![]() How did this change impact freedom of speech and the dissemination of memes within the music business? Can startup businesses afford to pay licensing fees to set up their businesses post this change? Are the music industries increasingly coming together because they are nowadays often being swamped by lobbying efforts of big tech companies? How does mechanical copyright function in the age of music and video streaming? What did the Music Modernization Act (MMA) in the US mean for songwriters within a globablising music business? In September 2018, the EU parliament agreed that user uploaded platforms should be subject to copyright and can no longer hide behind safe harbour laws. In this book, we promote a critical approach for studying the music business in order to raise key questions concerning music contexts, rights, data and COVID-19. We therefore welcome chapter proposals that deal with the core sectors and/or these secondary music markets. Beyond this, the music industries (recording, publishing and live music) are embedded in secondary music markets, including merchandising, the synch rights business, branding, sponsorship, musical instruments, live music ancillary services and the media. These sectors are also closely related (as we saw through the COVID-19 crisis) and a growing number of companies integrate all three functions by acting as record labels, publishers as well as booking agents, promoters and even ticketing companies. This edited volume thus welcomes chapters that address issues within the music business before, during and after COVID-19.įollowing Tschmuck (2017), we define the three core sectors of the music industries as including live music, recording and publishing and we argue that these sectors are linked by the musicians themselves and by collecting societies (pp. The first part will feature more general perspectives and the second will focus on the impact of COVID-19 on the music business. This edited volume will therefore be structured in two parts. Some of these trends were impacted by the COVID-19 crisis while others were not. Despite this crisis however, there are pre-existing trends in the music business – the rise of the streaming economy, technological change (virtual and augmented reality, blockchain etc.), new copyright legislation etc. This directly affected the incomes and practices of many artists and the revenue for many entities in the music business. As a result of COVID-19, music festivals, gigs and events were cancelled or postponed across the world. Peter Tschmuck (University of Music and Performing Arts, Vienna)ĬOVID-19 had, and is having, a global impact on health, communities and the economy. ![]() Rethinking the Music Business: Music Contexts, Rights, Data and COVID-19 Posted: September 24th, 2020 | Filed under: Calls for Papers | No Comments »Ĭall for chapters for an edited volume to be submitted to Springer’s Music Business Research Series
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