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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 Ehlinger & 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, p. 43-44
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
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
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
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
Editorial by Guy Morrow, pp. 4-5
Björn Boman: Achievement in the South Korean Music Industry, pp. 6-26
Anirudh Tagat, Hansika Kapoor & Anurag Tagat: Giving In: Crowdfunding for musical concerts in India, pp. 27-52
Tamara Goličnik: Balanced Scorecard as a pianist’s tool for the implementation and control of business strategies, pp. 53-79
Book review by Martin Ivan Mikulik: Spotify Teardown: Inside the Black Box of Streaming Music by Maria Eriksson, Rasmus Fleischer, Anna Johansson, Pelle Snickars & Patrick Vonderau, pp. 80-82
Editorial by Peter Tschmuck, pp. 4-5
Bård Tronvoll: Digital enabled experience – listening experience in music streaming, pp. 6-38
Terrance Tompkins: An analysis of ticket pricing in the primary and secondary concert marketplace, pp. 39-66
Silvia Donker: Networking data. A network analysis of Spotify’s sociotechnical related artist network, pp. 67-101
Book review by Peter Tschmuck: The Music Business and Digital Impacts. Innovations and Disruptions in the Music Industries by Daniel Nordgård, pp. 102-105
Editorial by Peter Tschmuck, pp. 4-5
Marie Connolly & Alan B. Krueger: The secondary market for concert tickets: theory and evidence, pp. 6-51
Sarita M. Stewart: The development of the artist-fan engagement model, pp. 52-82
Wolfgang Senges: Blockchain in the music business: preventing the threat of disruption, pp. 83-106
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
Editorial by Peter Tschmuck, pp. 4-5
Per Frankelius: Innovation in the arts – lessons from the creation of Dalhalla, pp. 6-40
George Musgrave: Collaborating to compete: the role of cultural intermediaries in hypercompetition, pp. 41-68
Stephan Klingner & Julia Friedrich: Status quo and perspectives of licensing synchronisation rights, pp. 69-86
Book review by Dennis Collopy: The Economics of Music by Peter Tschmuck, pp. 87-91
Editorial by Peter Tschmuck, pp. 4-5
Lorenz Grünewald-Schukalla: A methodology for cultural music business research, pp. 6-34
Juko-Mart Kõlar: The impact of digitalisation on the recorded music consumption. An Estonian case study, pp. 35-50
Arilova A. Randrianasolo & Jeremiah Sala: Song product characteristics and music commercial performance, pp. 51-75
Book review by Daniel Nordgård: The New Music Industries: Disruption and Discovery by Diane Hughes, Guy Morrow, Sarah Keith and Mark L. Evans, pp. 76-78
Editorial by Dennis Collopy, pp. 4-5
Paul Saintilan: Aesthetic preferences and aesthetic ‘agnosticism’ among managers in music organisations: is liking projects important?, pp. 6-25
Peter Gilks: Constructing authentic identities: why narratives are better than chronicles of achievement in musicians’ biographies, pp. 26-45
Geoff Luck: The psychology of streaming: exploring music listeners’ motivations to favour access over ownership, pp. 46-61
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. 7-35
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
Editorial by Peter Tschmuck, pp. 4-6
Beate Flath: Life is live: Experiencing music in the digital age, pp. 7-26
José María Álvarez Monzoncillo & Juan Calvi: Music consumption in Spain: From analogue to digital in the shaping of music, pp. 27-48
Beatrice Jetto: The evolution of music blogs: From a fan’s passion to a promotional outlet, pp. 49-72
Editorial by Martin Lücke & Carsten Winter, pp. 4-8
Helmut Scherer & Carsten Winter: Success factors for music-based crowdfunding as a new means of financing music projects, pp. 9-25
Ronny Gey, Frank Schumacher, Stephan Klingner & Bettina Schasse de Araujo: Buried by administration: How the music industry loses its creativity. An empirical study of German music labels and publishers, pp. 26-54
David-Emil Wickström, Martin Lücke & Anita Jóri: The higher education of musicians and music industry workers in Germany, pp. 55-88
Editorial by Peter Tschmuck and Dennis Collopy, pp. 4-6
Patrik Wikström: A Typology of Music Distribution Models, pp. 7-20
Pinie Wang: Music and Advertising. The Influence of Advertising and the Media on the Development of the Music Industry in the USA, pp. 21-43
Martin Kretschmer: Copyright Term Reversion and the “Use-It-Or-Lose-It” Principle, pp. 44-53
Scope of the IJMBR
The music economy is a broad field encompassing various research activities. Articles on musician’s income sources and earnings, their social and economic welfare and status should be included as well as on the conditions of production, distribution and use of music. Research on the organisations within the music economy such as record companies, music publishers, collecting societies, music educational institutions, concert promoters, booking and artist agencies, ticketing companies, manufacturers of music instruments all fit within the scope of the IJMBR along with the institutional framework for the production, distribution and use of music such as music related intellectual property rights (such as copyright, moral rights, patents, trademarks and brands), music business contracts and policy issues (e.g. public funding, competition policy, taxation, social policy for musicians). In addition articles on the international music trade (such as the licensing of music and music export initiatives) and music market structures are welcomed as well as features on music professions, music professionals, music management, marketing, sponsoring and merchandising. There is also room for papers on all music genres and for so-called functional music such as music for religious practices and rites, films, TV-series, commercials and even “elevator” music, sound design, sound branding, music visualisation. Last but not least all aspects of the history of the music businesses should be highlighted in the IJMBR.
ISSN: 2227-5789, published by the International Music Business Research Association (IMBRA)
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