Abstract
The books selected for this review are more than just those that are recently published in different areas of the music sector. They also provide insight into different areas of music management and policy relating to orchestras, live music and events, pop music management and the recording industry.
Salvino Salvaggio’s book on orchestra management highlights the organisational dynamics in classical music; Michael Murphy’s book on pop music management, on the other hand, sheds light on the more commercial aspects of the music business. Murphy connects well with Reynolds’ book on live music management not only because of the overarching theme, which evolves around performing artists, but also because they both underline the human element. Specifically, they highlight the importance of care for projects and artists and the development of relationships and networks, which are crucial for the operation of the music sector. Last but not least, Anna Anetta Janowska adopts a forward-looking lens and discusses how the recording industry responds to technological advancements, showcasing the changes and developments these have brought.
Together, the editor’s picks selections unfold and illuminate different perspectives of a sector that is inter- and multi-disciplinary, embracing a variety of academic subjects such as business management, policy, human resources management, sociology and economics, to name but a few. They offer a holistic view of music management and policy, providing insights into major areas of interest for the sector such as orchestras, events, artists, and the digital transformation; they cover management, production, policy and operational aspects of music, and showcase how they all shape the sector and affect how music is created and experienced in our times.
Orchestra Management in Practice
Orchestras are not simply ensembles of musicians, but complex organisations with their own dynamics and interconnections, which require a variety of skills to manage and lead them. Orchestra Management in Practice provides a comprehensive discussion of orchestra management both in a theoretical and a practical way. Each chapter of the book focuses on a different area of orchestra management, covering areas pertaining to everyday, hands-on operations such as financial, legal and HR management, to the more forward-looking, strategic considerations such as accessibility and adaptability – which are also, however, linked to management decisions and choices. The introduction highlights the qualitative nature of the book; the author states that he has consciously avoided adding specific quantitative data, which are anyway constantly changing, and has rather focused on a qualitative, context-driven treatment of management issues and challenges orchestras are facing today.
The first chapter provides, as per its title, a concise history of orchestra management from the early years of the birth of orchestras and progressing to the period of public concerts and the establishment of professional orchestras. It touches upon factors that have affected orchestras as institutions and organisations, such as technology, recording, streaming, the role of public funding, and the role of orchestras in civil society. The last part of this chapter focuses on global perspectives and provides a good overview of the position of orchestras in different continents around the world.
The second and third chapters discuss the typical orchestra organisation and orchestra business models. Here Salvaggio presents details on management and governance structures, as well as the roles of the orchestra board and staff. He devotes particular space to volunteers, which are a reality not only in orchestras but in a variety of music and other cultural organisations, explaining their involvement and highlighting their importance. The chapter on business models focuses on budgeting, costs, revenues and particular considerations that must be taken into account for the operation of orchestras, such as the balance between artistic and financial imperatives. Allocating an entire chapter to finances, Salvaggio showcases the importance of economic considerations to navigate contemporary realities in the music sector.
Chapters 5 and 6 focus on considerations that are both fundamental and remain timely in orchestra management, including all major areas such as artistic programming, financial planning and fundraising, audience development, board relations and human resources. Chapter 6 highlights contemporary challenges orchestras are nowadays facing. This makes it a great addition to the book as it touches on issues such as innovativeness, resilience, diversity and inclusion, accessibility and sustainability – they all have an immense impact on both the everyday and the existential modus operandi of orchestras, as it is those which make them relevant to today’s societies. The last two chapters before the conclusions discuss two of the most important considerations for any orchestra: the role of technology and how it impacts orchestras, and the role, profile and qualities of a good CEO.
The structure of the book enables both those unfamiliar with the particularities of orchestras, and those more experienced, to grasp the complex world of orchestra management. Each chapter clearly lays out what the reader is expected to learn, making it also a very good compendium for students. Written in a clear and accessible way, the book is a comprehensive guide to anyone working in orchestras and in the wider area of cultural management, and to anyone who wishes to understand the particularities of orchestra management in our times.
The Live Music Business. Management and Production of Concerts and Festivals
For cultural management professionals, managing live music events very much resembles that well-known picture of the iceberg which shows a small part above water, with a much larger part below water and invisible to the eye. Live music management may seem easy, but in reality, it is extremely complicated and among the most demanding areas of cultural management. It includes a variety of tasks such as coordinating with artists and venues, negotiating contracts, understanding technical riders and managing technical requirements, doing marketing and promotion, and overseeing every single detail until the end of a live event. All these elements have to be considered, planned and executed carefully and with extreme attention for a live event to be successful.
Reynolds’ book, now in its third edition, highlights both parts of this immense iceberg, disentangling the most important areas and considerations in live music management today. The book is divided in two parts; one is devoted to live music management and the other to live music production, delineating these two basic areas and discussing their realities and particularities. The first part begins with a discussion about artists, the most important element in live music management, and is followed by the other main roles in the live music sector such as those of the artist manager, booking agent, and concert promoter. After a thorough discussion of the role of artists in live performance, each of the other roles is discussed in detail, highlighting their contribution to the live music ecosystem: what they do, how they do it, and which are the most important considerations and challenges in their activities.
The next chapters provide a detailed explanation and discussion of all the technical essentials of live music management. These include contracts, technical riders and the various elements included in them such as the cast and crew, transport, catering, accommodation and hospitality, as well as different types of technical information regarding stage, audio, light and video that is necessary for managers of live music events to know. Additional chapters discuss revenue streams from live music for both artists and promoters/organisers, and different types of marketing and promotion. The chapter on festivals provides a concise overview of festivals and their importance for the live music sector. Having previously referred to all the main elements that need to be taken into consideration in the management of a live event, the last chapter of this part discusses strategic considerations towards live performances. Part II is then devoted to the production of live music. Planning, budgeting, salaries, transport, accommodation, but also considerations such as rehearsal spaces, visa issues, and health and safety are all discussed to provide insight into additional elements that a live events manager needs to be familiar with and know well in order to manage a successful event.
Although the book ends a bit abruptly and without conclusions, Reynolds’ contribution is an essential, comprehensive and systematic guide to different types of live music events, which is useful for anyone either starting out as a live events manager or who is already established in this area. The book provides a detailed presentation, in a simple and comprehensive way, of different key elements, how they come together in practice and how they contribute to the success of any live music event. The book is a valuable resource for academics and practitioners in the field.
Pop Music Management
Pop Music Management starts with a personal account of the author’s experience as a music manager that tells a lot about what music managers do – how they earn a living by managing artists, their commissions, and their career trajectories. His story provides the inspiration for this book and serves as a preview of different perspectives of music management in the pop music sector that are disentangled in the following chapters.
The first chapter uses an example of bad management to discuss what music management is not. Murphy discusses the case of la Soeur Sourire (the Singing Nun) as an example of an artist who suffered from bad management, and emphasises elements of skills and care for the artist and the project as crucial factors for success. Subsequent chapters concentrate on the United Kingdom and the United States – rightly so, as these are two countries where pop music management traditions and practices are most developed. For the United Kingdom, the author uses the cases of the Beatles, The Who, and Ed Sheeran. Narrating the stories of their success, he showcases the managers rather than concentrating on the artists themselves. These stories also highlight the power of networks and relationships, and showcase the paramount importance they have for artists’ management. The same is also apparent in the chapter about the United States which includes the cases of Sid Bernstein, Albert Grossman and David Geffen.
Another chapter is dedicated to black music and black entrepreneurs, and the barriers they faced; examples here come from Motown, hip-hop and the team around Jay-Z, but also from the fashion industry and its association with hip-hop music. Murphy dedicates a chapter to women managers, who were held back from the industry for decades but are finally able to achieve success. This chapter touches inevitably on gender equality, discussing the results of relevant research and highlighting issues such as underrepresentation, lower earnings and shorter careers for female pop music managers. Arlyne Rothberg, the first number one female manager is one of the examples mentioned here, along with Jean Powell Harcourt and Ginger Canzoneri who managed the Go Go’s.
After a rich overview, both in historical terms and also in examples of trajectories of artists through the stories of their managers, the last three chapters focus on the relationship between artists and managers, the cases of artists who are also managers, and K-pop as an example of modern management. Murphy again uses examples of artists and their managers to illustrate his arguments: Carole King, Johnny Cash, Britney Spears, Fleetwood Mac and Taylor Swift all have a prominent position in these chapters.
Although many great artists are mentioned throughout the book and may seem to temporarily steal the readers’ attention, the spotlight is actually on the managers. Murphy sheds light on their role and how they shape both the careers of their artists and the global music industry landscape through real stories that reveal their thinking, strategies, and choices. The book is an invaluable source of information in both a historical and contemporary context. It showcases the importance of interpersonal connections and of the human elements of artists’ management and reveals the complexity of the artist manager’s job, underlining how a combination of music, managerial and interpersonal skills is crucial for an artists’ success. Murphy’s writing is simple and enjoyable without compromising the quality of the book, but rather making it accessible to students, academics and anyone interested in discovering the fascinating world of pop music through the lens of pop artists’ management.
Digital Transformation in the Recording Industry
The digital transformation has revolutionised the music sector, affecting how music is created, distributed and consumed. Production, access and consumption of music have improved in many ways, as the advancement of technology provided opportunities for artists to create without the need for a big label and made their work more accessible through platforms. Developments, however, have not been without problems. The shift to digital seems to also have accentuated already existing issues in the sector, such as the need for appropriate regulation to protect artistic work in a digital environment. It has also created a series of new issues such as fair compensation of musicians from digital platforms, or inaccessibility to the market particularly for new and emerging artists. The focus of this book is the impact of digital transformation, particularly on the recording industry.
The chapter entitled “The recording industry and its environment” provides a highlight of the recording industry: How is it situated within the economy and in the cultural and creative industries? What does it actually produce? How do companies function in the recording industry? And who are the other actors involved in its operation? The chapter also includes a discussion of how sociodemographics and politics affect the conditions of its operation, as well as issues on copyright, legal frameworks, the digital turn and the impact of these factors. The chapter “Power structure before the digital revolution” revolves around the power structures of the recording industry using Porter’s five forces model, which is based on conflicts between different actors. Janowska analyses the model with reference to the recording industry, highlighting these five forces – the threat of new entrants, the power of suppliers, the power of buyers, the threat of substitutes, and the industry rivalry (pp. 60–61). The chapter discusses the relationships between different stakeholders and how these shape, modify and change power dynamics in the recording industry. The subsequent chapter highlights the impact of the digital revolution on the recording industry; it is a clear and detailed presentation of the different effects digitalisation has on the industry ranging from production, regarding both methods and formats, to consumption in terms of mobility, ownership and access. Here Janowska turns again to Porter’s model, discussing the impact of digitalisation with reference to democratisation of production, the emergence of new producers, disintermediation, music distribution and promotion. Particular emphasis is given to distribution and its impact on reform processes within the music industry.
The chapter entitled In Search of Solutions discusses timely policy considerations faced by the contemporary recording industry as part of the digital transformation, focusing on copyright and the use of blockchain. Copyright is a big part of this chapter, with reference to points of particular interest for the recording industry such as the fair use and first sale doctrines, creative commons, and questions regarding balancing the interests of different stakeholders along the music industry chain. Blockchain inevitably also takes up substantial space here: it is presented both as the most significant technology after the advent of the Internet, and with regards to its potential contribution to how the recording industry can operate in areas such as royalty payments, access to funding sources, and transparency of the value chain. In the concluding chapter, the author sums up the discussion in the previous chapters. In light of the rapid developments taking place in the industry, Janowska asks the question everyone in the music industry is thinking about: is it time for a new revolution?
Overall, the book is well-researched and written. It combines a historical perspective with the most recent developments in the recording industry. Although it may present challenges for anyone without prior knowledge about digital transformation and its role in the music industry or about the recording industry itself, it is an excellent reading that provides a thorough analysis and understanding of its transformative powers and dynamics. The author’s accessible writing style and explanations help bridge this gap, making the book undoubtedly helpful for students, scholars, researchers and policy makers alike.
