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18
Sep
15

Introducing our guests: Dagmar Abfalter (University of Music and Performing Arts Vienna)

Foto Dagmar AbfalterThe 6th Vienna Music Business Research Days 2015 focus on “Financing Music in the Digital Age”. International experts and academics discuss new and alternative revenue sources for the music scene such as music streaming for the classic music business, crowdfunding and business angel funding.

Dagmar Abfalter and Serge Poisson-de Haro are opening the third conference day by answering the question is “Opera Streaming a New Revenue Source?” They will present findings of their joint research project on opera streaming projects of intenational opera houses such as New York City’s MET and Viennese State Opera.

Dagmar Abfalter is a Assistant Professor at the Institute for Cultural Management and Cultural Studies (IKM) at the University of Music and Performing Arts Vienna. She holds a doctoral degree in Social and Economic Sciences from the University of Innsbruck and an MBA in International Arts Management from ICCM/University of Salzburg.  Her major research areas include leadership and strategy in creative and expert environments, experience innovation and new business models as well as other domains of intersection between business and the arts. She currently works on streaming business models for opera and a case study on the Museumsquartier Vienna. Another stream of research deals with qualitative research methodology and innovative research methods. Dagmar has published a book on the construction of success in music theater in German and a range of scientific articles in international peer reviewed journals.

17
Sep
15

Introducing our guests: Serge Poisson-de Haro (HEC Montreal, Canada)

Foto serge_poisson-de-haroThe 6th Vienna Music Business Research Days 2015 focus on “Financing Music in the Digital Age”. International experts and academics discuss new and alternative revenue sources for the music scene such as music streaming for the classic music business, crowdfunding and business angel funding.

Serge Poisson-de Haro and Dagmar Abfalter are opening the third conference day by answering the question is “Opera Streaming a New Revenue Source?” They will present findings of their joint research project on opera streaming projects of intenational opera houses such as New York City’s MET and Viennese State Opera.

Serge Poisson-de Haro is an Associate professor at HEC Montreal. His research interests are primarily in the areas of strategy, artistic organizations management, sustainability and experiential learning methods. He presented his research at leading international conferences in these fields and his publications appeared in journals such as International Journal of Arts Management, Journal of Arts Management Law and Society, Journal of Management Development, Management Decision, Revue française de gestion, Journal of Business Ethics Education, Gestion, among others. He recently published a book Strategic Management of Artistic Organizations (JFD Éditions). He has also published many case studies.

15
Sep
15

Introducing our guests: Bryan Zhang (Cambridge Centre for Alternative Finance, University of Cambridge Judge Business School)

Foto Bryan ZhangThe 6th Vienna Music Business Research Days 2015 focus on “Financing Music in the Digital Age”. International experts and academics discuss new and alternative revenue sources for the music scene such as music streaming for the classic music business, crowdfunding and business angel funding.

Bryan Zhang, who is Director of Operations & Policy of the Cambridge Centre for Alternative Finance of the University of Cambridge Judge Business School will highlight “Alternative Financing for Music” and will give special insights into the international landscape of music crowdfunding in Joseph Haydn-Hall from 11:45-12:30 on October 1st, 2015.

Bryan Zhang is a co-author of four industry reports on the state of alternative finance both at national and international levels. Bryan has advised and consulted for numerous businesses and institutions including the Royal Society of Arts, the British Business Bank, Ben & Jerry’s, the Department of International Development and the European Commission. He is also a Research Fellow in Finance at the Judge Business School.

[Update]: Due to health problems, Bryan Zhang won’t be able to come to Vienna. Instead, Kieran Garvey, Research Programmme Manager of the Cambridge Centre for Alternative Finance of the University of Cambridge Judge Business School will talk on “Alternative Financing of Music” in Joseph Haydn-Hall from 11:45-12:30 on October 1st, 2015.

09
Apr
14

The Recorded Music Market in Germany, 2003-2013

The German Federal Association of Music Industry (Bundesverband Musikindustrie – BVMI) reported a slight growth of recorded music sales by 1.2 percent for 2013. The main reason for the first increase of music sales in the past 15 years were growing digital music sales by 11.7 percent from 2012 to 2013. At the same time, the physical music sales moderately declined by 1.5 percent to EUR 1.12bn. Whereas CD sales fell by 1.3 percent to EUR 1.0bn, the sales of vinyl records grew heavily by 47.2 percent to EUR 29.0m in 2013. Since the CD has still a market share of 69.8 percent, one should be cautious to speak about a turnaround of the German recorded music market. A stabilization of the physical music sales is unrealistic and the increase of digital music sales has to over-compensate the loss in the physical market segment. Although the revenue from ad-supported and subscription music services increased by 91.2 percent to EUR 68.0m, the single-track download sales fell for the first time by 4.4 percent to EUR 104.0m in 2013, which makes a turnaround scenario highly questionable.

In the following, the future development of the German recorded music market will be analysed based on the BVMI report as well as on historic empirical data.

Continue reading ‘The Recorded Music Market in Germany, 2003-2013’

01
Apr
14

Book review: Chasing Sound by Susan Schmidt Horning

horning rev comp.indd“Chasing Sound. Technology, Culture & the Art of Studio Recording from Edison to the LP” is Susan Schmidt Horning’s dissertation published by Johns Hopkins University Press in 2013. As the subtitle indicates it is not only a book on the history of recording technology, but of the evolving recording culture from the early beginning in the last quarter of the 19th century until the advent of multitrack recording in the 1960s. In her book, Schmidt Horning highlights the change from capturing live performances by acoustic and electrical recording devices to music production using recording equipment and the recording studio as integral part of the artistic process. The book focuses on those involved in the recording process: engineers, record producers, arrangers, session musicians and performers, songwriters, studio owners and managers and tells the history of sound recording from their perspectives. Therefore, the author conducted in-depths interviews with contemporary witnesses to catch-up the tacit knowledge embodied in the recording profession and the overall change of the recording culture. In the following, I summarize the seven chapters of the book.

Continue reading ‘Book review: Chasing Sound by Susan Schmidt Horning’

31
Dec
13

Music Business Research 2013 – in retrospective

 

Dear readers of the music business research blog,

The take-over of EMI’s recorded music arm by Universal Music Group was still on the agenda in 2013. The EU Commission ordered Universal Music to divest EMI Recording Ltd. (including EMI’s Parlophone label group, with the exception of the Beatles), Chrysalis (but without the Robbie Williams catalogue) and Mute Records, EMI and Virgin Classical as well as the local EMI branches in France, Spain, Portugal, Belgium, Denmark, Sweden, Norway, Poland, Czech Republic/Slovakia and Universal Greece. Thus, the Parlophone Music Group was sold to Warner Music for GBP 487m. The EU Commission eventually cleared the deal in May 2013.

2013 was also the year of booming music streaming services. Led by Spotify, music streaming services reported a growing number of users and increasing revenues. The market entry of Apple with iTunes Radio and Google with All Access raised the expectations of a turnaround in the recorded music market. In the series of six blog entries “Is Streaming the Next Big Thing?”, I tried to assess if these expectations are legitimate from the labels’, artists’, consumers’ and streaming services’ perspective on the basis of an international market analysis.

The booming music streaming market was the perfect starting point for the 4th Vienna Music Business Research Days “The Future of Music Licensing” (June, 20-21, 2013). The role of collecting societies in the digital age was as well discussed as the EU directive on collective rights management and the need for a comprehensive database of music licences. In the course of the VMBR-Days the best paper of the Young Scholars’ Workshop was awarded for the second time. Sisley Maillard of the Université Telecom ParisTech was awarded for her paper “Consumer Information in the Digital Age: Empirical Evidence from the Spillovers in the Music Industry” as well as Francisco Bernardo/Luis Gustavo Martins of the Catholic University of Portugal in Porto for “Disintermediation Effects in the Music Business – A Return to Old Times”. Both papers are considered for publication in the International Journal of Music Business Research (IJMBR).

In 2013, the second volume of the IJMBR was published with two issues in April and October. The special October issue was entirely devoted to the analysis of the Australian music economy:

Volume 2, no 2, October 2013 – special issue on the Australian Music Economy

Editorial by Patrik Wikström and Peter Tschmuck

Guy Morrow: Regulating Artist Managers: An Insider’s Perspective, pp. 8-35

Phillip McIntyre and Gaye Sheather: The Newcastle Music Industry: An Ethnographic Study of a Regional Creative System in Action, pp. 36-60

Diane Hughes, Sarah Keith, Guy Morrow, Mark Evans and Denis Crowdy: What constitutes artist success in the Australian music industries? pp. 60-80

Volume 2, no 1, April 2013

Editorial by Dennis Collopy and Peter Tschmuck

Michael Huber: Music Reception in the Digital Age – Empirical Research on New Patterns of Musical Behaviour, pp. 6-34

Juan D. Montoro-Pons, Manuel Cuadrado García and Trinidad Casasús-Estellés: Analysing the Popular Music Audience. Determinants of Participation and Frequency of Attendance, pp. 35-62

John Fangjun Li: The Development of the Digital Music Industry in China during the First Decade of the 21st Century with Particular Regard to Industrial Convergence, pp. 63-86

 

In the next section you can find a list of all theses & papers which were added to the blog in 2013, but also recently published studies and books related to music business/industry research are listed:

Continue reading ‘Music Business Research 2013 – in retrospective’

17
Dec
13

Call-for-papers: Young Scholars’ Workshop 2014

The Young Scholars’ Workshop (October 1st, 2014), as part of the 5th 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?
  • Did the crisis change the management of 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?
  • And how can music business research support efforts for innovative business models?

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 30, 2014, and full papers (15-30 pages) are due by August 31, 2014. 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 2, 2014, at the latest.

Please email your submission to viennamusicresearch@ijk.hmtm-hannover.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).

Click here for a pdf-version of the call-for-papers

Organized by

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In cooperation with

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