دانلود کتاب Music Entrepreneurship

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Cover page\nHalftitle page\nTitle page\nCopyright page\nEpigraph\nCONTENTS\nACKNOWLEDGEMENTS\nLIST OF CONTRIBUTORS\nLIST OF CASE STUDIES\nLIST OF INTERVIEWS\nPART ONE Overview\n 1 Introduction: Valuing Music\n Valuing music: Production and consumption\n Who is the young music entrepreneur?\n Outline of the book\n Conclusion\n References\n 2 The Need for the Music Entrepreneur\n The nature of the music industries\n Record labels: Fluctuating economy/ new business models\n Emerging territories\n The music entrepreneur\n Which skills might the music entrepreneur need?\n Art versus commerce: Striking a balance\n Self- belief: Opportunity/motivation\n Challenge/determination/failure as a learning experience\n Networking\n Exchanging not buying\n Passion/work ethic\n Summary: Characteristics of the music entrepreneur\n Conclusions: Entrepreneurship in music education\n Notes\n References\n 3 From DIY to D2F: Contextualizing Entrepreneurship for the Artist/Musician\n Introduction\n Part 1: Entrepreneurship and DIY\n From Punk to post-Punk\n Part 2: Major labels and 360-degree deals\n Part 3: From DIY to D2F\n Part 4: Playing the platforms\n Part 5: The D2F entrepreneur\n Conclusion\n Notes\n References\n 3A Example Case Study?: The Professional Musician\n Case study: Ross McFarlane (professional musician)\n References\nPART TWO Sectors and Case Studies\n 4 Artist Managers and Entrepreneurship: Risk- takers or Risk Averse?\n Introduction\n The changing nature and reputation of artist managers\n Locating the artist manager as an entrepreneur\n Case study: Sumit Bothra (ATC Management)\n Case study: Princess Nyah (self- managing artist)\n Conclusion\n Notes\n References\n Websites\n 5 Live Music\n Outline\n Introduction\n The role of the entrepreneur in the live sector\n Case study: Goc O’Callaghan (ArcTanGent Festival)\n Case study: Joe Smillie, the Glad Café\n Conclusion\n References\n Useful sources\n 6 Entrepreneurship and Music Technology Practitioners\n Key concepts and issues\n Case study: Chantal Epp (Synergy Sounds)\n Case study: Helen Atkinson (Producer/Engineer at RAK Studios)\n Conclusion\n Notes\n References\n Websites\n 7 Recorded Music\n The recorded music sector\n Copyright issues\n The record company entrepreneur\n Case study: Jay Frank (DigSin)\n Case study: Mark Orr ( LAB Records)\n Summary\n Conclusions\n Notes\n References\n 8 Digital Music Distribution\n Web 3.0 and digital music distribution\n Independent artists as prosumers: Tools for digital distribution\n The digital distribution landscape\n Sector overview\n Digital aggregators\n Digital retailers\n Streaming services\n New developments: Tidal\n Subscription services\n Crowdfunding platforms\n Digital content management platforms\n Case study: EmuBands (Ally Gray)\n Case study: Jessica Carmody (Account Manager at PledgeMusic UK)\n ‘I’m not an entrepreneur’: A British perspective?\n References\n Websites\n 9 Music Publishing: How to Understand and Engage with Copyright in the Digital World\n Introduction\n History of music copyright\n The nature of the dual copyright in the music business\n The relationship of music publishing to the music business\n The signifi cance of music publishing as a revenue driver\n Case study: Caroline Gorman (Rage Music)\n Conclusion: The dilemma of the music business entrepreneur\n Notes\n References\n Websites\n 10 The Brand in Music: Entrepreneurship, Emotion and Engagement\n Introduction\n Music and money: From creation to consumption\n Artists, bands to brands: Celebrity as commodity\n Music branding, social media and cultures of convergence\n Case study: Coachella Music Festival\n Case study: Signature Brew\n Conclusion: Selling our soul in the age of social commerce?\n References\n Website\n 11 Additional Opportunities\n Mapping additional music activity\n Towards a defi nition of additional music activities\n The role of the entrepreneur within these areas\n Case study: Mindy Abovitz\n Case study: Steve Broadfoot\n Case study: Richy Muirhead (Scottish Alternative Music Awards)\n Conclusions\n References\n Websites\n 12 Conclusions\n The value of entrepreneurship in professional music\n The value of education (including, specifi cally, entrepreneurial education) in professional music\n The UK/US divide: Acceptance/ appropriateness of the term ‘entrepreneur\n Passion as a prime motivator/ analternative definition?\n Access versus ownership\n The digitally literate consumer\n Future trends/further issues\n Note\n References\nINDEX