The Bloomsbury Handbook of Popular Music Policy

by Shane Homan (Editor)

Overview

The Bloomsbury Handbook of Popular Music Policy is the first thorough analysis of how policy frames the behavior of audiences, industries, and governments in the production and consumption of popular music. Covering a range of industrial and national contexts, this collection assesses how music policy has become an important arm of government, and a contentious arena of global debate across areas of cultural trade, intellectual property, and mediacultural content. It brings together a diverse range of researchers to reveal how histories of music policy development continue to inform contemporary policy and industry practice. The Handbook maps individual nation case studies with detailed assessment of music industry sectors. Drawing on international experts, the volume offers insight into global debates about popular music within broader social, economic, and geopolitical contexts.

Product Details

ISBN-13:	9781501345326
Publisher:	Bloomsbury Academic
Publication date:	02/10/2022
Series:	Bloomsbury Handbooks
Pages:	496
Product dimensions:	7.00(w) x 10.00(h) x 0.94(d)

About the Author

Shane Homan is Associate Professor of Media, Film, and Jourbanalism at Monash University, Australia. He is a leading international researcher on the music industries and music policy, including work with various Australian governments. He is the co-author of Popular Music and the State (2015), and co-editor of Popular Music and Cultural Policy (2015), Sounds of Then, Sounds of Now (2008), and Access All Eras (2006).

Table of Contents

List of Figures
Notes on Contributors
Acknowledgements
1. Introduction: Situating Popular Music Policy
Shane Homan, Monash University, Australia
Part I: Policy Contexts
2. Distributing Rights and Resources: The Cultural Politics of Popular Music Policy
John Street, University of East Anglia, UK
3. The presence and Absence of Policy in the Digital Music Industries
Daniel Nordgård, University of Agder, Norway
4. Property or Status? Music and Musicians Under Copyright
Thomas Dillon, Barrister, UK
Part II: Policy Sectors
5. Conceptualising Popular Music's Heritage as an Object of Policy: Preservation, Performance and Promotion
Paul Long, Monash University, Australia, Zelmarie Cantillon, Western Sydney University, Australia, and Sarah Baker, Griffith University, Australia
6. Popular Music, Policy and Education
Gareth Dylan Smith, Boston University, USA, and Zack Moir, Edinburgh Napier University, UK
7. Music Exports
Shane Homan, Monash University, Australia
8. Broadcasting and Popular Music Policy
Mark Percival, Queen Margaret University, UK
9. Live Music Infrastructure
Adam Behr, Newcastle University, UK
Part III: National Policy
10. Audible, Visible and Experiential: Reflections on South Korean Popular Music Policy
Soojin Kim, Korea National University of Arts, South Korea
11. The Canadian Conundrum: Robust Policies Catching Up with the Times
Richard Sutherland, Mount Royal University, Canada
12. The New Great Leap Forward of China: National and Local Music Policy in Chengdu
Qian Wang, Yibin University, China
13. Australian Popular Music Policy
Sarah Taylor, RMIT University, Australia, and Shane Homan, Monash University, Australia
14. More Than Dots on Maps: Locating Live Venues in the German Music Policy Framework
Niklas Blömeke, Paderborn University, Germany; Jan Üblacker, EBZ Business School, University of Applied Science, Bochum, Germany' Johannes Krause, Heinrich-Heine-University, Düsseldorf, Germany; Heiko Rühl, Independent Scholar, Germany; and Katharina Huseljic, Independent Scholar, Germany
15. From National Identity to the Well-Being of Future Generations: Popular Music Within Devolved Welsh Policy-Making Between 1999-2020
Luke Thomas, Independent Scholar, UK, and Paul Carr, University of South Wales, UK
Part IV: Contemporary Debates
16. Ticketing: Why Is It a Problem?
Mike Waterson, University of Warwick, UK
17. Gender and Popular Music Policy
Sam de Boise, Örebro University, Sweden, Maura Edmond, Monash University, Australia, and Catherine Strong, RMIT University, Australia
18. When Music Becomes Datafied: Streaming Services and the Case of Spotify
Jonas Anderson Schwarz, Södertörn University, Sweden, and Sofia Johanssson, Sodertorn University, Sweden
19. Music Cities
Sarah Taylor, RMIT University, Australia
20. Brexit and the UK Live Music Industry
Patrycja Rozbicka, Aston University, Birmingham, UK, Adam Behr, Newcastle University, UK, and Craig Hamilton, Birmingham City University, UK
Bibliography
Index

Editorial Reviews

The Bloomsbury Handbook of Popular Music Policy is a fascinating deep dive into the efficacy of popular music policy. From the behaviour of audiences, ownership and streaming to Brexit, creative industries and urban regeneration, it offers a brilliant documentation of the factors affecting policy decisions and the impact of those decisions. I highly recommend this book as an important addition to this area of research and an excellent set text for the study of popular music.” —Mark Pollard, Professor, Composer, and Head of Interactive Composition, University of Melbourbane, Australia

“Interest at both a practical and theoretical level in popular music policy has grown exponentially over the past decade. In the UK, the impact on the music industry of COVID, Brexit, copyright reform and venue closures are now firmly established within mainstream political discourse. This new Bloomsbury Handbook manages to expertly put many of these contemporary debates in context and provides much needed international evidence to support further strategies that practitioners can deploy in this exciting field of study.” —Tom Kiehl, Deputy CEO and Director of Public Affairs at UK Music

“The fast-moving nature of the contemporary music industries, politics and policy formulation make for an extremely rich but underdeveloped research field. By drawing on a combination of perspectives from around the world, this handbook offers a mixture of history, theorization, typologies and practical examples of policy in action. This means it provides not only the most detailed overview of the field to date, but also sets the agenda for future research.” —John Williamson, Lecturer in Music, University of Glasgow, Scotland, co-author of Players' Work Time: A History of the British Musicians' Union, 1893-2013 (2016)

From the Publisher