Making Money, Making Music  offers tools to encourage creative and adaptive entrepreneurship in the music business. Written for the classroom and the workplace, it introduces readers to core principles and processes and shows how to apply them adaptively to new contexts, facilitating a deeper understanding of how and why things work in the music business. By applying essential concepts to a variety of real-life situations, readers improve their capacity to critically analyze and solve problems and to predict where music and money will converge in a rapidly evolving culture and marketplace. "This book will satisfy the need for a textbook on the music industry that emphasizes its entrepreneurial facets . . . Summing up: Recommended" ― CHOICE &;Bruenger offers a highly useful text to those entering or stalled in the business, who are desperately seeking expert guidance.  Making Money, Making Music  gives, for the first time, a publication that is well steeped in research but has access points that will be meaningful to both students and younger professionals. Bruenger has a significant position in creating studies in the field and writes with lucid authority and a welcome lack of ideology.&;&;Mitchell Korn, founder of MitchellKornArts, Advisor for Edify Technologies, Inc. and Adjunct Professor of Music and Community at the Blair School of Music, Vanderbilt University   &;Making Money, Making Music provides great historical context. It&;s a very interesting read, with great research on the topics covered. I think this original work is stimulating, excellent, and very well written.&;&;Kim Wangler, Associate Professor and Director of Music Industry Studies, Appalachian State University   &;I found  Making Money, Making Music  absolutely fantastic. Bruenger has uncovered a link in the chain that binds the emerging entrepreneurial musician and a more entrepreneurial industry.&;&;Gary Beckman, Director of Entrepreneurial Studies in the Arts, North Carolina State University “Bruenger offers a highly useful text to those entering or stalled in the business, who are desperately seeking expert guidance.  Making Money, Making Music  gives, for the first time, a publication that is well steeped in research but has access points that will be meaningful to both students and younger professionals. Bruenger has a significant position in creating studies in the field and writes with lucid authority and a welcome lack of ideology.”—Mitchell Korn, founder of MitchellKornArts, Advisor for Edify Technologies, Inc. and Adjunct Professor of Music and Community at the Blair School of Music, Vanderbilt University   “Making Money, Making Music provides great historical context. It’s a very interesting read, with great research on the topics covered. I think this original work is stimulating, excellent, and very well written.”—Kim Wangler, Associate Professor and Director of Music Industry Studies, Appalachian State University   “I found  Making Money, Making Music  absolutely fantastic. Bruenger has uncovered a link in the chain that binds the emerging entrepreneurial musician and a more entrepreneurial industry.”—Gary Beckman, Director of Entrepreneurial Studies in the Arts, North Carolina State University David Bruenger is the founding director of the Music, Media, and Enterprise Program at Ohio State University. Making Money, Making Music History and Core Concepts By David Bruenger UNIVERSITY OF CALIFORNIA PRESS Copyright © 2016 The Regents of the University of California All rights reserved. ISBN: 978-0-520-29259-8 Contents Introduction, 1, 1. Musical Experience as Transaction, 5, 2. Transience to Permanence, 30, 3. The Rise of Commercial Markets, 50, 4. Media Revolutions, 70, 5. Convergence and Crossover, 91, 6. Massification, 110, 7. Scaling and Selling Live Performance, 138, 8. Visual Media, 161, 9. Artists, Audiences, and Brands, 180, 10. Digitization, 200, 11. State of the Art, 219, Notes, 245, Bibliography, 271, Index, 287, CHAPTER 1 Musical Experience as Transaction The music of the soul is also the music of salesmanship. — Herbert Marcuse This is a book about making money, making music, and using the one to accomplish the other. It is not concerned with formal definitions of music or with practical music making. Nor will it provide specific guidance on how to promote your band, start a record label, or fill out a copyright registration form. This is an exploration of value in its many forms — artistic, social, cultural, and economic — and the capacity of music to create it. It is an examination of the human experience of music, why people place a value on that experience, and — perhaps most critically — how that value is measured. One way to measure the value of music is by applying "aesthetic" criteria. If we define aesthetic as "being pleasing," then the simplest criterion would be, does a given piece of music please the listener? Since this kind of value is