LEADER 05836oam 2200649I 450 001 9910782954003321 005 20230422043114.0 010 $a1-134-68820-2 010 $a1-134-68821-0 010 $a1-280-10474-0 010 $a0-203-28594-8 010 $a0-203-16946-8 024 7 $a10.4324/9780203169469 035 $a(CKB)1000000000005386 035 $a(StDuBDS)AH3703397 035 $a(SSID)ssj0000432114 035 $a(PQKBManifestationID)11314499 035 $a(PQKBTitleCode)TC0000432114 035 $a(PQKBWorkID)10475705 035 $a(PQKB)11248109 035 $a(CaPaEBR)ebr10017443 035 $a(MiAaPQ)EBC167591 035 $a(Au-PeEL)EBL167591 035 $a(CaPaEBR)ebr10062764 035 $a(CaONFJC)MIL10474 035 $a(OCoLC)259510636 035 $a(OCoLC)52847659 035 $a(EXLCZ)991000000000005386 100 $a20180706d1999 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMusic genres and corporate cultures /$fKeith Negus 210 1$aLondon ;$aNew York :$cRoutledge,$d1999. 215 $a1 online resource (ix, 209p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-415-17399-X 311 $a0-415-17400-7 320 $aIncludes bibliographical references (p. 197-207) and index. 327 $a1. Culture, industry, genre : conditions of musical creativity -- 2. Corporate strategy : applying order and enforcing accountability -- 3. Record company cultures and the jargon of corporate identity -- 4. The business of rap : between the street and the executive suite -- 5. The corporation, country culture and the communities of musical production -- 6. The Latin music industry, the production of salsa and the cultural matrix -- 7. Territorial marketing : international repertoire and world music -- 8. Walls and bridges : corporate strategy and creativity within and across genres. 330 $aTracing the relationship between economics and culture and corporations and their artists through case studies, this volume explores the way in which the music industry rewards certain sounds, and how this influences the musicians. 330 $bMusic Genres and Corporate Cultures explores the seemingly haphazard workings of the music industry, tracing the uneasy relationship between economics and culture; `entertainment corporations' and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Polygram in managing different genres, artists and staff. How do takeovers affect the treatment of artists? Why has Polygram been perceived as too European to attract US artists? And how did Warner's wooden floors help them sign Green Day? Through in-depth case studies of three major genres; rap, country, and salsa, Negus explores the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. He examines the tension between raps public image as the spontaneous `music of the streets' and the practicalities of the market, and asks why country labels and radio stations promote top-selling acts like Garth Brooks over hard-to-classify artists like Mary Chapin-Carpenter, and how the lack of soundscan systems in Puerto Rican record shops affects salsa music's position on the US Billboard chart. Drawing on over seventy interviews with music industry personnel in Britain and the United States, Music Genres and Corporate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business styles while stressing that music production takes within a broader culture, not totally within the control of large corporations. Music Genres and Corporate Cultures explores the seemingly haphazard workings of the music industry, tracing the uneasy relationship between economics and culture; `entertainment corporations' and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Polygram in managing different genres, artists and staff. How do takeovers affect the treatment of artists? Why has Polygram been perceived as too European to attract US artists? And how did Warner's wooden floors help them sign Green Day? Through in-depth case studies of three major genres; rap, country, and salsa, Negus explores the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. He examines the tension between raps public image as the spontaneous `music of the streets' and the practicalities of the market, and asks why country labels and radio stations promote top-selling acts like Garth Brooks over hard-to-classify artists like Mary Chapin-Carpenter, and how the lack of soundscan systems in Puerto Rican record shops affects salsa music's position on the US Billboard chart. Drawing on over seventy interviews with music industry personnel in Britain and the United States, Music Genres and Corporate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business styles while stressing that music production takes within a broader culture, not totally within the control of large corporations. 606 $aSound recording industry 606 $aPopular music$xHistory and criticism 615 0$aSound recording industry. 615 0$aPopular music$xHistory and criticism. 676 $a781.64 700 $aNegus$b Keith.$01483406 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910782954003321 996 $aMusic genres and corporate cultures$93701504 997 $aUNINA