Chris Anderton

James Hannam

Johnny Hopkins

This book is your guide to the study and practice of music management and the fast-moving music business of the 21st century. Covering a range of careers, organisations, and practices, this expert introduction will help aspiring artists, managers, and executives to understand and succeed in this exciting sector. Featuring exclusive interviews with industry experts and discussions of well-known artists, it covers key areas such as artist development, the live music sector, fan engagement, and copyright. Other topics include: Managing contracts and assembling teams. Using data audits of platforms to adapt campaigns. Shaping opinions about music, musicians, events. How the music industry can be more diverse, inclusive, and equitable for the benefit of all. Working with venues, promoters, booking agents, and tour managers. Branding, sponsorship, and endorsement. Funding, crowdsourcing and royalty collection. Ongoing digital developments such as streaming income and algorithmic recommendation. Balancing the creative and the commercial, it is essential reading for students of music management, music business, and music promotion – and anybody looking to build their career in the music industries. Dr Chris Anderton, Johnny Hopkins, and James Hannam all teach on the BA Music Business at the Faculty of Business, Law and Digital Technologies at Solent University, Southampton, UK.

Music Management, Marketing and PR

Martin James

The historical significance of music-makers, music scenes, and music genres has long been mediated through academic and popular press publications such as magazines, films, and television documentaries. Media Narratives in Popular Music examines these various publications and questions how and why they are constructed. It considers the typically linear narratives that are based on simplifications, exaggerations, and omissions and the histories they construct - an approach that leads to totalizing “official” histories that reduce otherwise messy narratives to one-dimensional interpretations of a heroic and celebratory nature. This book questions the basis on which these mediated histories are constructed, highlights other, hidden, histories that have otherwise been neglected, and explores a range of topics including consumerism, the production pressure behind documentaries, punk fanzines, Rolling Stones covers, and more.

Media Narratives in Popular Music

An investigation into the commercialised rock and pop festival sector, examining events of all sizes: from mega-events such as Glastonbury Festival, V Festival and the Reading and Leeds Festivals to 'boutique' events with maximum attendances as small as 250. The author proposes new ways of understanding and theorising the cultural, social and geographic importance of outdoor music festivals

Beyond the Carnivalesque

Music Festivals in the UK

Sergio Pisfil

Researching Live Music offers an important contribution to the emergent field of live music studies. Featuring paradigmatic case studies, this book is split into four parts, first addressing perspectives associated with production, then promotion and consumption, and finally policy. The contributors to the book draw on a range of methodological and theoretical positions to provide a critical resource that casts new light on live music processes and shows how live music events have become central to raising and discussing broader social and cultural issues. Their case studies expand our knowledge of how live music events work and extend beyond the familiar contexts of the United States and United Kingdom to include examples drawn from Argentina, Australia, France, Jamaica, Japan, New Zealand, Switzerland, and Poland. Researching Live Music is the first comprehensive review of the different ways in which live music can be studied as an interdisciplinary field, including innovative approaches to the study of historic and contemporary live music events. It represents a crucial reading for professionals, students, and researchers working in all aspects of live music.

Gigs, Tours, Concerts and Festivals

Researching Live Music

The outdoor music festival market has developed and commercialised significantly since the mid-1990s, and is now a mainstream part of the British summertime leisure experience. The overall number of outdoor music festivals staged in the UK doubled between 2005 and 2011 to reach a peak of over 500 events. UK Music (2016) estimates that the sector attracts over 3.7 million attendances each year, and that music tourism as a whole sustains nearly 40,000 full-time jobs. Music Festivals in the UK is the first extended investigation into this commercialised rock and pop festival sector, and examines events of all sizes: from mega-events such as Glastonbury Festival, V Festival and the Reading and Leeds Festivals to ‘boutique’ events with maximum attendances as small as 250. In the past, research into festivals has typically focused either on their carnivalesque heritage or on developing managerial tools for the field of Events Management. Anderton moves beyond such perspectives to propose new ways of understanding and theorising the cultural, social and geographic importance of outdoor music festivals. He argues that changes in the sector since the mid-1990s, such as professionalisation, corporatisation, mediatisation, regulatory control, and sponsorship/branding, should not necessarily be regarded as a process of transgressive 'alternative culture’ being co-opted by commercial concerns; instead, such changes represent a reconfiguration of the sector in line with changes in society, and a broadening of the forms and meanings that may be associated with outdoor music events.

Andrew Dubber

Everyone knows music is big business, but do you really understand how ideas and inspiration become songs, products, downloads, concerts and careers? This textbook guides students to a full understanding of the processes that drive the music industries. More than just an expose or 'how to' guide, this book gives students the tools to make sense of technological change, socio-cultural processes, and the constantly shifting music business environment, putting them in the front line of innovation and entrepreneurship in the future. Packed with case studies, this book: • Takes the reader on a journey from Glastonbury and the X-Factor to house concerts and crowd-funded releases; • Demystifies management, publishing and recording contracts, and the world of copyright, intellectual property and music piracy; • Explains how digital technologies have changed almost all aspects of music making, performing, promotion and consumption; • Explores all levels of the music industries, from micro-independent businesses to corporate conglomerates; • Enables students to meet the challenge of the transforming music industries. This is the must-have primer for understanding and getting ahead in the music industries. It is essential reading for students of popular music in media studies, sociology and musicology.

Chris Anderton

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