost- und westdeutschen Maschinenbau seit den 1960er Jahren / Ralf Ahrens
  • "Die nicht-kreativen Hintergründe liefern" Tonträgerindustrien in Ost- und Westdeutschland im Strukturwandel der 1950er bis 1980er Jahre / Christian A. Müller
  • Urlaub von der Stange Reiseveranstalter und der Wandel des Pauschaltourismus in beiden deutschen Staaten (1960-1990) / Jr̲g Lesczenski
  • Literatur
  • Autoren.
SAL3 (off-campus storage)
1 online resource. Digital: text file; PDF.
  • Foreword
  • 1.The state of play
  • 2.The new business of music
  • 3.Standing out in the crowd
  • 4.Creativities, production technologies and song authorship
  • 5.The realities of practice
  • 6.Popular music education
  • 7.The ‘new’ artist.
This research-based book outlines career models for artists, methods of creative engagement, artistic options including individuality and branding, production practices, the realities of being a musician in the new industries, and implications for popular music education. Due to the profound effects of the digitisation of music, the music industries have undergone rapid transformation. The former record label dominated industry has been supplanted by new industries, including digital aggregators, strategists and online platforms. These new music industries now facilitate ‘direct’ access to both artists and their music. While such accessibility and the potential for artist exposure have never been greater, the challenge to stand out or to even navigate a musical career pathway is formidable. A useful resource for musicians and educators, this text highlights the ways in which the new music industries facilitate increased opportunities for 21st Century popular musicians to collaborate, communicate and interact with others interested in their music. Associate Professor Diane Hughes is a lecturer in Vocal Studies and Music at Macquarie University, Australia. Her research areas include the singing voice, pedagogy, film and sound, recording practices, the music industries, and popular music and song. She is currently the National President of the Australian National Association of Teachers of Singing Ltd. Professor Mark Evans is the Head of the School of Communication at the University of Technology, Sydney, Australia. He is Series Editor for Genre, Music and Sound and is currently Editor for The International Encyclopedia of Film Music and Sound. He holds an Australian Research Council (ARC) grant to design an artistic and environmental map of the Shoalhaven basin in New South Wales, Australia. Dr Guy Morrow is a lecturer in Arts Industries and Management at Macquarie University, Australia. He focuses on understanding how artists are managed, both in terms of direct artist management and also through cultural policies. By examining the relationship between artists and managers, Guy generates core-related insights in the creative industries. He is currently the Secretary of the International Music Business Research Association. Dr Sarah Keith is a lecturer in Music and Media at Macquarie University, Australia. Her research areas includes popular music studies, Korean and Japanese popular music, other East Asian popular musics, the music industries, music and cultural policy, music and screen media, music and performance technologies and computer-mediated composition. .
8, 178, 31, 10 pages : illustrations (some color) ; 22 cm.
East Asia Library
xxii, 258 pages, 16 unnumbered pages of plates : illustrations (some color) ; 23 cm
  • Acknowledgements Introduction Chapter One: Songs of Innocence and Inexperience: The Roots of Sarah Chapter Two: "Let's Just Communicate!": The 1980s Fanzine Underground Chapter Three: "How Much Do One Thousand Flexidiscs Weigh?": When Matt Met Clare Chapter Four: "Come to My World": The Sea Urchins and the Beginning of Sarah Chapter Five: "A Constant Source of Bemusement and Wonder": The Orchids Chapter Six: "Another Fucking Harvey Band": The Ubiquitous Harvey Williams Chapter Seven: "Sarah Records Unequivocally Supports a Fully Integrated Light-Rail Rapid-Transit System for the Greater Bristol Area": Expressions of Civic Pride Chapter Eight: "A Diary of Sorts": The Field Mice, Northern Picture Library, and the Quicksilver Bobby Wratten Chapter Nine: "I Sometimes Feel So Lost": Brighter Chapter Ten: Safe Harbour: The Wake and The Hit Parade Chapter Eleven: "I Am Telling You Because You Are Far Away": Internationalism and Sarah's Written Communiques Chapter Twelve: "Atta Girl": Heavenly, Riot Grrrl and Feminism Chapter Thirteen: Sadness is Unisex": Blueboy and "the Best Album" Sarah Released Chapter Fourteen: An Economy of Ambition: Sarah's Short-Term Visitors Chapter Fifteen: "We Had an Outsider's Perspective": Sarah's Foreign Visitors Chapter Sixteen: "A Day for Destroying Things...": The End of Sarah Chapter Seventeen: The Afterlife of Sarah The Sarah Discography Index.
  • (source: Nielsen Book Data)9781628922189 20160619
From 1987 to 1995, Bristol, England's Sarah Records was a modest underground success and, for the most part, a critical laughingstock in its native country-sneeringly dismissed as the sad, final repository for a fringe style of music (variously referred to as "indie-pop, " "C86, " "cutie" and "twee") whose moment had passed. Yet now, more than 20 years after its founders symbolically "destroyed" it, Sarah is among the most passionately fetishized record labels of all time. Its rare releases command hundreds of dollars, devotees around the world hungrily seek out any information they can find about its poorly documented history, and young musicians-some of them not yet born when Sarah shut down-claim its bands (such as Blueboy, the Field Mice, Heavenly, and the Wake) as major influences. Featuring dozens of exclusive interviews with the music-makers, producers, writers and assorted eyewitnesses who played a part in Sarah's eight-year odyssey, Popkiss: The Life and Afterlife of Sarah Records is the first authorised biography of an unlikely cult legend.
(source: Nielsen Book Data)9781628922189 20160619
Archive of Recorded Sound
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,, 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)9780415715157 20160619
Archive of Recorded Sound
477 pages ; 21 cm.
SAL3 (off-campus storage)
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)9781137562319 20160619
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)9781137562319 20160619
Green Library
112 pages : illustrations (some color) ; 26 cm
Bob Dylan bucked executives at his record label and surprised his fans when he came to Nashville in 1966 to record his classic album Blonde on Blonde. Working with the city's unmatched session musicians, Dylan produced a rock and roll masterpiece and went on to record two more albums there. Dylan's embrace of Nashville and its musicians-the Nashville Cats-inspired many other artists, among them Neil Young, Joan Baez, and Leonard Cohen, to follow him to Music City. Around the same time, Johnny Cash was recruiting folk and rock musicians-including Dylan-to appear on his groundbreaking network television show, The Johnny Cash Show, shot at the Ryman Auditorium, home of the Grand Ole Opry. This companion book to the exhibit Dylan, Cash, and the Nashville Cats: A New Music City looks at the Nashville music scene in the late 1960s and early 1970s, a time of great cultural vitality for Music City.
(source: Nielsen Book Data)9780915608249 20160618
Green Library

11. Eco-sonic media [2015]

vii, 254 pages : illustrations ; 23 cm
  • Acknowledgments Introduction 1. Green Discs 2. Birdland Melodies 3. Subterranean Signals 4. Radio's Dark Ecology The Run-Out Groove Index.
  • (source: Nielsen Book Data)9780520286146 20160618
The negative environmental effects of media culture are not often acknowledged: the fuel required to keep huge server farms in operation, landfills full of high tech junk, and the extraction of rare minerals for devices reliant on them are just some of the hidden costs of the contemporary mediascape. Eco-Sonic Media brings an ecological critique to the history of sound media technologies in order to amplify the environmental undertones in sound studies and turn up the audio in discussions of greening the media. By looking at early and neglected forms of sound technology, Jacob Smith seeks to create a revisionist, ecologically aware history of sound media. Delving into the history of pre-electronic media like hand-cranked gramophones, comparatively eco-friendly media artifacts such as the shellac discs that preceded the use of petroleum-based vinyl, early forms of portable technology like divining rods, and even the use of songbirds as domestic music machines, Smith builds a scaffolding of historical case studies to demonstrate how green media archaeology" can make sound studies vibrate at an ecological frequency while opening the ears of eco-criticism. Throughout this eye-opening and timely book he makes readers more aware of the costs and consequences of their personal media consumption by prompting comparisons with non-digital, non-electronic technologies and by offering different ways in which sound media can become eco-sonic media. In the process, he forges interdisciplinary connections, opens new avenues of research, and poses fresh theoretical questions for scholars and students of media, sound studies, and contemporary environmental history.
(source: Nielsen Book Data)9780520286146 20160618
Green Library
xiv, 357 pages : illustrations (some color) ; 27 cm
Archive of Recorded Sound
296 pages ; 24 cm
Business Library
296 pages ; 24 cm
A story of obsession, music, crime, and money, featuring visionaries and criminals, moguls and tech-savvy teenagers. Journalist Stephen Witt traces the history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet. Through these interwoven narratives, Witt has written a book that depicts the moment in history when ordinary life became forever entwined with the world online -- when, suddenly, all the music ever recorded was available for free. Witt introduces the unforgettable characters -- inventors, executives, factory workers, and smugglers -- who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.
Law Library (Crown)
296 pages ; 24 cm
A riveting story of obsession, music, crime, and money, featuring visionaries and criminals, moguls and tech-savvy teenagers. It's about the greatest pirate in history, the most powerful executive in the music business, a revolutionary invention and an illegal website four times the size of the iTunes Music Store. Journalist Stephen Witt traces the secret history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet. Through these interwoven narratives, Witt has written a thrilling book that depicts the moment in history when ordinary life became forever entwined with the world online--when, suddenly, all the music ever recorded was available for free. Witt introduces the unforgettable characters--inventors, executives, factory workers, and smugglers--who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.--From publisher description.
Music Library
xxix, 167 pages : illustrations ; 24 cm
  • List of Figures and Tables Acknowledgments Preface Part I: Introduction Part II: Transformations in the Recording Industry Chapter 1Recording Industry in Transition Chapter 2The Expansion of Consumption in the Recording Industry Part III: The State in Music Chapter 3Copyright: A Critical Exploration Chapter 4Critical Junctures Part IV: The Recording Industry and Labor Chapter 5Musician Labor Chapter 6Victims, Musicians and Metallica Part V: Digital Distribution and Surveillance Chapter 7Distribution Then and Now Chapter 8Watching Music Consumption Part VI: Conclusion Bibliography Notes Index.
  • (source: Nielsen Book Data)9781442240131 20160618
iTake-Over: The Recording Industry in the Digital Era sheds light on the way large corporations appropriate new technologies related to recording and distribution of audio material to maintain their market dominance in a capitalist system. All too commonly, scholars have asserted too confidently, how the rise and reign of digital music has diminished the power of major record labels. In iTake-Over, music scholar David Arditi argues otherwise, adopting a broader perspective by examining how the recording industry has strengthened copyright laws for their corporate ends at the expense of the broader public good, which has traditionally depended on the safe harbor of fair use. Arditi also challenges the dominant discourse over digital music distribution, which has largely adopted the position that the recording industry has a legitimate claim to profitability at the detriment of a shared culture. iTake-Over more specifically surveys the actual material effects that digital distribution has had on the industry. Most notable among these is how major record labels find themselves in a stronger financial position today in the music industry than they were before the launch of Napster. Arditi contends that this is largely because of reduced production and distribution costs and the steady gain in digital music sales. Moreover, instead of merely trying to counteract the phenomenon of digital distribution, the RIAA and the major record labels embraced, and then altered, the distribution system. Throughout the 1990s and early 2000s, the RIAA lobbied for legislation, built technologies, and waged war in the courts in order to shape the digital environment for music distribution. From mp3s to the Digital Millennium Copyright Act (DMCA), from the Audio Home Recording Act (AHRA) to iTunes, the major record labels and the RIAA, instead of trying to torpedo the switch to digital distribution, engineered it to their benefit-often at the expense of the public interest. Throughout, Arditi boldly asserts that the sea change to digital music did not destroy the recording industry. Rather, it stands as a testament to the recording industry's successful management of this migration to digital production and distribution. As such, this work should appeal to musicians and music scholars, political scientists and sociologists, technologists and audio professionals seeking to grasp this remarkable change in music production and consumption.
(source: Nielsen Book Data)9781442240131 20160618
Archive of Recorded Sound
112 pages : illustrations (many color), color map, portraits (some color), plans, facsimiles (some color) ; 24 cm.
SAL3 (off-campus storage)
vi, 289 pages : illustrations ; 24 cm
  • Table of Contents List of Illustrations Acknowledgements Introduction: Living Stereo (Paul Th berge, Kyle Devine and Tom Everrett) (AUDIO) POSITIONS 1. The "Sweet Spot": The Technology of Stereo and the Field of Auditorship (Tony Grajeda) 2. The Stereophonic Spaces of Soundscape (Jonathan Sterne) 3. Sonar and the Channelization of the Ocean (John Shiga) LISTENING CULTURES 4. Training the Listener: Stereo Demonstration Discs in an Emerging Consumer Market (Tim J. Anderson) 5. Mono in the Stereo Age (Eric Barry) 6. Looking Past the Stereo Loudspeakers: From the Home to the Amplified Concert Hall (Jonathan Tee) 7. Recorded British Folk Song (Allan F. Moore) MULTICHANNEL SOUND and SCREEN MEDIA 8. Television: Now with Two Channels of Audio (David Sedman) 9. The Grandeur(s) of CinemaScope (Matthew Malsky) 10. Atmos Now: Dolby Laboratories, Mixing Ideology and Hollywood Sound Production (Benjamin Wright) 11. A Symphony of Sound: Surround Sound in Formula One Racing Games (Ruth Dockwray and Karen Collins) List of Contributors Index.
  • (source: Nielsen Book Data)9781623566654 20160618
Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.
(source: Nielsen Book Data)9781623566654 20160618
Archive of Recorded Sound
x, 221 pages : illustrations ; 25 cm.
  • Contents: Introduction: music, material culture and archaeologies-- Sarah Records (1987-1995) and the everyday-- Ghost Box Records (2004-): materiality, technological mediation and the birth of ghosts-- From collecting to curating and reissuing the recorded past: Finders Keepers (2004-) and reissue record labels-- YouTube archivists, e-collectors and digital flaneurs: the internet and the future of phonography-- Conclusion: the afterlife of music objects-- Select bibliography-- Index.
  • (source: Nielsen Book Data)9781472459480 20160619
Media, Materiality and Memory: Grounding the Groove examines the entwinement of material music objects, technology and memory in relation to a range of independent record labels, including Sarah Records, Ghost Box and Finders Keepers. Moving from Edison's phonograph to digital music files, from record collections to online archives, Roy argues that materiality plays a crucial role in constructing and understanding the territory of recorded sound. With its innovative theoretical approach, the book explores the implications of materialisation in the fashioning of a musical world and its cultural transmission. A substantial contribution to the field of music and material culture studies, Media, Materiality and Memory also provides a nuanced and timely reflection on nostalgia and forgetting in the digital age.
(source: Nielsen Book Data)9781472459480 20160619
Archive of Recorded Sound
316 pages, 16 unnumbered pages of plates : illustrations ; 24 cm
  • Introduction. "Something new-built along the same lines"
  • Starting out : Independence, 1892-1919
  • Getting the music : Okeh, records, and roots, 1919-1926
  • To victor, on to Bristol, and the making of giants, 1926-1927
  • Reaching out from the roots : southern music, 1927-1933
  • Breaking loose, branching out, starting over, 1933-1940
  • Crossing borders : the war, Latin music, and the media, 1940-1945
  • Going global : expanding, 1946-1951
  • Locking a legacy, 1952-1960
  • The roots and pop aftermath
  • Appendix. key recordings and published songs of Ralph Peer, 1920-1960.
Music Library

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