01
Dec
16

Call-for-Papers: 8th Vienna Music Business Research Days, September 12-14, 2017

vmbrd-logoThe 8th Vienna Music Business Research Days will be held at the University of Music and Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna/Austria) from 12-14 September 2017. The overall topic of the next conference is the question “Unchaining the Digital Music Business?”. Digitization of the music industry has not reduced the market and gatekeeping power of the industry’s intermediaries as predicted by the long-tail and disintermediation hypotheses. However, it seems that the digital music business has become a blockbuster business with new powerful players appearing on the scene (e.g. Apple, Google/YouTube, Amazon). However, innovations such as the blockchain technology again challenge the newly established value-added network by providing tools for artists to circumvent intermediaries. Thus, the 8th Vienna Music Business Resarch Days will highlight the current developments with new research findings.

The call-for-papers for the conference track day on September 13, 2017 encourage all researchers (from post-doc level on) to submit paper proposals on the broad field of music business research including for e.g.:

  • Past, current and future developments in the music industry (recorded music industry, live music sector, music publishing, music retailing and wholesaling, music instruments industry etc.);
  • Music market research and music charts research;
  • The economic and social situation of musicians as well as the labor market for musicians;
  • The management of musicians and music institutions;
  • Gender and diversity in the music business;
  • The marketing of music;
  • Music branding and sponsoring;
  • Public and private funding of the music sector (including new forms of music funding such as crowdfunding);
  • Case studies on music companies and other music institutions;
  • Legal aspects of the music business (contracts, copyright, competition law/policy etc.);
  • Music licensing and collecting societies;
  • Music media (radio, TV, online-based media etc.);
  • Economic aspects of music genres (classical, pop/rock, jazz, world music markets etc.);
  • Business-related music education;
  • Music export;
  • etc.

Please send an abstract of your proposal to vmbrdays@gmail.com no later than March 31, 2017.

 

Other important dates:

May 15, 2017: Notification of acceptance

July 31, 2017: Submission deadline for full papers

September 13, 2017: Conference track day

September 14, 2017: Conference day for invited speakers on “Unchaining the Digital Music Business?”

 

Registration:

Registration fee – early bird (until July 31, 2017): 175,- Euro

Registration fee:                                                    225,- Euro

End of registration (no refund after this date):      August 31, 2017

 

For students at all levels of the MA & PhD a doctoral colloquium (7th Young Scholars’ Workshop) will be held as part of the 8th Vienna Music Business Research Days on September 12, 2017. Find a separate call for papers here.

 

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

01
Dec
16

Call-for-Papers: 7th Young Scholars’ Workshop of the 8th Vienna Music Business Research Days, September 12, 2017

vmbrd-logoThe Young Scholars’ Workshop, as part of the 8th 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 March 31, 2017, and full papers (15-30 pages) are due by July 31, 2017. 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, 2017, at the latest.

Please email your submission to viennamusicresearch@hmkw.de

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).

 

For researchers on the post-doc level a separate call-for-papers for the conference track day on September 13, 2017 can be found here.

 

 

 

30
Nov
16

The fate of the CD – an international CD-market analysis

In March 2010, my first blog post in the music business research blog was entitled “The CD is Dead! Long Life the Music Download?” – with a question mark. The prophecy has become partly true. In some markets, e.g. in Sweden, the CD is only a by-product such as vinyl with a combined market share 12.4 percent (IFPI 2016: 92). In other countries, e.g. Germany, the CD is still economically relevant. Physical sales in Germany accounted for 60.0 percent in 2015 – with 83.6m CD units and 7.6m other physical units sold (ibid: 81). However, the CD is on the way to insignificance and will end up as a nostalgic collectors’ item. The following economic analysis of the international CD market shed light into the dynamics of different markets and explains, why some markets are still driven by CD sales.

 

The fate of the CD – an international CD-market analysis

According to IFPI numbers, the global recorded music market decreased by 44.2 percent since 1999 to US $15.0bn in 2015. This tremendous revenue loss reflects the change from a physical to a digital music market. In 2014, the global digital music sales overtook physical sales accounting for a share of 45.8 percent of total recorded music sales (in trade value).

 

Figure 1: The global recorded music market (in million US$ trade value), 1997-2015

fig-1-global-recorded-music-market

Source: After IFPI Recording Industry in Numbers, 1998-2015 and IFPI Global Music Report 2016.

 

The CD-market segment

The decreasing CD sales caused the recession on the recorded music market. Whereas the CD unit sales boomed in the first half of 1990s with annual growth rates of about 20 percent, growth slowed down in the second half of the 1990s indicating the end of the CD’s life-cycle. CD album sales peaked in 2000 with 2.4bn copies sold. Since then the CD market decreased by 74.2 percent to 569m units sold in 2015. However, the downturn accelerated since 2005. Whereas the global CD market volume decreased by 20.6 percent from 2000 to 2005, it halved from 2005 to 2010 and further decreased by 41.3 percent from 2010 to 2015.

 

Figure 2: The global CD market segment from 1991 to 2015 (unit sales in million)

fig-2-global-cd-market-segmentSource: After IFPI Recording Industry in Numbers, 1992-2015 and IFPI Global Music Report 2016.

 

A closer look at national recorded music markets unveils different dynamics. Whereas Sweden lost 90.0 percent of CD unit sales from 2000 to 2015, the decrease of 59.3 percent in Germany was less severe in the same period. Outside Europe and North America some CD markets even have grown since 2000 such as India (+137.8 percent). However, India started at a very low sales level in 2000, when music cassettes still dominated the (legal) market. After a few years of growth, the CD segment halved from 2012 to 2015 from 41.6m units sold to 21.4m (IFPI 2016: 98). Thus, with a time-lag India follows the trend in large recorded music markets, which were literally smashed since 2000: France (-70.0 percent), UK (-72.6 percent), Brazil (-82.5 percent), and USA (‑87.3 percent).

 

Figure 3: The change rates of the CD market in selected countries, 2000-2015

fig-3-change-rates-of-the-cd-market

Source: After IFPI Recording Industry in Numbers 2000 and IFPI Global Music Report 2016.

 

Different market dynamics

A differentiated look at three periods – 2000 to 2005, 2005 to 2010, and 2005 to 2015 – highlights different dynamics on national CD markets. Some countries such as the USA and Spain follow the global trend with modest annual average decreases from 2000-2005, accelerated loss rates from 2005 to 2010, and a slowed decrease since 2010. Other countries such as Brazil, Germany, and South Korea suffered from the most severe decreases in the period from 2000 and 2005 but recovered in the following decade. In South Korea, the CD segment even grew by an average of 1.7 percent from 2005 to 2010 and by 3.7 percent since 2010. Some countries experienced a growth of CD sales from 2000 to 2005 – India, China, South Africa – but with more or less severe losses in the following decade. However, a majority of countries such as Australia, UK, and France faced accelerated losses since 2000. Sweden is a special case. CD unit sales fell by 9.8 percent per year from 2000-2005. From 2005-2010 the annual loss of the Swedish CD market slowed down to 1.7 percent. In the following five years the CD market in Sweden collapsed with an annual decrease rate of 27.5 percent due to the widespread success of music streaming.

 

Figure 4: The average annual change rates of the CD market in selected countries, 2000-2015

fig-4-average-annual-change-rates-of-the-cd-market-new

Source: After IFPI Recording Industry in Numbers, 2000-2015 and IFPI Global Music Report 2016.

 

The analysis highlights that specifics of the national markets – such as availability of CD players, Internet and smartphone penetration, consumer behaviour, demographics, and cultural characteristics – caused different market dynamics. Thus, there is no simple explanation for the recession of the CD market.

 

Sweden and Germany in comparison

Despite the fact that Germany’s population is twice as large than in Sweden, both countries can be characterised by similar economic and technological indicators. The GDP per capita is about US$ 48,000 and the share of internet users, broadband connections and active tablets per head is similar. The total music revenues per capita in Sweden (US$ 18.6) and Germany (US$ 16.2) does not significantly differ. The only striking difference occurs in smartphone penetration. In Sweden each inhabitant owns a smartphone, whereas in Germany smartphone penetration is 84.4 percent. Nevertheless, Sweden and Germany are on a similar economic and technological level.

 

Figure 5: Sweden and German in comparison

fig-5-sweden-and-german-in-comparison-new

After: IFPI Global Music Report 2016: pp. 81 and 92.

 

Thus, other factors have caused the different market dynamics in both countries. A view on the Swedish and German recorded music charts of 2015 helps to understand the differences.

 

Figure 6: The Swedish and German top-10 charts

fig-6-swedish-and-german-top-10-charts-new

After: IFPI Global Music Report 2016: pp. 81 and 92; red indicates the same international products in both charts.

 

A comparison shows that more or less the same international hits dominate the top-10 of the Swedish and German single charts. A look at the album charts of both countries, unveils a significant difference in music taste. Only two international albums (by Adele and Ed Sheeran) can be found in both charts. Whereas the Swedish album chart is dominated by international products, the German hit list is dominated by domestic products, especially Schlager/popular folk music and Deutsch pop – the boundaries of both genres is blurring anyway. Particularly Schlager/popular folk music is popular among elderly people, who still buy CDs.

The current report of IFPI Germany (2016: 30) states that the generation 50+ has the highest sales share with 38.3 percent of total recorded music revenue in Germany. The report confirms that the oldest age cohort accounted for 64 percent of sales in the Schlager segment and for more than 66 percent in classical music segment, which is also highly relevant for the CD market. If we add the age cohort (40-49 years) to the picture we can see that the generation 40+ generated almost 68 percent of all CD-sales in 2015 (IFPI Germany 2016: 32-33). By comparing the economic relevance of album and therefore mainly CD-driven genres – Schlager/popular folk music, Deutsch pop, classical music, jazz –, which accounted for 21 percent of overall recorded music sales in Germany (ibid: 39) – with the music consumption behaviour of the older age cohorts, we can conclude that elderly music consumers account for the still relatively high sales share of the CD-format in Germany. Thus, we can expect a further decline of the CD segment in Germany, which could result in decreasing overall recorded music sales if the growth of streaming revenue cannot compensate for the loss in CD sales as well as download sales. Whereas in Sweden recorded music revenue will further grow as long as the streaming boom continues.

Thus, the comparison of the Swedish and German CD markets highlights that there is no uniform a simple explanation for market dynamics and we have to take into consideration macroeconomic, technological, demographic and cultural factors to assess the future development of different national recorded music markets.

 

Sources:

IFPI, 2016, The Global Music Report 2016, London.

IFPI Germany, 2016, Musikindustrie in Zahlen 2015, Berlin.

 

11
Oct
16

The 7th Vienna Music Business Research Days in retrospective

vmbrd-logoThe 7th Vienna Music Business Research Days on “Self-Management in the Digital Music Business” are already history. International music business researchers and business professionals gathered at the University of Music and Performing Arts to discuss the challenges and chances of the digital music economy.

In the Young Scholars’ Workshop graduate and PhD students from Canada, Germany, Norway, Poland, Spain and Russia presented their theses in a closed workshop in group of highly regarded music business/industry researchers. Lorenz Grünewald of the University of Applied Sciences for Media, Communication and Management Berlin was awarded for his paper “The (In)significance of the Brand: Brands & Music Culture”. The paper will be published in the International Journal of Music Business Research (IJMBR).

The conference track day on September 28 brought together music business academics from Australia, Austria, Colombia, Denmark, Finland, Germany, Italy, Norway, Slovenia and Spain, who presented recent research results on the music business/industry.

The third conference day was again held in cooperation with the Waves Music Festival & Conference and was devoted to the topic of “Self-Management in Digital Music Business”.

For a detailed coverage of the entire conference– including most of the papers and presentation slides as well as the audio and video streams of all talks and discussions of the third conference day on Sep. 29th – please click here.

Continue reading ‘The 7th Vienna Music Business Research Days in retrospective’

26
Sep
16

7th Vienna Music Business Research Days on “Self-Management in the Digital Music Business”

VMBRD-logo.jpgThe 7th Vienna Music Business Research Days on “Self-Management in the Digital Music Business” are held from Sep. 27-29, 2016 at the University of Music and Performing Arts Vienna. As in the prior years, music business research from all around the world and music industry prfessionals will discuss current developments in the music business/industry in numerous presentations and panel discussions.

The Young Scholars’ Workshop (closed event) gathers for the sixth time students from all around the globe to present their research projects and to discuss them with renown music business researchers.

After the workshop,  Angela Myles Beechings presents her book in the keynote “Beyond Talent: the Psychology of Music Entrepreneurship and Self Management” in IKM’s Large Conference Room on Sep. 27th  from 19:30-21:00 (building E on university’s campus).

On Sep. 28th, music business researchers from eight different countries present their recent findings on the music business/industry. The topics range from the economics and psychology of music streaming and music education to team diversity in sound recording projects: Click here for the program.

The entire last conference day on Sep. 29th, is devoted to the conference’s main topic.  Martin Lücke (Macromedia University, Berlin) talks on best-practice models of career centers at music universities, before moderating a panel discussion with Gretchen Amussen (L’Association Européenne des Conservatoires, Paris), Angela Myles-Beeching (Manhattan School of Music, New York) and Stefan Simon (Music University Detmold) on the same topic.

After the panel discussion, music consultant Johannes Ripken highlights his concept of “Organic Artist Development”.

After the lunch break (14:00),  Stephen Power highlights in a keynote speech his very personal approach of “Self-Management in the Digital Music Business”. Stephen Power is a very successful music producer working with Robbie Williams, Blur, Diana Ross etc. In the following panel discussion, the successful Austrian music producer and vice-president of the Austrian Composers’ Society, Harald Hanisch, moderates a panel with Roxanne de Bastion (musician, London), Keith Harris (manager of Stevie Wonder, London), Stephen Power (music producer, London) and Johannes Ripken (musik consultant, Kiel) the challenges of “Self-Management in the Digital Music Business”.

The last conference day will be closed with awarding the best paper of the Young Scholars’ Workshop.

Conference program: https://musicbusinessresearch.wordpress.com/vienna-music-business-research-days-2/

How to get there and campus map: https://musicbusinessresearch.wordpress.com/vienna-music-business-research-days-2/conference-site-how-to-get-there/

Video-Livestream on Sep. 29th: http://www.mdw.ac.at/mdwMediathek/livestream/

Facebook: http://www.facebook.com/ViennaMusicBusinessResearchDays

Twitter: https://twitter.com/VMBRD

23
Sep
16

Introducing our guests: Roxanne de Bastion (musician, London)

foto-roxanne-de-bastionThe 7th Vienna Music Business Research Days from Sep. 27-29, 2016 are devoted to “Self-Management in the Digital Music Business”. International music business experts, therefore, discuss the challenges and chances of artist self-management as well as the future development. Find the program here.

As a self-managed artist, the London-based musician Roxanne de Bastion completes the panel on “Self-Management in the Digital Music Busines” in Joseph Haydn-Hall on Sep. 29th from 15:30-17:00. The other panelists are: Steve Power (music producer, London), Keith Harris (manager of Stevie Wonder, London) and Johannes Ripken (music consultant, Kiel). The moderator of the discussion is Harald Hanisch, successful music producer and vice president of the Austrian Composers’ Society.

Roxanne de Bastion is a singer, songwriter and performer. Born in Berlin to a musical, bilingual family, she started composing and performing at the age of 15. Soon after, Roxanne took her career in her own hands and moved to London, equipped only with her guitar, her songs and a one-way ticket.

Since then, Roxanne has released her debut album “The Real Thing” on her own label, Nomad Songs, and regularly tours across the UK, mainland Europe and the USA. Her music has gained support from BBC6, Xfm, R2 Magazine, The Sunday Times as well as major radio stations across Europe and MTV Germany.

As an independent musician she offers insight into the everyday workings of life as an artist in today’s ever-changing industry and has been invited to speak on subjects such as ‘the future of music’, ‘copyright in the digital age’ and ‘music streaming’. In 2014, Roxanne was invited to join the board of the FAC in order to represent up-and-coming musicians. The following year, Roxanne founded FM2U, a conference and network specifically from and for independent musicians.

 

“Standout number…astonishingly assured” (The Sunday Times)

“A real mover and shaker in the independent music world and a great writer” (Ruth Barnes, Amazing Radio)

“One of the most perfect voices I’ve ever heard” (Tom Whalley, BBC6)

 

Check her webpage: http://www.roxannedebastion.com/

YouTube channel: https://www.youtube.com/channel/UCt7_SjYMYipAapOifHOoHgA

Soundcloud account: https://soundcloud.com/roxanne-de-bastion

Twitter account: https://twitter.com/roxannemusic

Facebook account: https://www.facebook.com/roxannedebastion

 




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