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

The Young Scholars’ Workshop, as part of the 13^th 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:

 
 
In cooperation with:

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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

Call-for-papers Monograma: Management Models in the Music Industries

Monograma, the scientific journal of the Ibero-American Foundation for the Cultural and Creative Industries, is preparing a special issue on Management Models in the Music Industries. The editors invite submissions on this area from a variety of perspectives, addressing all types of music (including traditional music, urban popular music, classical music, videogame music, motion picture music and music for other audiovisual/cross media/interdisciplinary products).

The deadline of submission is June 1, 2020 and please consider the manuscript submission guidelines:  http://revistamonograma.com/guidelines-authors/

 

 

 

 

Structured Doctoral Programme “Music Matters. Materiality, Knowings and Practices” at mdw – University of Music and Performing Arts Vienna.

The mdw – University of Music and Performing Arts Vienna offers six 4-year fully-funded PhD positions (30h/ per week) within the newly established Structured Doctoral Programme “Music Matters. Materiality, Knowings and Practices in Performing Arts”.

The Structured Doctoral Programme starts on October 1st 2020 and aims to develop a “contemporary diagnosis of musical matters” and their social implications with special focus on materiality, knowings or practices in performing arts. In order to outline and contextualize this inherently interdisciplinary field of research theoretically, empirically and/or historically, we refer to the concept of Late Modernity. The programme welcomes dissertation projects which offer a critical investigation of aspects of materiality, knowings or practices related to complex cultural phenomena in music and performing arts. Please find more detailed information on the topic “Music Matters. Materiality, Knowings and Practices in Performing Arts” here: www.mdw.ac.at/sdp.

Application deadline: February 29th, 2020
Detailed Information on the application process: https://www.mdw.ac.at/bewerbungsportal/mittelbau/14

 

Introducing our guests: Cliff Fluet (copyright lawyer, London)

In the 10th anniversary Vienna Music Business Research Days on the “Future of the Music Business” at the University of Music and Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna/Austria) music business researchers and music business professionals look into the recent past of the music industry to learn more about its future. Find the program here.

Cliff Fluet (Lewis Silkin LLP, London, UK) holds a keynote on “The Music Business & Technology – How Their Past and Present will Dictate Their Future” in mdw’s Joseph Haydn-Hall on Sep. 13, from 9:15-10:00 and will then join the panel discussion on “The Future of Music Copyright” with Karl Ryan (Government Affairs and Public Policy, Google UK), Ros Lynch (Intellectual Property Office, London, UK) and Steve Stewart (vezt, Los Angeles, USA) moderated by Sally Gross (University of Westminster, London, UK).

Cliff Fluet has operated in the world of digital music for well over two decades. He has a dual role as a partner at the law firm, Lewis Silkin, focussing on digital media and leads an advisory firm, Eleven, for clients operating at the cutting edge of where content and context meet technology.

 

 

 

Introducing our guest: Chris Carey (CEO Media Insight Consulting, London)

In the 10th anniversary Vienna Music Business Research Days on the “Future of the Music Business” at the University of Music and Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna/Austria) music business researchers and music business professionals look into the recent past of the music industry to learn more about its future. Find the program here.

Chris Carey stepped in for Pete Downton to talk about “What Are the Key Drivers of Growth in Music Streaming? – Past, Present and Future” in mdw’s Joseph Haydn-Hall on Sep. 13, 2019 from 14:45-15:30. He will then join the panel discussion on the “Future of the Music Business – What’s Next after Music Streaming?” with Rebecca Brook (music industry consultant, London, UK), Phil Graham (University of the Sunshine Coast, Australia) and Michael Smellie (Start-up investor, Brisbane, Australia) moderated by Dennis Collopy (University of Hertfordshire, UK).

Chris is an entrepreneur, strategist and data expert. He founded FastForward in 2015 and he is founder and CEO of boutique research company, Media Insight Consulting, specialising in Consumer Surveys, and Big Data Analytics, with a focus on the music industry. Clients include Spotify, Sony Music, The O2 and BMG Music.

He previously worked as Global Insight Director at Universal Music Group and at EMI, and Senior Economist at PRS for Music. He has been quoted in The Financial Times, The Economist, Forbes, The New York Times, The Independent as well as BBC Breakfast, Sky News, BBC 4’s Today Programme, BBC 5 Live, BBC World Service and music industry press.

 

 

 

Introducing our guests: Beate Flath (University of Paderborn)

“Music Life Is Live” is the main topic of the 9^th Vienna Music Business Research Days from Sep. 12-14, 2018. In presentations and discussions music business representatives and music business researchers focus this time on the political economy of music festivals and the economics of the international concert and touring business. Find the program here.

Beate Flath gives the morning keynote on “The Political Economics of Music Festivals” on September 14 from 9:15-9:45 in Joseph Haydn-Hall at the University of Music and Performing Arts Vienna and then moderates a panel discussion with Axel Ballreich (LiveKomm, Hamburg) Hannah Crepaz (Osterfestival Tirol, Austria), Peter Smidt (Eurosonic Noorderslag Festival, Netherlands), Martin Cloonan (University of Turku , Finland), Detlef Schwarte (Reeperbahn Festival Hamburg, Germany)

Jun.-Prof. Dr. Beate Flath studied musicology, art history and business administration at the University of Graz, Austria. Since 2015 she is junior professor for event management at Paderborn University, Germany; Current publication (in progress): Beate Flath, Martin Cloonan & Adam Behr (eds.) IASPM-journal – Special Issue: Pop music festivals and (cultural) policies (9/1, 2019), More information: www.beateflath.net.

 

 

State of the YouTube Music Economy 2.0: A Turning Point for All Parties

Another contribution by Mark Mulligan on the endless story of You Tube’s “value gap”.

Music Industry Blog

YouTube is the most widely used streaming music app globally but it is also the most controversial one, locked in a perpetual struggle with music rights holders, with neither side quite trusting the intent of the other. 2018 has already seen YouTube’s renewed focus on subscriptions as well as a European Parliament vote that could potentially remove YouTube’s safe harbour protection. Meanwhile, oblivious to these struggles, and despite the rise of audio streaming services, consumers are flocking to YouTube in ever greater numbers and, crucially, using it for music more than ever before. Back in 2016, at the height of the value gap / grab debate, MIDiA published its inaugural State of the YouTube Music Economy report. Now two years on we have just released the second edition of this landmark report. MIDiA clients have immediate access to the ‘State of the YouTube Music Economy’ report, which is also…

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Could Article 13 Kill Off Music on YouTube?

Mark Mulligan on YouTube’s “value gap”

Music Industry Blog

It was a day of two halves for YouTube. On one side a big press release went out championing a host of impressive new stats – including hitting 1.9 billion logged in users, following an official launch of YouTube Musicthe day before. Meanwhile, on the other side, the European parliament’s legal affairs committee voted in support of Article 13, whichwill overturn some basic premises of the fair use / safe harbour frameworks under which YouTube operates. The question is which half will prove to be most impactful on YouTube’s music strategy.

It’s complicated

If YouTube was to post the status of its relationship with the labels on its Facebook profile it would be ‘It’s complicated’. The whole value gap argument – which posits that YouTube does not pay as much as other streaming services because it does not have to directly license in the way they do…

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International Journal of Music Business Research – April 2018, vol. 7, no. 1

The first article of this issue of the International Journal of Music Business Research (IJMBR), “Exploring bounty and spread: key changes in the Danish music streaming economy” by Rasmus Rex Pedersen examines the structural effects of the transition to the access-based business model of music streaming, at a time when the global music streaming market is growing and developing quickly. The second article is “Blockchain: A new opportunity for record labels” by Opal Gough, which points to the opportunities for the music industry from blockchain technology, especially the chance to develop an international industry database for musical compositions and sound recordings as well as streamline processes, remove inefficiencies and improve cash flow. The concluding article of this issue is “Compulsory licensing in Ecuador’s music industry: A daring strategy within the new intellectual property law in order to regulate music piracy” by Abner Pérez Marín. This paper examines compulsory licensing in relation to the management of music piracy in Ecuador and describes how, in October 2016, Ecuador’s Government replaced its Intellectual Property Code with the Organic Code of the Knowledge’s Social Economy and Innovation, branded as Código Ingenios. Daniel Nordgård’s book review of “Digital Music Distribution: The sociology of online music streams ” by Hendrik Storstein Spilker rounds up the IJMBR’s April 2018 issue.

 

Volume 7, no 1, April 2018

Editorial by Dennis Collopy, pp. 4-5

Rasmus Rex Pedersen: Exploring bounty and spread: key changes in the Danish music streaming economy, pp. 6-25

Opal Gough: Blockchain: A new opportunity for record labels, pp. 26-44

Abner Pérez Marín: Compulsory licensing in Ecuador’s music industry: a daring strategy within the new intellectual property law in order to regulate music piracy, pp. 45-71

Book review by Daniel Nordgård: Digital Music Distribution: The sociology of online music streams by Hendrik Storstein Spilker, pp. 72-74