The Pop Music Idol and the Spirit of Charisma

1. Front Matter

   Pages i-xiii

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2. Organisational Change: Corporatist Relations between the Music Industry and Reality TV

   1. Front Matter

      Pages 1-1

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   2. The Sociology of Reality TV, the Political Economy of the Music Industry and Convergence of the Twain

      • Trajce Cvetkovski

      Pages 3-42

   3. The Primary Corporatist Relationship in Music Reality TV

      • Trajce Cvetkovski

      Pages 43-91

   4. Maintaining a Homogeneous Product Oligopoly

      • Trajce Cvetkovski

      Pages 92-127

3. Decentralisation and the Rise of a New Organisational Order

   1. Front Matter

      Pages 129-129

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   2. Vertical and Horizontal Organisational Developments

      • Trajce Cvetkovski

      Pages 131-156

   3. Streaming for Success

      • Trajce Cvetkovski

      Pages 157-185

   4. Conclusion

      • Trajce Cvetkovski

      Pages 186-199

4. Back Matter

   Pages 200-225

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This book makes a case for the synergetic union between reality TV and the music industry. It delves into technological change in popular music, and the role of music reality TV and social media in the pop production process. It challenges the current scholarship which does not adequately distinguish the economic significance of these developments.

• Popular music
• reality TV
• Idol
• The Voice
• X Factor
• One Direction
• BMG
• Sony
• Warner
• Universal
• 360°
• pop
• copyright
• recorded music
• music contracts
• Max Weber
• Charisma
• Tradition
• authority
• legal rational
• digital
• economy
• media
• radio
• social media
• television

• University of Queensland, Australia

  Trajce Cvetkovski

Trajce Cvetkovski holds a PhD (Political Science) degree from the University of Queensland and teaches law and governance at the School of Political Science and International Studies. He also practises as a lawyer. His research interests include the political economy of popular culture and corporate media citizenship and regulation. He is currently interested in technological change and the future of popular music. His most recent book is Copyright and Popular Media: Liberal Villains and Technological Change (2013).

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