Relevant bibliographies by topics / Music record business

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Music record business'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Music record business"

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Cherry, Robert, and Jennifer Griffith. "Down to Business: Herman Lubinsky and the Postwar Music Industry." Journal of Jazz Studies 10, no. 1 (August 31, 2014): 1. http://dx.doi.org/10.14713/jjs.v10i1.84.

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This article assesses the claims of exploitation leveled against mid-twentieth-century Jewish record company owners, focusing on Herman Lubinsky and his Savoy Records. Lubinsky faced a highly competitive economic climate as the commercial popularity of jazz waned in the 1950s. By attending solely to the few record company owners who became successful, and treating favorably those with noticeable appreciation for the music or the musicians, historians have mischaracterized owners, like Lubinsky, who prioritized risk management in their business ventures.
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Zemp, Hugo. "The/An Ethnomusicologist and the Record Business." Yearbook for Traditional Music 28 (1996): 36. http://dx.doi.org/10.2307/767806.

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Messenger, Cory. "Record Collectors: Hollywood Record Labels in the 1950s and 1960s." Media International Australia 148, no. 1 (August 2013): 118–26. http://dx.doi.org/10.1177/1329878x1314800113.

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The affiliation between film and music is the cornerstone of modern entertainment industry synergy. This article examines one of the key chapters in that relationship: the period in the 1950s during which the major studios entered the record business. Ostensibly designed to capitalise on the emerging film soundtrack market, the flurry of mergers, acquisitions and the establishment of new record labels coincided with the rise of rock‘n’ roll and the explosion of the market for recorded popular music. The studios quickly found that in order to keep their record labels afloat, they needed to establish a foothold in popular music. The processes by which they achieved this transformed the marketing of recorded music, sparking a period of unprecedented commercial success for the record industry in the late 1960s. Simultaneously, from these record subsidiaries Hollywood learned how to market cinema to a youth audience, heralding the arrival of ‘New Hollywood’.
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SCANNELL, PADDY. "Music, radio and the record business in Zimbabwe today." Popular Music 20, no. 1 (January 2001): 13–27. http://dx.doi.org/10.1017/s0261143001001283.

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Radio and the recording business have, since the beginning of the last century, had a profound impact upon existing musical life whenever and wherever they have decisively and irreversibly established themselves. Their arrival restructures and redefines the social relations of music in many aspects of its production, performance and reception. Radio and recording technologies have had a significant impact on the livelihoods of all those who one way or another try to make a living from music (composers, performers and - in Europe - publishers, for instance). Performance itself is transformed as new norms are set in place which call for new levels of technique and interpretation. Finally the conditions of musical reception are reconfigured and new `taste publics' emerge, potentially in conflict with each other, as musical life is totalised into a new and complex unity.
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Koster, Alexis. "The Emerging Music Business Model: Back to the Future?" Journal of Business Case Studies (JBCS) 4, no. 10 (July 5, 2011): 17. http://dx.doi.org/10.19030/jbcs.v4i10.4812.

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For many years, the music industry has consisted of two main components: the concert industry and the recording music industry. Throughout the 80s and 90s, thanks mostly to CD sales, the recording music industry was dominant in terms of revenue and visibility. It reached record US sales in 1999 and 2000 (over $14.3 billion in 2000, $13.2 billion of which for CD albums), and between the years 2000 and 2007, the industry has seen a decline of 44% in its sales of physical records. Reluctantly, the recording industry has joined the digital world by signing agreements with a variety of organizations providing music downloading, in particular with Apple and its iTunes downloading service. It earned 1.4 billion dollars from music downloading in 2007 (with another billion from other digital sales such a cellular phone ringtones). Obviously, digital sales have fallen short of compensating the industry for its losses of physical record sales. The concert industry is re-emerging as the potential dominant component of the music industry. In contrast to the recording industry, its revenues have not been affected by illegal Internet downloading. On the contrary, it is making use of the Internet to increase them. Recording artists are taking advantage of the weakening of the recording labels and of the opportunities offered by the Internet to loosen their dependence on the labels. Finally, the once well-defined separation between the concert industry and the recording industry may be disappearing: concert organizers are getting into the recording business and majors are getting into the concert business.
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Frith, Simon. "Copyright and the music business." Popular Music 7, no. 1 (January 1988): 57–75. http://dx.doi.org/10.1017/s0261143000002531.

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For the music industry the age of manufacture is now over. Companies (and company profits) are no longer organised around making things but depend on the creation of rights. In the industry's own jargon, each piece of music represents ‘a basket of rights’; the company task is to exploit as many of these rights as possible, not just those realised when it is sold in recorded form to the public, but also those realised when it is broadcast on radio or television, used on a film, commercial or video soundtrack, and so on. Musical rights (copyrights, performing rights) are the basic pop commodity and to understand the music business in the 1980s we have to understand how these rights work. In this article, then, I begin and end with record companies' uses of copyright law and ideology to defend themselves against current technological and political threats to income, but I also want to ask questions about how the law itself defines music and determines the possibilities of musical ‘exploitation’. And this means putting contemporary arguments (for and against the blank tape levy, for example) in historical perspective.
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Lu, Chao, and Jialu Chang. "The Innovation of Online Music Business Model From the Perspective of Industrial Value Chain Theory." Journal of Electronic Commerce in Organizations 17, no. 2 (April 2019): 1–15. http://dx.doi.org/10.4018/jeco.2019040101.

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The emergence and development of online music have brought a great update to traditional music industrial value chain. As consumers know, record sales, media dissemination, and peripheral income like concerts are three major sources of income of traditional music industry. Compared with that, the music industry now possesses an extensive consumer group, a new growth point, and a new development direction. Meanwhile, as laws and business rules of online music industry improving, the new online music business model need to be established. Based on value chain theory, this article sets up a brand new online music business model and analyzes the operation strategy, and services mode of the business model applying internet thinking.
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Mabry, Donald J. "The Rise and Fall of Ace Records: A Case Study in the Independent Record Business." Business History Review 64, no. 3 (1990): 411–50. http://dx.doi.org/10.2307/3115735.

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The record industry in the United States was controlled until the 1950s by a half dozen major companies, which produced music directed primarily toward the white middle class. The following article uses the history of Ace Records, a small, regional, independent company, to examine the nature of the record industry in the 1950s and 1960s. The article explains the shifts in demography and technology that made possible the growth of the independents, as well as the obstacles and events that made their demise more likely. It also traces the changes that such companies, by recording and promoting rhythm and blues and early rock ‘n’ roll, introduced to the cultural mainstream.
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Lee, Stephen. "Re-examining the concept of the ‘independent’ record company: the case of Wax Trax! records." Popular Music 14, no. 1 (January 1995): 13–31. http://dx.doi.org/10.1017/s0261143000007613.

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In the American record industry, independent record companies have long held a cultural status that far exceeds the actual economic impact they have in the market-place. Independent record companies, or ‘indies’, have become understood as innovative and creative oases for new or unconventional musicians in the midst of a capital-driven and profit-oriented record business. The development of a wide range of musical genres and styles – from rhythm and blues and soul to punk and industrial – are often attributed to the small companies that operated outside of the control of the larger ‘major’ labels.
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Papies, Dominik, and Harald J. van Heerde. "The Dynamic Interplay between Recorded Music and Live Concerts: The Role of Piracy, Unbundling, and Artist Characteristics." Journal of Marketing 81, no. 4 (July 2017): 67–87. http://dx.doi.org/10.1509/jm.14.0473.

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The business model for musicians relies on selling recorded music and selling concert tickets. Traditionally, demand for one format (e.g., concerts) would stimulate demand for the other format (e.g., recorded music) and vice versa, leading to an upward demand spiral. However, the market for recorded music is under pressure due to piracy and the unbundling of albums, which also entail threats for the traditional demand spiral. Despite the fundamental importance of recorded music and live concerts for the multibillion-dollar music industry, no prior research has studied their dynamic interplay. This study fills this void by developing new theory on how piracy, unbundling, artist fame, and music quality affect dynamic cross-format elasticities between record demand and concert demand. The theory is tested with a unique data set covering weekly concert and recorded music revenues for close to 400 artists across more than six years in the world's third-largest music market, Germany. The cross-format elasticity of record on concert revenue is much stronger than the reverse elasticity of concert on record revenue. The results show the key role of piracy, unbundling, and artist characteristics on these cross-format elasticities, which have implications for the business model of the music industry.
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Dissertations / Theses on the topic "Music record business"

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Bielas, Ilan. "The Rise and Fall of Record Labels." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/703.

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This thesis studies the music industry as a whole, and delves more specifically into how new technologies have disrupted the old business model. Advances in technology such as the Internet, MP3s, and file-sharing software have made it possible to bypass the traditional role of record labels, thus creating a closer link between artists and consumers. As the music industry transformed over time, the role of record labels became less defined. This has left once behemoth labels struggling to find a competitive advantage in a rapidly devolving industry. Record labels are no longer the most relevant segment of the music industry, and this work provides an in-depth analysis of the processes that destroyed their relevance. This thesis begins by examining the music industry at a macro level, before tracking record labels from their prominence to their current marginalized role. Advancements in MP3, P2P networks, and other consumer-enabling technologies have transformed the music industry. The lack of a significant response to this shifting landscape within the industry has left record labels on a slippery slope towards extinction. As record labels failed to adapt to shifting demand and changing methods of consumption, private entrepreneurs have intervened to solve inefficiencies in the market. This thesis will leave the reader with an expansive knowledge of how the music industry has transformed, as well as its future trajectory without record labels.
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Calkins, Thomas. "Grooves in the Landscape| Vanished and Persistent Record Stores in the Postindustrial City." Thesis, The University of Wisconsin - Milwaukee, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10815619.

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Despite digitization, record stores remain an important third place for contemporary urban neighborhoods. As places of cultural consumption, they provide locals a source of music, knowledge, pleasure, distraction, and distinction. Where these places sit in the contemporary city has shifted over time though. This dissertation asks: how has the distribution of record stores changed over time and space when accounting for demographic, economic, and technological factors? Based on original datasets created from city directories and phone books, census-tract data, and record industry sales data, I find that predominantly black neighborhoods were once home to many more record stores than today. More specifically, the findings of an event history analysis suggest that the odds of failure for stores in non-predominantly white areas were significantly higher than for those in predominantly white ones in Milwaukee, Chicago, and Detroit during the 1980s. An analysis of store foundings and failures in Milwaukee County from 1970–2010 suggests that periods of music format change coincide with downturns in the number of stores opening. For predominantly black areas, the number of foundings drops in the 1980s, during a period of transition away from vinyl and cassette, and towards the compact disc. During the transition from CD to the MP3 format, record store foundings throughout Milwaukee County shrank, leading to a drop in overall numbers. Studying third places of community consumption can be enhanced by accounting for this change over time and space. By focusing on stores, this analysis looks beyond gentrifying areas of urban cool without ignoring them. Studying the relationship between gentrification and cultural consumption remains important for criticizing the role of taste in reproducing spatial inequality. But my findings suggest that a study of urban change and cultural consumption must account for more than gentrification: it must confront racial segregation—a far more pernicious and widespread feature of cities in the United States.

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Wiafe, Samuel. "Examining Internet and E-commerce Adoption in the Music Records Business in Ghana." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2300.

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Context: Information Communication Technologies (ICT) and its related applications are increasingly penetrating all spheres of individual, organizational, and societal aspects of everyday life in the developing economies and Africa as well. The Internet is emerging as an important technology for commerce and business. The employment of Internet based technologies and applications in music service both in online sales and marketing of music records and digital music service is significantly altering the approach that traditional commerce is done. It eliminates all geographical bottlenecks, allowing the establishment of virtual outlets and presence throughout the world, and permits direct and instant foreign market entry to less known artistes and music records businesses. Objectives: In this study, I investigate the state of internet and e-commerce adoption in the music record business in Ghana. I seek to find out the reasons for the adoption of e-commerce platform within the music industry and to assess the challenges confronting the adoption of e-commerce. Methods: We conducted a Literature Review to get an overview of the music industry as a whole, and also to describe the diffusion of e-commerce technologies in music services. We use qualitative research approach to collect data and to identify reasons for the adoption of e-commerce platforms primarily among consumers and retailers of the music services. We conducted interviews with musicians and managers of record companies were conducted to ascertain their reasons for using or non using e-commerce technologies, and identify prospects and challenges confronting its adoption within the industry. Conclusion: The evaluation from musicians, consumers and other key players indicated their willingness to go for the e-commerce platforms in music service delivery. However, they are challenged by poor infrastructures, unsettled issues of monetization of music contents coupled with high digital gap among the citizenry. Prevailing government efforts contribute nevertheless in closing the digital disparity among the populace, and Telecom and ISPs improvement in service delivery give an outlook of full realization of the goal of e-commerce adoption in the music industry in Ghana.
Samuel Kwesi Wiafe P.O. Box KF 2034, Koforidua-Ghana Tel: +233 (0)208801106
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Hurst, Magnus, and Niklas Marklund. "Internet, music and communication : How the Internet is affecting communicational efforts of smaller independent record labels." Thesis, Uppsala University, Department of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-127118.

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The purpose of this thesis is, through a case study, to analyse how the Internet is affecting smaller independent record labels' communicational efforts, and if these companies are dealing differently with this technological change. In order to accomplish this, a number of interviews have been conducted with smaller independent record labels. The findings have been analysed using a theoretical frame of reference covering innovation management and communicational methods. Our results show that the Internet has had an effect on these labels’ communicational efforts, either directly through an increased use of online communication or indirectly through the decreasing effectiveness of some traditional channels. However, as many traditional channels are still being used, smaller independent record labels are now managing an increased number of channels simultaneously. Furthermore, the degree of online communicational efforts varies depending on musical genre, being more commonly used in popular music genres. For labels with a high online activity, social networks play a prominent role, with considerable effort and time allocated towards working with these. Also, these companies are very attentive to the rapidly changing online environment with the aim of staying at the forefront of this development.

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Hensley, Evan, and Efstathios Kassios. "Understanding the Digital Music Customer : Attributes of Satisfaction." Thesis, Jönköping University, JIBS, Economics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12548.

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Record companies are suffering due to a downturn in recorded music sales. Innovative firms have developed digital music services that offer recorded music products to customers in new ways, yet sales are not what they used to be. Web 2.0 technologies have changed the customer’s tastes, expectations, and desires. Thus, a deeper understanding of the new “digital customer” is needed in order to better offer services in a way that he or she prefers most.

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Bertzell, Christoffer. "Major vs. Independent : en undersökning om hur skivbolagsrepresentationen ser ut i svensk dagspress." Thesis, Uppsala University, Media and Communication Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-122353.

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Aim: The aim for this study of Swedish daily press is to see how the musical reporting is structured for the newspapers I have chosen to analyse. My main purpose is to investigate how the newspapers reporting are distributed between artists who belong to either a major record company or an independent record company. With this research I want to find out if there are any economic backgrounds to the content and if the reporting is equal to the market production.

Method/Material: For this study I have studied, by quantitative research, every piece of musical reporting in seven daily newspapers for two weeks. Through thorough research I have determined the belonging of every article’s record company. I have compared the newspapers with each other to see how the reporting differs. I have also collected information concerning the economic aspects of the music business to investigate if the reporting is equal to the market production.

Main results:

- The representation of major and independent record companies in Swedish press is distributed as the following: 60 % Major and 40 % Independent.

- The national press and regional press both show a distorted picture of the record company representation while the evening press and free press show a more truthful representation according to the market share holdings.

- There are signs of a scope economic structure in Bonnier which cannot be fully verified.

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Sjöberg, Johan, and Adam Tapper. "A business model shaped by technology : A case study of EMI Records." Thesis, Jönköping University, JIBS, EMM (Entrepreneurship, Marketing, Management), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-11248.

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Kube, Sven. "Born in the U.S.A. / Made in the G.D.R.: Anglo-American Popular Music and the Westernization of a Communist Record Market." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3656.

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Scholars from various disciplines have demonstrated that popular culture factored significantly in Cold War contestation. As a pervasive form of cultural content and unifying medium for baby boomers worldwide, pop music played an important part in the power struggle between the era’s two adversarial camps. Historical studies of the past thirty years have identified initiatives of cultural diplomacy, from radio broadcasting to live concert tours, as key to disseminating Western music in Eastern Bloc societies. This project explains how cultural commerce across the divide of the Iron Curtain familiarized millions of music fans in the German Democratic Republic (GDR) with popular sounds from the United States, the United Kingdom, and other Western democracies. Detailing a process that affected all Bloc states in similar ways, it seeks to enrich the scholarly discourse on the role of pop culture in the twentieth century’s defining ideological conflict. Through analysis of previously unavailable or inaccessible sources, the dissertation reconstructs the economic development of a communist culture industry and measures the commercial significance of Western commodities in one Eastern Bloc marketplace. Drawing on untapped archival files, it traces the evolution of Deutsche Schallplatten (German Records) from a small private firm into a flagship enterprise on the GDR’s cultural circuit. It illuminates how dependency on technology and resources from capitalist countries prompted East Germany’s managers to prioritize the westward export of classical recordings for the purpose of earning hard currencies. Based on oral histories of contemporary witnesses, it documents how the Amiga label through the parent company’s business ties to capitalist partners advanced the import of Western jazz, blues, rock, pop, and dance music to exhaust the purchasing power of the home audience. Empirically evaluating formerly classified production data for a total of 143 million records, it reveals how the state-owned monopolist engineered a de facto takeover of the domestic marketplace by American, British, and West German performers to achieve high profitability. The dissertation argues that intensifying Westernization of its walled-in music market exemplified the GDR’s decision to concede the Cold War battle over cultural preferences and political loyalties of its citizens out of economic necessity.
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Wechsler, Johannes L. Verfasser], Florian von [Akademischer Betreuer] [Wangenheim, and Joachim [Akademischer Betreuer] Henkel. "Openness in the music business : How record labels and artists may profit from reducing control / Johannes Wechsler. Gutachter: Florian von Wangenheim. Betreuer: Joachim Henkel." München : Universitätsbibliothek der TU München, 2011. http://d-nb.info/1014861357/34.

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Efraimsson, Johan, and Henri Jäderberg. "Den fysiska skivbutikens mervärdesskapande som konkurrensstrategi." Thesis, Södertörn University College, School of Business Studies, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2698.

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The aim of this paper is to define the perceived consumer values that physical record stores create in order to compete with other distribution technologies. A qualitative method has been used, based on interviews with managers of three records stores in Stockholm. Interviews with their customers have been conducted also. The content has been analyzed with passable theories and the two sources have been compared when adequate.The conclusion of the study is that the physical record stores create many different consumer values, and that many of these are hard to transfer to other distribution technologies. One of the most important values for the consumer is that the personnel have a broad knowledge about music. Other notable values are the emotional feelings of searching for something and the atmosphere the record store creates. A pattern that is visible is that the niche record stores create more consumer values then the commercial record store. The conclusions indicate that there are opportunities for niche physical record stores and that the future for the record stores is not as bleak as may be perceived.

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Books on the topic "Music record business"

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Bordowitz, Hank. Dirty little secrets of the record business. Chicago: Chicago Review Press, 2007.

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Bordowitz, Hank. Dirty little secrets of the record business. Chicago, IL: Chicago Review Press, 2005.

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Confessions of a record producer: How to survive the scams and shams of the music business. San Francisco, CA: Miller Freeman Books, 1998.

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Avalon, Moses. Confessions of a record producer: How to survive the scams and shams of the music business. 4th ed. New York: Backbeat Books, 2009.

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Inc, ebrary, ed. Fresh at twenty. Toronto, Ont: ECW Press, 2011.

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Here come the regulars: How to run a record label on a shoestring budget. New York: Faber and Faber, 2009.

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Richard, Branson, and Richardson Perry, eds. Virgin: A history of Virgin Records. Axminster, Devon: A Publishing Company, 1996.

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Geoffrey, Yeo, ed. Managing records: A handbook of principles and practice. London: Facet Publishing, 2003.

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RUDSENSKE, J. S. Music Business Made Simple: Start An Independent Record Label (Music Business Made Simple) (Music Business Made Simple) (Music Business Made Simple). Schirmer Books, 2005.

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(Photographer), L. Wacholtz, and Tammy Talmadge (Editor), eds. Off the Record: How the Music Business Really Works. Thumbs Up Publishing, 2007.

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Book chapters on the topic "Music record business"

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Ashbourn, Julian. "The Record Business." In Audio Technology, Music, and Media, 37–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62429-3_9.

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Weissman, Dick. "Record Deals, Record Companies, and Recording Contracts." In Understanding the Music Business, 28–48. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315558769-2.

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Graham, Phil. "Michael Smellie, Global Record Executive." In Music Business Research, 15–32. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02143-6_2.

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Weissman, Dick. "The Record Industry and Record Distribution: Mapping the Territory." In Understanding the Music Business, 3–27. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315558769-1.

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Weissman, Dick. "Marketing, Funding, and Networking: Record Stores and the Music Products Industry." In Understanding the Music Business, 334–60. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315558769-14.

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Tschmuck, Peter. "Recorded Music Sales and Music Licencing in Australia, 2000–2011." In Music Business and the Experience Economy, 59–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_5.

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McKenzie, Jordi. "P2P File-Sharing: How Does Music File-Sharing Affect Recorded Music Sales in Australia?" In Music Business and the Experience Economy, 79–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_6.

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"Record Deals." In Understanding the Music Business, 44–67. Routledge, 2015. http://dx.doi.org/10.4324/9781315662305-10.

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"The record company." In Inside the Music Business, 31–43. Routledge, 2003. http://dx.doi.org/10.4324/9780203298862-5.

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"RECORD CLUB." In Music Business: The Key Concepts, 138–41. Routledge, 2009. http://dx.doi.org/10.4324/9780203875056-37.

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