Author Archive for Peter Tschmuck

04
Jul
22

13th International Music Business Research Days 2022 on “Parallel Worlds in the Music Industry”

 

The 13th International Music Business Research Days will be held from October 18 to 20, 2022 at the mdw – University of Music and Performing Arts Vienna, Austria

 

 

Conference Program 2022

 

Registration & Ticketing

 

 

October 18: Young Scholars Workshop (14:00 – 17:30), Department of Cultural Management and Gender Studies (IKM)

October 19: Conference Track Day (09:00 – 17:30), Joseph Haydn-Hall & Fanny Hensel-Hall

October 20: Invited Conference Day, Joseph Haydn-Hall

10:00-10:15:   Welcome

10:15-11:00:   Keynote on “New Virtual Worlds for Music” by Beate Flath (University of Paderborn, Germany)

11:00-11:30: Refreshments

11:30-13:00: Book presentation and panel discussion on “Rethinking the Music Business” with Beate Flath (University of Paderborn, Germany), Zaria Peters (musician, IESA Paris, France), Guy Morrow (University of Melbourne, Australia), Daniel Nordgård (University of Agder, Norway) conducted by Peter Tschmuck (University of Music and Performing Arts Vienna, Austria)

13:00-14:00: Lunch Break

14:00-14:45: Keynote on “Parallel Worlds of Music Streaming” by Dave Hesmondhalgh (University of Leeds, UK) & Hyojung Sun (Ulster University, Northern Ireland)

14:45-15:00: Refreshments

15:00-16:00: Panel discussion on “Parallel Worlds of Music Streaming?” with Dave Hesmondhalgh (University of Leeds, UK), Hyojung Sun (Ulster University, Northern Ireland), Fabian Schütze (analogsoul, Leipzig, Germany), Yasmo (musician, Austria) conducted by Hannes Tschürtz (ink Music, Austria)

16:00: Awarding best paper of Young Scholars’ Workshop & Closing

 

 

Important dates

May 31, 2022                Abstract submission deadline

June 30, 2022                Notification of acceptance

September 15, 2022    Submission deadline for full papers

October 19, 2022         Conference day (paper sessions)

October 20, 2022         Conference day for invited speakers on “Parallel Worlds in the Music Industry”

 

Registration Fee

Registration (ntry.at/vmbrdays2022) will be open from July 1, 2022 to October 20,2022. There will be no refund after this date. The registration fee includes conference attendance, reception, coffee breaks and lunch on conference days as well as the Heurigen-Dinner on October 20, 2022.

  Full registration fee
Until August 31, 2022 (early bird) Euro 175,-
After August 31, 2022 Euro 225,-

 

Contact

mailto: musicbusinessresearch@gmail.com

mdw – University of Music and Performing Arts, Vienna

Anton-von-Webern-Platz 1, 1030 Vienna, Austria
https://musicbusinessresearch.wordpress.com/international-music-business-research-days-2/

 
 
 

28
Apr
22

International Journal of Music Business Research – April 2022, vol. 11, nr. 1

Volume 11, no 1, April 2022

Editorial by Peter Tschmuck, p. 1

Frederik Juul Jensen: The Impact of Article 17 – A Study into its Effects on the Music Industry’s Innovation Processes, pp. 3-17

Boyang An:  Challenge in China’s Digital Music Industry: How the Protection of Music Copyright Causes Oligopoly, pp. 19-27

Arthur Ellinger & John Markey: Stream of Conscience? Live Music Streaming: Utility, Capital and Control, pp. 29-42

Book review by Carsten Winter: Guy Morrow (2020): Designing the Music Business: Design Culture, Music Video and Virtual Reality, Springer Music Business Research book series, pp. 43-44

11
Mar
22

Call for Papers: 13th International Music Business Research Days 2022

 

13th International Music Business Research Days

 

Parallel Worlds in the Music Industry

 

October 18 – 20, 2022

Call-for-Papers for the Conference Track Day on Ocober 19, 2022

 

About

The 13th International Music Business Research Days will be held at mdw – University of Music and Performing Arts Vienna, Austria, from October 18 to 20, 2022.

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 October 19, 2022.

Scholarly submissions on this year’s conference theme are equally welcome as on other aspects of music business research.
 
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 musician und music entrepreneurs
  • An age of disruption? Technological developments in the music industry
  • etc.

 

Submission

Please send an abstract of your proposal to musicbusinessresearch@gmail.com not later than May 31, 2022.
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 / contribution9
  • 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 June 30, 2022.

Final papers should be sent before September 15, 2022. They 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). You may also want to consider publication in IJMBR after the conference.

 

Important dates

May 31, 2022                Abstract submission deadline

June 30, 2022                Notification of acceptance

September 15, 2022    Submission deadline for full papers

October 19, 2022         Conference day (paper sessions)

October 20, 2022         Conference day for invited speakers on “Parallel Worlds in the Music Industry”

For students at all levels of the MA & PhD a doctoral colloquium (Young Scholars’ Workshop) will be held as part of the 13th International Music Business Research Days on October 18, 2022. Find a separate call for papers here.

 

Registration Fee

Registration (ntry.at/vmbrdays2022) will be open from July 1, 2022 to October 20,2022. There will be no refund after this date. The registration fee includes conference attendance, reception, coffee breaks and lunch on conference days as well as the Heurigen-Dinner on October 20, 2022.

Full registration fee
Until August 31, 2022 (early bird) Euro 175,-
After August 31, 2022 Euro 225,-

 

Contact

mailto: musicbusinessresearch@gmail.com

mdw – University of Music and Performing Arts, Vienna

Anton-von-Webern-Platz 1, 1030 Vienna, Austria
https://musicbusinessresearch.wordpress.com/international-music-business-research-days-2/

 
 

Organized by

iPop-Logo

IMS-Logo

AMBA-Logo

11
Mar
22

Call for Papers: 12th Young Scholars’ Workshop of the International Music Business Research Days 2022

The Young Scholars’ Workshop, as part of the 13th International 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. Peter Tschmuck (University of Music and Performing Arts Vienna) and Prof. Dr. Carsten Winter (Hanover University of Music, Drama and Media) 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 May 31, 2022, and full papers (15-30 pages) are due by September 15, 2022. 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 June 30, 2022, 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).
 
 
Organized by:

iPop-Logo

htmth-Logo
 
 
In cooperation with:

AMBA-Logo

IMS-Logo

GMM-Logo

19
Dec
21

International Journal of Music Business Research – October 2021, vol. 10, no.2 

 

Volume 10, no 2, October 2021

Editorial by Peter Tschmuck, p. 51

Muhammad Murtaza Ali, Jenny Karlsson & Per Skålén: How Has Digitalisation Influenced Value in the Music Market?, pp. 53-63

Martina Kalser-Gruber: The Power of Reputation: A Case Study on Artistic Directors of Austria’s Music Festivals, pp. 65-77

Subash Giri: Digital Technologies and Music Digitisation: Challenges and Opportunities for the Nepalese Music Industry, pp. 79-90

Book review by Daniel Nordgård: Everyone Loves Live Music: A Theory of Performance Institutions, p. 91

08
Jul
21

The Economics of Music – 2nd Edition

In July 2021, the fully updated 2nd edition of “The Economics of Music” has been published by Agenda Publishing, which was reviewed by the eminent cultural economist David Throsby in the TIMES Literary Supplement: https://www.the-tls.co.uk/articles/the-music-business/

 

Promotional text:

The music industry is one of the most dynamic business sectors. It has had to evolve and adapt to continually changing technologies and business models. Its latest challenge has been Covid-19 and the loss of live music at a time when live performance outstrips music sales as the primary source of income for today’s artists. The second edition of this much used introduction to the economic workings of the music business explores the impact of the pandemic at every level of the sector and considers how the business model may need to change going forward as different stakeholder positions shift. The new edition also examines new trends in the music industry such as the increasing dominance of tech companies and data, the increasing importance of CMOs as market players, the increased role of artist management, which has impacted on new business contracts, as well as changes to how we use music in our everyday lives and how this impacts on new entrepreneurial behaviours around music.

 

Book cover - Economics of music 2nd edition The Economics of Music SECOND EDITION

Peter Tschmuck

Hardback  €79,71 | £60.00  |  $90.00   ISBN 9781788214261
Paperback €26.57 | £18.99  |  $30.00   ISBN 9781788214278
e-book      €18,38 | £18.99  |  $30.00   ISBN 9781788214292
 
264 pages   |  210 x 148mm   |  08 July 2021
 

31
May
21

International Journal of Music Business Research – April 2021, vol. 10, no. 1

The April 2021 issue is the first one which has been published in collaboration with Sciendo/DeGruyter. Please follow the links below to download the open source articles for free.

 

Volume 10, no 1, April 2021

Editorial by Guy Morrow, p. 1

Gerardo Chaparro & George Musgrave: Moral Music Management: Ethical Decision-Making After Avicii, pp. 3-16

Jessica Edlom & Jenny Karlsson: Hang with Me—Exploring Fandom, Brandom, and the Experiences and Motivations for Value Co-Creation in a Music Fan Community, pp. 17-31

Benjamin Toscher: Resource Integration, Value Co-Creation, and Service-dominant Logic in Music Marketing: The Case of the TikTok Platform, pp. 33-50

16
Dec
20

The Music Industry in the COVID-19 Pandemic – Live Nation

The COVID-19 pandemic hits the live music sector hardest since the end of World War II. The sector has been shut down since March 2020 in most of the countries. Concert and festivals were cancelled or postponed due to social distancing and lockdown measures. A report of Media Insight Consulting[1] estimates that 64 per cent of the UK’s live music workforce of 262,000 full-time employees will have lost their jobs by Christmas. Thus, 170,000 cultural workers in the music sector – most of them self-employed and freelance workers – will be out of work. At the end of March 2020, the German music industry associations estimated a loss of revenue for the live music sector of EUR 4,543 million for the period from April to September 2020. We can expect a much higher revenue loss for the last quarter 2020 due to the continued lockdown of the German music festival and concert sector.

However, the live music sector is highly fragmented and diverse. The international concert promoting market is dominated by large live music conglomerates such as the US-based Live Nation and Anschutz Entertainment Group (AEG) as well as the German CTS Eventim. They control an oligopolistic industry with myriads of small music venues, concert promoters, bookers and management agencies that have no impact on the market structure and processes. These medium and small sized live music organizers struggle for survival and are dependent on public financial support. However, how is the situation for the large conglomerates? Is their existence also at stake? This blog post tries to answer these question by analysing the impact of the COVID-19 pandemic on the world’s largest concert and ticketing conglomerate Live Nation. Based on the quarterly reports from January to September 2020, it is analysed how the live entertainment giant has been affected by the pandemic and highlights Live Nation’s strategy to weather the storm.

Continue reading ‘The Music Industry in the COVID-19 Pandemic – Live Nation’

30
Oct
20

International Journal of Music Business Research – October 2020, vol. 9, no. 2

The October issue 2020 of the International Journal of Music Business Research (IJMBR) is a special issue on the “Festivalisation of Live Music” edited by Erik Hitters and Carsten Winter. After a introductory editorial, the first article by Jeff Apruzzese presents a close-up look into the practices of the music festival industry in the USA, by focusing on radius clauses, also known as exclusivity deals. Apruzzese draws up a compelling argument on how these clauses affect local venues and other organizers of live music, effectively obstructing their choice of bands to play for local audiences.

Erik Hitters & Marijn Mulder explore local policies on live music and festivals in their contribution “Live music ecologies and festivalization: the role of urban live music policies”. In particular, their focus is on how such policies have been subject to festivalization.

A special contribution is from renowned live music researcher Martin Cloonan, who looks back at fifteen years of active involvement in live music research in the UK. In “Trying to have an impact: Some confessions of a live music researcher” he mindfully reflects on the paradoxes of his role as an academic observer and analyst and the need for informed and impactful interventions in the business and policies of live music.

The special October issue rounds up with a book review by Daniel Nordgard on “Can Music Make You Sick? Measuring the price of musical ambition” by Sally A. Gross and George Musgrave.

 

 

Volume 9, no 2, October 2020 – special issue on the festivalization of live music

Editorial by Erik Hitters & Carsten Winter: The festivalization of live music, pp. 4-12

Jeffrey Apruzzese: Navigating troubled waters; how are music festivals affecting the local concert industry, pp. 13-37

Erik Hitters & Martijn Mulder: Live music ecologies and festivalisation: the role of urban live music policies, pp. 38-57

Martin Cloonan: Trying to have an impact: Some confessions of a live music researcher, pp. 58-82

Book review by Daniel Nordgård: Can Music Make You Sick? Measuring the price of musical ambition by Sally A. Gross & George Musgrave, pp. 83-86

 

 

09
Oct
20

The 11th Vienna Music Business Research Days 2020 in retrospective

The COVID-19 pandemic made it impossible to meet for the 11th Vienna Music Business Research Days at the University of Music and Performing Arts Vienna. Therefore the international conference on “Emerging Music Markets” went online and gathered conference guests from all around the globe to highlight the rising importance of music markets in Asia and Eastern European.

The first online event on September 21 was the 10th Anniversary Young Scholars’ Workshop, which offered a forum for junior scientists to present their master and PhD projects to renowned international music business researchers. Young scholars from Australia, Germany, Spain, Sweden and the Netherlands discussed their findings with their mentors’ and other workshop participants. At the end of the conference Laura Weinert of the Hanover University of Music, Drama and Media was rewarded for the Young Scholars’ Workshop best paper entitled “Music in the mediatised everyday life of young people”. Her contribution is considered to be published in the International Journal of Music Business Research (IJMBR).

The Conference Track Day on September 22 gathered music business researchers from Australia, Austria, Germany, the Netherlands and Sweden, who presented their research findings on a broad range of music business topics, such as digital ecosystems for micro music businesses, the role of fandom in artist promotion, the power of reputation of festival directors, the digital transformation of value creation in the music business and the impact of the COVID-19 pandemic on music consumption and the live music scene in Germany (see program).

The online conference continued on September 23 with the Invited Conference Day focusing on the main conference topic “Emerging Music Markets”. Bernie Cho, President of the Seoul-based artist & label services agency DFSB Kollective, gave a keynote on the “Hip Hype Reality of the Korean Music Market” and highlighted the hugh economic impact of K-Pop for the Korean but also international music markets. Philipp Grefer, who is the founder of the Beijing-based Future-Think-Tank WISE explained it the next keynote how the Chinese music market developed from more or less nothing into the seventh largest recorded music market worldwide. In the following talk, Achille Forler, who is the managing director of the Indian-based sound design agency Music Curator and member of the advisory board of the Indian Performing Right Society, highlighted the specifities of the Indian music market that is still dominated by the big Bollywood film companies. They all joined Weining Hung, co-founder of the LUCfest in Tainan/Taiwan for the panel discussion on “Emerging Music Markets in Asia” and discussed the growing economic but also cultural impact of Asia in the global music market and music industry.

The virtual afternoon conference session was devoted to Eastern European music markets. Dartsya Tarkovska, founder of music consulting agency Soundbuzz and co-founder of Music Export Ukraine, explained how the Ukrainian recorded music industry is structured and analysed the music streaming market in the Ukraine. Ania Kasperek, who founded the all-female Chimes Agency in Poland, highlighted then the specifities of the Polish music market, before Carina Sava of the Agentia de Vise in Bucharest showed how the Romanian music market works. In the following panel discussion on “Emerging Music Markets in Eastern Europe”, all three speakers highlighted again the differences and similarities of music markets in Central and Eastern Europe and discussed the future potential of these markets.

 

Continue reading ‘The 11th Vienna Music Business Research Days 2020 in retrospective’




August 2022
M T W T F S S
1234567
891011121314
15161718192021
22232425262728
293031  

Archive

Twitter

Categories

RSS Unknown Feed

  • An error has occurred; the feed is probably down. Try again later.

Blog Stats

  • 562,613 hits