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This article aims to explore the arguments that citizens of future cities will increasingly live in virtual communities as well as bricks and mortar ones, and that some previously physical supply chains will become virtual networks or communities. In examining these arguments, the article investigates the development of the independent music community in Seoul, South Korea.

The research is based on a qualitative case study of music fans and independent record labels in Seoul.

The article shows that independent music fans in Seoul have built a self-organising, fan-dominated, value co-creating community, which has replaced the old, music label-dominated, hierarchical supply chain. The community arose from the passion of fans and their engagement with social media, rather the intentions of city planners and supply-chain architects.

The article shows that Seoul may be an exemplar of how future cities can and will develop, particularly in terms of the ability of people to use social media to develop and run their own virtual spaces and communities, which are tailored to the way they want to live their lives.

A total of 90 hotel, restaurant, and pub managers completed unstructured telephone interviews exploring their implicit theories of how atmospheric music affects consumer behavior. Many of the implicit theories emerging in the interviews were grounded in previous research, but others had no obvious counterparts in the literature. The more novel theories suggested that atmospheric music: must follow circadian rhythms to be effective; encourages or discourages anti‐social behavior; and blocks out annoying and intrusive background noise. Each of the 14 industry‐based explanations of the effects of music is compared with results reported in the academic literature, and directions for future research on the effects of atmospheric music are identified.

The aim of this paper is to examine the impact of the digital culture on the music industries through an analysis of official and unofficial web sites, media reports and discussions with musicians.

A critical social theory approach is adopted to examine structures and processes related to communication between artists, fans, the media, as well as commercial and independent labels. The authors draw upon Habermas' theory using the concept of “communicative action” to inform an analysis of three vignettes or short case studies.

At first glance it would appear that technology has brought about greater opportunities for independent musicians to communicate, network, promote and distribute, which previously could not be widely published, and to organise against the commercial power of major labels (Majors).

In many spheres of the music industries this “empowerment” does not appear to be realised. For example, previous studies have shown that the domination of the Majors continues to impact on local music scenes to restrict and ultimately prevent the creative ideal deliver a situation that is necessary to empower independent musicians. Current media manipulation and corporate interests restrict and alienate independent musicians who often have more of an intellectual ownership and culture within their local music communities.

Although steps to enable improved visibility and cooperation have been made we are still a long way off musicians having a powerful enough voice to organise against the commercial power of the large labels and media conglomerates (e.g. Apple i‐Tunes). The ideal speech situation remains elusive and the hegemonic state remains unchallenged.

Music continues to be commodified and fans are increasingly constructed as “consumers”; the ultimate power remains in mass media and broadcasting rather than independent “narrowcast” and DIY artistry.

This paper extends debate on the impact of the developing “digital culture” focusing on independent musicians and the music industries. It raises issues for further research in this area.

Although social media proficiency and use are key business and marketing practices in today’s digital environment, research has failed to offer sufficient insights into what drives small firms to use social media and how they vitalise co-creative social media environments with consumers. In response, the purpose of this paper is to examine how small firms utilise social media to interact and build bonds with consumers. These bonds become an important tool in the development of successful, profitable businesses and marketing practices in the digital age.

To examine how small firms use social media to engage with consumers and vice versa, the authors utilised a case-study approach and collected qualitative data by conducting semi-structured interviews.

The results showed that the small firms in this research seek to establish relationships and facilitate interactions with their core consumers in order to co-create value. In particular, the data demonstrate that producers engage in two distinctive practices: bonding (i.e. cultivating emotional ties with music fans) and spreading (i.e. encouraging expressive circulation by fans). Altogether, the findings indicate that the representative firms in this research use social media to develop synergistic relationships with consumers and to tap into the collective energy of consumers in their business environments.

The authors show that small companies use social media to establish relationships and interact with fans in order to co-create value and vitalise collective consumption, engagement, and participation. The case blurs the traditional distinction between production and consumption and suggests that the value of goods is a social creation, not merely a manufactured product.

This paper aims to examine the current state of collecting with emphasis on small, independent and local digital media for the purpose of exploring librarians’ tools to develop unique collections with these types of cultural products included.

This conceptual paper is based on examination of the current state of publishing and digital media, of case profiles of independent digital content providers, of case profiles of public libraries using digital media to expand collections and of collection developers’ tools, including reviewing sources.

With regard to expanding collections from small, independent and local digital content providers, user-generated content (UGC) is offered as a tool for collection developers to use alongside other traditional reviewing sources. UGC allows for embedding collective voices into collection development practices to capture digital cultural products from these providers.

This paper reflects on the current state of digital content creation and publishing, including the limitations and possibilities in place for the future of public library collections from both large publishing companies and smaller media creators. Non-traditional digital media are cultural products produced for consumption and reception; therefore, we consider how these materials fit into contemporary collections, how they are connected to public libraries and subsequently are made available to library users.

Business as usual in the music industry is over. Online music is a force to be reckoned with now and increasingly in the future. This paper first describes the current revenue streams and cost causers that characterize the traditional business model in the music industry. Then, the impact of the Internet on the current business model is described, especially as it relates to the distribution stage of the value chain in the record business. Also, the impact of the Internet’s disruption of the distribution stage on the state of existing copyright law, as manifested through the introduction of Napster’s peer‐to‐peer innovation, is explained. Third, an analysis of salient economic, political/legal, and technological issues arising from these changes on the entire industry is presented. Finally, the paper identifies characteristics of a viable business model in the music industry and offers lessons for other digital content industries.

Reports on the use of subjective personal introspection. Offers a brief overview of subjective personal introspection and then describes the technique used to inform an ongoing piece of research that is being conducted into popular music consumption. Concludes by assessing the usefulness of the technique and highlights how it may be of use to practitioners.

This viewpoint paper is based on consultancy project in developing strategic marketing plan for building a professional recording studio in Bandung, Indonesia. Nonetheless, previous studies that scrutinize the key success factors in music recording studio industry are noticeably lacking, whereas music artists still rely heavily on recording studio providers to record their music and distribute it to the market. Hence, finding out the critical success factors (CSF) can help recording studio to craft strategic marketing plan within effective and efficient budget. The paper aims to discuss these issues.

Methods carried out in this study are based on triangulation which comprises of primary observation, interviews to experts in the respective field, and literature reviews regarding CSF, service quality and service excellence. Five years of primary observations took place in five studios on two major cities in Indonesia which are Bandung and Jakarta of which many prominent musicians were originated. The interviews were conducted to six respondents who have more than ten years of experience in music industry, and have produced at least two albums through professional music recording processes in music studios including recording, mixing, and mastering.

It is found that by exploiting the conceptual theories of service quality and service excellence as the foundations, there are primarily three critical factors in music recording studio industry in Indonesia which are human resources development in primarily technical aspects, communication skills, and servicescapes which involve the recording facilities and also the studio surroundings.

This study only took samples from five studios, two major cities in Indonesia and limited experts opinion. Nevertheless, confirmatory study is expected in the future in order to gain deeper insights or other additional point of view in determining CSF in the recording studio industry. This paper, however, has contributed to the existing literature of service quality, service excellence, and CSF in a narrow scope of industry which is music recording studio.

Managers who wish to start a recording studio business must look deeply into these three critical factors to address the budget effectively and efficiently in initial investment of the studio. Through this study it can be observed that music studio as a service firm can still focus on creating critical values to strive even though the music industry landscape has been deteriorated due to piracy and the development of technology. It is expected that through this study, by understanding the CSF, managers in music recording studio can focus on creating value effectively and efficiently in recording studio business.

This study contributes to fill the gap of empirical discussion in determining CSF in the music recording studio business in Indonesia in the context of service quality and service excellence, which has not been examined by previous scholars.

This study aims to present a state-of-the-art review pertaining to the topic of multi-actor innovation in the music industry. Because of the changing nature of the marketing paradigm from product dominant to service dominant, as well as the emerging paradigm of open, collaborative and co-innovation, this study attempts to integrate and map the previous papers that have examined the concept of multi-actor innovation in the context of the music industry.

A systematic review is carried out to produce the analysis. Various scholarly articles from well-known databases are taken into considerations in this study. These papers are then classified based on the types of innovation, category and sub-category of innovation, value capture and value creation, as well as its general characteristics. This classification is primarily aimed at mapping the development of previous studies in the current field and examining the current research gaps to propose future research agendas.

Previous researchers have shown that innovation concepts have been developed into various streams, namely, closed, open, collaborative and co-innovation. In addition to this point, the debates regarding the consumers’ roles in the market have pinpointed that innovation also calls for more participative forms rather than isolated. Nevertheless, discussions that pertain to open, collaborative and co-innovation in the context of the music business, have still been lacking and, therefore, demand more explanations.

This study is the first to present the topic of multi-actor innovation in the music business to the scholarly literature. Based on the review carried out in this study, scholars that are particularly interested in the field of open, collaborative and co-innovation within the context of the music industry can comprehend the development of previous discussions and, therefore, justify future research agendas.