Music Business and the Experience Economy: The Australasian by Philip L. Pearce (auth.), Peter Tschmuck, Philip L. Pearce,

By Philip L. Pearce (auth.), Peter Tschmuck, Philip L. Pearce, Steven Campbell (eds.)

Music company and the adventure Economy is the 1st e-book at the song enterprise in Australasia from a tutorial viewpoint. In a cross-disciplinary strategy, the contributions care for a wide-range of themes in regards to the creation, distribution and intake of tune within the electronic age. The interrelationship of felony, aesthetic and financial features within the construction of song in Australasia can be highlighted in addition to the emergence of recent company types, the position of P2P dossier sharing, and the stay song quarter. moreover, the effect of the electronic revolution on song event and valuation, the function of tune for tourism and for branding, and final yet no longer least the advancements of upper track schooling, are mentioned from varied perspectives.

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Extra resources for Music Business and the Experience Economy: The Australasian Case

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In that study the case was made for the connection of rhythmic patterns and lyric phrasing used in traditional music of the Torres Strait and also present in the songs written while working on the railway lines of Western Queensland (Salisbury 2009). 3 Aboriginal Country Music In the film documentary “Buried Country” (2000), one of the first scenes features Jimmy Little singing a country song in a movie. The narrator states that Aboriginal musicians have been telling their stories through Country and Western music for nearly a century, only most of the time most of white Australia wasn’t listening (Walker and Nehl 2000).

One good example is Justin Bieber’s success with YouTube videos posted by his mother such as “Cry Me a River” (performed in his 30 D. Salisbury living room when he was around the age of 13). This particular video received over six million viewings, and it has been accredited to his current fame and popularity. Some of the trends in the new music industry include: • Peer-to-peer (P2P) downloading pioneered by Napster (operating between June 1999 and July 2000) • A-la-carte (Download Store) which allows users to buy individual songs instead of whole albums • Subscription service which offers consumers unlimited downloads for a monthly fee • Advertisement-based services that offer music free of charge due to advertising revenue (Wikipedia, 2012, Digital Business Models).

Neuenfeldt 2007: 11) In this description Neuenfeldt also points to the difficulties in recording music in the Torres Strait and the lack of quality technology to complete a commercial product that makes it necessary to go to the ‘mainland’ for post-production work. Eddie Koiki Mabo (2005) makes the observation that there was an explosion of contemporary music in the Torres Strait during the 1950s. He believes that the impact of the singing of hymns ‘sung in language accompanied by traditional island drums’, was one attributing factor for the take up of contemporary music by Torres Strait Islanders.

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