Guy Morrow

University of Melbourne | MSD · School of Culture and Communication

This article analyses how public funding enables artistic practices from the perspectives of both national cultural policy decision makers, and our three interviewed subjects in the visual arts. Funding from the Australia Council for the Arts is examined in terms of the extent to which it is perceived to dis/enable ongoing artistic practice. This e...

The aim of this project was to develop an impact framework for the Science Gallery Network (SGN). This work was commissioned by the Science Gallery International (SGI). The SGN has eight member organisations across four continents: Dublin, London, Melbourne, Bengaluru, Detroit, Rotterdam, Atlanta and Berlin. Whilst the network consistently sees unp...

COVID-19 had a global impact on health, communities, and the economy. As a result of COVID-19, music festivals, gigs, and events were canceled or postponed across the world. This directly affected the incomes and practices of many artists and the revenue for many entities in the music business. Despite this crisis, however, there are pre-existing t...

This chapter addresses the question of how Australian-based music professionals perceived the changing role and function of music charts in the contemporary music economy following the epochal moment in 2017 when streaming was first included in the Australian Recording Industry Association charts. By investigating the impact of music streaming serv...

This chapter provides a unique insight into the historical discussions that took place in 2018 prior to the establishment of the Music Modernization Act (MMA) in the United States (US). The MMA is a piece of US legislation that was signed into law on 11 October 2018. The legislation aimed to modernise copyright-related issues for music and audio re...

There are two main types of income earned by musicians. The first is capital income, which is the type of income derived from owning the intellectual rights to music, either through record sales or leveraging moral rights. The second is labour income, which is generated from live per- formance and takes the form of performance fees. Historically, t...

This chapter concludes the book and addresses XR design. It features a case study of Icelandic musician and visual artist Björk’s release of her full VR album Vulnicura (Björk 2019c). A case study of Florida-based company Magic Leap’s work with Icelandic band Sigur Rós is also provided. Sigur Rós (2020) and Magic Leap collaborated to develop an int...

This chapter addresses gig and tour poster design and identifies two main types of poster. First, stand-alone gig and tour posters are posters that are designed for a specific show or tour, with the design concept often being independent from the primary design culture surrounding the music. The second type involves gig and tour posters that form a...

This chapter concerns live music experience design and begins with a case study of British band Radiohead and their lead singer Thom Yorke’s long-term collaboration with visual artist Stanley Donwood. This case study is useful for understanding how visual design symbolically ties together Radiohead’s organisation, and the design objects and experie...

This chapter examines music video dissemination. Through an initial discussion of Passenger’s video for his song ‘Let her go’ (2012), a video that has a YouTube viewership in the billions and as such is an outlier in the field, this chapter examines YouTube’s role in the music business ecology. Following this, through a case study of Sydney-based m...

To write this book I inhabited design cultures in the music industries and followed the flows and connections and moved within these industries as a curious traveller. In doing so, I have attempted to provide a more extended and embedded understanding of the music industries. This chapter therefore outlines the research methods used, including the...

Design culture can be difficult to explain. My aim in this book is to answer three questions that will help to define it for anyone with a serious interest in the music business and its future. These questions are designed to outline why I use design culture theory rather than other options: Why design culture and not branding? How does design cult...

This chapter concerns contemporary music video production and outlines how musicians over the last decade perceive changes in the ways in which they produce and use music videos. Through reflections on my involvement in the production of Australian musician Emma Louise’s music video for her song ‘Mirrors’ (2013), as well as a digital ethnographic s...

This chapter concerns album cover design. After an initial discussion of the album covers produced for bands such as The Beatles, Cream, Led Zeppelin, The Cure, Sex Pistols, The Rolling Stones, Kanye West, the Yeah Yeah Yeahs and others, I conduct case studies of contemporary British band Bear’s Den’s approach to album cover design and Australian s...

This book addresses the neglect of visual creativities and content, and how these are commercialised in the music industries. While musical and visual creativities drive growth, there is a lack of literature relating to the visual side of the music business, which is significant given that the production of meaning and value within this business oc...

This article investigates the relationship between the concept of attention and reputation building mechanisms in the new music industries, with a specific focus on artist co-management. It addresses the following research question: How can artists and artist managers design artist-led organizations that operate effectively and efficiently in a wor...

This chapter concerns artist management practices within the creative and cultural industries, specifically within the music, dance and film sectors, during the period 2009 to 2018. It therefore locates artist management practices within a time period that includes the present historical moment; a context in which there is increasingly prevalent di...

Artist managers ‘create’ careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain ‘brands’, and this is a creative industry function. The thesis begins with a description of what artist management is, then it re...

Artists are creative workers who drive growth in the creative and cultural industries. Managing artistic talent is a unique challenge, and this concise book introduces and analyses its key characteristics. Artist Management: Agility in the Creative and Cultural Industries makes a major contribution to our understanding of the creative and cultural...

Artists are creative workers who drive growth in the creative and cultural industries. Managing artistic talent is a unique challenge and this concise book introduces and analyzes its key characteristics. Artist Management: Agility in the Creative and Cultural Industries makes a major contribution to our understanding of the creative and cultural...

This article investigates the relationship between the concept of attention- and reputation-building mechanisms in the new music industries, with a specific focus on artist co-management. It addresses the following research question: How can artists and artist managers design artist-led organizations that operate effectively and efficiently in a wo...

The purpose of this chapter is to investigate student team-based possibilities for expanding the range of delivery modes for internship programmes within a popular music degree. A case study of the collaborative approach used in an arts entrepreneurship and management internship programme at Macquarie University (MQ) is provided in addition to pre-...

The democratisation of music technologies and the digitisation of music practices have resulted in the development and fragmentation of related industries. No longer a label-centric industry, these new music industries facilitate increased opportunities for twenty-first century musicians to collaborate, to communicate and to interact with others in...

This chapter outlines possible futures for the music industries in light of what is determined as the ?new? artist. Cumulative research findings, the implications of those findings, and a ?new? artist definition and model are presented which raise considerations for future musical creativities and directions. The cumulative findings also raise cons...

This chapter addresses new concepts of musical creativities, collaborations and contemporary forms of musical authorship. It therefore focuses on diverse creativities and challenges the traditional notion of ?creativity?. In this context, the crafting of songs, the authorship of songs and the use of technologies that assist in the crafting process...

The realities of practice can prove extremely challenging for some artists and can lead to issues of health, safety and wellbeing. The realities discussed in this chapter include the relevance of image and branding, the significance of a support network, contractual obligations and fiduciary aspects of associated individuals or organisations. It is...

While the opportunities for accessing and sharing music are now extensive, this chapter addresses the ability to be noticed or heard. This can pose significant challenges for artists. An analysis of career development within the new music industries suggests that tension between creativity and management roles dissipates when the artist becomes an...

Teaching popular music in higher education is multidimensional. This chapter considers how best to train students for sustainable career trajectories within the new music industries. To date, business education, particularly in tertiary settings, has tended to be treated in isolation from the ?music? component. This chapter will show how contempora...

This chapter outlines three career models?360, Entrepreneur and DIY?identified as being significant and viable models within the new industries. The functions and variations of each model are discussed, together with associated revenue streams and risk factors. The chapter discusses traditional linear career development and introduces the concept o...

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 industrie...

Over the past fifteen years the music industry has experienced a disruptive process of digital transformation that has reshaped most aspects of the industry; in 2015 the contours of a “new music economy” have begun to emerge. The structure and mechanics of these evolutionary processes vary considerably between continents, and this book examines the...

The Asia Pacific Journal of Arts and Cultural Management is available at: apjacm.arts.unimelb.edu.au and is produced by the School of Culture and Communication: www.culture-communication.unimelb.edu.au at the University of Melbourne: www.unimelb.edu.au Abstract Artistic practices are subjected to numerous situational factors that simultaneously hin...

This article explores the concept of musical liveness, and seeks to clarify how digital technologies are changing conceptions of live performance. It draws on research into contemporary music industries in Australia. Discussions of live music performance, and liveness, are often equated to the real­time performance of music by a musician in front o...

It is problematic that artist managers in the international popular music industry are not currently subject to consistent regulatory frameworks, particularly given the increasing centralisation of responsibility with this role. This article examines the following research question: Can artist management practices be consistently regu-lated? In add...

This chapter is based on fieldwork conducted in Australia, the UK and the US from April 2010 until December 2011 during my tenure as co-manager/ promoter of Australian band Boy & Bear. It draws on participant observation and secondary interview data featuring the perspectives of other Australian and international agents, artist managers and concert...

This chapter addresses the question of whether the conflict that occurred between the band Boy & Bear and the record producer Joe Chicarrelli, and within the collaborative web surrounding them, was necessary for the production of an album that became commercially successful. It is clear that a certain degree of conflict within this creative group w...

Contemporary artists embarking on a musical career enter into a highly competitive and complex environment. Whereas the pre-digital music industries consisted of de-finable streams of income and markers of achievement, such as live performance opportunities, record deals, royalties, and radio play, today's music industries involve multiple platform...

Contemporary artists embarking on a musical career enter into a highly competitive and complex environment. Whereas the pre-digital music industries consisted of de-finable streams of income and markers of achievement, such as live performance opportunities, record deals, royalties, and radio play, today's music industries involve multiple platform...

This article explores the role of synchronisation agents, and the current music business environment in Australasia more generally, in order to examine the various methods for music and image synchronisation and the extent to which the process of synchronisation can assist artist managers in building and maximizing their clients' musical careers. '...

This article will explore the way in which Radiohead have been managerially creative through their use of new media technologies. The band released their seventh album In Rainbows on the 10 October 2007 as a digital download for which consumers chose their own price: beginning at nothing. The issue of whether this example presents a model for other...

This article explores the various contractual pathways that are available to bands from smaller markets who wish to move into larger, more lucrative territories. As there is no definitive managerial 'method' for artist managers from smaller markets to employ in order to achieve success in foreign territories, this article primarily serves to 'map o...

Vanuatu, formerly known as the New Hebrides (during the period of its Anglo-French colonial condominium) comprises a group of 83 islands in the South West Pacific, north east of New Caledonia and north west of Fiji. Vanuatu is home to a rich Melanesian culture where more than 100 different languages are spoken (in addition to the national pidgin la...