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While institutional critique has long been an important part of artistic practice and theoretical debate in the visual arts, it has long escaped attention in the field of music. This open access volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music's institutions, their critique, and their transformations. For scholars, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today. In this way, it provides a major contribution to the debate about the present and future of contemporary music.

In Popular Music and Adorno's "The Aging of the New Music," Robert Hullot-Kentor introduces Adorno's essay (first delivered as a lecture in 1954 at the Stuttgart Week of New Music [published as "Das Altern der neuen Musik," Gesammelte Schriften (Collected Works), Frankfurt: Suhrkamp, 1973, 143-167), reiterating his rejection of popular music & postmodernism as authentic artistic innovations. Adorno's defense of high culture is also explicated. In the essay, Adorno describes "new" or popular music in the twentieth century as distressing & confused, & contends that its aging represents not a revolt, but an ebbing away of its fundamental tensions & critical impulse. Parallels are drawn to changes in the larger society, & illustrative examples are offered to compare new music with the classical compositions of the heroic era. K. Hyatt

First presented as a lecture (entitled "Musik und neue Musik") on TV in May 1960. The meaning & validity of the concept "new music," referring to abrupt change undergone by music in the early twentieth century, are examined. While current composition of music essentially derives from this new approach, its reproduction & consumption are based on the traditional tonal approach, to which new music can be contrasted. The practice of new music rests on systematic rejection of even the remotest derivatives of the tonal tradition, & of the desire to ingratiate or appeal to the emotions, which has been recognized as implicitly ideological in significance. Electronic music in particular creates a sense of alienation in many hearers, by refusing to produce a music consonant with the existing world, & can be expected to become a major part of the development of new music. Ultimately, the category of new music is useless, because the "distinction between new music & music per se has become the distinction between good & bad music." W. H. Stoddard.

"With no direct ties to traditional Chinese music, New Music reflects the compositional techniques and musical idioms of eighteenth-, nineteenth- and early twentieth-century European styles. Liu traces the genesis and development of New Music throughout the twentieth century, deftly examining the cultural, social, and political forces that shaped New Music and its uses by politicians and the government."--[book cover]

This research-based book outlines career models for artists, methods of creative engagement, artistic options including individuality and branding, production practices, the realities of being a musician in the new industries, and implications for popular music education. Due to the profound effects of the digitisation of music, the music industries have undergone rapid transformation. The former record label dominated industry has been supplanted by new industries, including digital aggregators, strategists and online platforms. These new music industries now facilitate 'direct' access to both artists and their music. While such accessibility and the potential for artist exposure have never been greater, the challenge to stand out or to even navigate a musical career pathway is formidable. A useful resource for musicians and educators, this text highlights the ways in which the new music industries facilitate increased opportunities for 21st Century popular musicians to collaborate, communicate and interact with others interested in their music. Associate Professor Diane Hughes is a lecturer in Vocal Studies and Music at Macquarie University, Australia. Her research areas include the singing voice, pedagogy, film and sound, recording practices, the music industries, and popular music and song. She is currently the National President of the Australian National Association of Teachers of Singing Ltd. Professor Mark Evans is the Head of the School of Communication at the University of Technology, Sydney, Australia. He is Series Editor for Genre, Music and Sound and is currently Editor for The International Encyclopedia of Film Music and Sound. He holds an Australian Research Council (ARC) grant to design an artistic and environmental map of the Shoalhaven basin in New South Wales, Australia. Dr Guy Morrow is a lecturer in Arts Industries and Management at Macquarie University, Australia. He focuses on understanding how artists are managed, both in terms of direct artist management and also through cultural policies. By examining the relationship between artists and managers, Guy generates core-related insights in the creative industries. He is currently the Secretary of the International Music Business Research Association. Dr Sarah Keith is a lecturer in Music and Media at Macquarie University, Australia. Her research areas includes popular music studies, Korean and Japanese popular music, other East Asian popular musics, the music industries, music and ...