07
Dec
17

Call-for-papers: 9th Vienna Music Business Research Days, September 12-14, 2018

The 9th Vienna Music Business Research Days will be held at the University of Music and Performing Arts Vienna, Austria, from September 12 to 14, 2018.

Music Business Research is an inter-discipline at the intersection of economic, artistic, cultural, social, legal, technological and further developments which contribute to the creation/production, dissemination/ distribution and reception/consumption of music. This interdisciplinary nature calls for methodological multiplicity and is open to scholars from all scientific areas.

The conference organizers invite scholars (from the postdoctoral level on) who have a research focus on music business/industry related topics to submit a paper proposal for the conference day on September 13, 2018 (CfP in pdf-format).

Scholarly submissions on this year’s conference theme “Music Life is Live” or other aspects of music business research are welcomed.

Indicative themes, include, but are not limited to:

  • Past, current and future developments in the music industry (recorded / live / publishing / retailing / wholesaling, etc.)
  • Economic and historic analyses of music markets, charts or audiences
  • Issues in marketing and/or branding music, musicians or music institutions
  • Aspects of musical and musician diversity in music business
  • Critical discourses on the economic, social and cultural contributions of (live) music
  • New products, formats and business models in the music sectors
  • Strategies and strategizing of musicians and music institutions
  • Situatedness and power in musician labor markets
  • Agency and social practices in the music business
  • Legal issues in the music business (contracts, copyright, policies) from an international perspective
  • Fit for the market? Acquiring skills for the music business
  • Doing things right. New solutions for fairness and transparency in the music business
  • Entrepreneurial musicians und music entrepreneurs
  • An age of disruption? Technological developments in the music industry

 

Submission

Please send an abstract of your proposal to vmbrdays@gmail.com no later than April 9, 2018.

All submissions must include a title, authors (names, affiliations, e-mails of all authors and a notation (*) of the corresponding author), an abstract of 1,000-1,500 words and 3-5 keywords. Abstracts must be submitted in English, as a MS Word file (*.doc or *.docx) or *.pdf file, and include:

  • Objectives of the research
  • Brief description of the disciplinary/theoretical context/background
  • Research questions and/or hypotheses
  • Methodology
  • Main or expected conclusions / contribution
  • Main references

Abstracts will be subject to a double-blind peer-review process by an international jury, and authors will be notified of acceptance by May 15, 2018.

Final papers should not exceed 7,000 words (including abstracts, figures, tables, references and appendices) and follow the author guidelines of the International Journal of Music Business Research (IJMBR). The best paper will be offered publication in IJMBR.

 

Important dates

April 9, 2018                    Abstract submission deadline

May 15, 2018                  Notification of acceptance

July 31, 2018                   Submission deadline for full papers

September 13, 2018       Conference day

September 14, 2018       Conference day for invited speakers on “Music Life is Live.”

For students at all levels of the MA & PhD a doctoral colloquium (8th Young Scholars’ Workshop) will be held as part of the 9th Vienna Music Business Research Days on September 12, 2018. Find a separate call for papers here.

 

Registration Fee

The registration fee includes conference attendance, reception, coffee breaks and lunch on conference days as well as the Heurigen-Dinner on September 14, 2018.

Registration fee – early bird (until July 31, 2018):              175,- Euro

Registration fee:                                                                 225,- Euro

End of registration (no refund after this date):                 August 31, 2018

 

Contact

Dagmar Abfalter (mailto: vmbrdays@gmail.com)

Department of Cultural Management and Gender Studies (IKM)

University of Music and Performing Arts, Vienna

Anton-von-Webern-Platz 1, 1030 Vienna, Austria

Tel.: +43-1-71155-3418  /  Fax: +43-1-71155-3499
https://musicbusinessresearch.wordpress.com/vienna-music-business-research-days-2/

 

 

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07
Dec
17

Call-for-papers: 8th Young Scholars’ Workshop of the 9th Vienna Music Business Research Days 2018, September 12, 2018

The Young Scholars’ Workshop, as part of the 9th Vienna Music Business Research Days (Vienna, Austria), invites once again young researchers to submit paper abstracts of all disciplines exploring questions that help understand economic and managerial problems as well as processes of the music business sector and in the field of music management. There are many questions that call for investigation and need to be discussed in music business research, for example:

  • What drives innovation in the music business sector?
  • How can we scientifically understand and differentiate music business models?
  • What do we know about critical success factors? Have success factors changed over time – and has music business (entrepreneurship) changed in general?
  • What rationalities affect this very “personal” industry?
  • What does it mean to be self-managed in the music business?
  • What can we learn about the customer’s willingness to pay for music recordings or related goods?
  • Who will control the future music market, e.g., startups or Apple?
  • How can we understand the role of brands and the music industry?
  • And how can music business research support efforts for innovative business models?
  • What issues of gender, class or “race” exist in a music business context? How are they dealt with?

 

These research questions are not exhaustive, papers may also address other aspects.

The workshop organizers Prof. Dr. Carsten Winter (Hanover University of Music, Drama and Media) and Prof. Dr. Peter Tschmuck (University of Music and Performing Arts Vienna) strongly encourage submissions from students at all levels of MA & PhD. Students are supposed to work on their MA or PhD thesis and discuss it with senior researchers of music business research.

Abstracts (of about 1,000 characters) are due by April 9, 2018, and full papers (15-30 pages) are due by July 31, 2018. Only abstracts and papers submitted on time will be considered.

A maximum of 6-8 papers will be selected for presentation to guarantee a workshop atmosphere. The sessions will combine paper presentations and discussions including interactive elements. Information on the acceptance of the paper proposal will be sent until May 15, 2018, at the latest.

Please email your submission to youngscholars@imbra.eu

Paper proposals and final papers must be submitted as pdf documents and should include contact information, at least affiliation, e-mail address, telephone number and postal address of the author(s). Find der pdf version here.

For researchers on the post-doc level a separate call-for-papers for the conference track day on September 13, 2018 can be found here.

 

Organized by

 

 

 

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24
Nov
17

This Is What Post-IPO Life Will Look Like For Spotify

Some thoughts of Mark Mulligan on Spotify’s expected stock listing next year …

Music Industry Blog

With a fair wind, Spotify’s long-anticipated public offering should happen before the end of Q2 2018 (and yes, probably a direct listing rather than an IPO but ‘IPO’ worked better in the title!) . The music industry will be watching with keen interest as it is going to be the bellwether for the streaming music sector. Posting three or four successive quarters of well-received earnings will be key to Spotify’s life as a public company. Note my careful use of words, ‘well-received earnings’, not ‘strong earnings’. Spotify’s currently challenged underlying financials are not going to change in any fundamental sense over the course of nine to 12 months, so it will need to construct a series of narratives and targets that Wall Street will buy into. The only problem is, Wall Street often has very high expectations for growth stage tech stocks, and falling short of those expectations can result…

View original post 969 more words

26
Oct
17

International Journal of Music Business Research – October 2017, vol. 6, no. 2

The first article of the October 2017 issue of the International Journal of Music Business Research (IJMBR), Innovation in the arts – lessons from the creation of Dalhalla” by Per Frankelius of Linköping University/Sweden, is an insightful case study of the Dalhalla opera festival in Sweden that was initiated and organised by the opera singer and retired radio producer Margareta Dellefors. The second article, “Collaborating to compete: the role of cultural intermediaries in hypercompetition” by George Musgrave of University of Westminster in London, employs an innovative methodological approach to examine the role that cultural intermediaries, such as radio DJs and journalists, play in the lives of three unsigned UK urban music artists. The concluding article of this journal issue, “Status quo and perspectives of licensing synchronisation rights” by Stephan Klingner and Julia Friedrich of Leipzig University/Germany, highlights the current state of music licencing and identifies the needs from the users’ perspective. The findings are drawn from interviews with representatives of synchronisation rights licensing platforms and production libraries. The book review by Dennis Collopy of “The Economics of Music” by Peter Tschmuck rounds up the IJMBR’s October 2017 issue.

 

Volume 6, no 2, October 2017

Editorial by Peter Tschmuck, pp. 4-5

Per Frankelius: Innovation in the arts – lessons from the creation of Dalhalla, pp. 6-40

George Musgrave: Collaborating to compete: the role of cultural intermediaries in hypercompetition, pp. 41-68

Stephan Klingner & Julia Friedrich: Status quo and perspectives of licensing synchronisation rights, pp. 69-86

Book review by Dennis Collopy: The Economics of Music by Peter Tschmuck, pp. 87-91

 

 

29
Sep
17

The 8th Vienna Music Business Research Days in Retrospective

The 8th Vienna Music Business Research Days on “Unchaining the Digital Music Business?” were held at the University of Music and Performing Arts Vienna from September 12-14, 2017. Over the past few years new gatekeeping processes in the digital music business have emerged and international music business experts, therefore, highlighted the role of new and old gatekeepers as well as the impact of innovative technologies such as the blockchain on structures and processes in the music business.

Students from Austria, Bardados, Canada, Germany, Serbia and South Africa on a master and PhD level opened the conference with the Young Scholars Workshop presenting and discussing their research findings with reknown academics in the field of music business research (workshop program). The article “Virtual Songwriting: Fostering Creative Processes through ‘Challenge’ and ‘Collaboration'” by Benjamin Schiemer from the Johannes Kepler University Linz in Austria was awarded by an international jury as best paper and is considered to be published in the International Journal of Music Business Research (IJMBR).

Music business researchers from Austria, Australia, Finland, Germany, Italy, Norway, Spain, United Kingdom and the US gathered on the conference track day (September 13) to present their recent findings on the music business and discuss them with the audience. The topics ranged from the economics of music festivals, music piracy, regulatory aspects in the music business and on choreographies to artist-fan engagement, music management, social media in the music business to the impact of blockchain technology on the music industry (see program).

The invited conference day on September 14 highlighted the role of new gatekeepig processes in the digital music bsuines by new and old players of the music industry. Daniel Nordgård from the University of Agder in Kristiansand/Norway held the introductory talk on “New Gatekeeping Processes in the Digital Music Business” and moderated then a panel discussion with Sally Gross (University of Westminster, London), Sarita Stewart (Mike Curb College of Entertainment & Music Business, Belmont University Nashville/USA), Scott Cohen (The Orchard, London and New York) and Stefan Baumschlager (Record Bird, Vienna). In the following presentation George Musgrave from the University of Westminster in London talked on “Control and Autonomy in the Digital Music Business”.

In the afternoon Alan Graham and Wolfgang Senges critically reflected in two keynotes – “The Applications of Blockchain Technology in the Music Business” and “The Benefits and Challenges of Blockchain Technology in the Music Business” the current hype about blockchain technology  and discussed with Carlotta de Ninni (Mycelia for Music project) and Kelly Snook (University of Brighton) its impact on the music business.

Continue reading ‘The 8th Vienna Music Business Research Days in Retrospective’

11
Sep
17

Introducing our guests: Stefan Baumschlager (Record Bird)

The 8th Vienna Music Business Research Days from Sep. 12-14, 2017 are devoted to the question “Unchaining the Digital Music Business?”. Over the past few years new gatekeeping processes in the digital music business have emerged and international music business experts, therefore, highlight the role of new and old gatekeepers as well as the impact of innovative technologies such as the blockchain on structures and processes in the musis biz. Find the program here.

Due to a last minute cancellation Stefan Baumschlager of Record Bird will replace Jake Beaumont-Nesbitt as discussant in the panel on “New Gatekeeping Processes in the Digital Music Business” with Sally Gross (University of Westminster, London), Sarita Stewart (Mike Curb College of Entertainment & Music Business, Belmont University Nashville/USA), Scott Cohen (The Orchard, London and New York) moderated by Daniel Nordgård in Joseph Haydn-Hall on September 14 from 10:15-11:15.

Stefan Baumschlager currently heads up marketing and business development at Record Bird. He joined the young company based in Austria’s capital from Google where he’s been managing European publishing partnerships and licenses for the past 2+ years. Prior to Google Stefan helped now defunct streaming service Rdio from the creators of Skype with their roll out across Europe in the capacity as Head of European Partnerships. Before joining Rdio, Stefan spent close to 6 years at Last.fm, the last two heading its music department overseeing global label relations as well as indie content licensing. Prior to Last.fm, Stefan held several roles in terrestrial radio and worked with Gilles Peterson, Karen Pearson, Somethin-Else Productions and Austria’s public service broadcaster ORF among others. He holds an MA in Communications and a BA in Media Studies from the University of Westminster in London.

 

 

10
Sep
17

Introducing our guests: Jake Beaumont-Nesbitt (IMMF, London)

The 8th Vienna Music Business Research Days from Sep. 12-14, 2017 are devoted to the question “Unchaining the Digital Music Business?”. Over the past few years new gatekeeping processes in the digital music business have emerged and international music business experts, therefore, highlight the role of new and old gatekeepers as well as the impact of innovative technologies such as the blockchain on structures and processes in the musis biz. Find the program here.

Jake Beaumont-Nesbitt (International Music Managers Forum) is one of the panelists of the discussion on “New Gatekeeping Processes in the Digital Music Business” with Sally Gross (University of Westminster, London), Sarita Stewart (Mike Curb College of Entertainment & Music Business, Belmont University Nashville/USA), Scott Cohen (The Orchard, London and New York) moderated by Daniel Nordgård in Joseph Haydn-Hall on September 14 from 10:15-11:15.

Jake Beaumont-Nesbitt manages composer Peter Gregson, and advises a number of artists on rights management and career development. He is the policy advisor to The International Music Managers Forum (IMMF), an organisation that brings together artist representative associations from 30 countries. It represents managers and the artists they work with to establish better trading conditions for creators through networking, sharing and discussions.

 




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