| 000 | 00356nam a2200133Ia 4500 | ||
|---|---|---|---|
| 999 |
_c174990 _d174990 |
||
| 020 | _a9781446207956 | ||
| 040 | _cCUS | ||
| 082 |
_a780 _bAND/U |
||
| 100 | _aAnderton, Chris | ||
| 245 | 0 |
_aUnderstanding the music industries/ _cChris Anderton, Andrew Dubber and Martin James |
|
| 260 |
_aLos angeles: _bSAGE Publications, _c2013. |
||
| 300 | _a236 p. | ||
| 505 | _a IntroductionQuestioning 'Traditional' Models of the Music Industry Structure of the Book1. Studying the Music IndustriesKey FindingsGetting StartedOrganizational StructurePolitical EconomyCulture IndustrySociologyMusicologyMetanarrativeHistorical AnalysisTechnological DevelopmentMedia EcologyDigital TechnologiesIssues Conclusion Further Reading2. The Recorded Music IndustryKey FindingsThe Structure and Size of the Recording IndustryA Brief History of the Recorded Music IndustryThe Majors: Business Structures and CharacteristicsThe Independent Sector: Definitions and TypesThe Ideology of IndependenceStrategies for Dealing with Uncertainty and Risk Conclusion Further Reading3. Songwriting and PublishingKey FindingsSongwriters, Performers and PublishersMotivationsSongwriting as Commercial PracticeSongwriting Methods and ToolsMusic PublishingTraditional Income Streams'New' Income StreamsSampling Conclusion Further Reading4. Music ProductionKey FindingsChanging Models and the Mythology of the Recording StudioThe Production ProcessTrackingMixingMasteringManufacturingProduction Careers and RolesProject Studios, MIDI, and Other Developments Conclusion Further Reading5. Music DistributionKey FindingsIntroducing Music DistributionPhysical DistributionMass-Market RetailersIndependent RetailersSecond-Hand RetailersOnline Music DistributionStreaming ServicesMusic Media DistributionUnauthorized Distribution Conclusion Further Reading6. Music PromotionKey FindingsMarketing, Branding and GatekeepingThe Promotional CampaignMusic JournalismRadioTelevisionPoint of Sale Marketing (POS) and In-Store MusicSponsorships and EndorsementsGrassroots MarketingSocial Media/Mobile Media Conclusion Further Reading7. The Live Music IndustriesKey FindingsThe Resurgence of Live MusicA Brief History of the Live Music IndustryMotivations for Live Concert TouringAuthenticity and Live PerformanceLive Music SponsorshipRoles and Responsibilities Live Performance ContractsConcert and Festival TicketingThe Relationship between the Recorded and the Live Music Industries Conclusion Further Reading8. Music AudiencesKey FindingsUnderstanding Music AudiencesMusic on the Move: From the Walkman to the iPhoneMusic and Social Media ConsumptionHeritage and NostalgiaRecord Collecting Conclusion Further Reading9. Copyright and Music PiracyKey FindingsIntroducing CopyrightCopyright BasicsKey Terms in UK Copyright LawUS Copyright Law: Key DifferencesCollection SocietiesMusic PiracyMusic Industry Responses to PiracyArtist Responses to Piracy Conclusion Further Reading10. Contractual Agreements and RelationshipsKey FindingsArtist Management AgreementsMusic Publishing AgreementsRecording AgreementsConclusionFurther ReadingConclusionComplexity and SymbiosisBe Wary of MetanarrativesDiversity and ReorganizationWhere Next? Glossary | ||
| 650 | _aMusic trade. | ||
| 650 | _aMuziekindustrie. | ||
| 650 | _aPopulaire muziek. | ||
| 700 | _aDubber, Andrew | ||
| 700 | _aJames, Martin | ||
| 942 | _cWB16 | ||