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The Future of Music: Manifesto for the Digital Music Revolution (Berklee Press) Paperback – January 1, 2005
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From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
About the Author
Leonhard is a respected music futurist and oft-quoted visionary, a well-known music industry executive and music business entrepreneur, a sought-after strategic adviser and music industry super-node -- and still a performer (guitar), writer, and producer.
Top Customer Reviews
Like Martin Luther's '95 Theses' nailed to the door of Wittenberg Cathedral, Kusek and Leonard drive nail after nail into the sclerotic heart of the old-fashioned music business. Their rational vision of the future of music rests on the idea of unshackling music from the hardcopy product business in a yet-to-be-realized era of open content licensing, facilitating sharing and communication among users, and growing the business to its full potential.
It provides as clear a vision of the future of the music industry as you will find, from two writers with a rare combination: a solid grounding in the traditional practices of the music business, an up-to-the-minute knowledge of the new technologies that are changing it, and the ability to think through the consequences.
I've dreamed about a book like this, but thought it would be impossible in today's hyperdynamic environment where every week seems to bring a breakthrough technology, device, or service. But by digging out the underlying trends and principles Kusek and Leonard get under the news and illuminate it. Along the way they provide a brilliantly concise history of the evolution of digital media.
I can't think of any book more important for artists to get the full re-orientation they need to survive and prosper in the digital era. It's no less critical for members of the music and broadcasting industries who need to consolidate their thinking into a coherent roadmap for the future.
In a word: indispensible.
This book clarifies the differences between the record and music industry, and emphasizes the effect of file sharing on digital medias (Limewire, Bearshare, programs) and the record industry. It makes some significant points, and makes the same points again later on in the book. The author states that artists should be able to sustain careers rather easily without "getting signed" and that is not the case today. Artists still need capital for marketing on the internet, and in marketing it is possible, but still costly.
This book is worth reading if you are getting into the business. I don't regret buying it, but I think other books may have a more definite impact on the reader. What it boils down to is opinion, and mine vary slightly in some cases and greatly in others.
Did you know that the artist gets only 8% of a CD sale? This is about to change, since "... music belongs to the people, not to the multinational corporations that have controlled and exploited it over the past seventy-five years or so. The people, both fans and musicians alike, will decide what kind of future we want." Many of the authors' ideas can be applied outside the music business, too.
All in all, a worthwhile read.
Unfortunately, I was disappointed by the book's lack of practical how-to information--especially for a book published by Berklee Press, the publishing arm of the well-respected Berklee College of Music. For this reason, I chose not to recommend it to readers nor to even use it as a giveaway.
As another reviewer stated, The Future of Music: Manifesto for the Digital Music Revolution is basically an essay, drawn out (some might say droned out) to stretch into book form via the use of repetitive text written several different ways to make the same point.
Sure, it's a manifesto. In fact the one positive thing I can say about this book is that it's aptly named...for alas, like many "manifesto"s, it's all talk and no action.
Where's the stuff indie musicians and aspiring music industry professionals are looking for? Where's the practical how to information on how to position and market your (digital)music? Where's the information on how to make the most of digital distribution? Where's the information on how to book a tour without a record deal? Where's the information on what talent buyers are looking for?
In other words, where is the information that actually tells an indie artist HOW TO BE A PART OF what the author keeps stating is so much more inclusive than the previous recording industry?
Answer: it's not there! Sadly for the indie artist who really wants to learn about the new music business, the author is too busy complaining about the old business model and going on about the virtues of the new one to notice the reader.Read more ›
Most Recent Customer Reviews
This guy is ahead of the curve on every aspect of the music industry and music education...from the development of MIDI for music notation, to starting online education at Berklee... Read morePublished 13 months ago by Melissa Slawsky
The Future of Music is a book full of interesting ideas and well-thought out scenarios about how the music industry is changing, but because of the way it is all presented, it is... Read morePublished 17 months ago by Logan reed
I didn't find that there was much value in this book. It felt like more of a rant by an opinionated author about a period of time within this great transition in the industry that... Read morePublished 19 months ago by person1
Gives valuable insight into the music business and way how the industry operates.
However it's thoughts on file sharing are and bit dated. Read more
Because the authors spend so much time elaborating on how music should be free, I'm very happy to see this book being pirated on P2P networks.
I guess back in 2007 it was worthy book to read, at least to wake up and jump on the train of digital music. Read morePublished on February 6, 2012 by Public Different