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"Si les artistes, les maisons de disques, les producteurs et tous les acteurs de la filière sont fréquemment amenés à mettre en place des actions marketing, il existe encore peu de publications portant sur ces problématiques. L'objectif de cet ouvrage est donc de faire le point sur les pratiques et les recherches en matière de marketing musical. Il vise tout particulièrement à mettre en évidence certaines expériences innovantes et à formuler des recommandations aux musiciens amateurs souhaitant faire connaître leur musique. Les enjeux apparaissent importants pour les artistes : émerger face à une offre pléthorique et hétérogène, convaincre les producteurs et diffuseurs, proposer une expérience musicale forte à leurs auditeurs et/ou spectateurs, maîtriser en partie l'image transmise par les médias, créer une relation dynamique et durable avec le public... Parmi les nombreux domaines d'application du marketing musical, cet ouvrage se focalise sur la mise en place d'une démarche marketing pour promouvoir un jeune artiste ou un groupe en création. Cette démarche intègre la sélection du nom et des éléments figuratifs, la réflexion sur l'offre et le positionnement musical, l'élaboration de partenariats musicaux et marketing, ainsi que le choix des différents moyens pour diffuser sa musique et en vivre."

Music - Marketing. --- Music trade - Vocational guidance. --- Sound recordings - Marketing. --- Popular music - Writing and publishing. --- Industrie de la musique et du son --- Marketing de la culture --- Sound recording industry --- Music --- Marketing. --- Music trade --- Sound recordings --- Popular music

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The music industry's ongoing battle against digital piracy is just the latest skirmish in a long conflict over who has the right to distribute music. Starting with music publishers' efforts to stamp out bootleg compilations of lyric sheets in 1929, Barry Kernfeld's Pop Song Piracy details nearly a century of disobedient music distribution from song sheets to MP3s. In the 1940's and '50s, Kernfeld reveals, song sheets were succeeded by fake books, unofficial volumes of melodies and lyrics for popular songs that were a key tool for musicians. Music publishers attempted to wipe out fake books, but after their efforts proved unsuccessful they published their own. Pop Song Piracy shows that this pattern of disobedience, prohibition, and assimilation recurred in each conflict over unauthorized music distribution, from European pirate radio stations to bootlegged live shows. Beneath this pattern, Kernfeld argues, there exists a complex give and take between distribution methods that merely copy existing songs (such as counterfeit CDs) and ones that transform songs into new products (such as file sharing). Ultimately, he contends, it was the music industry's persistent lagging behind in creating innovative products that led to the very piracy it sought to eliminate.

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