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Libri sul tema "Music record business"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 13 febbraio 2022

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1

Bordowitz, Hank. Dirty little secrets of the record business. Chicago: Chicago Review Press, 2007.

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2

Bordowitz, Hank. Dirty little secrets of the record business. Chicago, IL: Chicago Review Press, 2005.

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3

Confessions of a record producer: How to survive the scams and shams of the music business. San Francisco, CA: Miller Freeman Books, 1998.

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4

Avalon, Moses. Confessions of a record producer: How to survive the scams and shams of the music business. 4^a ed. New York: Backbeat Books, 2009.

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5

Inc, ebrary, a cura di. Fresh at twenty. Toronto, Ont: ECW Press, 2011.

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6

Here come the regulars: How to run a record label on a shoestring budget. New York: Faber and Faber, 2009.

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7

Richard, Branson, e Richardson Perry, a cura di. Virgin: A history of Virgin Records. Axminster, Devon: A Publishing Company, 1996.

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8

Geoffrey, Yeo, a cura di. Managing records: A handbook of principles and practice. London: Facet Publishing, 2003.

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9

RUDSENSKE, J. S. Music Business Made Simple: Start An Independent Record Label (Music Business Made Simple) (Music Business Made Simple) (Music Business Made Simple). Schirmer Books, 2005.

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10

(Photographer), L. Wacholtz, e Tammy Talmadge (Editor), a cura di. Off the Record: How the Music Business Really Works. Thumbs Up Publishing, 2007.

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11

Off The Record Your Ultimate Resource For Success In The Music Business. Thumbs Up Publishing, 2011.

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12

Peters, Brian Wesley. Music Business 101: For Aspiring Producers, Writers, Musicians, Singers, And Future Record Moguls. Swerve Publishing LLC, 2016.

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13

Cohen, T. E. 101+ Music Contracts for The Succesful Independent Record Label, Musician, or Anyone Involved In the Music Business. Platinum Millennium, 1999.

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14

Bordowitz, Hank. Dirty Little Secrets of the Record Business: Why So Much Music You Hear Sucks. Chicago Review Press, 2007.

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15

Off The Record The New Music Business Guide Workbook For The Digital World. Thumbs Up Publishing, 2008.

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16

Band's Guide to Getting a Record Deal. Sanctuary Pub Ltd, 1998.

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17

Rap: This game of exposure (promoting your rap record/artist). New York: The Company, 1992.

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18

Avalon, Moses. Confessions of a Record Producer: How to Survive the Scams and Shams of the Music Business. 3^a ed. Backbeat Books, 2006.

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19

Hooper, David. Music Business Goal Planner (52 Weeks to the Record Deal, Publishing Contract, and Income You Want). Kathode Ray Music, 2003.

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20

Hooper, David. How I Make $100,000/year in the Music Business (Without a Record Label, Manager, or Booking Agent). Omni Publishxpress Llc, 2002.

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21

Fontana, Kaitlin. Fresh at Twenty: The Oral History of Mint Records. ECW Press, 2011.

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22

Confessions of a Record Producer, 2 Ed: How to Survive the Scams and Shams of the Music Business. 2^a ed. Backbeat Books, 2002.

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23

Waterhouse, Beth. The Industry Yellow Pages, Volume 6: The Complete Major & Independent Record Label Music Business Directory, 2002-2003 International Edition. IATP, 2002.

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24

Millennium, Platinum. The Industry Yellow Pages, Volume 5: The Complete Major & Independent Record Label Music Business Directory, 2002-2003 U.S. Edition. Platinum Millennium, 2002.

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25

Company, Atlantic Publishing. How to Open & Operate a Financially Successful Small Record Label: With Companion CD - ROM. Atlantic Pub Co, 2008.

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26

Avalon, Moses. Confessions of a Record Producer: How to Survive the Scams and Shams of the Music Business 5th Edition - Revised and Updated. Rowman & Littlefield Publishers, Incorporated, 2016.

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27

Williams, R. Music Business & Entertainment Law Contracts for Indie Recording Artist, Labels, Songwriters, Composers, Producers, Managers and All Others in the Record Industry. Preprinted Binder. Platinum Millennium, 2001.

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28

Williams, R. Music Business & Entertainment Law Contracts for Indie Recording Artist, Labels, Songwriters, Composers, Producers, Managers and All Others in the Record Industry. Binder / CD-ROM set (PC & Mac). Platinum Millennium, 2001.

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29

Mute Records: Artists, Business, History. Bloomsbury Publishing Plc, 2020.

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30

Osborne, Richard, Marcus O'Dair e Zuleika Beaven. Mute Records: Artists, Business, History. Bloomsbury Academic & Professional, 2018.

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31

How I Make $100,000/year in the Music Business (Without a Record Label, Manager, or Booking Agent) (Spanish Editon) - Como Gano $100.000 Al Ano En El Negocio ... Sello Discografico, Manager o Representante). Kathode Ray Music, 2003.

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32

Clark, Kate, e Amanda Markwick. The Renaissance Flute. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.001.0001.

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Abstract (sommario):

The last four decades have seen a revival of interest in the renaissance transverse flute. The few collections of surviving original flutes from the sixteenth century have increasingly attracted musicologists, instrument makers, and players to examine, measure (and copy), perform, and record on them. Renaissance flute workshops and summer courses attract students and amateur players in several corners of Europe every year. At the same time, renaissance manuscripts and early prints have increasingly become available on the internet, providing an ever-expanding supply of materials for flutists wanting to experience renaissance music for themselves. This handbook for renaissance flute players offers all the information needed to buy, maintain, and learn to play the renaissance flute, whether alone or in consort. It explains how to read and interpret renaissance music whether from original notation or in modern editions, how to make your own transcriptions, and how to write your own diminutions. It also introduces readers to the basics of renaissance music theory, in clear and simple language. At a time when the gap between the professional “classical” music world and its public seems to have grown irrevocably, this book aims to demystify the business of making beautiful music together. It is a key to the elegant, cylindrical flute that was played all over Europe in the age of polyphony and to the gentle art of consort playing.

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33

Draper, Simon R., Ken Berry, Terry Southern e Richard Branson. Virgin: A History of Virgin Records. A. Publishing, 1999.

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34

Southern, Terry. Virgin: A History Of Virgin Records. Diane Pub Co, 2004.

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35

Weisbard, Eric. Country Radio. A cura di Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.16.

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Abstract (sommario):

This chapter considers the role played by radio in popularizing and defining country music. Radio as a format pursued a commercially driven mediation of identity that worked against applying an artistically driven musical genre definition. In particular, these debates revolved around gendered presentation and women as listeners and performers. From the 1920s through World War II, radio’s prominence in country turned on live radio shows as the media introduction of southern whites. A second era, from the end of the war to mid-1970s, saw a shift to disc jockeys and records: personality radio. Format radio country, a tighter programming approach, solidified from the mid-1970s to the mega mergers of the late 1990s. Most recently, in an era of Internet access and new business models for music, country has confronted the less sympathetic position of networked radio.

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36

Bauman, Thomas. Holding the Stroll. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038365.003.0005.

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This chapter focuses on the Pekin Theater's vaudeville shows that pervaded The Stroll at the time. When the curtain had rung down on the final performance of The Husband, Robert T. Motts dismissed his stock company. J. Ed. Green resigned and decided to go into business by forming the Chester Amusement Company with Marion Brooks and A. W. Johnson. At the Pekin, Motts further strengthened and distinguished the musical profile of the house by reinstating a kind of music that had first drawn patrons there in 1904: concerts, motion pictures, and vaudeville acts featuring “society” performers such as Marie Burton. This chapter also considers Motts's invitation to the Howard Stock Company to perform at the Pekin and concludes with a discussion of the special event that broke all prior attendance records at the theater—the match between heavyweight champion Jack Johnson and challenger Jim Jeffries.

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37

Yeo, Geoffrey, e Elizabeth Shepherd. Managing Records: A Handbook of Principles and Practice. Neal-Schuman Publishers, 2002.

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38

Shepherd, Elizabeth, Elizabeth Shepherd Geoffrey Ye e Geoffrey Ye. Managing Records: A Handbook of Principles and Practice. Facet Publishing, 2013.

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