While institutional critique has long been an important part of artistic practice and theoretical debate in the visual arts, it has long escaped attention in the field of music. This open access volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music’s institutions, their critique, and their transformations. For scholars, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today. In this way, it provides a major contribution to the debate about the present and future of contemporary music.

Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.

The music business is a multifaceted, transnational industry that operates within complex and rapidly changing political, economic, cultural and technological contexts. The mode and manner of how music is created, obtained, consumed and exploited is evolving rapidly. It is based on relationships that can be both complimentary and at times confrontational, and around roles that interact, overlap and sometimes merge, reflecting the competing and coinciding interests of creative artists and music industry professionals. It falls to music law and legal practice to provide the underpinning framework to enable these complex relationships to flourish, to provide a means to resolve disputes, and to facilitate commerce in a challenging and dynamic business environment.

The Present and Future of Music Law presents thirteen case studies written by experts in their fields, examining a range of key topics at the points where music law and the post-digital music industry intersect, offering a timely exploration of the current landscape and insights into the future shape of the interface between music business and music law.

The Corona pandemic has affected orchestra organizations around the globe since January 2020. Most of the ensembles were forced to stop operations during hard lockdown periods of public life. Freelance ensembles and privately funded orchestras faced even higher pressure than state funded ones. The pandemic has shown, how fragile orchestras may be. On the other hand the pandemic has brought forth a boost of creative alternatives from single musicians, from greater ensembles and from orchestra managements to upkeep operations under new physically distanced conditions and on the internet. Highest flexibility was shown in artistic planning, in creating new programs, in digital and recording work, in outreach and education activities, in new concert formats or support of pandemic-related charity campaigns. The pandemic has shown, how agile orchestras might be.The very questions are: What are the lessons learned from the pandemic challenges? What are new structural approaches for musicians and managements to rethink orchestral organizations for the post-pandemic future? How can the engagement of musicians and staff for the own organization be enhanced? How can the ties towards the members of already familiar audience groups be strengthened? Every co-author of this book is a specialist in his or her field. Together we re looking out to all aspects from which we think that orchestral organizations should take a breeze of fresh air and rethink their operations in the new normal after the pandemic. There is no step back, there only are steps forward.

Across Europe, a contemporary music theatre landscape has taken shape beyond the institutions of mainstream opera. This field is characterized by diverse and innovative forms ranging somewhere between music and theatre, as well as the constant development of new creation processes. This book presents the first empirical survey of four different international music theatre scenes, and examines the connections between the historical and cultural-political conditions and the concrete artistic practices in each scene. Each chapter gives the artists, ensembles, and other protagonists a chance to articulate their own understanding of ›music theatre‹ and their sense of belonging to an independent music theatre community.

The Bloomsbury Handbook of Popular Music and Social Class is the first extensive analysis of the most important themes and concepts in this field. Encompassing contemporary research in ethnomusicology, sociology, cultural studies, history, and race studies, the volume explores the intersections between music and class, and how the meanings of class are asserted and denied, confused and clarified, through music. With chapters on key genres, traditions, and subcultures, as well as fresh and engaging directions for future scholarship, the volume considers how music has thought about and articulated social class. It consists entirely of original contributions written by internationally renowned scholars, and provides an essential reference point for scholars interested in the relationship between popular music and social class.

Connecting migration studies and the theory of valuation, this collection offers an interdisciplinary approach to the study of transnational music practices. Conceiving music as a practice not confined to audibility, the contributions reveal how music emerges in concrete situations through people, objects, techniques, meanings, and emotions in different parts of the world and during different historic periods. Values are thereby created and shared, and creative processes are evaluated in terms of diversity, space and exchange.
This book presents cases of contemporary, popular and traditional music, festivals and trade fairs, albums and band projects, shedding light on the tensions between the transfer, reconstruction and creation of music in different contexts.

 

 

What does music have to do with cultural heritage? Antique sites, temples, beautiful churches, bridges, houses, historic city centres, decorated with a heritage label, such as UNESCO world heritage sites, are often the first associations with the term cultural heritage. When in 2018, the EU celebrated the European Year of Cultural Heritage (EYCH), the European Music Council (EMC) played an active role as advocate for intangible cultural heritage in the debate. As a follow-up to the year, the EMC now presents this book to provide a snapshot on music and heritage in Europe. It includes the policy perspective (EU and UNESCO) as well as concrete examples from medieval Norwegian ballads to Gaelic music to the Hungarian Dance House Movement or the Polonaise.

 

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This collection of interviews captures a period of historic change for the global music business along with a wealth of professional knowledge that extends from the late 1960s through to late 2012 when the interviews were conducted. They record the experiences and insights of people who helped to shape a global business that is quickly passing into history and transforming into something entirely new, often because of decisions the interviewees have been directly involved in making. The material includes the aesthetic, artistic, technical, commercial, legal, and strategic aspects of the music industry. What is said is timeless in its historical significance for the music business and in its relevance for researchers engaged in studies on the dynamics of change in the global commercial music landscape.

In Fill Every Seat - EVERY Week, Magnus Still shares what he has learned about the underlying philosophy and foundations necessary to rapidly build a strong and lasting subscription base, and how subscriptions interact with all other activities of the organization.

This book offers a concise, rigorous presentation of the economic fundamentals of the music industry in particular and the music economy in general. It highlights the economic principles that govern the music business as an economic good protected by copyright law. The book examines the core sectors of the industry music publishing, sound recording, the live music market, and secondary markets such as advertising and merchandising and shows how they operate together. It includes analysis of the income streams of musicians and the wider music lobby. The impact of digitization and the economic relevance of new digital formats is given special attention download services, streaming platforms, mobile music providers, cloud music services as well as music recognition and recommendation systems are all discussed. The book shows how a combination of established publishers (Universal, Sony/ATV, Warner/Chappell), new promoters (LiveNation), and a new generation of music providers (Apple, Google, Amazon) has created a heady mix of competing and collaborative economic models. Throw in the problem of piracy and ever-changing consumer behavior and, the author shows, we have one of the most dynamic and fascinating business sectors in the world. Paperback: 208 pages

Many different disciplines are analyzing the impact of music today. How and why this ancient cultural asset molds, empowers and makes use of us can only become apparent in a synopsis and exchange involving scientific research. With this perspective as its foundation, the conference "Mozart and Science" extended invitations to the first interdisciplinary and international dialogue between the social and physical sciences about the effects of music. This book is based on the results of that congress. It contains contributions penned by leading scientists from around the world belonging to diverse music science disciplines and in particular covers psycho-physiological, neuro-developmental and cognitive aspects associated with the experience of music. Additional essays provide insights into research conducted about how music is applied in therapy and medicine.

About the Author
Roland Haas, PhD, theatrical advisor, festival director, author and lecturer, former rector of the University Mozarteum, Salzburg, revived research into the effects of music in Austria with the research network "Man and Musicâ" of the Salzburg Universities from 2001, supported by the Federal Ministry of Education, Science and Culture. He is president of the "I.M.A.R.A.A." International Music and Art Research Association Austria which has initiated the Mozart&Science conferences focused on the current state of interdisciplinary music effect research, both nationally and internationally.

Vera Brandes' first career was as a concert promoter, independent music industry entrepreneur and renowned music producer. As a psychologist and music and media effect researcher, she is director of the Research Program for MusicMedicine at the Paracelsus Medical University, Salzburg, Austria, member of the board of the I.M.A.R.A.A., international program coordinator of Mozart&Science and member of the founder`s board of the International Association for Music and Medicine (IAMM).

Worldwide tours, internet downloads, international album distribution--the global market for music is expanding with lightning speed, and that means big opportunities for everyone in the music business. The main obstacle? Lack of knowledge. The world market is packed with opportunity, but its also full of cultural, regulatory, administrative, legal, political, and logistical pitfalls. This Business of Global Music Marketing offers a map of the world, with full information on how to break into the global market, how to distribute records abroad, how to find an audience, how to package records to appeal to local markets, how to establish partnerships with foreign businesses, how to deal with different rules of trade, and much more. A companion volume to author Tad Lathrops top-selling This Business of Music Marketing and Promotion, This Business of Global Music Marketing offers everyone in the music business a chance to go global.


Hardcover: 288 pages

Publisher: Billboard Books (August 21, 2007)

Allen prepares you for the realities of successfully directing the careers of talented performers in the high-risk, high-reward music business.



You will learn to prepare yourself for a career in artist management and then learn the tools to coach, lead, organize time, manage finances, market an artist, and carve out a successful career path for both yourself and your clients.



The book features profiles of artist managers, an exclusive and detailed template for an artist career plan, and samples of major contract sections for artist management and record deals. Updated information including a directory of artist management companies is available at the books companion website.



A peer reviewer for Artist Management for the Music Business proclaimed this is going to be an excellent text. It contains many unique insights and lots of valuable information. This is essential reading for managers, students, and artists in the music business.



* Key industry insight for both new and experienced artist managers

* Exclusive planning and management tools

* Successful career strategies for managers and the artists they manage


Paperback: 288 pages

Publisher: Focal Press (June 29, 2007)

If you are a musician, composer, lyricist, performing artist, or music professional looking for a concise, easy-to-read reference work on the music business, this book is for you. It addresses-in a nutshell-all relevant details of the industry by offering what you need to know and cutting out the rest. "The Music Industry: The Practical Guide to Understanding the Essentials" is a collection of vital facts for those pursuing a career in the music industry with limited research time available. This book provides key pieces of information that have been gathered, summarized, structured, and put into context for easy comprehension. To understand the business and its workings, you must first grasp the basics. The author equips you with what you need to succeed, including: . the basic structures of the music industry . the workings, laws, and parties involved . today's music market, including the online market . how to protect your rights/copyright . how and what royalties are distributed and collected by beneficiaries nationally and internationally. Should you already have taken the initial steps and need clear-cut advice on how to proceed, this manual will also benefit you. If you find yourself in the midst of record contract negotiations, are about to meet with a record label, producer, publisher, manager, lawyer, financier, agent, rep, or executive to discuss a cooperation, or are planning to release songs to the public independently by cooperating with national or international distributors or online music service providers, it covers all core elements, giving you a well-rounded understanding so that you can achieve your goals faster.


Paperback: 184 pages

Publisher: DSS Publishing (Da Street Sound Ltd.) (April 30, 2007)