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Discusses the transition from a business model based on traditional music outlets to digitally- based music products and distribution channels and the impact of the change on the future of the music trade and on the consumer.
(Music Pro Guide Books & DVDs). New technologies are revolutionizing the music business. While these changes may be smashing traditional business models and creating havoc among the major record companies, they are also providing new opportunities for unsigned artists, independent labels, and music business entrepreneurs. The Future of the Music Business provides a legal and business road map for success in today's music business by setting forth a comprehensive summary of the rules pertaining to the traditional music business, including music licensing, as well as the laws governing online distribution of music and video. The book also provides practical tips for: Selling music online; Using blogs and social networks; Developing an online record company; Creating an Internet radio station; Opening an online music store; Raising money for recording projects online; Creating a hit song in the Digital Age; Taking advantage of wireless technologies, and much more. This revised third edition is the most up-to-date and thorough examination of current trends, and offers special sections on: What to do if someone steals your song; Protecting the name of your band or label ; How to find and get a music lawyer to shop your music; How to land a deal with an indie, or a major label. The video includes a comprehensive lecture, "How to Succeed in Today's Music Business," delivered by the author at the Tisch School of the Arts at NYU.
The idea of this monograph is to present an overview of decisive theoretical, computational, technological, aesthetical, artistic, economical, and sociological directions to create future music. It features a unique insight into dominant scientific and artistic new directions, which are guaranteed by the authors' prominent publications in books, software, musical, and dance productions. Applying recent research results from mathematical and computational music theory and software as well as new ideas of embodiment approaches and non-Western music cultures, this book presents new composition methods and technologies. Mathematical, computational, and semiotic models of artistic presence (imaginary time, gestural creativity) as well as strategies are also covered. This book will be of interest to composers, music technicians, and organizers in the internet-based music industry, who are offered concrete conceptual architectures and tools for their future strategies in musical creativity and production.
What 'live music' means for one generation or culture does not necessarily mean 'live' for another. This book examines how changes in economy, culture and technology pertaining to post-digital times affect production, performance and reception of live music. Considering established examples of live music, such as music festivals, alongside practices influenced by developments in technology, including live streaming and holograms, the book examines whether new forms stand the test of 'live authenticity' for their audiences. It also speculates how live music might develop in the future, its relationship to recorded music and mediated performance and how business is conducted in the popular music industry.
Tells the story of African popular music, or Afropop, and its relationship to Africa's social and political milieu over the past 50 years, by presenting in-depth portraits of thirty important African musicians.
Schoenberg's quartets and trio, composed over a nearly forty-year period, occupy a central position among twentieth-century chamber music. This volume, based on papers presented at a conference in honor of David Lewin, collects a wide range of approaches to Schoenberg's pieces. The first part of the book provides a historical context to these works, examining Viennese quartet culture and traditions, Webern's reception of Schoenberg's Second Quartet, Schoenberg's view of the Beethoven quartets, and the early reception of Schoenberg's First Quartet. The second part examines musical issues of motive, text setting, meter, imitative counterpoint, and closure within Schoenberg's quartets and trio.
This essay sheds light on the future of the music industry and explicates how emerging technologies will revolutionize the music industry. Moreover, the benefits of leveraging robots in the music industry are demystified in this essay. Furthermore, how to earn substantial money online so that you can afford to procure your own concert tickets is expounded upon in this essay. The future of the music industry will not only be characterized by dynamism as it continues to metaphorically evolve, but will also be eminently auspicious for customers and musicians. Technological advancements are profoundly changing the music industry and are rendering it all the more technology driven. The behemoth music industry shows no signs of decelerating anytime in the imminent future. "In 2019, the total revenue of the recorded music industry amounted to $21,500,000,000. Streaming made up 56% percent of total revenue of the recorded music industry, bringing in $11,900,000,000 globally. Between 2016 and 2021, music streaming is expected to grow by 20.7% on an annual basis. However, digital music downloading is expected to fall by 19.2% in the same period. Moreover, physical recorded music is expected to suffer and fall by 11.6% annually" (Watson, 2020). In the digital era, a market for physical music albums still exists even though more and more customers are preferring to utilize music streaming services over buying physical music albums. "In 2015, the sales of vinyl records for instance reached a healthy $416,00,000 worldwide, an amount which had been steadily rising since 2007 which indicates a spectacular revival for the phonograph record" (Watson, 2020). The music industry is preordained to have a robust and lucrative future, especially since music is something that the global population as an aggregate relishes listening to in their spare time. While sales of physical music albums may have reached their peak amid 2000, music will not be disappearing from the customer's household anytime soon. "In 2000, more than 942,000,000 CDs were shipped in the United States" (Watson, 2020). Much to the dismay of music industry retailers, music album CDs have experienced (Watson, 2020) "a large decline in popularity in each year since" (Watson, 2020) 2000. Physical music album sales have reached their pinnacle decades ago. It is unlikely that even a resurgence of rekindled interest in physical media will culminate in physical music album sales ever again coming close to reaching $13,360,000,000 in sales revenue in the coming years. In the digital era, more customers will transition to embracing digital media over physical media. As this industry trend unfolds, the future of the music industry will still be prosperous for musicians. Much to the benefit of musicians, in the digital era, musicians do not need to rely upon earning physical music album sales in order to draw forth sales revenue. Customers are profusely embracing digital media over physical media and the vast majority of customers are unlikely to revert back to consuming physical media over digital media. This ultimately means that it is easier than anytime in history for upcoming musicians to generate revenue since they do not need to sell physical music album CDs, cassette tapes, nor physical vinyl records to generate revenue from their songs. In the digital era, musicians are able to earn royalties from having their songs distributed onto e-commerce music stores and music streaming services. In the coming years, more musicians will leverage music streaming service platforms to host their songs onto and more musicians will also have their songs distributed onto e-commerce music stores. Successful musicians will profoundly benefit from having their songs hosted on music streaming service platforms. Musicians are able to earn royalties from having their songs played on music streaming service platforms, such as Spotify and Pandora. Per-play royalty rates can be low.
Charles Fourier imagined a whole society structured by music. Hector Berlioz wrote science fiction. Hugo Gernsback looked forward to telematic operas. John Cage imagined an infinite sound palette. But where are today's musical futurists?
The Future of Music was first published under the title TERPANDER or Music and the Future in 1926 in a series ""To-day and Tomorrow"" (Kegan Paul, Trench, Trubner & Co. Ltd.). It has been reset and is reissued as a tribute to a great British musician, Edward J. Dent. Dent was fifty years old when he wrote this little book the future of music. Though his book is concerned with twentieth-century music he scarcely mentions any living composer by name. He is dealing primarily with taste and with our varied reactions to the music of the past and the present. The past is important, because it is both a key and an obstacle to our appreciation of the present. For this reason Dent includes a masterly summary of the history of music, from which his own preferences are almost entirely excluded; and to this is added a miniature essay on aesthetics which can be read with profit even by those who have no special interest in music.
Due to shifts in the contexts of the production and presentation of the music video, more and more people start to talk about a possible end of this genre. At the same time disciplines such as visual-, film- and media-studies, art- and music-history begin to realize that despite the fact that the music video obviously has come of age, they still lack a well defined and matching methodical approach for analyzing and discussing videoclips. For the first time this volume brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future.
Provides essays that cover varying opinions on the future of the music industry, discusses the threats that it faces, the role of digital music and the CD, and whether or not illegal file-sharing threatens the industry.
(Book). Published to coincide with the 30th anniversary of the Roland Corporation, this is the inspiring and heartfelt memoir of Ikutaro Kakehashi, a pioneering figure in electronic music instruments and the company's visionary founder. From war-torn Japan to his first watch repair business to the dawn of and subsequent enormous leaps of electronic musical instruments, Kakehashi's story is sometimes wry, sometimes touching, always wise. Through it all, Kakehashi has believed in music above else: his first priority has always been an unwavering passion for expanding the potential for artistic expression. Everyone from music aficionados to those looking for time-tested business savvy will enjoy his unique story. The book features fantastic photos throughout, including an 8-page full-color section. Ikutaro Kakehashi founded the Roland Corporation in 1972. He lives in Hosoe-cho, Hamamatsu City, Japan. Robert Olsen worked for 25 years in the international music trade before switching careers to become a college instructor and free-lance author. He lives in Northbrook, IL.
Why do humans value music? Why study music? How can the skills and knowledge called for in the National Standards best be taught? How can all people continue to be involved in meaningful music participation? How will societal and technological changes affect the teaching of music? What should be the realationship between schools and other sources of music learning? With explorations of these key questions, Vision 2020 also presents the Housewirght Declaration - MENC's most important vision statement since the Tanglewood Declaration - honoring the legacy of Wiley Housewright, past MENC president (1968-70). -- from back cover.

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