Palgrave Handbook of Critical Music Industry Studies

Dr David Arditi, a Professor of Sociology at the University of Texas at Arlington, is a scholar of digital technology. Arditi has published five books. His most recent publication is Digital Feudalism: Creators, Credit, Consumption, and Capitalism (2023). In 2020, Arditi published Getting Signed: Record Contracts, Musicians and Power in Society with Palgrave. This book explores the way old forms of capitalism take root in new parts of the economy. His first book, iTake-Over: The Recording Industry in the Digital Era, explores the way the major record labels used their power to change the legal and public reception of digital technologies.Dr Ryan Nolan is a Research Fellow at the University of Exeter Business School. He works on issues related to organizational sustainability across a variety of empirical settings and has taught both in the UK and internationally on creative and cultural industries. In a past life, he toured with several bands and received international radio play. He sits on the editorial board of The Sociological Review.

• 1. Introduction: Why we need critical music industry studies.- Part 1:  Music, Labor and Exploitation.- 2. Tips, Tourists, and Musical Labor on Beale Street.- 3. Masters and Slaves: Black Artists and the Ownership of Sound Recording Copyright.- 4. Pressing reset: Reimagining performer and songwriter revenues in the contemporary music industry.- 5. Beyond the Sea: The Labour of Cruise Ship Musicians.- 6. Record Contracts: Recording Artists, Work, and Exploitation.- 7. Mothering: The Epicentre of Gender Gapping in the Music Industry?.- 8. Out of the Frying Pan and into the Fire: Music Education, Mental Health, and Our Students’ Futures.- 9. The care work of musical fields.- 10.  Solidarity Under Monopoly and Labour Withdrawal in the Music Industry.- 11. Exploring the origins of digital burnout in the music industries & and what to do about it.- Part 2:  Music and Technology: From radio to algorithmic gatekeepers.- 12. Amplifying Value: Labor, Technology, and Creativity in the Jingle Industry.- 13. “The numbers don’t lie!”: Metrics as tools for decision making and strategic planning in music industry organizations.- 14. Sorted: Categorisation and Genre in Contemporary Music Business.- 15. Music after Covid-19: capital, performance and sharing.- 16. Formatting Race on Commercial Radio Stations.- 17. Surveillance of and through Music.- Part 3:  Cultural Production and Consumption.- 18. The establishment of k-pop: k-pop’s main characteristics.- 19. Dance Music Reckonings: Authenticity, Whiteness, and Toxic Masculinity.- 20. Underground Hip Hop: A Critical Consideration of Subgenre and Scene(s).- 21. Music PR: A hidden history.- 22. Whoopin’ For the Innanet: Exploring YouTube Channels as Reputation Building Intermediaries for Artists in Chicago’s Drill Rap Scene.- 23. Catalogue Acquisitions: Who Wins?.- 24. How the Music Industries Killed “Selling Out”: Autopsy of a Concept.- 25. Strength in Numbers: How Young Artists Navigate Racial Stereotypes in the Rap Industry.- 26. Standing in the Way of Control: The Vinyl Revival, the Record Industry, and Record Store Day.- 27. Redefining Liverpool’s Purpose as a Music City: Identifying the cultural, demographic and geographic challenges to a career in music for Liverpool’s Black community.- Part 4:  Alternatives through Cultural Policy.- 28. Misogyny in music: actors, business and law.- 29. Popular music in France and Action Culturelle: when musicians become cultural policy agents.- 30. “A Rising Tide Lifts All Boats”: On a Musician’s Minimum Rate, Cultural Labour, and the Live Music Sector.- 31. Music declares an emergency: music industry studies in the context of a changing climate.- 32. ‘It’s not the females’ job, it’s everybody’s job’: gender related experiences and challenges in Popular Music Higher Education and the music industry.- 33. The Music Industry does exist.- 34. What is Music Business Management? A Critical Conversation on Music, Knowledge and Power in the University.- 35. How Working Musicians (Finally) Became A Matter of Mainstream Political Interest.