New technologies are rapidly changing the way music is recorded, sold, and enjoyed. Although these challenges appear to be unprecedented, Breaking Records offers a look back at the last 100 years that reveals that the recording industry has always initially feared--but eventually profited from--rapid shifts in the way music is recorded, distributed, and performed.
Related books and articles
Recorded Music in American Life: The Phonograph and Popular Memory, 1890-1945 By William Howland Kenney Oxford University Press, 1999
Handbook on Mass Media in the United States: The Industry and Its Audiences By Erwin K. Thomas; Brown H. Carpenter Greenwood Press, 1994
Recording History: The British Record Industry 1888-1931 By Gronow, Pekka ARSC Journal, Vol. 44, No. 2, Fall 2013
Peer-reviewed publications on Questia are publications containing articles which were subject to evaluation for accuracy and substance by professional peers of the article's author(s).
Limitations of the 1999 Work-for-Hire Amendment: Courts Should Not Consider Sound Recordings to Be Works-for-Hire When Artists' Termination Rights Begin Vesting in Year 2013 By Rafoth, Ryan Ashley Vanderbilt Law Review, Vol. 53, No. 3, April 2000
African Music in the World and Traditional Music Section at the British Library Sound Archive By Fargion, Janet Topp History In Africa, Vol. 31, 2004
Hip Hop: A Free-Market History By Maxwell, Brandon Loran Freeman, Vol. 63, No. 2, March 2013
The Margaret Herrick Library By Reuter, W. L. Special Libraries, Vol. 85, No. 3, Summer 1994
Irish Band Is Talk of Industry By Szczechowski, Joe The Washington Times (Washington, DC), June 14, 1998