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E-book Can Music Make You Sick? : Measuring the Price of Musical Ambition

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Penilaian

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‘The music industry’ is commonly understood as a singular entity that is often portrayed as a place of shared concerns and goals. However, as many observers and academics have pointed out, this singular term is misleading and the very idea of a united place belies the reality which is ridden with tension and full of competing interests and industries (see Sterne, 2014). It is within this highly competitive and networked environment that music makers and music work-ers operate, and in this sense, we agree with Williamson and Cloonan (2016: 3), that ‘musicians are best conceived of as particular sorts of workers seeking remuneration within a complex matrix of industries clustered in and around music’. For this reason, throughout this book we will use the plural ‘music industries’. However, there are two key comments to make here. Firstly, the majority of our interviewees who we spoke to for this book did talk about ‘the music industry’, and those of us who live and breathe this environment know what they are referring to; the world of record labels, publishers, events, radio plugging, promotion, PR, etc. This is largely analogous with the more precise term of ‘the music industries’, although this is slightly broader. Therefore, we will at times use their words. Secondly, there is an even boarder conceptual term which we draw on in this book – ‘the music ecosphere’. This encompasses all the commonly understood ‘music industries’, but also those places and industries within which music is embedded but not centrally part of, for example technol-ogy companies, education, health and fitness, and the wider creative industries. What is life really like for a musician today? Back in 2014, this was a ques-tion that had been on our minds for some time. We were looking for ways in which to make sense of the musical world we and our students lived in. It felt to us as if we were existing in an all-absorbing atmosphere in which it felt difficult to find any space to breathe or be heard. We found ourselves approaching this question from our two different perspectives; one of us – George – with his background as an artist/rapper signed to both a major publisher and a record label, and the other – Sally – then as a music manager and head of business affairs for an independent record label, and both of us as lecturers on a Mas-ters in Music Business Management. George’s previous research examined the behavioural and psychological impact of competition looking at the creative lives of UK rappers to understand this (Musgrave, 2014). Sally was interested in the impacts of digitalisation on the working conditions and power dynamics within the music industries and their effects on the musical object, the creative process, and the workforce, specifically music makers and music performers. For some time, both of us had been struck by the high levels of anxiety and other mental health issues that were being talked about or that we had witnessed in our immediate musical network and amongst our students.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

781.63 GRO c

Penerbit

London : University of Westminster Press., 2020

Deskripsi Fisik

200 hlm

Bahasa

English

ISBN/ISSN

9781912656615

Klasifikasi

781.63

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Popular Music

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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