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14
Sep
16

Introducing our guests: Gretchen Amussen (Paris Conservatoire)

foto_gretchen_amussenThe 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.

After the introduction of Angela Myles-Beeching and Stefan Simon, who will be discussants on “Career Centers at Music Universities – Best Practices” in Joseph-Haydn-Hall on Sep. 29 from 10:15-11:15, we introduce now the third panelist: Gretchen Amussen.

Gretchen Amussen is Director for External Affairs and International Relations at the Paris Conservatoire. Over the last twenty years she has helped promote the Conservatoire, its students and teachers through an extensive worldwide network of educational and cultural organizations. Particularly active within European networks, she co-chaired the European Association of Conservatoires’ (AEC) first thematic working group dedicated to the implications of the Bologna Process (2001-2004), and subsequently co-chaired the AEC’s Polifonia working group dedicated to the music profession. Gretchen served as AEC Vice-President from 2010-2013 and from 2011-2014 she chaired the AEC’s Polifonia working group dedicated to entrepreneurship in music (www.musicalentrepreneurship.eu). She is currently a board member of the European Music Council and of the Paris Centre for Chamber Music.

 

07
Sep
16

Introducing our guests: Angela Myles-Beeching (Manhattan School of Music)

foto-beeching-endThe 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.

Dr. Angela Myles-Beeching is the author of “Beyond Talent: Creating a Successful Career in Music“. She is dedicated to helping musicians live the life they desire. She has led workshops at the Juilliard School, and the Colburn, Peabody, and Oberlin Conservatories. Her experience includes directing the Center for Music Entrepreneurship at Manhattan School of Music as well as directing career programs at New England Conservatory and Indiana University. She maintains a thriving consulting practice coaching musicians and advising institutions.

A Fulbright Scholar and Harriet Hale Woolley grant recipient, Ms. Beeching holds a doctorate in cello performance from Stony Brook University. She is a contributing author to several volumes: “Embracing Entrepreneurship Across Disciplines,” “Disciplining the Arts: Teaching Entrepreneurship in Context,” and “Life in the Real World: How to Make Music Graduates Employable.”

Ms. Beeching gives an introduction to her book “Beyond Talent”  on Sep. 27, from 19:30-21:00 in the Large Conference Room of the Institute for Cultural Management and Cultural Studies at the University of Music and Performing Arts Vienna. On Sep. 29, she will also discuss best-practices of career centers at music universities with Gretchen Amussen (L’Association Européenne des Conservatoires, Paris) and Stefan Simon (Head of Career Center of the University for Music Detmold) in Joseph-Haydn-Hall from 10:15-11:15.

beeching_beyond_talent_cover   Angela Myles-Beeching, 2010, Beyond Talent. Creating a Successful Career in Music, 2nd edition, Oxford University Press.

 

 

 

05
Sep
16

Introducing our guests: Johannes Ripken (Northstar Connection)

5 : 7 Querformat

5 : 7 Querformat

The 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.

Dr. Johannes Ripken, a music busines consultant from Kiel/Germany, talks on Sep. 29 from 11:45-12:45 on “Organic Artist Development in the Digital Music Business”. Dr. Ripken has established himself as an expert in artist development for more than 10 years. His work experience as artist and label manager has been backed with many years of intensive studies research in the music industry which was gathered in his Ph.D. thesis on artist development. He has been working in the music industry since 2006 at Universal Music Germany for the Polystar division and the Domestic division for artists like Tiesto and Afrojack, with his own record label Sonic Art Music including sub labels, as artist manager of the established artist Dennis Sheperd and as artist himself. Additionally, he exploits his expertise as lecturer at several universities such as Popakademie Baden-Württemberg, Macromedia University and Akademie Deutsche Pop. On a regular basis, he is invited as speaker at business conferences and has built his profile as author of the book “Organic Artist Development”, published by Nomos.

Cover Organisches Artist Development_Ripgen     Johannes Ripken, 2015, Organisches Artist Development, Nomos.

 

 

30
Jun
16

The Music Streaming Market Revisited, 2011-2015

Last year, I posted an analysis of the international music streaming for 2014 based on IFPI numbers. Since then the global streaming market was highly dynamic and therefore I updated my analysis and included also earlier data. In 2015 the global streaming revenue (subscriptions and ad-supported streaming revenue) increased by 42.5 per cent (IFPI 2016: 17) and had a volume of US $2.89bn. The music streaming market is almost as big as the music download market (US $2.97bn) (IFPI 2016: 49). Music streaming, therefore, accounts for 42 per cent of the global recorded music market. However, the market share of music streaming differs between countries. Whereas in Sweden the music streaming market share is 66.5 per cent of the overall recorded music market, in Germany just 11.4 per cent of the recorded music revenue comes from music streaming sources. And Japan, the second largest recorded music market in world, lags behind with meagre 4.6 per cent. In the following, please read an analysis of the international music streaming for the time-span from 2011-2015.

Animation of the international music streaming markets, 2011-2015

Continue reading ‘The Music Streaming Market Revisited, 2011-2015’

27
Apr
16

International Journal of Music Business Research – April 2016, vol. 5, no. 1

The new issue features three excellent unique and diverse papers that shed fresh and novel insights on the modern music business and this is exemplified by “Rockonomics Revisited”, as well as “Innovation Diffusion” and “The Distinctiveness of Electronic Dance Music”.

Rockonomics Revisited” by Adam Fer and Barbara Baarsma of the University of Amsterdam is taking its reference point as Krueger’s well-known 2005 “Rockonomics” paper that examined the complimentary relationship between declining record sales and rising ticket prices. The “Innovation Diffusion” paper by Alexander Brem (University of Southern Denmark) and Michael Reichert (Helmut Schmidt University Hamburg) investigates the importance of product and organisational Innovation particularly in a music industry with historical failure rates of 90 percent. “The distinctiveness of Electronic Dance Music” by Job van der Velde and Erik Hitters of Erasmus University Rotterdam begs the question whether the Dance (or EDM) genre is distinctive relative to existing music industries structures. They argue the differences between the EDM labels and rest of the music industry can be traced to the embedded digital technologies, the rise of independent labels filling the post-Napster vacuum left by the major labels and the fact the new entrants focus on live as opposed to recorded music revenues. A book review by Daniel Nordgård on “Business Innovation and Disruptions in the Music Industry”, edited by Patrik Wikström and Robert DeFillippi, complements for the first time the current IJMBR issue.

 

Volume 5, no 1, April 2016

Editorial by Dennis Collopy, pp. 4-5

Adam Fer & Barbara Baarsma: Rockonomics revisited: The rise of music streaming services and the effect on the concert industry, pp. 6-35

Alexander Brem & Michael Reichert: Innovation diffusion in B2B relations: New song diffusion in radio broadcasting, pp. 36-58

Job van der Velden & Erik Hitters: The distinctiveness of Electronic Dance Music. Challenging mainstream routines and structures in the music industries, pp. 59-84

Book review by Daniel Nordgård: Business innovation and disruptions in the music industry (eds. Wikström, P. & DeFillippi, R.), pp. 85-90

 

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.




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