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Introducing our guests: Stefan Simon (Music University Detmold)



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.

This time we are introducing a further discussant of the panel on “Career Centers at Music Universities – Best Practices” held in Joseph-Haydn-Hall on September 29 from 10:15-11:15. Stefan Simon, who is the Head of the Career Center at the Music University Detmold.

Stefan Simon studied Musicology, History and Journalism in Mainz and Arts Management in Ludwigsburg. As project manager for the Förderverein Interkultur, he organised international choir festivals in Germany, Sweden and South Korea. He then went freelance, published the first Who is Who in Choral Music with Gent Lazri, and organised events for Kultursommer Rheinland-Pfalz, including the 2005 Vocal Jazz Summit, a series of mediaeval vocal music concerts, and the Internationale Orgelfestwochen.

As managing director of the SMS – Singen Macht Sinn project, Stefan Simon came to Detmold in 2008 and became head of HfM’s Careers Centre in 2011. Since then he has advised students, held seminars on the music industry and freelancing, and coordinated various scholarship programmes. In the winter 2015/16 semester, he and Prof. Joachim Thalmann temporarily led the masters course Musikvermittlung und Musikmanagement for music professionals.



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.





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.




The Economics of Music Streaming: Spotify

2016 is the pivotal year for the music streaming industry. After years of growth, we can expect a market consolation for the new few months with mergers, acquisitions and insolvencies. Thus, the question arises which music streaming services will survive that consolidation process. I try to assess who will be the winners and losers by analysing the financials of several music streaming companies. In the first part of this series I examine the global market leader in the music streaming market, the Swedish music streaming company Spotify.

Continue reading ‘The Economics of Music Streaming: Spotify’


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’


Live Nation in the Digital Paradigm Shift

In the course of digitization new players entered the music industry changing the rules of the game. Such a player is Live Nation. Live Nation Entertainment is the result of the merger of the world’s largest music promotion company, Live Nation, and the world’s largest ticketing company, Ticketmaster, in 2010. The Ticketmaster-Live Nation merger marks the beginning of a new era in the music business, with all activities within the industry now being integrated, including live music events, venue operations, ticketing services, sponsorship and advertising sales, and artist management and services (Live Nation 2015: 4). In the following Live Nation’s business model and economic performance after the merger is portrayed and analysed.

Continue reading ‘Live Nation in the Digital Paradigm Shift’


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


October 2016
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