SOCIAL MEDIA PROMOTION FOR MUSICIANS: THE MANUAL FOR MARKETING YOURSELF YOUR BAND AND

WANT TO BUILD AN ONLINE FOLLOWING FOR YOUR BUSINESS, SERVICE OR PRODUCTS BUT NOT SURE WHERE TO BEGIN? In The Rule-Breaker's Guide to Social Media Damian Keyes shows you how to get ahead in the 'creative age' of the internet by ripping up the rule-book and starting all over again. Crammed full of expert anecdotes, tips and advice - plus a highly effective 30 Day Challenge - this book will revolutionise the way you view online marketing. It's time to unplug from the old ways of doing things and embrace your unique strengths, skills and passion. It's time to become a rule-breaker! 'Throw out any other guide, because this is all you need to effectively build your brand and business through social media.' John Michael Morgan, author of Brand Against the Machine At the age of 23 Damian Keyes became one of the founders of The British Institute of Modern Music, which is now the largest full-time independent music education provider in the world. Damian also owns several businesses, including DK Music Management and Warble Entertainment. As a bass player he has performed in over 2000 venues around the world, including Wembley Stadium and Hyde Park. In his role as a keynote speaker Damian travels the globe helping brands and businesses grow using social media marketing. For more information please visit: damiankeyes.com

In this practical and lively guide, Whitney Biennialfeatured artist and career coach Brainard Carey will teach you about opportunities that you didn't even know existed!

'Business-as-usual' has been transformed across the music industries in the post-CD age. Against widespread hype about the purported decline of the major music labels, this book provides a critique of the ways these companies have successfully adapted to digital challenges – and what is at stake for music makers and for culture. Today, recording artists are positioned as 'artist-brands' and popular music as a product to be licensed by consumer and media brands. Leslie M. Meier examines key consequences of shifting business models, marketing strategies, and the new 'common sense' in the music industries: the gatekeeping and colonization of popular music by brands. Popular Music as Promotion is important reading for students and scholars of media and communication studies, cultural studies and sociology, and will appeal to anyone interested in new intersections of popular music, digital media and promotional culture.

The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined. In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.

This book explores social networking sites as the digital field of cultural production by loosely drawing from Pierre Bourdieu's notion of field and capital. The book examines four case studies on MySpace, YouTube, Second Life, and Indaba Music, and the roles and the impact they have on the music industry and musicians. In doing so, the author explores the groundbreaking developments that empower independent musicians and problematizes the emergence of a variety of issues symptomatic of social media environments at the height of convergence culture.

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