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This book provides rare insights into the difficult and complex
dialogues between stakeholders within and outside the music
industries in a time of transition. It builds on a series of
recorded meetings in which key stakeholders discuss and assess
options and considerations for the music industries' transition to
a digital era. These talks were closed to the public and operated
under the Chatham House Rule, which means that they involved a very
different type of discussion from those held in public settings,
panels or conferences. As such, the book offers a much more nuanced
understanding of the industries' difficulties in adjusting to
changing conditions, demonstrating the internal power-struggles and
differences that make digital change so difficult. After presenting
a theoretical framework for assessing digital change in the music
industries, the author then provides his research findings,
including quotes from the Kristiansand Roundtable Conference.
Following from these findings, he develops three critical concepts
that explain the nature as well as the problems of the music
industries' adaptation process. In conclusion, he challenges the
general definition of crisis in the music industries and
contradicts the widely held view that digitalization is a case of
vertical integration.
COVID-19 had a global impact on health, communities, and the
economy. As a result of COVID-19, music festivals, gigs, and events
were canceled or postponed across the world. This directly affected
the incomes and practices of many artists and the revenue for many
entities in the music business. Despite this crisis, however, there
are pre-existing trends in the music business - the rise of the
streaming economy, technological change (virtual and augmented
reality, blockchain, etc.), and new copyright legislation. Some of
these trends were impacted by the COVID-19 crisis while others were
not. This book addresses these challenges and trends by following a
two-pronged approach: the first part focuses on the impact of
COVID-19 on the music business, and the second features general
perspectives. Throughout both parts, case studies bring various
themes to life. The contributors address issues within the music
business before and during COVID-19. Using various critical
approaches for studying the music business, this research-based
book addresses key questions concerning music contexts, rights,
data, and COVID-19. Rethinking the music business is a valuable
study aid for undergraduate and postgraduate students in subjects
including the music business, cultural economics, cultural
management, creative and cultural industries studies, business and
management studies, and media and communications.
This book provides rare insights into the difficult and complex
dialogues between stakeholders within and outside the music
industries in a time of transition. It builds on a series of
recorded meetings in which key stakeholders discuss and assess
options and considerations for the music industries' transition to
a digital era. These talks were closed to the public and operated
under the Chatham House Rule, which means that they involved a very
different type of discussion from those held in public settings,
panels or conferences. As such, the book offers a much more nuanced
understanding of the industries' difficulties in adjusting to
changing conditions, demonstrating the internal power-struggles and
differences that make digital change so difficult. After presenting
a theoretical framework for assessing digital change in the music
industries, the author then provides his research findings,
including quotes from the Kristiansand Roundtable Conference.
Following from these findings, he develops three critical concepts
that explain the nature as well as the problems of the music
industries' adaptation process. In conclusion, he challenges the
general definition of crisis in the music industries and
contradicts the widely held view that digitalization is a case of
vertical integration.
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