The Handbook of Critical Music Industry Studies provides students and researchers with the means to think about how the performance, recording, and publishing of music could be if we do things differently. People are hungry for a more equitable music performance and recording system. The industry exudes patriarchy, white supremacy, cultural imperialism, ableism, and worker exploitation. In the context of gendered (e.g., #Me Too and #Times Up) and racialized (e.g., Black Lives Matter) inequity, rampant precarity and casualization, and modes of musical dissemination that are changing faster than policymakers and regulatory bodies can keep up with, the timing for assembling such an interdisciplinary collection could not be more appropriate. Essays in this handbook will tackle power structures at root in the music industry and the academic study of the field. Topics covered include the politics of representation and power in the global music industries, the labor of music, music as media (including data and algorithmic culture), and copyright/intellectual property, among others.
Chapter 35 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Содержание
1. Introduction: Why we need critical music industry studies.- Part 1: Music, Labor and Exploitation.- 2. Tips, Tourists, and Musical Labor on Beale Street.- 3. Masters and Slaves: Black Artists and the Ownership of Sound Recording Copyright.- 4. Pressing reset: Reimagining performer and songwriter revenues in the contemporary music industry.- 5. Beyond the Sea: The Labour of Cruise Ship Musicians.- 6. Record Contracts: Recording Artists, Work, and Exploitation.- 7. Mothering: The Epicentre of Gender Gapping in the Music Industry?.- 8. Out of the Frying Pan and into the Fire: Music Education, Mental Health, and Our Students’ Futures.- 9. The care work of musical fields.- 10. Solidarity Under Monopoly and Labour Withdrawal in the Music Industry.- 11. Exploring the origins of digital burnout in the music industries & and what to do about it.- Part 2: Music and Technology: From radio to algorithmic gatekeepers.- 12. Amplifying Value: Labor, Technology, and Creativity in the Jingle Industry.- 13. “The numbers don’t lie!”: Metrics as tools for decision making and strategic planning in music industry organizations.- 14. Sorted: Categorisation and Genre in Contemporary Music Business.- 15. Music after Covid-19: capital, performance and sharing.- 16. Formatting Race on Commercial Radio Stations.- 17. Surveillance of and through Music.- Part 3: Cultural Production and Consumption.- 18. The establishment of k-pop: k-pop’s main characteristics.- 19. Dance Music Reckonings: Authenticity, Whiteness, and Toxic Masculinity.- 20. Underground Hip Hop: A Critical Consideration of Subgenre and Scene(s).- 21. Music PR: A hidden history.- 22. Whoopin’ For the Innanet: Exploring You Tube Channels as Reputation Building Intermediaries for Artists in Chicago’s Drill Rap Scene.- 23. Catalogue Acquisitions: Who Wins?.- 24. How the Music Industries Killed “Selling Out”: Autopsy of a Concept.- 25. Strength in Numbers: How Young Artists Navigate Racial Stereotypes in the Rap Industry.- 26. Standing in the Way of Control: The Vinyl Revival, the Record Industry, and Record Store Day.- 27. Redefining Liverpool’s Purpose as a Music City: Identifying the cultural, demographic and geographic challenges to a career in music for Liverpool’s Black community.- Part 4: Alternatives through Cultural Policy.- 28. Misogyny in music: actors, business and law.- 29. Popular music in France and Action Culturelle: when musicians become cultural policy agents.- 30. “A Rising Tide Lifts All Boats”: On a Musician’s Minimum Rate, Cultural Labour, and the Live Music Sector.- 31. Music declares an emergency: music industry studies in the context of a changing climate.- 32. ‘It’s not the females’ job, it’s everybody’s job’: gender related experiences and challenges in Popular Music Higher Education and the music industry.- 33. The Music Industry does exist.- 34. What is Music Business Management? A Critical Conversation on Music, Knowledge and Power in the University.- 35. How Working Musicians (Finally) Became A Matter of Mainstream Political Interest.
Об авторе
Dr David Arditi, a Professor of Sociology at the University of Texas at Arlington, is a scholar of digital technology. Arditi has published five books. His most recent publication is Digital Feudalism: Creators, Credit, Consumption, and Capitalism (2023). In 2020, Arditi published Getting Signed: Record Contracts, Musicians and Power in Society with Palgrave. This book explores the way old forms of capitalism take root in new parts of the economy. His first book, i Take-Over: The Recording Industry in the Digital Era, explores the way the major record labels used their power to change the legal and public reception of digital technologies.
Dr Ryan Nolan is a Research Fellow at the University of Exeter Business School. He works on issues related to organizational sustainability across a variety of empirical settings and has taught both in the UK and internationally on creative and cultural industries. In a past life, he toured with several bands and received international radio play. He sits on the editorial board of The Sociological Review.
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