Music Business and the Experience Economy is the first book on the music business in Australasia from an academic perspective. In a cross-disciplinary approach, the contributions deal with a wide-range of topics concerning the production, distribution and consumption of music in the digital age. The interrelationship of legal, aesthetic and economic aspects in the production of music in Australasia is also highlighted as well as the emergence of new business models, the role of P2P file sharing, and the live music sector. In addition, the impact of the digital revolution on music experience and valuation, the role of music for tourism and for branding, and last but not least the developments of higher music education, are discussed from different perspectives.

Music Business and the Experience Economy is the first book on the music business in Australasia from an academic perspective. In a cross-disciplinary approach, the contributions deal with a wide-range of topics concerning the production, distribution and consumption of music in the digital age. The interrelationship of legal, aesthetic and economic aspects in the production of music in Australasia is also highlighted as well as the emergence of new business models, the role of P2P file sharing, and the live music sector. In addition, the impact of the digital revolution on music experience and valuation, the role of music for tourism and for branding, and last but not least the developments of higher music education, are discussed from different perspectives.

This book charts the effects of new communication technologies and the Internet on the creation of music in the early 21st century. It examines how the music industry will be altered by the Internet, music online services and MP3-technology. This is done through an integrated model based on an international history of the industry since the phonograph 's invention in 1877, and thus, the history of the music industry is described in full detail for the first time.

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.

The music industry is one of the most dynamic and fascinating business sectors. Its business model has had to evolve and adapt to continually changing technologies that impact at every level from distribution to artist management. Its latest challenge has been the closure of live music venues during the Covid-19 pandemic. The second edition of this much used introduction to the economic workings of the music business has been updated to include analysis of the impact of the pandemic as well as new trends in the industry, such as the increasing dominance of tech companies and big data and the growing importance of collective management organizations as market players, which has impacted on new business contracts. At a time when live performance outstrips music sales as the primary source of income for today's musicians, this new edition also examines how different stakeholder positions have shifted. The book remains a rigorous presentation of the industry's business model, the core sectors of publishing, recording and live music, and the complex myriad of licensing and copyright arrangements that underpin the industry. The revenue streams of recording companies are analysed alongside the income stream of artists to show how changing formats and distribution platforms impact both industry profit margins and artists' earnings.

Das Buch ist eine Einfuhrung in das neue Fach Kulturbetriebslehre, das sich als Trans- und Interdisziplin an der Schnittstelle von Wirtschaft-, Sozial- und Kulturwissenschaften versteht. Die Kulturbetriebslehre ist die Wissenschaft von der Entstehung, Verbreitung und Rezeption von Kulturgutern und jenen Institutionen, die an diesen Prozessen beteiligt sind. Sie befasst sich mit der Bildung kultureller und wirtschaftlicher Werte, die in Kulturgutern stets wechselwirken.

Das Buch stellt die oekonomischen Zusammenhange und Prozesse in der Musikwirtschaft dar und beleuchtet im Speziellen das Musikverlagswesen, die phonografische Industrie, den Live-Musiksektor, sekundare Musikmarkte (Medien, Werbung, Branding, Merchandising, Games), Musikarbeitsmarkte sowie die oekonomischen Hintergrunde des digitalen Musikbusiness.

Die Musikwirtschaftsforschung versteht sich als Inter-Disziplin an der Schnittstelle wirtschaftlicher, kunstlerischer, insbesondere musikalischer, kultureller, sozialer, rechtlicher, technologischer aber auch daruber hinausgehender Entwicklungen, die zur Entstehung, Verbreitung und Rezeption des Kulturgutes Musik beitragen. Der Sammelband beinhaltet Beitrage mit unterschiedlichen fachdisziplinaren und methodischen Zugangen und ist Ergebnis eines Workshops, der Anfang Juli 2016 am Institut fur Kulturmanagement und Kulturwissenschaft (IKM) der Universitat fur Musik und darstellende Kunst Wien stattgefunden hat.

Die Kulturbetriebsforschung befasst sich mit der Konzeption, Produktion, Distribution und Rezeption von Kulturgutern, die in einem dynamisch interagierenden und institutionell strukturierten Handlungsfeld stattfinden - namlich im Kulturbetrieb. Die Komplexitat des Forschungsgegenstandes, die Notwendigkeit praxisnaher Beobachtungen und die Vielfalt der theoretischen Ansatze, die oft im Hintergrund die Forschung beeinflussen, erzwingen eine standige Reflexion der Entwicklung und Perspektiven der Kulturbetriebsforschung. Dieses Buch stellt aktuelle Ansatze und Konzeptionen der Kulturbetriebsforschung dar.

The music industry is one of the most dynamic and fascinating business sectors. Its business model has had to evolve and adapt to continually changing technologies that impact at every level from distribution to artist management. Its latest challenge has been the closure of live music venues during the Covid-19 pandemic. The second edition of this much used introduction to the economic workings of the music business has been updated to include analysis of the impact of the pandemic as well as new trends in the industry, such as the increasing dominance of tech companies and big data and the growing importance of collective management organizations as market players, which has impacted on new business contracts. At a time when live performance outstrips music sales as the primary source of income for today's musicians, this new edition also examines how different stakeholder positions have shifted. The book remains a rigorous presentation of the industry's business model, the core sectors of publishing, recording and live music, and the complex myriad of licensing and copyright arrangements that underpin the industry. The revenue streams of recording companies are analysed alongside the income stream of artists to show how changing formats and distribution platforms impact both industry profit margins and artists' earnings.

Das musikwirtschaftliche Wertschopfungsnetzwerk unterliegt gegenwartig einem tiefgreifenden Wandel. Um den vielfaltigen Facetten dieser Umbruchsituation gerecht zu werden, reicht das Spektrum der Beitrage von der Musikwissenschaft uber die Musiksoziologie, die Kultur- und Medienwissenschaft bis hin zu den Wirtschaftswissenschaften. So entsteht ein interdisziplinarer und multiperspektivischer Blick auf die gesamte Musikwirtschaft.
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Why did jazz become a dominant popular music genre in the 1920s and rock 'n' roll in the 1950s? Why did heavy metal, punk rock and hiphop find their way from sub-cultures to the established music industry? What are the effects of new communication technologies and the Internet on the creation of music in the early 21st century? These and other questions are answered by Peter Tschmuck through an integrated model of creativity and innovation that is based on an international history of music industry since Thomas A. Edison invented the phonograph in 1877. Thus, the history of the music industry is described in full detail. By discussing the historic process of music production, distribution and reception the author highlights several revolutions in the music industry that were caused by the inference of aesthetic, technological, legal, economic, social and political processes of change. On the basis of an integrated model of creativity and innovation, an explanation is given on how the processes and structures of the present music industry will be altered by the ongoing digital revolution, which totally changed the value-added network of the production, dissemination and use of music. For the second edition, the author has reworked chapter 9 in order to include all the developments which shaped the music industry in the first decade of the 21st century - from Napster to cloud-based music services and even beyond.