Search results

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.

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.

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.

The findings are limited by the small number of musicians interviewed and the heterogeneous representation of music genres.

The study contributes to theoretical understandings of how musicians as cultural producers market their sound in a commercial industry.

This paper aims to examine how blockchain technology is disrupting business models for new venture finance.

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.

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.

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.

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.

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.

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.

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.

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.

The purpose of this paper is to provide an in-depth consideration of the color line in the US music market, much deeper treatment than that of a superficial social construct.

Content analysis was performed using archives from the Performing Arts Division of the New York Public Library.

A complex intersection of social and capitalist influences is fueled by culture and economics, filtered through the contributions of artists and media. Six major categories: social, media, artist, culture, industry, and economics contribute to its development and propagation. It continues to affect contemporary music markets.

Interpretation of archival data is subject to availability of material and subjectivity of the researcher. Steps were taken to minimize bias. The research implies an opportunity for the US music market to celebrate diversity and social justice.

Focusing on the symbolic use of music, marketers have the opportunity to empower consumers to embrace diversity, reversing the trajectory of the color line.

Embracing cultural heritage and celebrating diversity can promote economic gain without detriment to cultural interests.

The present research provides a much deeper consideration of the color line in the American Music Market than previous literature does. The consideration includes a combination of forces, from profit focused to cultural.

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.

To provide an empirically based analysis and evaluation of the existing and possible future evolution of Internet business models within the digital content market, focusing particularly on the possibilities for cooperation and coopetition within this market‐space.

The paper is based on a three‐year study of the European online news and online music sectors, comprising a set of preliminary, scene‐setting case studies of a number of major players within the European online news and music sectors; a detailed, two‐stage survey made up of online questionnaires and face‐to‐face interviews; and a small number of in‐depth case studies.

Provides a discussion of the changes taking place in the online news and music sectors, the evolution of the business models within them, the driving forces we have identified, and finally some predictions about what the future may hold for both these sectors.

The research is indicative, rather than general – being centred on European participants in two sectors of the digital content market‐space in the period between May 2003 and August 2004.

A rich evaluation of these two fast‐moving digital content sectors, providing empirically based insights into the ways in which they are evolving and changing and into parallels with other, similar sectors of the digital content market.

This paper is the first major empirical evaluation of the digital content market‐space and offers practical assistance, as well as new theoretical insights on e‐business model evolution in this area.

This paper discusses the academic, governmental and logistical issues surrounding the University of Glamorgan’s recent involvement in developing accredited training and education for one of the largest music technology manufacturers in the world – Roland UK. The paper reports the joint development of a Foundation Degree in Music Retail Management, reflecting upon the viability of implementing work based learning (WBL), including accrediting current training and prior learning (APL). Through analysing the early stages of the project, the paper aims to formulate a clearer perspective of what the University of Glamorgan and Roland UK, in addition to the government and the music retail industry, actually require from a foundation degree such as this. After presenting a synopsis of the current political climate and contextualising the existing status of musical instrument retail training, an overview is provided of the development of the Roland/Glamorgan partnership. This is followed by a discussion of the philosophical debates and mechanisms currently surrounding the implementation and accreditation of WBL. The paper cumulates with the development of a pedagogical model that takes into account the quality issues of both the University of Glamorgan and Roland UK in addition to government policy. Conclusions are then drawn regarding the importance of both institutions developing appropriate structural capital and being aware of cultural differences that can potentially restrict academic/industrial partnerships. Although this pilot was focused specifically upon Roland UK, its wider implications, in terms of the demand for accredited training for the music instrument retail industry, are considered.

To study the relationship between organization structure and socio‐economic impact in the Welsh music industry and the potential role of social enterprises.

The economic value of social enterprise and the role of creative industries in urban regeneration are discussed from the viewpoint of the inclusion of marginalized workers, especially the young, into the labour‐market. Discusses the increasing political interest in social enterprise and explores evidence for this policy interest, including whether the nature of the governance and management structure of social enterprises influences their social and economic impacts. Reports preliminary stages of the research project and presents evidence gathered through case studies of three unnamed music businesses based in South Wales comprising: a development agency based on co‐operative principles; a loosely organized collective of practitioners and trainers; and a limited liability company. Explains that all three companies began by focusing on hip‐hop music but have developed in different directions and have also developed distinct forms of governance, and this enable the relationship between governance, the music industry, and socio‐economic outcomes to be studied.

The critical analysis of the potential of social enterprises to achieve social and economic regeneration supports the authors’ own conception of mutual economic activity in terms of what they call “associative entrepreneurship”. Concludes that this concept is needed because the existing definition of social enterprise has become too wide to have analytical value. Notes that the authors hope to present the research findings to a conference of creative industries’ academics in the coming year.

Presents the authors’ preliminary attempts to apply their knowledge of the social economy to the music industry as the first stage of a research project funded by the Welsh Assembly.