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1 – 10 of over 11000Paschal Preston and Jim Rogers
Digital technological innovations are commonly perceived to be radically disrupting the power or role of corporate actors within the music industry and their established…
Abstract
Purpose
Digital technological innovations are commonly perceived to be radically disrupting the power or role of corporate actors within the music industry and their established industrial practices and interests. In particular, the internet is widely regarded as having produced a “crisis” for the music industry. While such assumptions reflect the predominance of technological deterministic thinking in relation to the music industry, this paper aims to draw upon historical insights from past research on radical technical innovation processes to inform this approach to examining some of the key innovations that have occurred in the music industry in the digital era.
Design/methodology/approach
This paper draws on a range of qualitative data obtained primarily from a recently completed Irish‐based music industry research project, primarily comprised of interviews conducted with key music industry informants and personnel.
Findings
Key findings indicate that ongoing legal innovations, combined with the widespread adoption of social networking sites and other online content platforms are (amongst other factors) serving to maintain and bolster the position of major music copyright owners.
Originality/value
In the context of the contemporary “knowledge economy”, the authors propose paying special attention to one specific area of policy innovation – that related to the intellectual property rights (IPRs) regime. In particular, they place emphasis on the copyright strand of IPRs in shaping the outcome of digital platforms for the promotion and dissemination of music. In doing this, they consider the evolution of a re‐configured music industry “structure” which re‐conceptualises the music artist as an “all‐encompassing bundle” of rights through which a diverse range of revenue streams are increasingly streamlined back to a small handful of major copyright owners.
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John B. Meisel and Timothy S. Sullivan
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…
Abstract
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.
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This paper aims to discuss how collaborative classification works in online music information retrieval systems and its impacts on the construction, fixation and orientation of…
Abstract
Purpose
This paper aims to discuss how collaborative classification works in online music information retrieval systems and its impacts on the construction, fixation and orientation of the social uses of popular music on the internet.
Design/methodology/approach
Using a comparative method, the paper examines the logic behind music classification in Recommender Systems by studying the case of Last.fm, one of the most popular web sites of this type on the web. Data collected about users' ritual classifications are compared with the classification used by the music industry, represented by the AllMusic web site.
Findings
The paper identifies the differences between the criteria used for the collaborative classification of popular music, which is defined by users, and the traditional standards of commercial classification, used by the cultural industries, and discusses why commercial and non‐commercial classification methods vary.
Practical implications
Collaborative ritual classification reveals a shift in the demand for cultural information that may affect the way in which this demand is organized, as well as the classification criteria for works on the digital music market.
Social implications
Collective creation of a music classification in recommender systems represents a new model of cultural mediation that might change the way of building new uses, tastes and patterns of musical consumption in online environments.
Originality/value
The paper highlights the way in which the classification process might influence the behavior of the users of music information retrieval systems, and vice versa.
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Jordan Gamble and Audrey Gilmore
This paper aims to address the emerging post-millennium trends in co-creational marketing, in the context of how these trends apply to the recorded and live sectors of the music…
Abstract
Purpose
This paper aims to address the emerging post-millennium trends in co-creational marketing, in the context of how these trends apply to the recorded and live sectors of the music industry. Consideration of marketing as a broadened concept to include societal processes has implications not only for the marketing concept itself, but also for the roles of the parties implicitly involved in the marketing process. Therefore, the standard and polarising marketing clichés of “firm and customer”, “buyer and seller”, and “producer and consumer” may be replaced with a more contemporary marketing approach in which value can be created and shared by either party.
Design/methodology/approach
Initially the paper provides a review of contemporary literature on co-creational aspects of marketing and a subsequent identification of typologies of co-creation practices. Conceptual frameworks pertaining to the relationships of these typologies are then proposed. An extensive review and analysis of journal articles, industry reports and news sources on music industry marketing was conducted. From this review and analysis, 30 examples of co-creational marketing were identified. The music industry was chosen as it constitutes a relevant and contemporary marketing context due to the existence of interactive technology and changing consumer preferences regarding their interaction with music intermediaries and against a context of digital piracy.
Findings
Five typologies of co-creational marketing were found to be relevant to the music industry. Key examples of co-creational marketing within the music industry are discussed and analysed in relation to the identified typologies and conceptual frameworks.
Research limitations/implications
The relevancy of co-creational marketing practices to the music industry is investigated, followed by consideration of managerial implications and future research directions.
Originality/value
The theoretical prospect of value co-creation through active consumer contributions to the marketing process is not revolutionary or new, but the implications of such a potential shift in power or influence have developed into a contemporary challenge for marketers.
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Ida Madieha Abdul Ghani Azmi and Rokiah Alavi
One of the binding commitments under the Trans-Pacific Partnership Agreement is the extension of the copyright term to 70 years after the death of the author. This paper reports…
Abstract
Purpose
One of the binding commitments under the Trans-Pacific Partnership Agreement is the extension of the copyright term to 70 years after the death of the author. This paper reports the preliminary findings of a research on the potential impact of the extension of copyright term on the music industry in Malaysia. As Malaysia is a user and net importer of intellectual property, it is feared that extending the copyright term will likely impede incentives for the creation of new contents, increase the cost of licensing/royalties, diminish the choice and creativity of film and music industry and increase royalty payments abroad. The purpose of this study is to determine whether the commercial lifespan of copyright works is long enough.
Design/methodology/approach
Using a qualitative research method, in-depth interviews were carried out with key industry players between June and September 2015 to collect relevant information from the industry. The information obtained was analysed to gauge the market standing of the local music industry and how the proposed extension would bolster their financial and market power. The paper does not intend to explore the legal implications from the retrospective extension of copyright term and data on illegal use and piracy. The findings of the research will be purely drawn from the non-structured interviews and information gathered from respondents.
Findings
The paper concludes that there is not enough evidence to support the notion that the copyright extension will be economically advantageous to the local music industry.
Research limitations/implications
The feedback from the interviews, although cannot be generalised to be considered as representing the whole music industry in Malaysia, can nevertheless be taken as preliminary conclusions and an eye-opener to the quest for concrete support in the debate for the extension of the copyright term in Malaysia. The paper also does no explore the legal implications from the retrospective extension of copyright and data on illegal use and piracy.
Practical implications
In conclusion, more studies need to be conducted to understand the dynamics and needs of the music market in Malaysia for the extension of the copyright term to be really beneficial to them. As this study is only conducted using a qualitative research method, using open-ended and in-depth interview techniques on a small group of respondents, there may be a need to embark on empirical research with proper execution of survey instruments to a larger group of respondents.
Social implications
The music industry is chosen as the case study because it may develop into a potential export interest. The music industry as a small component of the larger “creative industry” has been identified as one of the new economic drivers under the Tenth Malaysia Plan.
Originality/value
The paper was first presented at the ATRIP Congress 2015 at Cape Town on 27th September 2015. The paper has not been published. No studies have been done on the possible implications of copyright extension term on the music industry in Malaysia before.
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Nicholas. C. Wilson and David Stokes
To distinguish managing creativity from managing innovation and highlight the importance for cultural entrepreneurs of recognising the differences between the two.
Abstract
Purpose
To distinguish managing creativity from managing innovation and highlight the importance for cultural entrepreneurs of recognising the differences between the two.
Design/methodology/approach
Based on government‐sponsored research project looking at access to finance in the UK music industry. Interviews were carried out with cultural entrepreneurs, finance providers and industry experts. A conceptual model of work and creative production put forward by Leadbeater and Oakley (1999) is used as a foundation for analysis.
Findings
Highlight the importance of recognising the differences between managing creativity and innovation, and call for effective management of them both, through developing business communication skills, external focus and promotional strategies. The different nature and role of collective activities associated with promoting creativity and innovation are highlighted.
Research limitations/implications
The findings are generalised across other “creative industry” businesses, but the empirical research is based only on the music industry.
Practical implications
Practical steps can be taken to increase the success of small creative businesses in managing both the generation of new ideas (creativity) and the successful exploitation of those new ideas (innovation). Formal education courses have an important role in encouraging creativity and flair alongside the acquisition of core business skills necessary for innovation.
Originality/value
This paper makes an important contribution in separating creativity and innovation – concepts that are too often used interchangeably. It is argued that this analytical separation will help practitioners and researchers gain a better understanding of the management behaviours required to foster both successfully.
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Ariel Sanders, Barbara J. Phillips and David E. Williams
The relationship between musicians and the music industry has often been depicted as a dichotomy between creativity and commerce with musicians conflicted between their roles as…
Abstract
Purpose
The relationship between musicians and the music industry has often been depicted as a dichotomy between creativity and commerce with musicians conflicted between their roles as artists and their roles as marketers of sound. Recently, marketing researchers have problematized this dichotomy and suggested musicians perceive these roles as inevitable and indivisible. However, the processes of how musicians market their sound to the industry gatekeepers remain unclear. This study seeks to find the key industry gatekeepers for musicians and how musicians sell their personal sound to them.
Design/methodology/approach
Using an interpretative phenomenological approach, ten interviews with professional musicians across different music genres provided insight into the strategies musicians use to market their sound to industry gatekeepers.
Findings
In total, three key gatekeepers and the five strategies that musicians use to sell their sound are identified. The gatekeepers are record labels, other musicians and consumers. Musicians sell their sound to these gatekeepers through the externally directed strategies of using social media to build relationships, defining their personal sound through genre and creating a unique sound, and through the internally directed strategies of keeping motivated through sound evolution and counting on luck.
Research limitations/implications
The findings are limited by the small number of musicians interviewed and the heterogeneous representation of music genres.
Originality/value
The study contributes to theoretical understandings of how musicians as cultural producers market their sound in a commercial industry.
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This paper aims to examine how blockchain technology is disrupting business models for new venture finance.
Abstract
Purpose
This paper aims to examine how blockchain technology is disrupting business models for new venture finance.
Design/methodology/approach
The role of blockchain technology in the evolution of new business models to monetize the creative economy is explored by means of a case study approach. The focus is on the recorded music industry, which is in the vanguard of new forms of intermediation and financialization. There is a particular focus on emerging artists.
Findings
This paper provides novel case study insights and concludes by considering how further research can contribute to building a theory of technology-driven business models which apply to the development, on the one hand, of new forms of financial intermediaries, more correctly referred to as “infomediaries,” and on the other hand, to new forms of direct monetization by artists.
Originality/value
This paper provides early insight into the emerging potential applications of blockchain technologies to streamline music industry business service models and improve finance streams for new artists. The findings have far-reaching implications across the creative sector.
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Harriman Samuel Saragih, Togar Mangihut Simatupang and Yos Sunitiyoso
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…
Abstract
Purpose
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.
Design/methodology/approach
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.
Findings
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.
Originality/value
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.
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The aim of this paper is to explore the entry and success of hip‐hop entrepreneurs in the music industry and identify the competitive reactions of well‐established firms within…
Abstract
Purpose
The aim of this paper is to explore the entry and success of hip‐hop entrepreneurs in the music industry and identify the competitive reactions of well‐established firms within the industry.
Design/methodology/approach
The paper used anecdotal data and popular press coverage to trace the evolution of the hip‐hop music industry in the USA and discuss aspects of the marketing strategies of key players in the industry. Additionally, the strategic response of dominant firms to their success within the industry is explored.
Findings
Hip‐hop music and its ensuing culture is now a well‐established industry that has enormous marketing power. Although few championed their efforts in the beginning, the contributions of Black American entrepreneurs to the music industry is becoming increasingly recognized by existing firms within the industry and beyond. The failure of major record companies to capitalize on the hip‐hop phenomenon resulted in the creation of new ventures and a new industry. While one could argue that very few key Black American entrepreneurs remain in the industry, the impact and influence of these entrepreneurs and those that have been recruited by major labels suggests that the hip‐hop entrepreneurs should not be ignored.
Originality/value
This paper sheds light on the development of the hip‐hop music industry, which could be of value to aspiring Black American entrepreneurs and marketing managers of companies in other industries that target young urban customers as well as companies that are interested in forming partnerships with Black American entrepreneurs.
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