Interesting CfP Music Exploitation

Saw this interesting CfP others may wish to circulate–was struck by the shifting figures in revenues (which we musicologists knew) but about which there has been little academic research.

 

Call for Chapters

Perspectives on Music Production – Exploiting Music – Routledge

Deadline for proposals: 26 April 2019

In the spirit of the Perspectives On Music Production series, Exploiting Music will follow on from Mixing Music (2017), Producing Music (early 2019), Gender In Music Production (2020) and several monographs in the field.

The music industry has undergone a dramatic shift over the past two decades, beginning with a recession in 1999. According to industry analysts, physical record sales accounted for 98% of industry revenues in 2001, whereas today, this portion has been reduced to 30% (IFPI 2018). And, despite undergoing its first three years of recovery (2015-2017), overall industry revenues are now only 68.4% of what they were twenty years ago.

As the music industry reorganizes itself in light of recent technological advancements, record labels, publishers, managers, and agents of all types have reconfigured their business strategies in response to these changing norms. In addition, creative personnel such as songwriters, performers, producers, and audio engineers of all types have also adapted to the current industry climate.

This collected anthology will explore the past, present, and future of music exploitation – a legal term which describes the exchange of intellectual property for money. The scope of the proposed book is outlined below:

  • The so-called “value gap” between music dissemination services and music creators
  • The Music Modernization Act
  • The emergence of royalties for producers and engineers
  • Music business systems, histories and norms
  • Legalities over music as a commodity
  • The exploitation of music as intellectual property
  • Historical and future methods of monetisation and business management
  • Technology: delivery and consumption. How will consumers listen?
  • Emotional perspectives against the monetary machine
  • Music software is the new business – not the music
  • Music Production as big business
  • Other relevant proposals will be considered

 

Abstracts of 300 words are requested to be emailed to perspectives@hepworthhodgson.com by the 5th April 2019. Abstracts will be reviewed, submitted to Routledge *, and the authors known of the result in the first weeks of May 2019. Final submission of chapters expected 3rd April 2020.

 

*Subject to contract

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