Producing pop: culture and conflict in the popular music industry. Responsibility: Keith Negus. Imprint: London ; New York: E. Arnold ; New York: Distributed in. Keith Negus – Producing Pop Identifies two distinct ways of thinking about potential artists from within the music industry. These ideologies. by. Keith Negus. · Rating details · 7 ratings · 0 reviews. Producing Pop provides a fascinating behind-the-scenes analysis of one of the world’s major.
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Producing Pop: Culture and Conflict in the Popular Music Industry – Keith Negus – Google Books
Drawing on extensive interviews and research within the industry, Keith Negus describes how artists are discovered, how recordings and videos are produced, and how artists are promoted through radio, television, magazines, clubs and personal appearances.
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London ; New York ; Melbourne: Describe the connection issue. Rock music — Great Britain. Machine derived contents note: Music trade — United States. keitg
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Producing Pop provides a fascinating behind-the-scenes analysis of one of the world’s major entertainment industries. Mariana marked it as to-read Nov 17, Artists and Repertoire and the acquisition of artists Images, identities and audiences: Physical description ix, p. To learn more about Copies Direct watch this short online video. Published January 7th by Hodder Education Publishers. Books by Keith Negus.
Producing Pop: Culture and Conflict in the Popular Music Industry
See what’s been added to the collection in the current 1 2 3 4 5 6 weeks months years. Dennis Collopy rated it it was amazing Aug 24, Publisher description Broken link? Justin De Marco marked it as to-read Feb 01, Arnold ; New York: Browse related items Start at call number: Find it at other libraries via WorldCat Limited preview.
Music trade — Great Britain. Annah marked it as to-read Jul 26, Kaz rated it liked it Dec 06, John Rootham marked it as to-read Sep 09, Browse titles authors subjects uniform titles series callnumbers produving numbers starting from optional. National Library of Australia. Focusing on the contribution of recording industry personnel, it challenges the simplistic assumption that pop music is merely nwgus by corporate financial interests, and argues against writers who portray the music business as a cultural assembly line.
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