Rethinking the Music Business: Music Contexts, Rights, Data, and COVID-19

Acknowledgments
Contents
Chapter 1: Introduction
	1.1 Book Design
	1.2 Outline of Part 1
	1.3 Outline of Part 2
	1.4 Conclusion
Part I: The Impact of the COVID-19 Pandemic on the Music Business
	Chapter 2: `Losing Work, Losing Purpose´: Representations of Musicians´ Mental Health in the Time of COVID-19
		2.1 Introduction
			2.1.1 Musicians and Mental Health
		2.2 Method
		2.3 Losing Work, Losing Purpose
			2.3.1 Losing Work: Employment Anxieties
				2.3.1.1 Live Music and Musicians´ Earnings
				2.3.1.2 Musicians, Money and the Government: Are We Viable?
			2.3.2 Losing Purpose: Status Anxieties
		2.4 Conclusion
		References
	Chapter 3: The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria
		3.1 Introduction
		3.2 Data Set
		3.3 The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria
			3.3.1 Absolute Income Losses in the Period from 15 March 2020 to 14 March 2021
			3.3.2 Income Losses in 2020 in Relation to the Pre-pandemic Years
		3.4 Summary and Conclusions
		References
	Chapter 4: Digital Transformation in the Music Industry: How the COVID-19 Pandemic Has Accelerated New Business Opportunities
		4.1 Introduction
		4.2 Impact of the COVID-19 Pandemic on the Music Industry
		4.3 Digital Transformation and New Business Opportunities
		4.4 Current Trends Within the Music Industry
			4.4.1 The Evolution of Creators
			4.4.2 Social Audio Platforms
			4.4.3 The `Metaverse´
			4.4.4 Blockchain and NFTs
			4.4.5 The Evolution of Streaming
		4.5 Conclusion
		References
	Chapter 5: Social `Capitalising´ the COVID-19 Pandemic: A Portrait of Three Zimbabwean Female Musicians
		5.1 Introduction
		5.2 The COVID-19 Watershed Moment
		5.3 Findings
			5.3.1 Traversing the COVID-19 Landscape
			5.3.2 Anthropomorphising Multiple Identities
			5.3.3 Performing the Female Musician
			5.3.4 Family Matters: Motherhood and Wifehood
			5.3.5 Capitalising on Social Capital Through Networks
		5.4 Discussion of Findings
		5.5 Conclusions and Recommendations
		References
	Chapter 6: The Shape of Clubs to Come: Exploring the Pandemic´s Impact on Live Music Venues in Germany
		6.1 Introduction
		6.2 Theoretical Background
			6.2.1 Live Music and Its Ecologies
			6.2.2 Locating Live Music Venues in Their Ecologies
			6.2.3 COVID-19 and Culture: Early Studies and Findings
		6.3 Methodology
		6.4 Analysis
			6.4.1 Lockdown Measures and Aid Programs
				6.4.1.1 Cross-Sector Aid Programs
				6.4.1.2 Live Music-Specific Aid Programs
			6.4.2 Analysis of the COVID Lockdown´s Effect on the Economic, Cultural and Social Values of Live Music Venues
			6.4.3 Evaluating the Impact of COVID-Related Measures
			6.4.4 A Chance for Broader Policy Recognition?
		6.5 Conclusion
		Appendix
		References
	Chapter 7: Jazz Festivals in the Time of COVID-19: Exploring Exposed Fragilities, Community Resilience and Industry Recovery
		7.1 Introduction
		7.2 The Festivals: Four Case Studies
			7.2.1 Brecon Jazz Festival, Wales
			7.2.2 Brilliant Corners, Belfast, Northern Ireland
			7.2.3 Edinburgh Jazz & Blues Festival, Scotland
			7.2.4 Manchester Jazz Festival, England
		7.3 Lessons Learnt: Fragilities, Community Resilience and Industry Recovery
		7.4 Conclusions
		References
Part II: The Music Business in General
	Chapter 8: Straight Outta Mumbai: Exploring Informality and Innovation in Dharavi´s Hip-Hop Industry
		8.1 Introduction
		8.2 Growing Demand for Independent Music
		8.3 Informality and Innovation in Dharavi
		8.4 From the Streets to the `Gully´
		8.5 Turning Streets into Stages
		8.6 The Gully Hustle
		8.7 Jugaad Is But a Way of Life
		8.8 Back to School
		8.9 Conclusion
		References
	Chapter 9: Optimisation of Musical Distribution in Streaming Services: Third-Party Playlist Promotion and Algorithmic Logics o...
		9.1 Introduction
		9.2 Not All Playlists Are Created Equal
		9.3 Third-Party Playlists and Playlist Promotion
		9.4 Algorithmic Logics of Distribution
		9.5 Maintaining Legitimate Gatekeepers and Preselection
		References
	Chapter 10: The Music Modernization Act: Mechanical Copyright in the Age of Music Streaming
		10.1 Introduction
		10.2 What Exactly Is a Mechanical Copy in the Age of Music Streaming?
		10.3 The Legal Calamities of Spotify
		10.4 Legal Perspectives
		10.5 History Repeating
		10.6 A Win-Win Situation
		10.7 Research Method
		10.8 Kristiansand Roundtable Conference (KRC) Data
			10.8.1 Theme 1: 115(c)(1) and Fixing Copyright Law
			10.8.2 Theme 2: Meeting Different Needs
			10.8.3 Theme 3: Finding Common Ground
		10.9 Conclusion
		References
	Chapter 11: Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters
		11.1 Introduction
		11.2 Brief Overview of Popular Music in the Philippines
			11.2.1 The Filipino (Independent) Music Scene
			11.2.2 Filipino Musicians During the Pandemic
		11.3 Methods
		11.4 Discussion
			11.4.1 FMCs as Communities of Practice
			11.4.2 DIY/DIO Music Production and Practice
			11.4.3 Musical Aspirations, Trajectories and Implications for the Music Industries
		11.5 Conclusion
		References
	Chapter 12: Market Readiness for the Digital Music Industries: A Case Study of Independent Artists
		12.1 Introduction
		12.2 The Digital Music Industries
		12.3 The Artist Direct Segment
		12.4 The Case for an Independent Artist Market Readiness Model
		12.5 An Overview of Market Readiness Indicators
			12.5.1 Recorded Music Product
			12.5.2 Music Brand/Image
			12.5.3 Industry Proof
			12.5.4 Live Music Product
			12.5.5 Digital Presence and Distribution
			12.5.6 Social Proof
			12.5.7 Business Structure
		12.6 Methodology
		12.7 Findings and Discussion
			12.7.1 The Song as the Central Indicator
			12.7.2 The Importance of Unique Talent and Sound Recording Quality
			12.7.3 Live Performance Is Still a Key Indicator
			12.7.4 The Need for an Authentic Brand Identity
			12.7.5 Social Media Presence and Its Role in Reinforcing Brand Identity
			12.7.6 Social Proof Is Not the Holy Grail for Intermediaries but an Important Indicator When Building an Artist´s Direct Audie...
			12.7.7 An Artist Website Is Still Relevant Especially for the Artist Direct Segment
			12.7.8 Industry Proof Connected to Business Structure
		12.8 Conclusion
		Appendix: Research Participants
		References
	Chapter 13: The Changing Role and Function of Music Charts in the Contemporary Music Economy
		13.1 Introduction
		13.2 Central Concepts: The Music Industries, Cultures of Listening, Agile Management
		13.3 Music Streaming and the Big Getting Bigger
		13.4 Research Design
			13.4.1 Recruitment
			13.4.2 Data Analysis
				13.4.2.1 Semi-Structured Interviews
				13.4.2.2 Supplemental Data
		13.5 Findings: Chart Data
			13.5.1 No Australian Number One Single in 2017
			13.5.2 Chart Data Analysis: ARIA Singles and Albums Charts
		13.6 Findings: Interview Data
			13.6.1 The Dominance of Hip Hop and Pop
			13.6.2 Spotify Playlists and Commercial Radio Airplay
			13.6.3 General Optimism Prevailed
			13.6.4 The Old and New Music Industries
			13.6.5 Cultures of Listening: How People Use Streaming Services and What That Means
			13.6.6 Active Listening Versus Passive Listening
			13.6.7 Replacement Industry Data Sets
			13.6.8 Algorithmic Listening and Consumption Versus Popularity
			13.6.9 Passive Versus Active Social Media Metrics
			13.6.10 Multiple Data Sets: Ambiguity, Storytelling and Experimentation
		13.7 Conclusion
		References