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Books on the topic 'Music - academy of music - music market'

Author: Grafiati

Published: 24 April 2022

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1

Leadbeater, Tim. The music market. London: Hodder & Stoughton, 1994.

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2

Music, politics, and the academy. Berkeley: University of California Press, 1995.

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3

Cusic, Don. Music in the market. Bowling Green, OH: Bowling Green State University Popular Press, 1996.

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4

Főiskola, Liszt Ferenc Zeneművészeti. Ferenc Liszt Academy of Music Budapest. Budapest: Liszt Ferenc Zeneművészeti Főiskola, 1989.

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5

Liszt, Ferenc Zenemüvészeti Föiskola (Budapest Hungary). Ferenc Liszt Academy of Music Budapest. Budapest: Liszt Ferenc Zeneművészeti Főiskola, 1989.

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6

Quality Assurance Agency for Higher Education. Royal Academy of Music: Institutional audit. Gloucester: Quality Assurance Agency for Higher Education, 2003.

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7

Music, Quebec Academy of. Constitution of the Quebec Academy of Music. [Quebec?: s.n.], 1985.

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8

Higher Education Quality Council. Quality Assurance Group. Royal Academy of Music: Quality audit report. London: Higher Education Quality Council, 1997.

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9

James, Duncan. 2015 songwriter's market. Edited by Writer's Digest Books (Firm). 3rd ed. Cincinnati, Ohio: Writer's Digest Books, 2014.

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10

2014 songwriter's market. 3rd ed. Cincinnati, OH: Writer's Digest Books, 2014.

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11

Hughes, Barb. Music management made easy: Practical ways to market and sell your music. Portland, Or: Hughes/Taylor, 1991.

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12

Andrew, Feist, Laing Dave 1947-, National Music Council, and University of Westminster, eds. The value of music: A National Music Council report into the value of the UK music industry. London: National Music Council, 1996.

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13

Jonathan, Dunsby, and Orpheus Instituut, eds. Order and disorder: Music-theoretical strategies in 20th-century music : proceedings of the International Orpheus Academy for Music Theory 2003. Leuven: Leuven University Press, 2004.

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14

Cazalet, William Wahab. The history of the Royal Academy of Music. Cambridge: Cambridge University Press, 2009.

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15

Stamm, K. Brad. Music industry economics: A global demand model for pre-recorded music. Lewiston, N.Y: Edwin Mellen Press, 2000.

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16

Bessler, Ian. 2009 songwriter's market. Cincinnati, Ohio: Writer's Digest, 2008.

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17

(Firm), Writer's Digest Books. Songwriter's market, 2010. 3rd ed. Cincinnati, OH: Writers Digest Books, 2009.

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18

Mark, Walker. The music recording and delivery business. Norwalk, CT: Business Communications Co., 2000.

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19

Weissman, Dick. Making a living in your local music market: Realizing your marketing potential. Milwaukee, WI: Hal Leonard Corp., 1999.

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20

Hendricks, Ken. Information spillovers in the market for recorded music. Cambridge, MA: National Bureau of Economic Research, 2006.

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21

Hendricks, Kenneth. Information spillovers in the market for recorded music. Cambridge, Mass: National Bureau of Economic Research, 2006.

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22

How to produce, release, and market your music. New York: Rosen Pub., 2012.

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23

Making a living in your local music market: How to survive and prosper. Milwaukee, WI: Hal Leonard Pub. Corp., 1990.

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24

Weissman, Dick. Making a living in your local music market: How to survive and prosper. 3rd ed. Milwaukee, WI: Hal Leonard, 2006.

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25

Göteborg International Organ Academy (1994 Göteborg, Sweden). Proceedings of the Göteborg International Organ Academy 1994. Göteborg: Department of Musicology, Göteborg University, 1995.

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26

V, Sriram. Four score & more: The history of the Music Academy, Madras. Chennai: East West, 2009.

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27

Group, Higher Education Quality Council Quality Assurance. Royal Scottish Academy of Music and Drama: Quality audit report. London: Higher Education Quality Council, 1997.

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28

Malathi, Rangaswami, and Music Academy (Madras India), eds. Four score & more: The history of the Music Academy, Madras. Chennai: East West, 2009.

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29

Raffay, Endre, and Zsuzsa Lőrinczi. A Zeneakadémia épületének története: The Liszt Academy of Music, Budapest. [Budapest]: 6Bt Kiadó, 2007.

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30

Hardy, Phil. The European music business: Markets and players. London: Financial Times Telecoms & Media Publishing, 1995.

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31

Gibson, Elizabeth. The Royal Academy of Music (1719-1728): The institution and its directors. New York: Garland, 1989.

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32

Elson, James M. Academy of Music, Lynchburg, Virginia: The golden age of live performance. [Lynchburg, Va.]: Lynchburg Historical Foundation, 1993.

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33

Matchett, Grace. Royal Scottish Academy of Music and Drama: The first 150 years. Glasgow: RSAMD, 1997.

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34

Nielson, Klaus N. Musical apprenticeship: Learning at the academy of music as socially situated. Risskov: Psykologisk Institut Aarhus Universitet, 1999.

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35

Laufenberg, Cindy. Songwriter's market, 1996: Where & how to market your songs. Cincinnati, Ohio: Writer's Digest Books, 1995.

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36

Mahonin, Valerie. Market your songs: A how to publication for contemporary songwriters & performers. Calgary: Songsmith Publications, 1986.

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37

The Royal Academy of Music (1719-1728): The institution and its directors. New York: Garland, 1989.

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38

Browner, Tara, and Thomas L. Riis, eds. Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.001.0001.

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Abstract:

Only since the 1970s have the variety of American musical styles and sounds have been allowed to stand on their own two feet in the academic world. Recent efforts to place American music-making within new or heretofore neglected contexts are diverse and inevitably shift our consciousness about music’s meaning and impact in culture. This volume contains a series of commentaries or glosses, chapters about American music broadly understood that seek especially to explore four critical factors beyond the the familiar categories defined by repertory or biography alone: the impact of performance; the role of patronage in the creation of musical objects and events; personal identity; and how larger cultural/ethnographic contexts (community values, ethnic markers, and social relations) determine certain musical results. A related concern in many of the chapters is the way music is disseminated within listening communities—how it was made “popular”—and how it continues to exert a lasting influence across the rest of the globe. The topics to be found here are wide ranging and include many genres and perspectives (hymnody, concert music, jazz, country music, hip-hop, Tin Pan Alley, and Broadway song and dance, among other types), but each chapter is focused on specific performers, patrons, works, conditions, or institutions within its cultural context.

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39

Making of a Music Academy. Hamilton Books, 2015.

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40

The music collection of the Royal Academy of Music, London. Brighton, Sussex: Harvester Microform, 1988.

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41

Jarre, Maurice. Academy Award Winning Music from "Doctor Zhivago". Alfred Publishing Company, 1999.

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42

Cherry, T. S. Pop Academy of Music: Alley Pop Girls. Tiil books, 2017.

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43

Astor. Academy Awards Celebration: A Celebration in Music. Alfred Publishing Company, 1999.

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44

Boyd, Frank. Academy of Country Music 38th Annual Awards. Country Music Marketing, Inc, 2003.

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45

(Editor), Ian Bessler, and Michael Schweer (Editor), eds. 2005 Song Writer's Market (Songwriter's Market). Writers Digest Books, 2004.

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46

group), Vinyl (Musical. Flea market. 2001.

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47

Leadbetter, Tim. The Music Market (Introducing Media Studies). Hodder Arnold H&S, 1994.

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48

Bessler, Ian. Songwriter's Market 2008 (Songwriter's Market). 3rd ed. Writers Digest Books, 2007.

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49

Bessler, Ian. Songwriters Market 2006 (Songwriter's Market). 2nd ed. Writer's Digest Books, 2005.

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50

Advancement of Music in Enlightenment England: Benjamin Cooke and the Academy of Ancient Music. Boydell & Brewer, Incorporated, 2014.

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