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Popular Music in the Post-Digital Age


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Table of Contents

List of Contributors Introduction: The Future of and through Music Ewa Mazierska, Les Gillon and Tony Rigg Part 1: Music Industry 1. Rethinking Independence: What Does `Independent Record Label' Mean Today? Patryk Galuszka and Katarzyna M. Wyrzykowska, University of Lodz, Poland 2. The Future of Digital Music Infrastructures: Expectations and Promises of the Blockchain `Revolution' Paolo Magaudda, University of Padua 3. `The Sound of the Future is Here Today': The Market for Post-Rock Within the Traditional Small Music Festival Landscape Kenneth Forbes, University of the West of Scotland, UK 4. `They Sold the Festival Out!': Axionormativity as the Future of Festivals Waldemar Kuligowski, Adam Mickiewicz University, Poland 5. The Hidden Worker Bees: Advanced Neoliberalism and Manchester's Underground Club Scene Kamila Rymajdo, Kingston University, UK Part 2: Musicians and Their Music 6. The Adaptive Musician: The Case of Peter Hook and Graham Massey Ewa Mazierska and Tony Rigg, University of Central Lancashire, UK 7. Where Do We Go From Here?: The Future of Composers in the Post-Digital Era Lars Broendum, University of Skoevde, Sweden 8. Searching for International Success in Europe's Periphery: The Case of Gin Ga and Fran Palermo Ewa Mazierska, University of Central Lancashire, UK 9. Electro Swing: The Re-Introduction of the Sounds of the Past into the Music of the Future Chris Inglis, University of South Wales, UK Part 3: Music Consumption 10. Back to the Future: Proposing a Heuristic for Predicting the Future of Recorded Music Use Mathew Flynn, University of Liverpool, UK 11. Young People's Current Music and Media Use in Austria: The Musical Practice of the Future? Michael Huber, University of Vienna, Austria 12. Curators as Taste Entrepreneurs in the Digital Music Industries Emilia Barna, Budapest University of Technology and Economics, Hungary 13. An Echoic Chamber: Algorithmic Curation and Personalised Listening Andrew Fry, Sounds et al, USA Index

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An examination of the ways in which the economy and technology affect the future of popular music in the contexts of marketing, curation, consumption, and music education

About the Author

Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. Leslie Gillon is a musician and academic involved both in the teaching of composition and music performance and in investigation of the critical and aesthetic issues surrounding music and the arts in general. Tony Rigg is Head of Music Business Education at Manchester MIDI School and collaborated on the development of the MA in Music Industry Management and Promotion at the University of Central Lancashire where he also lectures.


Music industry is in a condition of permanent flux driven by music's seamless adaptation to digital innovation. The key tension in music industry as a practice is that digital application does not always chime with regulated ownership of intellectual property rights in music. This is an impressive collection in which all participants have worked in a focused way to specify how music industry is transformed by digitization. In a turbulent environment, this collection exhibits staying power and will be a useful point of reference for academics and students over a prolonged period. * Michael Jones, Senior Lecturer in Music, University of Liverpool, UK, and author of The Music Industries: From Conception to Consumption (2012) *

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