Epilogue. Tuned In, Turned On, and Dropped Out Rock ’n’ Roll Music Production Restructures the Music Industry along Non-Union Lines

2020 ◽  
pp. 201-208
Author(s):  
Jenna Ward ◽  
Allan Watson

The music industry is characterized by stereotypical images of excess, pleasure, intensity, and play that have given rise to folklore of “sex, drugs, and rock ’n’ roll.” Through a qualitative study of sound engineers this chapter explores two main questions: To what extent is the lived reality of working in studio contexts with creative artists reflected in the stereotypical representations of “rock ’n’ roll”? To what extent is the “rock ’n’ roll vibe” an organic, voluntary state of creativity or facilitated “emotional FX” elicited by studio staff to enhance particular musical performances? The chapter demonstrates ways in which engineers and producers manage their emotions to influence and support performances from artists. These emotional labor performances aim to recast the technological, and often stark, physical space of the recording studio as a site of autonomy and play, turning work spaces into sites of pleasure and excess in sometimes uncomfortable working conditions.


Author(s):  
Brendan Anthony

This project engages students with the collaborative realities of modern popular music production via an amalgamation of the music programmer, producer, and songwriter roles. Students engage in face-to-face and remote/online communication, composition, and production to manifest an original popular music output that is generated primarily within the DAW. Student learning is encapsulated within the autonomous interaction and workflows associated with the task, and reflected upon within a journal that informs a written assessment item. This activity is designed as a profession-based engagement that bridges student interaction to the realities of the modern music industry. This is intended to promote notions of professional ability within students upon completion.


2021 ◽  
pp. 32-53
Author(s):  
George Case
Keyword(s):  

With bands like Grand Funk Railroad, Bachman-Turner Overdrive, Aerosmith, Ted Nugent, and Alice Cooper plying their trade around the stadiums and arenas of midwestern America, it was clear that a new clientele for rock ‘n’ roll had appeared and become viable. Who were the fans of these artists, and what were they getting from the music? How did the music industry cater to these fans among the populations of the heartland and the mill towns? In what ways were the musicians connecting with their public? And why did the players mean so much more to the punters than to the critics?


2021 ◽  

How does one deal with the digitalisation of an industry when practice is overtaking itself so quickly, as the music industry has experienced in the past twenty years? On the one hand, by questioning the causes of change and, on the other hand, by describing and reflecting on practice. Both are done in this book. The music industry is understood as a complex system based on the division of labour, in which artist development, content production, content marketing and rights management go hand in hand. Special attention is therefore paid to these operative fields of action. The practice-oriented explanations are complemented by a description of the normative and cultural framework conditions to which the music production, distribution and reception system is subject. The articles are written by music industry experts from academia and practice and focus in particular on digital competencies and industry structures. In this respect, this book is not only interesting for (future) professionals in the music and creative industries. Academics can also benefit from these practical reports and future theses on the digital transformation of the music industry. With contributions by Christian Baierle, Sophie Brüggemann, Florian Drücke, Alexander Endreß, Frank Fenslau, Hanno Fierdag, Jörg Fukking, Dirk Geibel, Steffen Geldner, René Houareau, Lucas Holczinger, Ralf Kitzberger, Peter Knees, David Maier, Armin Oldendorf, Matthias Rauch, Ryan Rauscher, Tim Renner, Markus Rennhack, Julien Schaffhauser, Nina Schneider, Stefan Schulte-Holthaus, Jeong-Won Sin, Kolja Spohn, Nina Christin Stehr, Peter Tschmuck, Hubert Wandjo, Heiko Wandler, Stefan Weinacht, Asterix David Westphal, Peter Wicke and David-Emil Wickström.


Popular Music ◽  
2014 ◽  
Vol 33 (3) ◽  
pp. 389-412 ◽  
Author(s):  
Peter Manuel

AbstractThis article explores the current state of the regional vernacular popular music industry in North India, assessing the changes that have occurred since around 2000 with the advent of digital technologies, including DVD format, and especially the Internet, cellphones and ‘pen-drives’. It provides a cursory overview of the regional music scene as a whole, and then focuses, as a case study, on a particular genre, namely the languriya songs of the Braj region, south of Delhi. It discusses how commercial music production is adapting, or failing to adapt, to recent technological developments, and it notes the vigorous and persistent flowering of regional music scenes such as that in the Braj region.


Author(s):  
Richard Carlin

Rock ‘n’ roll shook Nashville and the rest of the popular music world. While some performers tried to wed country sounds with a rock beat in the new “rockabilly” style, Nashville’s music industry turned to popular stylings to reach a new audience. “Make the world go away” describes how leading producers like Owen Bradley, Chet Atkins, and Billy Sherrill wed light jazz and pop sounds to create the Nashville sound, embraced by key artists such as Eddy Arnold, Patsy Cline, George Jones, and Tammy Wynette. The Nashville Sound matured in the late 1960s into “countrypolitan,” blending elements of orchestral pop, adult contemporary, and light rock into a winning formula for country stars.


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

Fender Stratocasters, Steinway grand pianos, Marshall amplifiers, the iPod – these are all brands associated with the music business in one way or another. However, in addition to these product brands, there is regular talk within the music industry of pop idols, rock icons, pop stars, jazz greats, rock gods, legendary opera singers, cult bands, guitar heroes, stellar performances, trademark sounds, signature tunes, classic albums, breakthrough singles, rock ‘n’ roll myths, anthemic songs, breakout/ breakthrough recordings, and – of course – hype. These terms have in common the signification of some kind of, or some claim to, cultural distinction. From a marketing point of view, this kind of talk fits very easily into the strategic notion of positioning, as well as the discourse of branding.


2021 ◽  
pp. 9-25
Author(s):  
Blanca de-Miguel-Molina ◽  
Rafael Boix-Doménech ◽  
Pau Rausell-Köster

AbstractThis chapter analyses the impact of the music industry in Europe. Although the direct and indirect impact of this industry in the European economy is significant, the sector is made up of different activities and companies, which compete and encounter diverse challenges in it. The current situation of these companies and organisations is presented through an analysis of the business models of several enterprises engaging in a variety of activities throughout the industry’s value chain, such as music production, publishing, distribution and exhibition. Moreover, we analyse digital transformation and the growth in rivalry detected in these activities.


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