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This monograph is an innovative examination of the political economy of music. It integrates original economic theories and empirical research to shed light on the economic and social forces shaping music and society today. Interactive relationships, such as the importance of entrepreneurship, serendipity and authenticity, will be explored in artist subjective determinations of success.
In particular, this book deeply explores the mental health of musicians and "creative destruction" during the covid era, copyrights in music markets and an evaluation of the importance of entrepreneurship and brand marketing in the life of musical artists. The monograph contributes empirical research to underexplored areas in the cultural economics of music, such as the proposed musical production function by Samuel Cameron (Routledge 2015) and the concept of distinction in cultural production by Pierre Bourdieu (Routledge 1984, 2010) as uniquely applied with examples from the covid era. Readers will benefit from this easy-to-understand interdisciplinary exploration of the music industry with a focus on the United States and the political economy of music during the covid era. Most cultural economics is focused on Europe and Asia, so this emphasis on the United States will be of interest.
This book will be a beneficial reference work for researchers and will find an audience among music professionals and artists. Academics and non-academics, experts and novices interested in music and political economy will also find value in Artists and Markets in Music.
List of contents
1: Who is a (Musical) Artist and Why 2: Markets in Music 3: The Economics of Music Copyright 4: Political Economy of Music During the Covid Era: The Bowie Theory and Beyond 5: Empirical Results
About the author
Cameron M. Weber is an economist and historian living in Brooklyn, where he also produces a current events program about political economy called Hardfire TV with the BRIC Arts Media House.
Ying Zhen is an Associate Professor of Business and Economics, Department of Business and Economics, Wesleyan College, Georgia, USA.
J. J. Arias is Professor of Economics and Chair of the Department of Economics and Finance at Georgia College and State University, Georgia, USA.
Summary
This monograph is an innovative examination of the political economy of music. It integrates original economic theories and empirical research to shed light on the economic and social forces shaping music and society today.
