Оглавление
Patrik Wikström. The Music Industry
CONTENTS
List of Tables
List of Illustrations
List of Case Study
Guide
Pages
Digital Media and Society Series
The Music Industry. Music in the Cloud
Dedication
Acknowledgements
Introduction: Music in the Cloud
Connectivity vs. control
Service vs. product
Amateur vs. professional
The structure of the book
Notes
CHAPTER ONE A Copyright Industry
Defining industries
Basic concepts of copyright
Characteristics of the copyright industries
On the nature of copyright products
An industry with a high level of uncertainty and volatility
High production costs, low reproduction costs
Profit maximization, creativity and authenticity
Authenticity and creativity
Art and commerce in the music industry
Exploring copyright industry dynamics
The microenvironment of the copyright firm
An evolutionary theory of the firm
The process of organizational adaptation
Communities of practice
Production of culture
Notes
CHAPTER TWO Inside the Music Industry
Defining the music industries
Three integrated music industries
Recorded music
Music publishing
Live performance
A brief history of the twentieth-century recording industry
1890s–1900s
1910s–1920s
1930s–1940s
1950s–1960s
1970s
1980s–1990s
Into the 2000s
The world’s largest music companies
The size and structure of the international recorded music market
Notes
CHAPTER THREE Music and the Media
The interplay between music, audience and media
Connectivity and control
Audience fragmentation
Option value blurring
Consequences for the audience–media engine
Music-licensing
Music publishers challenge the record labels’ domain
Recorded music
Memberships – limited download quota
Single-song download
How can you compete with free?
The promises of micropayments and blockchain technology
From ownership to access
The market for access-based music platforms
Market size and structure
Access-based music service providers’ competitive strategies
Freemium
Partnerships with the telecom and consumer electronics industry
Is it possible to compete with the technology conglomerates?
Notes
CHAPTER FOUR Making Music
Professions and practices
The music producer
Recording studio decline
Music production and geography
Talent development
The artist as a brand
Ageing superstars
Live music
The changing purpose and position of the live music sector
The relationship between the artist and what used to be the record label
CASE STUDY 4.1: ROBYN CARLSSON
Notes
CHAPTER FIVE The Social and Creative Music Fan
Friendly sharing?
Debates about and reactions to online piracy
Singing, dancing, remixing
Conflicts between consumer creativity and rights holder control
Music promotion goes viral
CASE STUDY 5.1: WHEN THE PROMOTION BECOMES THE ART FORM – YEAR ZERO BY NINE INCH NAILS
New gatekeepers, new music?
Audience-driven talent development
Patronage in the digital age
Tip jar models redux
Notes
CHAPTER SIX Future Sounds
Connectivity vs. control
Regulatory control
Technologies of control
Surveillant control
Context and content
Playlists galore
Humanly curated playlists
Algorithmically curated playlists
Creativity as consumption
Final words
Notes
References
Index
A
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D
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G
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