Introduction
Questioning ′Traditional′ Models of the Music Industry
Structure of the Book
1. Studying the Music Industries
Key Findings
Getting Started
Organizational Structure
Political Economy
Culture Industry
Sociology
Musicology
Metanarrative
Historical Analysis
Technological Development
Media Ecology
Digital Technologies
Issues
Conclusion
Further Reading
2. The Recorded Music Industry
Key Findings
The Structure and Size of the Recording Industry
A Brief History of the Recorded Music Industry
The Majors: Business Structures and Characteristics
The Independent Sector: Definitions and Types
The Ideology of Independence
Strategies for Dealing with Uncertainty and Risk
Conclusion
Further Reading
3. Songwriting and Publishing
Key Findings
Songwriters, Performers and Publishers
Motivations
Songwriting as Commercial Practice
Songwriting Methods and Tools
Music Publishing
Traditional Income Streams
′New′ Income Streams
Sampling
Conclusion
Further Reading
4. Music Production
Key Findings
Changing Models and the Mythology of the Recording Studio
The Production Process
Tracking
Mixing
Mastering
Manufacturing
Production Careers and Roles
Project Studios, MIDI, and Other Developments
Conclusion
Further Reading
5. Music Distribution
Key Findings
Introducing Music Distribution
Physical Distribution
Mass-Market Retailers
Independent Retailers
Second-Hand Retailers
Online Music Distribution
Streaming Services
Music Media Distribution
Unauthorized Distribution
Conclusion
Further Reading
6. Music Promotion
Key Findings
Marketing, Branding and Gatekeeping
The Promotional Campaign
Music Journalism
Radio
Television
Point of Sale Marketing (POS) and In-Store Music
Sponsorships and Endorsements
Grassroots Marketing
Social Media/Mobile Media
Conclusion
Further Reading
7. The Live Music Industries
Key Findings
The Resurgence of Live Music
A Brief History of the Live Music Industry
Motivations for Live Concert Touring
Authenticity and Live Performance
Live Music Sponsorship
Roles and Responsibilities
Live Performance Contracts
Concert and Festival Ticketing
The Relationship between the Recorded and the Live Music
Industries
Conclusion
Further Reading
8. Music Audiences
Key Findings
Understanding Music Audiences
Music on the Move: From the Walkman to the iPhone
Music and Social Media Consumption
Heritage and Nostalgia
Record Collecting
Conclusion
Further Reading
9. Copyright and Music Piracy
Key Findings
Introducing Copyright
Copyright Basics
Key Terms in UK Copyright Law
US Copyright Law: Key Differences
Collection Societies
Music Piracy
Music Industry Responses to Piracy
Artist Responses to Piracy
Conclusion
Further Reading
10. Contractual Agreements and Relationships
Key Findings
Artist Management Agreements
Music Publishing Agreements
Recording Agreements
Conclusion
Further Reading
Conclusion
Complexity and Symbiosis
Be Wary of Metanarratives
Diversity and Reorganization
Where Next?
Glossary
Dr Chris Anderton is Associate Professor in Cultural Economy at
Solent University, Southampton, UK. His research interests focus on
the music industries, music culture and music history. He is author
or co-editor of several books including Understanding the Music
Industries (2013), Music Festivals in the UK. Beyond the
Carnivalesque (2019), and the forthcoming books Media Narratives in
Popular Music and Researching Live Music: Gigs, Tours,
Concerts and Festivals. He has also guest edited issues of the
academic journals Rock Music Studies and Arts & the
Market, and published in numerous other edited collections and
journals.
Martin James is professor of music industries at Southampton Solent
University.
Martin joined Southampton Solent University from the University of
Sunderland in July 2007. He studied for his first degree at
Nottingham Trent University where he was awarded a BA (Hons)
Communication Studies.
He gained an MA Media and Cultural Studies at the University of
Sunderland, where he also received a PhD. His doctoral thesis was
called ‘Versioning Histories and Genres’, a commentary on his
books State of Bass: Jungle – The Story So Far(1997)
and French Connections: From Discotheque to
Discovery (2002).
Prior to becoming a lecturer in 2004, Martin was an internationally
renowned music journalist who had worked on the editorial teams of
some of the biggest magazines on the market. He also regularly
contributed to almost every major music and lifestyle magazine, and
numerous daily broadsheet newspapers. Martin has also written
several internationally published and critically acclaimed books
about music, including biographies of The Prodigy and Dave
Grohl.
Since 2009 Martin has coordinated Southampton Solent University’s
associations with some of the UKs finest independent festivals
including Glade, Bestival, Camp Bestival, Blissfields and Common
People. Through these link-ups our students have been able to gain
experience in various areas of music and media performance and
production industries.
In 2009 Martin organised the University’s first music industries
conference ‘Solent Music Industries Live Event’ (SMILE). Featuring
some of the biggest names in the world of music sharing their
knowledge with students. SMILEfest is now an annual student
organised event that includes gigs, club nights, employability
challenges, masterclasses and workshops.
In 2014 he co-edited the ‘Music Journalism Special Edition’ of the
peer-reviewed International Association for the Study of Popular
Music (IASPM) journal.In 2015 Martin launched IAMJREP (The
International Association of Music Journalism Researchers,
Educators and Practitioners), a collaborative venture with scholars
throughout the world.
This is an invaluable book for anyone who wants to know how the
modern music industry works. Students will find it clear and
enjoyable to read, musicians will find it revealing and helpful,
and budding music entrepreneurs will find it provides real
insights. It is up-to-date, informed by the realty of the modern
music business, and balances theory with practice.
Tim Wall
Professor of Radio and Popular Music Studies, Birmingham City
University
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