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Music Industry (music + industry)

Distribution by Scientific Domains
Business, Economics, Finance and Accounting75%

Selected Abstracts

Inter,organisational Relationships in the Worldwide Popular Recorded Music Industry

CREATIVITY AND INNOVATION MANAGEMENT, Issue 4 2002
Jonathan Gander
This paper analyses the worldwide popular recorded music industry and examines how product, firm and industry features result in key resources coagulating around the two firm types; the major and independent. We argue that these firm specific resources are complementary and participating firms would benefit from their union. However though complementary, they are inimical and close association risks damaging their value. Collaboration between the two firm types that hold these resources therefore needs to be designed not along traditional concerns of protection from opportunism, or the requirement to control key resources. Instead competitive advantage may be gained by designing and managing structural relationships that protect each partner's resource set from the hostile elements of the others; a contamination rather than an appropriation focus. [source]

DISLOCATING SOUNDS: The Deterritorialization of Indonesian Indie Pop

CULTURAL ANTHROPOLOGY, Issue 2 2009
BRENT LUVAAS
ABSTRACT Anthropologists often read the localization or hybridization of cultural forms as a kind of default mode of resistance against the forces of global capitalism, a means through which marginalized ethnic groups maintain regional distinctiveness in the face of an emergent transnational order. But then what are we to make of musical acts like Mocca and The Upstairs, Indonesian "indie" groups who consciously delocalize their music, who go out of their way, in fact, to avoid any references to who they are or where they come from? In this essay, I argue that Indonesian "indie pop," a self-consciously antimainstream genre drawing from a diverse range of international influences, constitutes a set of strategic practices of aesthetic deterritorialization for middle-class Indonesian youth. Such bands, I demonstrate, assemble sounds from a variety of international genres, creating linkages with international youth cultures in other places and times, while distancing themselves from those expressions associated with colonial and nationalist conceptions of ethnicity, working-class and rural sensibilities, and the hegemonic categorical schema of the international music industry. They are part of a new wave of Indonesian musicians stepping onto the global stage "on their own terms" and insisting on being taken seriously as international, not just Indonesian, artists, and in the process, they have made indie music into a powerful tool of reflexive place making, a means of redefining the very meaning of locality vis-à-vis the international youth cultural movements they witness from afar. [source]

Paying the piper: a study of musicians and the music business

INTERNATIONAL JOURNAL OF NONPROFIT & VOLUNTARY SECTOR MARKETING, Issue 4 2005
Krzysztof Kubacki
Many artists argue that treating music as a business represents a particularly insidious force in cultural life, stifling creativity and change. For them business and art are mutually incompatible and they regard the evident economic success of the music industry as an example of the shameless exploitation of our cultural heritage. This paper is based on detailed research into the attitudes of musicians across two distinct cultures. It finds strong echoes of the key criticisms of the music business which have been prominent in academic literature and in the specialist music press for more than a generation. Singled out for particular censure are not-for-profit organisations for apparently following the global recording companies down the same, profit-driven routes. The research confirms that there is a large gap between the expectations of artists and the organisations which employ them and fund their work. It is important that these expectations are understood and, if possible, bridged. For the arts to regain their place at the heart of cultural life it is necessary once more to bring the artists themselves into the picture. Copyright © 2005 John Wiley & Sons, Ltd. [source]