Читать книгу The Music Industry - Patrik Wikström - Страница 2
ОглавлениеCONTENTS
1 Cover
3 Introduction: Music in the Cloud Connectivity vs. control Service vs. product Amateur vs. professional The structure of the book Notes
4 1 A Copyright Industry Defining industries Basic concepts of copyright Characteristics of the copyright industries Profit maximization, creativity and authenticity Exploring copyright industry dynamics Notes
5 2 Inside the Music Industry Defining the music industries Three integrated music industries A brief history of the twentieth-century recording industry Into the 2000s The world’s largest music companies The size and structure of the international recorded music market Notes
6 3 Music and the Media The interplay between music, audience and media Connectivity and control Music-licensing Recorded music The market for access-based music platforms Is it possible to compete with the technology conglomerates? Notes
7 4 Making Music Professions and practices The artist as a brand Live music The relationship between the artist and what used to be the record label Notes
8 5 The Social and Creative Music Fan Friendly sharing? Singing, dancing, remixing Conflicts between consumer creativity and rights holder control Music promotion goes viral Audience-driven talent development Patronage in the digital age Tip jar models redux Notes
9 6 Future Sounds Connectivity vs. control Context and content Creativity as consumption Final words Notes
10 References
11 Index
List of Tables
1 Chapter 1Table 1.1 Levels of aggregation and the facets of the production of culture perspective
2 Chapter 2Table 2.1 The music industry as defined by the British governmentTable 2.2 The music industry according to Engström and HallencreutzTable 2.3 The longevity of physical music distribution formats
List of Illustrations
1 IntroductionFigure 0.1 The Cloud as an Internet metaphorFigure 0.2 Increased connectivity causes the music firms to lose their ability to control t…
2 Chapter 2Figure 2.1 Musical networksFigure 2.2 Production/consumption systems of popular musicFigure 2.3 The organization of the recording industryFigure 2.4 A music publishing industry value chainFigure 2.5 Selected music industry milestones during the 1890s and 1900sFigure 2.6 Selected music industry milestones during the 1910s and 1920sFigure 2.7 Selected music industry milestones during the 1930s and 1940sFigure 2.8 Selected music industry milestones during the 1950s and 1960sFigure 2.9 Selected music industry milestones during the 1970sFigure 2.10 Selected music industry milestones during the 1980s and 1990sFigure 2.11 Global physical music unit sales by format, 1973–2017Figure 2.12 Selected music industry milestones during the 2000s and 2010sFigure 2.13 Share of the global recorded music market 3.1 The audience–media engine
3 Chapter 3Figure 3.2 Global revenues from recorded musicFigure 3.3 The world’s largest access-based music services at the end of 2018
4 Chapter 4Figure 4.1 The average age of the top-ten global superstars
5 Chapter 5Figure 5.1 Local repertoire share measured in ten countries over two decadesFigure 5.2 The acoustic diversity of popular music is in declineFigure 5.3 Example of a versioning strategy implemented by jazz guitarist Yotam SilbersteinFigure 5.4 Musician and producer Andrew Huang reaches out to his fans via the Patreon platf…
List of Case Study
1 Chapter 4Case Study 4.1: Robyn Carlsson
2 Chapter 5Case Study 5.1: When the Promotion becomes the art form – Year Zero by nine inch nails
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