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Music trade --- Music business --- Music industry --- Cultural industries
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This book brings together research at the intersection of music, cultural industries, management, antiracist politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. Providing insights into labour processes and practices, the authors investigate the changing role of manifold actors, institutions and technologies and the corresponding shifts in the valuation and evaluation of music achievements that have shaped the relationship between music, labour, the economy and politics. With research into a variety of geographic regions, chapters shed light on the various ways by which musicians' work is performed, constructed and managed at different times and show that musicians' working practices have been marked by precarity, insecurity and short-term contracts long before capitalism invited everybody to 'be creative'. In doing so, they specifically examine the dynamics in music professions and educational institutions, as well as gatekeepers and mechanisms of inclusion and exclusion. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution- Non Commercial- No Derivatives 4.0 license.
Music trade. --- Music business --- Music industry --- Cultural industries
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This is the last of three volumes designed, in the author's words, to tell 'the story of America's popular songs, the people who wrote them, and the business they created and sustained'.
Popular music --- Music --- Music trade --- Music business --- Music industry --- Cultural industries --- History and criticism. --- History.
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Daniel-François-Esprit Auber (1782-1871), the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini. His first works were not a success, but La Bergère Châteleine, written at the age of 38, established him as an operatic composer. He then met the librettist Eugène Scribe (1791-1861), with whom he developed a long and illustrious working partnership that only ended with Scribe's death. Success followe...
Composers --- Music trade. --- Music business --- Music industry --- Cultural industries --- Songwriters --- Musicians
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Is business, for music, a regrettable necessity or a spur to creativity? Are there limits to the influence that economic factors can or should exert on the musical imagination and its product? In the eleven essays contained in this book the authors wrestle with these questions from the perspective of their chosen area of research. The range is wide: from 1700 to the present day; from the opera house to the community centre; from composers, performers and pedagogues to managers, publishers and lawyers; from piano miniatures to folk music and pop CDs. If there is a consensus, it is that music serves its own interests best when it harnesses business rather than denying it.
Music trade --- Music --- Criticism --- Music business --- Music industry --- Cultural industries --- History. --- History and criticism.
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Country music --- History and criticism --- Music trade --- Tennessee (Etat) --- Nashville (Tenn.) --- Music business --- Music industry --- Cultural industries --- History and criticism.
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Mit dem Internet sind neue Formen des Musikvertriebs (Download-Dienste etc.) entstanden, die zunehmend an die Stelle des klassischen Tonträgervertriebs treten. Diese Entwicklung stellt nicht nur die Musikindustrie, sondern auch die Verwertungsgesellschaften vor neue Herausforderungen. Die Zuständigkeit einer Verwertungsgesellschaft ist herkömmlicherweise auf ein bestimmtes Territorium beschränkt. Außerhalb ihrer Gebiete lassen die Verwertungsgesellschaften ihre Rechte von ausländischen Gesellschaften wahrnehmen. Diese in den sog. Gegenseitigkeitsverträgen geregelte Zusammenarbeit zwischen in- und ausländischen Verwertungsgesellschaften wird jedoch durch die wachsende Bedeutung von Internetnutzungen mehr und mehr in Frage gestellt. Online-Anbieter mit grenzüberschreitender Reichweite benötigen multiterritoriale Lizenzen. Die Verwertungsgesellschaften können diese Nachfrage auf Grundlage ihrer bislang praktizierten Zusammenarbeit nicht erfüllen. Die EU-Verwertungsgesellschaften sind deshalb gerade in jüngster Zeit in das Visier der Europäischen Kommission geraten, die ein System der grenzüberschreitenden Wahrnehmung von Urheberrechten verwirklichen möchte. Die vorliegende Arbeit erläutert diese Entwicklungen und unterzieht die auf europäischer Ebene dazu ergangenen Entscheidungen und Rechtsakte einer kritischen Bewertung. Dazu zählen vor allem das "Tournier"-Urteil des EuGH sowie die "Simulcasting"-Entscheidung der Kommission, die für die wettbewerbsrechtliche Beurteilung der Gegenseitigkeitsverträge von Bedeutung sind, sowie die Empfehlung der Kommission zur länderübergreifenden Wahrnehmung von Urheberrechten für Online-Musikdienste vom Oktober 2005. Abschließend befasst sich die Arbeit mit der im Dezember 2006 in Kraft getretenen Dienstleistungsrichtlinie und ihren Auswirkungen auf das Urheberwahrnehmungsrecht der Mitgliedstaaten.
Music trade --- Copyright --- Music business --- Music industry --- Cultural industries --- Law and legislation --- Music --- Intellectual property. --- collecting society. --- copyright law.
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COVID-19 Pandemic, 2020 --- -Influence. --- Music trade. --- -Copyright --- Influence. --- Music. --- Music --- Music business --- Music industry --- Cultural industries --- Copyright
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Music trade. --- COVID-19 Pandemic, 2020 --- -Copyright --- Influence. --- Music. --- Music --- Music business --- Music industry --- Cultural industries --- Copyright
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"In Streaming Music, Streaming Capital, Eric Drott examines the relationships between music, technology, economy, and culture within the ecosystem of online streaming. Attentive to the way the rise of online platforms has reordered how music is circulated and consumed, Drott offers a Marxist interrogation of capitalism and its relation to music consumption. Drawing on digital sources and economic ephemera as evidence, Drott puts forth an overview of streaming's role within the music industry as a commentary on platform economy and economic power. By interrogating the tensions between streaming's benefits and pitfalls, Drott's work highlights important socioeconomic issues in music's digital ascendency, from accessibility, distribution, and data collection, to musical value, labor, and artist treatment"--
Music trade --- Sound recording industry. --- Streaming audio. --- Music and the Internet. --- MUSIC / Business Aspects --- SOCIAL SCIENCE / Media Studies --- Technological innovations.
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