The Live Music Business

2021 ◽  
Author(s):  
Andy Reynolds
Keyword(s):  
2019 ◽  
Vol 4 (4) ◽  
pp. 437-461
Author(s):  
Haekyung Um

This article explores the dynamics of transnational business collaboration between UK and Asian music companies, focusing on Liverpool Sound City in the United Kingdom, Modern Sky in China and Zandari Festa in South Korea. The specificities of their music business, the nature and motivation for partnership, the respective industry infrastructure and state cultural policies give shape to the outcome of their collaborations, which in turn influence their music products, events, artists and audiences. The complexity of their business transactions and interactions also tell us how the live music sector and its ecologies continue to evolve and reposition themselves in the fast-changing environments of the global music industry. In reflection of an increased transnationalisation and diversification of the global music industries, it is argued that more attention should be given to the transnational and translocal ecologies of live music studies.


2010 ◽  
Vol 14 (4) ◽  
pp. 304-316 ◽  
Author(s):  
Robert Kronenburg

On 15 August 1965, The Beatles performed before more than 55,600 fans at Shea Stadium, New York, USA. In what was by far the biggest event to date of its type, that evening a dramatic revelation of the commercial possibilities of popular music took place, and changed the nature of the music business for ever. Simultaneously, despite using more powerful amplification than had been used before, the virtually non-existent connection between the musicians and their audience revealed the enormous technical and architectural challenges of large-scale concerts. Though this concert took place in a permanent building structure, the equipment it was hoped would temporarily alter its use for performance purposes was portable. That it was clearly inadequate for this task reinforced the need for new mobile facilities that would do the job better [1, 2].


Author(s):  
Simon Frith ◽  
Matt Brennan ◽  
Martin Cloonan ◽  
Emma Webster
Keyword(s):  

Perfect Beat ◽  
2015 ◽  
Vol 9 (1) ◽  
pp. 5-21 ◽  
Author(s):  
David Panichi
Keyword(s):  

Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki

A fully international and scholarly analysis integrating the unique popular music sector both within arts marketing and current marketing and consumption theories. Music, Markets and Consumption offers an up-to-date business-theoretical reading of the music business which complements viewpoints from other disciplines. It will be a much needed new perspective for students and scholars in music studies, cultural studies, marketing and consumer studies who wish to gain further insight into commercial aspects of music.


2008 ◽  
Vol 23 (2) ◽  
pp. 77-98
Author(s):  
Adina B. Newberg

Israelis who have until now viewed themselves as "secular" in the rigid Israeli dichotomy between "religious" and "secular" are finding new ways of creating communities of meaning that connect to Jewish sources and yet stay aligned to values of pluralism and humanism.These communities that do not follow the letter of the halakhah are developing in highly "secular" environments such as Tel Aviv and Nahalal and create Shabbat and holiday services combining live music, traditional prayers, and newly created prayers. By doing this, they come nearer to finding a closer echo and a truer mirror to their concerns and spiritual searches while, at the same time, finding spiritual expressions to their deep longing for connection to Judaism. Beyond the services and the communities that are forged, a new identity that bridges aspects of secularism, humanism, and spirituality is being created.The article analyzes the reasons for this relatively new phenomenon in the context of Israeli religious and political life, and the existential crisis that has evolved as a result. The article also describes in detail two such communities as examples of this development.


Author(s):  
Kazuhiro Ando

Although Japan is the second largest music market in the world, the structure and practices of the music industry are little understood internationally. People overseas need to know how the music business works in Japan so that they can conduct business comfortably. The Japanese music industry has unique features in some respects. First, Japanese record labels remain heavily dependent on traditional physically packaged music although its profitability is much lower than that of digital distribution. Second, full-scale competition in the music copyright management business has just begun. While JASRAC monopolized this market for more than sixty years, the new entrant, NexTone has gradually increased the market share thanks to the frustration experienced by many music publishers and songwriters in their dealings with JASRAC. Third, the relationship between artists and artist management companies is more like an employer-employee relationship than a client-agent relationship. Artist management companies are fully invested in discovering, nurturing, and marketing young artists just the way big businesses handle their recruits. This chapter illuminates practices of the Japanese music industry for an international audience.


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