Andrew Dubber & Chris Anderton 
Understanding the Music Industries 

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.

Table of Content

Introduction

Questioning ′Traditional′ Models of the Music Industry

Structure of the Book

1. Studying the Music Industries

Key Findings

Getting Started

Organizational Structure

Political Economy

Culture Industry

Sociology

Musicology

Metanarrative

Historical Analysis

Technological Development

Media Ecology

Digital Technologies

Issues

Conclusion

Further Reading

2. The Recorded Music Industry

Key Findings

The Structure and Size of the Recording Industry

A Brief History of the Recorded Music Industry

The Majors: Business Structures and Characteristics

The Independent Sector: Definitions and Types

The Ideology of Independence

Strategies for Dealing with Uncertainty and Risk

Conclusion

Further Reading

3. Songwriting and Publishing

Key Findings

Songwriters, Performers and Publishers

Motivations

Songwriting as Commercial Practice

Songwriting Methods and Tools

Music Publishing

Traditional Income Streams

′New′ Income Streams

Sampling

Conclusion

Further Reading

4. Music Production

Key Findings

Changing Models and the Mythology of the Recording Studio

The Production Process

Tracking

Mixing

Mastering

Manufacturing

Production Careers and Roles

Project Studios, MIDI, and Other Developments

Conclusion

Further Reading

5. Music Distribution

Key Findings

Introducing Music Distribution

Physical Distribution

Mass-Market Retailers

Independent Retailers

Second-Hand Retailers

Online Music Distribution

Streaming Services

Music Media Distribution

Unauthorized Distribution

Conclusion

Further Reading

6. Music Promotion

Key Findings

Marketing, Branding and Gatekeeping

The Promotional Campaign

Music Journalism

Radio

Television

Point of Sale Marketing (POS) and In-Store Music

Sponsorships and Endorsements

Grassroots Marketing

Social Media/Mobile Media

Conclusion

Further Reading

7. The Live Music Industries

Key Findings

The Resurgence of Live Music

A Brief History of the Live Music Industry

Motivations for Live Concert Touring

Authenticity and Live Performance

Live Music Sponsorship

Roles and Responsibilities

Live Performance Contracts

Concert and Festival Ticketing

The Relationship between the Recorded and the Live Music Industries

Conclusion

Further Reading

8. Music Audiences

Key Findings

Understanding Music Audiences

Music on the Move: From the Walkman to the i Phone

Music and Social Media Consumption

Heritage and Nostalgia

Record Collecting

Conclusion

Further Reading

9. Copyright and Music Piracy

Key Findings

Introducing Copyright

Copyright Basics

Key Terms in UK Copyright Law

US Copyright Law: Key Differences

Collection Societies

Music Piracy

Music Industry Responses to Piracy

Artist Responses to Piracy

Conclusion

Further Reading

10. Contractual Agreements and Relationships

Key Findings

Artist Management Agreements

Music Publishing Agreements

Recording Agreements

Conclusion

Further Reading

Conclusion

Complexity and Symbiosis

Be Wary of Metanarratives

Diversity and Reorganization

Where Next?

Glossary

About the author

Martin James is professor of music industries at Southampton Solent University.Martin joined Southampton Solent University from the University of Sunderland in July 2007. He studied for his first degree at Nottingham Trent University where he was awarded a BA (Hons) Communication Studies.He gained an MA Media and Cultural Studies at the University of Sunderland, where he also received a Ph D. His doctoral thesis was called ‘Versioning Histories and Genres’, a commentary on his books State of Bass: Jungle – The Story So Far(1997) and French Connections: From Discotheque to Discovery (2002).Prior to becoming a lecturer in 2004, Martin was an internationally renowned music journalist who had worked on the editorial teams of some of the biggest magazines on the market. He also regularly contributed to almost every major music and lifestyle magazine, and numerous daily broadsheet newspapers. Martin has also written several internationally published and critically acclaimed books about music, including biographies of The Prodigy and Dave Grohl.Since 2009 Martin has coordinated Southampton Solent University’s associations with some of the UKs finest independent festivals including Glade, Bestival, Camp Bestival, Blissfields and Common People. Through these link-ups our students have been able to gain experience in various areas of music and media performance and production industries.In 2009 Martin organised the University’s first music industries conference ‘Solent Music Industries Live Event’ (SMILE). Featuring some of the biggest names in the world of music sharing their knowledge with students. SMILEfest is now an annual student organised event that includes gigs, club nights, employability challenges, masterclasses and workshops.In 2014 he co-edited the ‘Music Journalism Special Edition’ of the peer-reviewed International Association for the Study of Popular Music (IASPM) journal.In 2015 Martin launched IAMJREP (The International Association of Music Journalism Researchers, Educators and Practitioners), a collaborative venture with scholars throughout the world.