Rethinking the Music Business: Music Contexts, Rights, Data, and COVID-19
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cham
Springer International Publishing AG
2022
|
| Ausgabe: | 1st ed |
| Schriftenreihe: | Music Business Research Series
|
| Schlagworte: | |
| Online-Zugang: | HWR01 |
| Beschreibung: | Description based on publisher supplied metadata and other sources |
| Beschreibung: | 1 Online-Ressource (261 Seiten) |
| ISBN: | 9783031095320 |
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| 505 | 8 | |a Intro -- Acknowledgments -- Contents -- Chapter 1: Introduction -- 1.1 Book Design -- 1.2 Outline of Part 1 -- 1.3 Outline of Part 2 -- 1.4 Conclusion -- Part I: The Impact of the COVID-19 Pandemic on the Music Business -- Chapter 2: 'Losing Work, Losing Purpose': Representations of Musicians' Mental Health in the Time of COVID-19 -- 2.1 Introduction -- 2.1.1 Musicians and Mental Health -- 2.2 Method -- 2.3 Losing Work, Losing Purpose -- 2.3.1 Losing Work: Employment Anxieties -- 2.3.1.1 Live Music and Musicians' Earnings -- 2.3.1.2 Musicians, Money and the Government: Are We Viable? -- 2.3.2 Losing Purpose: Status Anxieties -- 2.4 Conclusion -- References -- Chapter 3: The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.1 Introduction -- 3.2 Data Set -- 3.3 The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.3.1 Absolute Income Losses in the Period from 15 March 2020 to 14 March 2021 -- 3.3.2 Income Losses in 2020 in Relation to the Pre-pandemic Years -- 3.4 Summary and Conclusions -- References -- Chapter 4: Digital Transformation in the Music Industry: How the COVID-19 Pandemic Has Accelerated New Business Opportunities -- 4.1 Introduction -- 4.2 Impact of the COVID-19 Pandemic on the Music Industry -- 4.3 Digital Transformation and New Business Opportunities -- 4.4 Current Trends Within the Music Industry -- 4.4.1 The Evolution of Creators -- 4.4.2 Social Audio Platforms -- 4.4.3 The 'Metaverse' -- 4.4.4 Blockchain and NFTs -- 4.4.5 The Evolution of Streaming -- 4.5 Conclusion -- References -- Chapter 5: Social 'Capitalising' the COVID-19 Pandemic: A Portrait of Three Zimbabwean Female Musicians -- 5.1 Introduction -- 5.2 The COVID-19 Watershed Moment -- 5.3 Findings -- 5.3.1 Traversing the COVID-19 Landscape | |
| 505 | 8 | |a 5.3.2 Anthropomorphising Multiple Identities -- 5.3.3 Performing the Female Musician -- 5.3.4 Family Matters: Motherhood and Wifehood -- 5.3.5 Capitalising on Social Capital Through Networks -- 5.4 Discussion of Findings -- 5.5 Conclusions and Recommendations -- References -- Chapter 6: The Shape of Clubs to Come: Exploring the Pandemic's Impact on Live Music Venues in Germany -- 6.1 Introduction -- 6.2 Theoretical Background -- 6.2.1 Live Music and Its Ecologies -- 6.2.2 Locating Live Music Venues in Their Ecologies -- 6.2.3 COVID-19 and Culture: Early Studies and Findings -- 6.3 Methodology -- 6.4 Analysis -- 6.4.1 Lockdown Measures and Aid Programs -- 6.4.1.1 Cross-Sector Aid Programs -- 6.4.1.2 Live Music-Specific Aid Programs -- 6.4.2 Analysis of the COVID Lockdown's Effect on the Economic, Cultural and Social Values of Live Music Venues -- 6.4.3 Evaluating the Impact of COVID-Related Measures -- 6.4.4 A Chance for Broader Policy Recognition? -- 6.5 Conclusion -- Appendix -- References -- Chapter 7: Jazz Festivals in the Time of COVID-19: Exploring Exposed Fragilities, Community Resilience and Industry Recovery -- 7.1 Introduction -- 7.2 The Festivals: Four Case Studies -- 7.2.1 Brecon Jazz Festival, Wales -- 7.2.2 Brilliant Corners, Belfast, Northern Ireland -- 7.2.3 Edinburgh Jazz & -- Blues Festival, Scotland -- 7.2.4 Manchester Jazz Festival, England -- 7.3 Lessons Learnt: Fragilities, Community Resilience and Industry Recovery -- 7.4 Conclusions -- References -- Part II: The Music Business in General -- Chapter 8: Straight Outta Mumbai: Exploring Informality and Innovation in Dharavi's Hip-Hop Industry -- 8.1 Introduction -- 8.2 Growing Demand for Independent Music -- 8.3 Informality and Innovation in Dharavi -- 8.4 From the Streets to the 'Gully' -- 8.5 Turning Streets into Stages -- 8.6 The Gully Hustle | |
| 505 | 8 | |a 8.7 Jugaad Is But a Way of Life -- 8.8 Back to School -- 8.9 Conclusion -- References -- Chapter 9: Optimisation of Musical Distribution in Streaming Services: Third-Party Playlist Promotion and Algorithmic Logics o... -- 9.1 Introduction -- 9.2 Not All Playlists Are Created Equal -- 9.3 Third-Party Playlists and Playlist Promotion -- 9.4 Algorithmic Logics of Distribution -- 9.5 Maintaining Legitimate Gatekeepers and Preselection -- References -- Chapter 10: The Music Modernization Act: Mechanical Copyright in the Age of Music Streaming -- 10.1 Introduction -- 10.2 What Exactly Is a Mechanical Copy in the Age of Music Streaming? -- 10.3 The Legal Calamities of Spotify -- 10.4 Legal Perspectives -- 10.5 History Repeating -- 10.6 A Win-Win Situation -- 10.7 Research Method -- 10.8 Kristiansand Roundtable Conference (KRC) Data -- 10.8.1 Theme 1: 115(c)(1) and Fixing Copyright Law -- 10.8.2 Theme 2: Meeting Different Needs -- 10.8.3 Theme 3: Finding Common Ground -- 10.9 Conclusion -- References -- Chapter 11: Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters -- 11.1 Introduction -- 11.2 Brief Overview of Popular Music in the Philippines -- 11.2.1 The Filipino (Independent) Music Scene -- 11.2.2 Filipino Musicians During the Pandemic -- 11.3 Methods -- 11.4 Discussion -- 11.4.1 FMCs as Communities of Practice -- 11.4.2 DIY/DIO Music Production and Practice -- 11.4.3 Musical Aspirations, Trajectories and Implications for the Music Industries -- 11.5 Conclusion -- References -- Chapter 12: Market Readiness for the Digital Music Industries: A Case Study of Independent Artists -- 12.1 Introduction -- 12.2 The Digital Music Industries -- 12.3 The Artist Direct Segment -- 12.4 The Case for an Independent Artist Market Readiness Model -- 12.5 An Overview of Market Readiness Indicators | |
| 505 | 8 | |a 12.5.1 Recorded Music Product -- 12.5.2 Music Brand/Image -- 12.5.3 Industry Proof -- 12.5.4 Live Music Product -- 12.5.5 Digital Presence and Distribution -- 12.5.6 Social Proof -- 12.5.7 Business Structure -- 12.6 Methodology -- 12.7 Findings and Discussion -- 12.7.1 The Song as the Central Indicator -- 12.7.2 The Importance of Unique Talent and Sound Recording Quality -- 12.7.3 Live Performance Is Still a Key Indicator -- 12.7.4 The Need for an Authentic Brand Identity -- 12.7.5 Social Media Presence and Its Role in Reinforcing Brand Identity -- 12.7.6 Social Proof Is Not the Holy Grail for Intermediaries but an Important Indicator When Building an Artist's Direct Audie... -- 12.7.7 An Artist Website Is Still Relevant Especially for the Artist Direct Segment -- 12.7.8 Industry Proof Connected to Business Structure -- 12.8 Conclusion -- Appendix: Research Participants -- References -- Chapter 13: The Changing Role and Function of Music Charts in the Contemporary Music Economy -- 13.1 Introduction -- 13.2 Central Concepts: The Music Industries, Cultures of Listening, Agile Management -- 13.3 Music Streaming and the Big Getting Bigger -- 13.4 Research Design -- 13.4.1 Recruitment -- 13.4.2 Data Analysis -- 13.4.2.1 Semi-Structured Interviews -- 13.4.2.2 Supplemental Data -- 13.5 Findings: Chart Data -- 13.5.1 No Australian Number One Single in 2017 -- 13.5.2 Chart Data Analysis: ARIA Singles and Albums Charts -- 13.6 Findings: Interview Data -- 13.6.1 The Dominance of Hip Hop and Pop -- 13.6.2 Spotify Playlists and Commercial Radio Airplay -- 13.6.3 General Optimism Prevailed -- 13.6.4 The Old and New Music Industries -- 13.6.5 Cultures of Listening: How People Use Streaming Services and What That Means -- 13.6.6 Active Listening Versus Passive Listening -- 13.6.7 Replacement Industry Data Sets | |
| 505 | 8 | |a 13.6.8 Algorithmic Listening and Consumption Versus Popularity -- 13.6.9 Passive Versus Active Social Media Metrics -- 13.6.10 Multiple Data Sets: Ambiguity, Storytelling and Experimentation -- 13.7 Conclusion -- References | |
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| contents | Intro -- Acknowledgments -- Contents -- Chapter 1: Introduction -- 1.1 Book Design -- 1.2 Outline of Part 1 -- 1.3 Outline of Part 2 -- 1.4 Conclusion -- Part I: The Impact of the COVID-19 Pandemic on the Music Business -- Chapter 2: 'Losing Work, Losing Purpose': Representations of Musicians' Mental Health in the Time of COVID-19 -- 2.1 Introduction -- 2.1.1 Musicians and Mental Health -- 2.2 Method -- 2.3 Losing Work, Losing Purpose -- 2.3.1 Losing Work: Employment Anxieties -- 2.3.1.1 Live Music and Musicians' Earnings -- 2.3.1.2 Musicians, Money and the Government: Are We Viable? -- 2.3.2 Losing Purpose: Status Anxieties -- 2.4 Conclusion -- References -- Chapter 3: The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.1 Introduction -- 3.2 Data Set -- 3.3 The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.3.1 Absolute Income Losses in the Period from 15 March 2020 to 14 March 2021 -- 3.3.2 Income Losses in 2020 in Relation to the Pre-pandemic Years -- 3.4 Summary and Conclusions -- References -- Chapter 4: Digital Transformation in the Music Industry: How the COVID-19 Pandemic Has Accelerated New Business Opportunities -- 4.1 Introduction -- 4.2 Impact of the COVID-19 Pandemic on the Music Industry -- 4.3 Digital Transformation and New Business Opportunities -- 4.4 Current Trends Within the Music Industry -- 4.4.1 The Evolution of Creators -- 4.4.2 Social Audio Platforms -- 4.4.3 The 'Metaverse' -- 4.4.4 Blockchain and NFTs -- 4.4.5 The Evolution of Streaming -- 4.5 Conclusion -- References -- Chapter 5: Social 'Capitalising' the COVID-19 Pandemic: A Portrait of Three Zimbabwean Female Musicians -- 5.1 Introduction -- 5.2 The COVID-19 Watershed Moment -- 5.3 Findings -- 5.3.1 Traversing the COVID-19 Landscape 5.3.2 Anthropomorphising Multiple Identities -- 5.3.3 Performing the Female Musician -- 5.3.4 Family Matters: Motherhood and Wifehood -- 5.3.5 Capitalising on Social Capital Through Networks -- 5.4 Discussion of Findings -- 5.5 Conclusions and Recommendations -- References -- Chapter 6: The Shape of Clubs to Come: Exploring the Pandemic's Impact on Live Music Venues in Germany -- 6.1 Introduction -- 6.2 Theoretical Background -- 6.2.1 Live Music and Its Ecologies -- 6.2.2 Locating Live Music Venues in Their Ecologies -- 6.2.3 COVID-19 and Culture: Early Studies and Findings -- 6.3 Methodology -- 6.4 Analysis -- 6.4.1 Lockdown Measures and Aid Programs -- 6.4.1.1 Cross-Sector Aid Programs -- 6.4.1.2 Live Music-Specific Aid Programs -- 6.4.2 Analysis of the COVID Lockdown's Effect on the Economic, Cultural and Social Values of Live Music Venues -- 6.4.3 Evaluating the Impact of COVID-Related Measures -- 6.4.4 A Chance for Broader Policy Recognition? -- 6.5 Conclusion -- Appendix -- References -- Chapter 7: Jazz Festivals in the Time of COVID-19: Exploring Exposed Fragilities, Community Resilience and Industry Recovery -- 7.1 Introduction -- 7.2 The Festivals: Four Case Studies -- 7.2.1 Brecon Jazz Festival, Wales -- 7.2.2 Brilliant Corners, Belfast, Northern Ireland -- 7.2.3 Edinburgh Jazz & -- Blues Festival, Scotland -- 7.2.4 Manchester Jazz Festival, England -- 7.3 Lessons Learnt: Fragilities, Community Resilience and Industry Recovery -- 7.4 Conclusions -- References -- Part II: The Music Business in General -- Chapter 8: Straight Outta Mumbai: Exploring Informality and Innovation in Dharavi's Hip-Hop Industry -- 8.1 Introduction -- 8.2 Growing Demand for Independent Music -- 8.3 Informality and Innovation in Dharavi -- 8.4 From the Streets to the 'Gully' -- 8.5 Turning Streets into Stages -- 8.6 The Gully Hustle 8.7 Jugaad Is But a Way of Life -- 8.8 Back to School -- 8.9 Conclusion -- References -- Chapter 9: Optimisation of Musical Distribution in Streaming Services: Third-Party Playlist Promotion and Algorithmic Logics o... -- 9.1 Introduction -- 9.2 Not All Playlists Are Created Equal -- 9.3 Third-Party Playlists and Playlist Promotion -- 9.4 Algorithmic Logics of Distribution -- 9.5 Maintaining Legitimate Gatekeepers and Preselection -- References -- Chapter 10: The Music Modernization Act: Mechanical Copyright in the Age of Music Streaming -- 10.1 Introduction -- 10.2 What Exactly Is a Mechanical Copy in the Age of Music Streaming? -- 10.3 The Legal Calamities of Spotify -- 10.4 Legal Perspectives -- 10.5 History Repeating -- 10.6 A Win-Win Situation -- 10.7 Research Method -- 10.8 Kristiansand Roundtable Conference (KRC) Data -- 10.8.1 Theme 1: 115(c)(1) and Fixing Copyright Law -- 10.8.2 Theme 2: Meeting Different Needs -- 10.8.3 Theme 3: Finding Common Ground -- 10.9 Conclusion -- References -- Chapter 11: Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters -- 11.1 Introduction -- 11.2 Brief Overview of Popular Music in the Philippines -- 11.2.1 The Filipino (Independent) Music Scene -- 11.2.2 Filipino Musicians During the Pandemic -- 11.3 Methods -- 11.4 Discussion -- 11.4.1 FMCs as Communities of Practice -- 11.4.2 DIY/DIO Music Production and Practice -- 11.4.3 Musical Aspirations, Trajectories and Implications for the Music Industries -- 11.5 Conclusion -- References -- Chapter 12: Market Readiness for the Digital Music Industries: A Case Study of Independent Artists -- 12.1 Introduction -- 12.2 The Digital Music Industries -- 12.3 The Artist Direct Segment -- 12.4 The Case for an Independent Artist Market Readiness Model -- 12.5 An Overview of Market Readiness Indicators 12.5.1 Recorded Music Product -- 12.5.2 Music Brand/Image -- 12.5.3 Industry Proof -- 12.5.4 Live Music Product -- 12.5.5 Digital Presence and Distribution -- 12.5.6 Social Proof -- 12.5.7 Business Structure -- 12.6 Methodology -- 12.7 Findings and Discussion -- 12.7.1 The Song as the Central Indicator -- 12.7.2 The Importance of Unique Talent and Sound Recording Quality -- 12.7.3 Live Performance Is Still a Key Indicator -- 12.7.4 The Need for an Authentic Brand Identity -- 12.7.5 Social Media Presence and Its Role in Reinforcing Brand Identity -- 12.7.6 Social Proof Is Not the Holy Grail for Intermediaries but an Important Indicator When Building an Artist's Direct Audie... -- 12.7.7 An Artist Website Is Still Relevant Especially for the Artist Direct Segment -- 12.7.8 Industry Proof Connected to Business Structure -- 12.8 Conclusion -- Appendix: Research Participants -- References -- Chapter 13: The Changing Role and Function of Music Charts in the Contemporary Music Economy -- 13.1 Introduction -- 13.2 Central Concepts: The Music Industries, Cultures of Listening, Agile Management -- 13.3 Music Streaming and the Big Getting Bigger -- 13.4 Research Design -- 13.4.1 Recruitment -- 13.4.2 Data Analysis -- 13.4.2.1 Semi-Structured Interviews -- 13.4.2.2 Supplemental Data -- 13.5 Findings: Chart Data -- 13.5.1 No Australian Number One Single in 2017 -- 13.5.2 Chart Data Analysis: ARIA Singles and Albums Charts -- 13.6 Findings: Interview Data -- 13.6.1 The Dominance of Hip Hop and Pop -- 13.6.2 Spotify Playlists and Commercial Radio Airplay -- 13.6.3 General Optimism Prevailed -- 13.6.4 The Old and New Music Industries -- 13.6.5 Cultures of Listening: How People Use Streaming Services and What That Means -- 13.6.6 Active Listening Versus Passive Listening -- 13.6.7 Replacement Industry Data Sets 13.6.8 Algorithmic Listening and Consumption Versus Popularity -- 13.6.9 Passive Versus Active Social Media Metrics -- 13.6.10 Multiple Data Sets: Ambiguity, Storytelling and Experimentation -- 13.7 Conclusion -- References |
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| dewey-full | 338.4778 |
| dewey-hundreds | 300 - Social sciences |
| dewey-ones | 338 - Production |
| dewey-raw | 338.4778 |
| dewey-search | 338.4778 |
| dewey-sort | 3338.4778 |
| dewey-tens | 330 - Economics |
| discipline | Wirtschaftswissenschaften |
| discipline_str_mv | Wirtschaftswissenschaften |
| edition | 1st ed |
| format | Electronic eBook |
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-- 2.3.2 Losing Purpose: Status Anxieties -- 2.4 Conclusion -- References -- Chapter 3: The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.1 Introduction -- 3.2 Data Set -- 3.3 The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.3.1 Absolute Income Losses in the Period from 15 March 2020 to 14 March 2021 -- 3.3.2 Income Losses in 2020 in Relation to the Pre-pandemic Years -- 3.4 Summary and Conclusions -- References -- Chapter 4: Digital Transformation in the Music Industry: How the COVID-19 Pandemic Has Accelerated New Business Opportunities -- 4.1 Introduction -- 4.2 Impact of the COVID-19 Pandemic on the Music Industry -- 4.3 Digital Transformation and New Business Opportunities -- 4.4 Current Trends Within the Music Industry -- 4.4.1 The Evolution of Creators -- 4.4.2 Social Audio Platforms -- 4.4.3 The 'Metaverse' -- 4.4.4 Blockchain and NFTs -- 4.4.5 The Evolution of Streaming -- 4.5 Conclusion -- References -- Chapter 5: Social 'Capitalising' the COVID-19 Pandemic: A Portrait of Three Zimbabwean Female Musicians -- 5.1 Introduction -- 5.2 The COVID-19 Watershed Moment -- 5.3 Findings -- 5.3.1 Traversing the COVID-19 Landscape</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">5.3.2 Anthropomorphising Multiple Identities -- 5.3.3 Performing the Female Musician -- 5.3.4 Family Matters: Motherhood and Wifehood -- 5.3.5 Capitalising on Social Capital Through Networks -- 5.4 Discussion of Findings -- 5.5 Conclusions and Recommendations -- References -- Chapter 6: The Shape of Clubs to Come: Exploring the Pandemic's Impact on Live Music Venues in Germany -- 6.1 Introduction -- 6.2 Theoretical Background -- 6.2.1 Live Music and Its Ecologies -- 6.2.2 Locating Live Music Venues in Their Ecologies -- 6.2.3 COVID-19 and Culture: Early Studies and Findings -- 6.3 Methodology -- 6.4 Analysis -- 6.4.1 Lockdown Measures and Aid Programs -- 6.4.1.1 Cross-Sector Aid Programs -- 6.4.1.2 Live Music-Specific Aid Programs -- 6.4.2 Analysis of the COVID Lockdown's Effect on the Economic, Cultural and Social Values of Live Music Venues -- 6.4.3 Evaluating the Impact of COVID-Related Measures -- 6.4.4 A Chance for Broader Policy Recognition? -- 6.5 Conclusion -- Appendix -- References -- Chapter 7: Jazz Festivals in the Time of COVID-19: Exploring Exposed Fragilities, Community Resilience and Industry Recovery -- 7.1 Introduction -- 7.2 The Festivals: Four Case Studies -- 7.2.1 Brecon Jazz Festival, Wales -- 7.2.2 Brilliant Corners, Belfast, Northern Ireland -- 7.2.3 Edinburgh Jazz &amp -- Blues Festival, Scotland -- 7.2.4 Manchester Jazz Festival, England -- 7.3 Lessons Learnt: Fragilities, Community Resilience and Industry Recovery -- 7.4 Conclusions -- References -- Part II: The Music Business in General -- Chapter 8: Straight Outta Mumbai: Exploring Informality and Innovation in Dharavi's Hip-Hop Industry -- 8.1 Introduction -- 8.2 Growing Demand for Independent Music -- 8.3 Informality and Innovation in Dharavi -- 8.4 From the Streets to the 'Gully' -- 8.5 Turning Streets into Stages -- 8.6 The Gully Hustle</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">8.7 Jugaad Is But a Way of Life -- 8.8 Back to School -- 8.9 Conclusion -- References -- Chapter 9: Optimisation of Musical Distribution in Streaming Services: Third-Party Playlist Promotion and Algorithmic Logics o... -- 9.1 Introduction -- 9.2 Not All Playlists Are Created Equal -- 9.3 Third-Party Playlists and Playlist Promotion -- 9.4 Algorithmic Logics of Distribution -- 9.5 Maintaining Legitimate Gatekeepers and Preselection -- References -- Chapter 10: The Music Modernization Act: Mechanical Copyright in the Age of Music Streaming -- 10.1 Introduction -- 10.2 What Exactly Is a Mechanical Copy in the Age of Music Streaming? -- 10.3 The Legal Calamities of Spotify -- 10.4 Legal Perspectives -- 10.5 History Repeating -- 10.6 A Win-Win Situation -- 10.7 Research Method -- 10.8 Kristiansand Roundtable Conference (KRC) Data -- 10.8.1 Theme 1: 115(c)(1) and Fixing Copyright Law -- 10.8.2 Theme 2: Meeting Different Needs -- 10.8.3 Theme 3: Finding Common Ground -- 10.9 Conclusion -- References -- Chapter 11: Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters -- 11.1 Introduction -- 11.2 Brief Overview of Popular Music in the Philippines -- 11.2.1 The Filipino (Independent) Music Scene -- 11.2.2 Filipino Musicians During the Pandemic -- 11.3 Methods -- 11.4 Discussion -- 11.4.1 FMCs as Communities of Practice -- 11.4.2 DIY/DIO Music Production and Practice -- 11.4.3 Musical Aspirations, Trajectories and Implications for the Music Industries -- 11.5 Conclusion -- References -- Chapter 12: Market Readiness for the Digital Music Industries: A Case Study of Independent Artists -- 12.1 Introduction -- 12.2 The Digital Music Industries -- 12.3 The Artist Direct Segment -- 12.4 The Case for an Independent Artist Market Readiness Model -- 12.5 An Overview of Market Readiness Indicators</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">12.5.1 Recorded Music Product -- 12.5.2 Music Brand/Image -- 12.5.3 Industry Proof -- 12.5.4 Live Music Product -- 12.5.5 Digital Presence and Distribution -- 12.5.6 Social Proof -- 12.5.7 Business Structure -- 12.6 Methodology -- 12.7 Findings and Discussion -- 12.7.1 The Song as the Central Indicator -- 12.7.2 The Importance of Unique Talent and Sound Recording Quality -- 12.7.3 Live Performance Is Still a Key Indicator -- 12.7.4 The Need for an Authentic Brand Identity -- 12.7.5 Social Media Presence and Its Role in Reinforcing Brand Identity -- 12.7.6 Social Proof Is Not the Holy Grail for Intermediaries but an Important Indicator When Building an Artist's Direct Audie... -- 12.7.7 An Artist Website Is Still Relevant Especially for the Artist Direct Segment -- 12.7.8 Industry Proof Connected to Business Structure -- 12.8 Conclusion -- Appendix: Research Participants -- References -- Chapter 13: The Changing Role and Function of Music Charts in the Contemporary Music Economy -- 13.1 Introduction -- 13.2 Central Concepts: The Music Industries, Cultures of Listening, Agile Management -- 13.3 Music Streaming and the Big Getting Bigger -- 13.4 Research Design -- 13.4.1 Recruitment -- 13.4.2 Data Analysis -- 13.4.2.1 Semi-Structured Interviews -- 13.4.2.2 Supplemental Data -- 13.5 Findings: Chart Data -- 13.5.1 No Australian Number One Single in 2017 -- 13.5.2 Chart Data Analysis: ARIA Singles and Albums Charts -- 13.6 Findings: Interview Data -- 13.6.1 The Dominance of Hip Hop and Pop -- 13.6.2 Spotify Playlists and Commercial Radio Airplay -- 13.6.3 General Optimism Prevailed -- 13.6.4 The Old and New Music Industries -- 13.6.5 Cultures of Listening: How People Use Streaming Services and What That Means -- 13.6.6 Active Listening Versus Passive Listening -- 13.6.7 Replacement Industry Data Sets</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">13.6.8 Algorithmic Listening and Consumption Versus Popularity -- 13.6.9 Passive Versus Active Social Media Metrics -- 13.6.10 Multiple Data Sets: Ambiguity, Storytelling and Experimentation -- 13.7 Conclusion -- References</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">COVID-19 Pandemic, 2020--Influence</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Nordgård, Daniel</subfield><subfield code="e">Sonstige</subfield><subfield code="4">oth</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Tschmuck, Peter</subfield><subfield code="e">Sonstige</subfield><subfield code="4">oth</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Druck-Ausgabe</subfield><subfield code="a">Morrow, Guy</subfield><subfield code="t">Rethinking the Music Business</subfield><subfield code="d">Cham : Springer International Publishing AG,c2022</subfield><subfield code="z">9783031095313</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-30-PQE</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-034735664</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://ebookcentral.proquest.com/lib/hwr/detail.action?docID=7081870</subfield><subfield code="l">HWR01</subfield><subfield code="p">ZDB-30-PQE</subfield><subfield code="q">HWR_PDA_PQE</subfield><subfield code="x">Aggregator</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV049408580 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T23:05:37Z |
| indexdate | 2024-07-10T10:06:17Z |
| institution | BVB |
| isbn | 9783031095320 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034735664 |
| oclc_num | 1344160165 |
| open_access_boolean | |
| owner | DE-2070s |
| owner_facet | DE-2070s |
| physical | 1 Online-Ressource (261 Seiten) |
| psigel | ZDB-30-PQE ZDB-30-PQE HWR_PDA_PQE |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Springer International Publishing AG |
| record_format | marc |
| series2 | Music Business Research Series |
| spelling | Morrow, Guy Verfasser aut Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 1st ed Cham Springer International Publishing AG 2022 ©2022 1 Online-Ressource (261 Seiten) txt rdacontent c rdamedia cr rdacarrier Music Business Research Series Description based on publisher supplied metadata and other sources Intro -- Acknowledgments -- Contents -- Chapter 1: Introduction -- 1.1 Book Design -- 1.2 Outline of Part 1 -- 1.3 Outline of Part 2 -- 1.4 Conclusion -- Part I: The Impact of the COVID-19 Pandemic on the Music Business -- Chapter 2: 'Losing Work, Losing Purpose': Representations of Musicians' Mental Health in the Time of COVID-19 -- 2.1 Introduction -- 2.1.1 Musicians and Mental Health -- 2.2 Method -- 2.3 Losing Work, Losing Purpose -- 2.3.1 Losing Work: Employment Anxieties -- 2.3.1.1 Live Music and Musicians' Earnings -- 2.3.1.2 Musicians, Money and the Government: Are We Viable? -- 2.3.2 Losing Purpose: Status Anxieties -- 2.4 Conclusion -- References -- Chapter 3: The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.1 Introduction -- 3.2 Data Set -- 3.3 The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.3.1 Absolute Income Losses in the Period from 15 March 2020 to 14 March 2021 -- 3.3.2 Income Losses in 2020 in Relation to the Pre-pandemic Years -- 3.4 Summary and Conclusions -- References -- Chapter 4: Digital Transformation in the Music Industry: How the COVID-19 Pandemic Has Accelerated New Business Opportunities -- 4.1 Introduction -- 4.2 Impact of the COVID-19 Pandemic on the Music Industry -- 4.3 Digital Transformation and New Business Opportunities -- 4.4 Current Trends Within the Music Industry -- 4.4.1 The Evolution of Creators -- 4.4.2 Social Audio Platforms -- 4.4.3 The 'Metaverse' -- 4.4.4 Blockchain and NFTs -- 4.4.5 The Evolution of Streaming -- 4.5 Conclusion -- References -- Chapter 5: Social 'Capitalising' the COVID-19 Pandemic: A Portrait of Three Zimbabwean Female Musicians -- 5.1 Introduction -- 5.2 The COVID-19 Watershed Moment -- 5.3 Findings -- 5.3.1 Traversing the COVID-19 Landscape 5.3.2 Anthropomorphising Multiple Identities -- 5.3.3 Performing the Female Musician -- 5.3.4 Family Matters: Motherhood and Wifehood -- 5.3.5 Capitalising on Social Capital Through Networks -- 5.4 Discussion of Findings -- 5.5 Conclusions and Recommendations -- References -- Chapter 6: The Shape of Clubs to Come: Exploring the Pandemic's Impact on Live Music Venues in Germany -- 6.1 Introduction -- 6.2 Theoretical Background -- 6.2.1 Live Music and Its Ecologies -- 6.2.2 Locating Live Music Venues in Their Ecologies -- 6.2.3 COVID-19 and Culture: Early Studies and Findings -- 6.3 Methodology -- 6.4 Analysis -- 6.4.1 Lockdown Measures and Aid Programs -- 6.4.1.1 Cross-Sector Aid Programs -- 6.4.1.2 Live Music-Specific Aid Programs -- 6.4.2 Analysis of the COVID Lockdown's Effect on the Economic, Cultural and Social Values of Live Music Venues -- 6.4.3 Evaluating the Impact of COVID-Related Measures -- 6.4.4 A Chance for Broader Policy Recognition? -- 6.5 Conclusion -- Appendix -- References -- Chapter 7: Jazz Festivals in the Time of COVID-19: Exploring Exposed Fragilities, Community Resilience and Industry Recovery -- 7.1 Introduction -- 7.2 The Festivals: Four Case Studies -- 7.2.1 Brecon Jazz Festival, Wales -- 7.2.2 Brilliant Corners, Belfast, Northern Ireland -- 7.2.3 Edinburgh Jazz & -- Blues Festival, Scotland -- 7.2.4 Manchester Jazz Festival, England -- 7.3 Lessons Learnt: Fragilities, Community Resilience and Industry Recovery -- 7.4 Conclusions -- References -- Part II: The Music Business in General -- Chapter 8: Straight Outta Mumbai: Exploring Informality and Innovation in Dharavi's Hip-Hop Industry -- 8.1 Introduction -- 8.2 Growing Demand for Independent Music -- 8.3 Informality and Innovation in Dharavi -- 8.4 From the Streets to the 'Gully' -- 8.5 Turning Streets into Stages -- 8.6 The Gully Hustle 8.7 Jugaad Is But a Way of Life -- 8.8 Back to School -- 8.9 Conclusion -- References -- Chapter 9: Optimisation of Musical Distribution in Streaming Services: Third-Party Playlist Promotion and Algorithmic Logics o... -- 9.1 Introduction -- 9.2 Not All Playlists Are Created Equal -- 9.3 Third-Party Playlists and Playlist Promotion -- 9.4 Algorithmic Logics of Distribution -- 9.5 Maintaining Legitimate Gatekeepers and Preselection -- References -- Chapter 10: The Music Modernization Act: Mechanical Copyright in the Age of Music Streaming -- 10.1 Introduction -- 10.2 What Exactly Is a Mechanical Copy in the Age of Music Streaming? -- 10.3 The Legal Calamities of Spotify -- 10.4 Legal Perspectives -- 10.5 History Repeating -- 10.6 A Win-Win Situation -- 10.7 Research Method -- 10.8 Kristiansand Roundtable Conference (KRC) Data -- 10.8.1 Theme 1: 115(c)(1) and Fixing Copyright Law -- 10.8.2 Theme 2: Meeting Different Needs -- 10.8.3 Theme 3: Finding Common Ground -- 10.9 Conclusion -- References -- Chapter 11: Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters -- 11.1 Introduction -- 11.2 Brief Overview of Popular Music in the Philippines -- 11.2.1 The Filipino (Independent) Music Scene -- 11.2.2 Filipino Musicians During the Pandemic -- 11.3 Methods -- 11.4 Discussion -- 11.4.1 FMCs as Communities of Practice -- 11.4.2 DIY/DIO Music Production and Practice -- 11.4.3 Musical Aspirations, Trajectories and Implications for the Music Industries -- 11.5 Conclusion -- References -- Chapter 12: Market Readiness for the Digital Music Industries: A Case Study of Independent Artists -- 12.1 Introduction -- 12.2 The Digital Music Industries -- 12.3 The Artist Direct Segment -- 12.4 The Case for an Independent Artist Market Readiness Model -- 12.5 An Overview of Market Readiness Indicators 12.5.1 Recorded Music Product -- 12.5.2 Music Brand/Image -- 12.5.3 Industry Proof -- 12.5.4 Live Music Product -- 12.5.5 Digital Presence and Distribution -- 12.5.6 Social Proof -- 12.5.7 Business Structure -- 12.6 Methodology -- 12.7 Findings and Discussion -- 12.7.1 The Song as the Central Indicator -- 12.7.2 The Importance of Unique Talent and Sound Recording Quality -- 12.7.3 Live Performance Is Still a Key Indicator -- 12.7.4 The Need for an Authentic Brand Identity -- 12.7.5 Social Media Presence and Its Role in Reinforcing Brand Identity -- 12.7.6 Social Proof Is Not the Holy Grail for Intermediaries but an Important Indicator When Building an Artist's Direct Audie... -- 12.7.7 An Artist Website Is Still Relevant Especially for the Artist Direct Segment -- 12.7.8 Industry Proof Connected to Business Structure -- 12.8 Conclusion -- Appendix: Research Participants -- References -- Chapter 13: The Changing Role and Function of Music Charts in the Contemporary Music Economy -- 13.1 Introduction -- 13.2 Central Concepts: The Music Industries, Cultures of Listening, Agile Management -- 13.3 Music Streaming and the Big Getting Bigger -- 13.4 Research Design -- 13.4.1 Recruitment -- 13.4.2 Data Analysis -- 13.4.2.1 Semi-Structured Interviews -- 13.4.2.2 Supplemental Data -- 13.5 Findings: Chart Data -- 13.5.1 No Australian Number One Single in 2017 -- 13.5.2 Chart Data Analysis: ARIA Singles and Albums Charts -- 13.6 Findings: Interview Data -- 13.6.1 The Dominance of Hip Hop and Pop -- 13.6.2 Spotify Playlists and Commercial Radio Airplay -- 13.6.3 General Optimism Prevailed -- 13.6.4 The Old and New Music Industries -- 13.6.5 Cultures of Listening: How People Use Streaming Services and What That Means -- 13.6.6 Active Listening Versus Passive Listening -- 13.6.7 Replacement Industry Data Sets 13.6.8 Algorithmic Listening and Consumption Versus Popularity -- 13.6.9 Passive Versus Active Social Media Metrics -- 13.6.10 Multiple Data Sets: Ambiguity, Storytelling and Experimentation -- 13.7 Conclusion -- References COVID-19 Pandemic, 2020--Influence Nordgård, Daniel Sonstige oth Tschmuck, Peter Sonstige oth Erscheint auch als Druck-Ausgabe Morrow, Guy Rethinking the Music Business Cham : Springer International Publishing AG,c2022 9783031095313 |
| spellingShingle | Morrow, Guy Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 Intro -- Acknowledgments -- Contents -- Chapter 1: Introduction -- 1.1 Book Design -- 1.2 Outline of Part 1 -- 1.3 Outline of Part 2 -- 1.4 Conclusion -- Part I: The Impact of the COVID-19 Pandemic on the Music Business -- Chapter 2: 'Losing Work, Losing Purpose': Representations of Musicians' Mental Health in the Time of COVID-19 -- 2.1 Introduction -- 2.1.1 Musicians and Mental Health -- 2.2 Method -- 2.3 Losing Work, Losing Purpose -- 2.3.1 Losing Work: Employment Anxieties -- 2.3.1.1 Live Music and Musicians' Earnings -- 2.3.1.2 Musicians, Money and the Government: Are We Viable? -- 2.3.2 Losing Purpose: Status Anxieties -- 2.4 Conclusion -- References -- Chapter 3: The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.1 Introduction -- 3.2 Data Set -- 3.3 The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 3.3.1 Absolute Income Losses in the Period from 15 March 2020 to 14 March 2021 -- 3.3.2 Income Losses in 2020 in Relation to the Pre-pandemic Years -- 3.4 Summary and Conclusions -- References -- Chapter 4: Digital Transformation in the Music Industry: How the COVID-19 Pandemic Has Accelerated New Business Opportunities -- 4.1 Introduction -- 4.2 Impact of the COVID-19 Pandemic on the Music Industry -- 4.3 Digital Transformation and New Business Opportunities -- 4.4 Current Trends Within the Music Industry -- 4.4.1 The Evolution of Creators -- 4.4.2 Social Audio Platforms -- 4.4.3 The 'Metaverse' -- 4.4.4 Blockchain and NFTs -- 4.4.5 The Evolution of Streaming -- 4.5 Conclusion -- References -- Chapter 5: Social 'Capitalising' the COVID-19 Pandemic: A Portrait of Three Zimbabwean Female Musicians -- 5.1 Introduction -- 5.2 The COVID-19 Watershed Moment -- 5.3 Findings -- 5.3.1 Traversing the COVID-19 Landscape 5.3.2 Anthropomorphising Multiple Identities -- 5.3.3 Performing the Female Musician -- 5.3.4 Family Matters: Motherhood and Wifehood -- 5.3.5 Capitalising on Social Capital Through Networks -- 5.4 Discussion of Findings -- 5.5 Conclusions and Recommendations -- References -- Chapter 6: The Shape of Clubs to Come: Exploring the Pandemic's Impact on Live Music Venues in Germany -- 6.1 Introduction -- 6.2 Theoretical Background -- 6.2.1 Live Music and Its Ecologies -- 6.2.2 Locating Live Music Venues in Their Ecologies -- 6.2.3 COVID-19 and Culture: Early Studies and Findings -- 6.3 Methodology -- 6.4 Analysis -- 6.4.1 Lockdown Measures and Aid Programs -- 6.4.1.1 Cross-Sector Aid Programs -- 6.4.1.2 Live Music-Specific Aid Programs -- 6.4.2 Analysis of the COVID Lockdown's Effect on the Economic, Cultural and Social Values of Live Music Venues -- 6.4.3 Evaluating the Impact of COVID-Related Measures -- 6.4.4 A Chance for Broader Policy Recognition? -- 6.5 Conclusion -- Appendix -- References -- Chapter 7: Jazz Festivals in the Time of COVID-19: Exploring Exposed Fragilities, Community Resilience and Industry Recovery -- 7.1 Introduction -- 7.2 The Festivals: Four Case Studies -- 7.2.1 Brecon Jazz Festival, Wales -- 7.2.2 Brilliant Corners, Belfast, Northern Ireland -- 7.2.3 Edinburgh Jazz & -- Blues Festival, Scotland -- 7.2.4 Manchester Jazz Festival, England -- 7.3 Lessons Learnt: Fragilities, Community Resilience and Industry Recovery -- 7.4 Conclusions -- References -- Part II: The Music Business in General -- Chapter 8: Straight Outta Mumbai: Exploring Informality and Innovation in Dharavi's Hip-Hop Industry -- 8.1 Introduction -- 8.2 Growing Demand for Independent Music -- 8.3 Informality and Innovation in Dharavi -- 8.4 From the Streets to the 'Gully' -- 8.5 Turning Streets into Stages -- 8.6 The Gully Hustle 8.7 Jugaad Is But a Way of Life -- 8.8 Back to School -- 8.9 Conclusion -- References -- Chapter 9: Optimisation of Musical Distribution in Streaming Services: Third-Party Playlist Promotion and Algorithmic Logics o... -- 9.1 Introduction -- 9.2 Not All Playlists Are Created Equal -- 9.3 Third-Party Playlists and Playlist Promotion -- 9.4 Algorithmic Logics of Distribution -- 9.5 Maintaining Legitimate Gatekeepers and Preselection -- References -- Chapter 10: The Music Modernization Act: Mechanical Copyright in the Age of Music Streaming -- 10.1 Introduction -- 10.2 What Exactly Is a Mechanical Copy in the Age of Music Streaming? -- 10.3 The Legal Calamities of Spotify -- 10.4 Legal Perspectives -- 10.5 History Repeating -- 10.6 A Win-Win Situation -- 10.7 Research Method -- 10.8 Kristiansand Roundtable Conference (KRC) Data -- 10.8.1 Theme 1: 115(c)(1) and Fixing Copyright Law -- 10.8.2 Theme 2: Meeting Different Needs -- 10.8.3 Theme 3: Finding Common Ground -- 10.9 Conclusion -- References -- Chapter 11: Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters -- 11.1 Introduction -- 11.2 Brief Overview of Popular Music in the Philippines -- 11.2.1 The Filipino (Independent) Music Scene -- 11.2.2 Filipino Musicians During the Pandemic -- 11.3 Methods -- 11.4 Discussion -- 11.4.1 FMCs as Communities of Practice -- 11.4.2 DIY/DIO Music Production and Practice -- 11.4.3 Musical Aspirations, Trajectories and Implications for the Music Industries -- 11.5 Conclusion -- References -- Chapter 12: Market Readiness for the Digital Music Industries: A Case Study of Independent Artists -- 12.1 Introduction -- 12.2 The Digital Music Industries -- 12.3 The Artist Direct Segment -- 12.4 The Case for an Independent Artist Market Readiness Model -- 12.5 An Overview of Market Readiness Indicators 12.5.1 Recorded Music Product -- 12.5.2 Music Brand/Image -- 12.5.3 Industry Proof -- 12.5.4 Live Music Product -- 12.5.5 Digital Presence and Distribution -- 12.5.6 Social Proof -- 12.5.7 Business Structure -- 12.6 Methodology -- 12.7 Findings and Discussion -- 12.7.1 The Song as the Central Indicator -- 12.7.2 The Importance of Unique Talent and Sound Recording Quality -- 12.7.3 Live Performance Is Still a Key Indicator -- 12.7.4 The Need for an Authentic Brand Identity -- 12.7.5 Social Media Presence and Its Role in Reinforcing Brand Identity -- 12.7.6 Social Proof Is Not the Holy Grail for Intermediaries but an Important Indicator When Building an Artist's Direct Audie... -- 12.7.7 An Artist Website Is Still Relevant Especially for the Artist Direct Segment -- 12.7.8 Industry Proof Connected to Business Structure -- 12.8 Conclusion -- Appendix: Research Participants -- References -- Chapter 13: The Changing Role and Function of Music Charts in the Contemporary Music Economy -- 13.1 Introduction -- 13.2 Central Concepts: The Music Industries, Cultures of Listening, Agile Management -- 13.3 Music Streaming and the Big Getting Bigger -- 13.4 Research Design -- 13.4.1 Recruitment -- 13.4.2 Data Analysis -- 13.4.2.1 Semi-Structured Interviews -- 13.4.2.2 Supplemental Data -- 13.5 Findings: Chart Data -- 13.5.1 No Australian Number One Single in 2017 -- 13.5.2 Chart Data Analysis: ARIA Singles and Albums Charts -- 13.6 Findings: Interview Data -- 13.6.1 The Dominance of Hip Hop and Pop -- 13.6.2 Spotify Playlists and Commercial Radio Airplay -- 13.6.3 General Optimism Prevailed -- 13.6.4 The Old and New Music Industries -- 13.6.5 Cultures of Listening: How People Use Streaming Services and What That Means -- 13.6.6 Active Listening Versus Passive Listening -- 13.6.7 Replacement Industry Data Sets 13.6.8 Algorithmic Listening and Consumption Versus Popularity -- 13.6.9 Passive Versus Active Social Media Metrics -- 13.6.10 Multiple Data Sets: Ambiguity, Storytelling and Experimentation -- 13.7 Conclusion -- References COVID-19 Pandemic, 2020--Influence |
| title | Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 |
| title_auth | Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 |
| title_exact_search | Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 |
| title_exact_search_txtP | Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 |
| title_full | Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 |
| title_fullStr | Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 |
| title_full_unstemmed | Rethinking the Music Business Music Contexts, Rights, Data, and COVID-19 |
| title_short | Rethinking the Music Business |
| title_sort | rethinking the music business music contexts rights data and covid 19 |
| title_sub | Music Contexts, Rights, Data, and COVID-19 |
| topic | COVID-19 Pandemic, 2020--Influence |
| topic_facet | COVID-19 Pandemic, 2020--Influence |
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