Archive for the 'International Journal of Music Business Research' Category


International Journal of Music Business Research – April 2023, vol. 12, nr. 1


Volume 12, no 1, April 2023

Editorial by Peter Tschmuck, p. 1

Benjamin Oduro Arhin, Mark Millas Coffie, Hope Senalor Konu & Edwin Ekow Annan Ferguson: Split Sheets in Ghanaian Recording Studios, pp. 3-12

William E. Tsitsos & R. Saylor Breckenridge: The Work of Reproduction in the Age of Digital Art: The Role of ‘Aura’ in the Revitalisation of Vinyl Records and Cassettes, pp. 13-23

Farley J. Joseph: Sustaining Innovation: Digital Live Music Models in a Post-COVID-19 Trinidad and Tobago, pp. 25-41

Book review by Catherina Strong: Rethinking the Music Business: Music Contexts, Rights, Data and COVID-19. Edited by Guy Morrow, Daniel Nordgård and Peter Tschmuck, Springer Music Business Research book series, pp. 43-44





International Journal of Music Business Research – October 2022, vol. 11, nr. 2


Volume 11, no 2, October 2022

Editorial by Peter Tschmuck, p. 45

Kjersti Livesdottir Thorkildsen & Anders Rykkja: Showcase Festivals: Gatekeepers and Bridge Builders in the Music Industries, pp. 47-58

Mihail Miller & Stephan Klingner:  Reframing the Economic Rationale of Music Publishers’ Relationships with Rights Management Entities – Shifting to a Systematic Approach, pp. 59-76

Nadia Whiteman-Charles: The Hustla Playbook: Negotiating the Business Politics of Reggae in the Jamaican Rock Music Scene, pp. 77-87

Book review by Erik Hitters: Richard Osborne and Dave Laing† (eds.) (2021) Music by numbers. The use and abuse of statistics in the music industries, pp. 89-90





Introducing our guests: Zarja Peters (musician and Ascencia Business School in Paris/France)

Zarja Peters - PortraitThe classical trained pianist and music business researcher, Zarja Peters, is one of our discussants on “Rethinking the Music Business” from 11:30-13:00 on October 20, 2022 in Joseph Haydn Hall at mdw – University of Music and Performing Arts Vienna.

Zarja Peters started her piano career at the young age of 5. In her long-standing experience onstage and backstage in performing arts she is award winner of numerous international piano competitions. Ms. Peters studied piano performance at the State Conservatory Klagenfurt (Austria) under the supervision of Professor Alexei Kornienko and subsequently completed her piano master program at the Bern University of Arts (Switzerland) in the class of Professor Patricia Pagny. She acts as Art Director of Swiss based Sonus Nobilis Art Promotion, using her extensive track record in art promotion and event management to deliver bespoke event concepts and productions predominantly with academically trained performing artists. Upon completion of her degree MBA in performing arts management and cultural industries with Institut d’études supérieures des arts in Paris/France she has been appointed as associate head of program for the performing arts DBA curriculum of Ascencia Business School in Paris/France.


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


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
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:


In cooperation with:





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


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


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




International Journal of Music Business Research – April 2020, vol. 9, no. 1

The April issue 2020 of the International Journal of Music Business Research (IJMBR) gathers for the first time four full articles on a broad variety of music business research topics. The journal issue opens with “Music marketing in the digital music industries – An autoethnographic exploration of opportunities and challenges for independent musicians” by Shane Murphy of Torrens University in Sydney/Australia. Through the use of an autoethnographic research method, Shane Murphy provides insights from the micro-perspective of an independent musician into the major major structural transformations that have occurred in the music business post-digitisation.

Tim Metcalfe & Nicolas Ruth (Goldsmiths College in London/UK) contribute the second article “Beamer, Benz, or Bentley: Mentions of products in hip hop and R&B music”. According to this article, cars, fashion and alcohol are the types of products most frequently mentioned in hip hop and R&B lyrics.

The third article by Dexter Purnell (MacMurray College, Jacksonville/US) “Closing the Gap: Understanding the Perceptual Differences Between Generations Regarding Music Streaming Technology” – focuses on the impact of music streaming technology and argues that, whilst music streaming has become the preferred method for recorded music consumption, there appears to be generational differences in the utilisation rate of the technology.

The fourth article “Where the magic people gathered The Role of Private Members Clubs in the Contemporary Music Economy” by Sam Edrisi (King’s College London and University of Westminster, London/UK) is the award winning paper of the Young Scholars’ Workshop 2019. It explores the increased popularity of a new type of private member club aimed at a crowd, which identifies with entrepreneurialism, independence, and creativity.

This issue rounds up with a book review by Daniel Nordgård of “Rockonomics: A Backstage Tour of What the Music Industry Can Teach Us about Economics and Life” by Alan B. Krueger, who sadly passed away in March 2019. “Rockonomics” was Alan’s last book in an outstanding body of works on economic issues related to education, labor markets and income distribution.


Volume 9, no 1, April 2020

Editorial by Dennis Collopy & Guy Morrow, pp. 4-6

Shane Murphy: Music marketing in the digital music industries – An autoethnographic exploration of opportunities and challenges for independent musicians, pp. 7-40

Tim Metcalfe & Nicolas Ruth: Beamer, Benz, or Bentley: Mentions of products in hip hop and R&B music, pp. 41-62

Dexter L. Purnell: Closing the Gap: Understanding the perceptual differences between generations regarding music streaming technology, pp. 63-80

Sam Edrisi: WHERE THE MAGIC PEOPLE GATHERED: The role of Private Members Clubs in the contemporary music economy, pp. 81-117

Book review by Daniel Nordgård: Rockonomics: A backstage tour of what the music industry can teach us about economics and life by Alan B. Krueger, pp. 118-120




Music Business Research 2019 – in retrospective

Dear all,

Music streaming has been still on the rise in 2019 as an international market analysis highlights. However, a closer look unveils that in some markets – especially in Scandinavia (part 1, part 2, part 3) – the streaming markets have matured and will be soon saturated. Therefore we can expect a market consolidation in 2020 with some stand-alone music streaming services disappearing. Spotify seems to be “to big to fail”, however, it will rely on strong partners to back the Swedish company in rough sea.

The Universal Music Group (UMG) will have a strong partner in 2020. Today it was announced that a consortium led by Chinese Tencent Holdings will buy up a 10% stake of UMG from the French parent company Vivendi. Since the world`s largest recording company will be partly owned by a Chinese conglomerate this could be a game changer in the music industry and the Chinese recorded music market will become even more relevant for the international music business. This blog will be the place to analyse the new situation.

And Asia will be also in the focus of the 11th Vienna Music Business Research Days on “Emerging Music Markets”, which will be held from September 21-23, 2020 at the mdw – University of Music and Performing Arts Vienna. We expect keynotes on the Chinese, Indian and South Korean music markets as well as short presentations and panel discussion on several Eastern European markets. The call-for-paper for the Young Scholars’ Workshop on Sep. 21 and the Conference Track Day on Sep. 22 are already open for submissions of abstracts.

Continue reading ‘Music Business Research 2019 – in retrospective’

June 2023



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