Popular Music in the Post-Digital Age explores the relationship between macro environmental factors, such as politics, economics, culture and technology, captured by terms such as 'post-digital' and 'post-internet'. It also discusses the creation, monetisation and consumption of music and what changes in the music industry can tell us about wider shifts in economy and culture. This collection of 13 case studies covers issues such as curation algorithms, blockchain, careers of mainstream and independent musicians, festivals and clubs-to inform greater understanding and better navigation of the popular music landscape within a global context.…mehr
Popular Music in the Post-Digital Age explores the relationship between macro environmental factors, such as politics, economics, culture and technology, captured by terms such as 'post-digital' and 'post-internet'. It also discusses the creation, monetisation and consumption of music and what changes in the music industry can tell us about wider shifts in economy and culture. This collection of 13 case studies covers issues such as curation algorithms, blockchain, careers of mainstream and independent musicians, festivals and clubs-to inform greater understanding and better navigation of the popular music landscape within a global context.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. Les Gillon is a researcher, musician and teacher at the University of Central Lancashire, UK. Tony Rigg is a music business practitioner with a background in senior management positions for market leading companies, a music producer with a chart pedigree and an educator.
Inhaltsangabe
List of Contributors Introduction: The Future of and through Music Ewa Mazierska, Les Gillon and Tony Rigg Part 1: Music Industry 1. Rethinking Independence: What Does 'Independent Record Label' Mean Today? Patryk Galuszka and Katarzyna M. Wyrzykowska, University of Lodz, Poland 2. The Future of Digital Music Infrastructures: Expectations and Promises of the Blockchain 'Revolution' Paolo Magaudda, University of Padua 3. 'The Sound of the Future is Here Today': The Market for Post-Rock Within the Traditional Small Music Festival Landscape Kenneth Forbes, University of the West of Scotland, UK 4. 'They Sold the Festival Out!': Axionormativity as the Future of Festivals Waldemar Kuligowski, Adam Mickiewicz University, Poland 5. The Hidden Worker Bees: Advanced Neoliberalism and Manchester's Underground Club Scene Kamila Rymajdo, Kingston University, UK Part 2: Musicians and Their Music 6. The Adaptive Musician: The Case of Peter Hook and Graham Massey Ewa Mazierska and Tony Rigg, University of Central Lancashire, UK 7. Where Do We Go From Here?: The Future of Composers in the Post-Digital Era Lars Bröndum, University of Skövde, Sweden 8. Searching for International Success in Europe's Periphery: The Case of Gin Ga and Fran Palermo Ewa Mazierska, University of Central Lancashire, UK 9. Electro Swing: The Re-Introduction of the Sounds of the Past into the Music of the Future Chris Inglis, University of South Wales, UK Part 3: Music Consumption 10. Back to the Future: Proposing a Heuristic for Predicting the Future of Recorded Music Use Mathew Flynn, University of Liverpool, UK 11. Young People's Current Music and Media Use in Austria: The Musical Practice of the Future? Michael Huber, University of Vienna, Austria 12. Curators as Taste Entrepreneurs in the Digital Music Industries Emilia Barna, Budapest University of Technology and Economics, Hungary 13. An Echoic Chamber: Algorithmic Curation and Personalised Listening Andrew Fry, Sounds et al, USA Index
List of Contributors Introduction: The Future of and through Music Ewa Mazierska, Les Gillon and Tony Rigg Part 1: Music Industry 1. Rethinking Independence: What Does 'Independent Record Label' Mean Today? Patryk Galuszka and Katarzyna M. Wyrzykowska, University of Lodz, Poland 2. The Future of Digital Music Infrastructures: Expectations and Promises of the Blockchain 'Revolution' Paolo Magaudda, University of Padua 3. 'The Sound of the Future is Here Today': The Market for Post-Rock Within the Traditional Small Music Festival Landscape Kenneth Forbes, University of the West of Scotland, UK 4. 'They Sold the Festival Out!': Axionormativity as the Future of Festivals Waldemar Kuligowski, Adam Mickiewicz University, Poland 5. The Hidden Worker Bees: Advanced Neoliberalism and Manchester's Underground Club Scene Kamila Rymajdo, Kingston University, UK Part 2: Musicians and Their Music 6. The Adaptive Musician: The Case of Peter Hook and Graham Massey Ewa Mazierska and Tony Rigg, University of Central Lancashire, UK 7. Where Do We Go From Here?: The Future of Composers in the Post-Digital Era Lars Bröndum, University of Skövde, Sweden 8. Searching for International Success in Europe's Periphery: The Case of Gin Ga and Fran Palermo Ewa Mazierska, University of Central Lancashire, UK 9. Electro Swing: The Re-Introduction of the Sounds of the Past into the Music of the Future Chris Inglis, University of South Wales, UK Part 3: Music Consumption 10. Back to the Future: Proposing a Heuristic for Predicting the Future of Recorded Music Use Mathew Flynn, University of Liverpool, UK 11. Young People's Current Music and Media Use in Austria: The Musical Practice of the Future? Michael Huber, University of Vienna, Austria 12. Curators as Taste Entrepreneurs in the Digital Music Industries Emilia Barna, Budapest University of Technology and Economics, Hungary 13. An Echoic Chamber: Algorithmic Curation and Personalised Listening Andrew Fry, Sounds et al, USA Index
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