Geoffrey Hull - The Music Business and Recording Industry
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The Music Business and Recording Industry
The Music Business and Recording Industry is a comprehensive, introductory textbook focused on the three income streams in the music industry: music publishing, live entertainment, and recordings. The book provides a sound foundation for understanding key issues while presenting the latest research in the field. It covers the changes in the industry brought about by the digital age, such as changing methods of distributing and accessing music, and new approaches in marketing with the Internet and mobile applications. New developments in copyright law are also examined, along with the global and regional differences in the music business.
This new edition introduces a co-authorship, as well as a number of pedagogical features:
Key Concepts are outlined at the beginning of each chapter
Do it Yourself Activities promote a more interactive, hands-on experience
Internet Activities present guided opportunities to use Web resources to enhance understanding of how things run in the music business
Case Studies illustrate specific instances of how real people have succeeded in the music business
The Companion Website includes instructor and student resources including multiple choice quizzes and slides.
As new methods of distribution change, new revenue sources are created, and the industry evolves. The Music Business and Recording Industry sets the economic and historical framework for understanding where the business has been and where it is going.
Geoffrey P. Hull is Professor Emeritus in the Recording Industry department at Middle Tennessee State University. He has 36 years experience teaching music business and recording classes. He has JD, MBA, and BS degrees and is a licensed attorney in the state of Tennessee.
Thomas Hutchison is Professor of Marketing and Music Business Internship Coordinator at Middle Tennessee State University. He has over 20 years experience in the music business as a marketing research consultant. Hutchison holds a MS and PhD from the Florida State University.
Richard Strasser is an Associate Professor of Music Industry at Northeastern University. A graduate from the Australian National University and Manhattan School of Music, Strasser is a recipient of Northeastern Universitys Excellence in Teaching Award and a member of the NASM Working Group that established standards and guidelines for music industry education accreditation.
The Music Business and Recording Industry: Delivering Music in the 21st Century
Third Edition
Geoffrey P. Hull
Middle Tennessee State University
Thomas Hutchison
Middle Tennessee State University
Richard Strasser
Northeastern University
NEW YORK AND LONDON
Second edition published 2004
by Routledge
This edition published 2011
by Routledge
270 Madison Avenue, New York, NY 10016
Simultaneously published in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
This edition published in the Taylor & Francis e-Library, 2011.
To purchase your own copy of this or any of Taylor & Francis or Routledges collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.
1998, 2004 Geoffrey P. Hull
2011 Taylor & Francis
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging in Publication Data
Hull, Geoffrey P.
The music and recording business : delivering music in the 21st century/
Geoffrey P. Hull, Thomas Hutchison, Richard Strasser. 3rd ed.
p. cm.
Previous ed. published under title: Recording industry.
Includes index.
1. Sound recording industry. 2. Music trade. I. Hutchison, Thomas W.
(Thomas William) II. Strasser, Richard, 1966 III. Hull, Geoffrey P.
Recording industry. IV. Title.
ML3790.H84 2011
338.47780973dc22 2010019432
ISBN 0-203-84319-3 Master e-book ISBN
ISBN13: 978-0-415-87560-8 (hbk)
ISBN13: 978-0-415-87561-5 (pbk)
ISBN13: 978-0-203-84319-2 (ebk)
Is the sky really falling on the music and recording business? Is it the end of their world as they knew it? Or is it just another manic decade? Truly the decade of the 2000s brought more turmoil to the music business than probably any other decade since the 1950s or the 1930s, and maybe the most ever. Record stores closed in droves. Millions of people downloaded many millions of unauthorized copies of songs and recordings. Concert ticket prices soared to over $100 for some shows. New sources of revenue from ringtones, downloads, and digital performances appeared. So, the answers to our questions are: (1) not really, (2) to a certain extent yes, and (3) surely. Those are three good reasons for a reexamination of the music and recording business at this time.
The Music Business and Recording Industry, Third Edition, is not simply a revision of The Recording Industry, Second Edition. Routledges Senior Music Editor, Constance Ditzel, and I decided it was time for a major makeover and to turn the book into a true textbook with pedagogical features and a website, in addition to some much-needed updates. As much trouble as the music business has been in at this point, there are hundreds of students of the business who want to make popular music, make their livings making it, or want to participate in the process as recording engineers, arrangers, producers, music publishers, or label insiders. You are the people we hope to talk to and inspire with this book. To that end, we are three authors now. The strengths of Thomas Hutchison and Richard Strasser complement original author Geoffrey Hull well, and add fresh perspectives. It is a different book, with a different titlebut with the same basic theme.
The book does attempt to put everything about music and recordings into a context, whether that is historical or economic or both. Simply describing what is going on is not adequate for understanding why things are unfolding the way that they are. The Three Income Streams approach of the earlier versions is a great organizing approach and accurately explains a lot of what the music business is all about. It is a central theme. We have compiled a lot of information about copyright law, because if there were no copyrights, there would be almost no music business. To reflect the changed nature of the business we have expanded marketing into two chapters (Chapters is on international aspects of the business. To provide updates on things that are changing rapidly, there is a companion website that we will update with new cases, new statistics, and new content in general.
It was tempting to try to be all things to all people, but we did not cover everythingand cant really be all things to all people anyway. Specifically, we have omitted coverage of art music. That is because that business functions very much differently from the popular music business and would seem to fit better in a course on Arts Management or The Business of Art Music. Also, there are no sample contracts in the book because they add greatly to length and are more appropriate for an advanced course, not a survey course, which is the target of this book. Nor is this a book about all the cultural implications of music; those are also better left to courses where the concepts can be more deeply explored.
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