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31
Dec
18

Music Business Research 2018 – in retrospective

Dear all,

The music business highlight of 2018 was Spotify’s IPO on April 3rd. The public listing of the music streaming service at the New York Stock Exchange was warmly welcomed by the investors with a price per share of US $166 and a market capitalization of US $26.5bn.[1] In the following Spotify’s stock price reached an all-time high of US $196.3 at the end of July – giving it a market capitalization of US $35.3bn. In the meantime, however, Spotify’s stock price lost more than 40 percent and currently the company is worth US $20.6bn.[2] This can only partly be explained by a bearish stock market in the second half of 2018, since the S&P 500 stock exchange index lost just 11.7 percent in the same period. It seems that investors have doubts about Spotify’s business model. The business analysis highlights increasing losses despite a sharply rising number of monthly active users – currently 83m premium subscribers and 109m ad-supported monthly active users.[3] However, the music industry major companies (except Universal Music Group) and the indie label licencing agency MERLIN sold their stakes in Spotify shortly after its IPO at a profit. The recorded music majors are the main beneficiaries of the booming music streaming market, which has grown by 41.1 percent to globally US $6.6bn in 2017.[4]. In-depth analyses of the Universal’s as well as Warner’s business performance highlight that the major companies as well as larger indie labels have increasing revenues and profits due to music streaming.

Beyond Spotify and the booming music streaming, I also want to point at the following music business related topics in 2018:

  • Vivendi’s plans to sell at least 50 percent of Universal Music Group to Liberty Media (owner Sirius XM Radio Inc.), which also bought a controlling stake in US music streaming service Pandora in 2018,
  • the announcement by Chinese Tencent Holdings of an IPO of its Tencent Music Entertainment Group at the New York Stock Exchange,
  • the enactment of the US Music Modernization Act
  • and the fight over Article 13 of the pending EU Copyright Directive.

Continue reading ‘Music Business Research 2018 – in retrospective’

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28
Sep
18

The 9th Vienna Music Business Research Days in Retrospective

The 9th Vienna Music Business Research Days on “Music Life Is Live” gathered again renown music business researchers and music business professionals at the University of Music and Performing Arts to discuss the “Political Economics of Music Festivals” and “The International Concert and Touring Business”.

The invited conference day of the Vienna Music Business Research Days 2018 was opened by the president of the University of Music and Performing Arts Vienna, Ulrike Sych, with a welcome address to the conference participants and the audience.

Continue reading ‘The 9th Vienna Music Business Research Days in Retrospective’

11
Sep
18

9th Vienna Music Business Research Days 2018 on “Music Life Is Live”

The 9th Vienna Music Business Research Days 2018 on “Music Life Is Live” start tomorrow with the Young Scholars’ Workshop (closed event for students). All events on Sep. 13 and 14 in Joseph Haydn-Hall at the University of Music and Performing Arts Vienna will be the open to the public.
Check the program here:
If you cannot make it to the conference,, there will be live video stream of the Invited Conference Day (September 14) starting at 9am (CEST) on our Facebook page:
10
Sep
18

Introducing our guests: Alan Krueger (Princeton University)

“Music Life Is Live” is the main topic of the 9th 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.

The former Chairman of President Barack Obama’s Council of Economic Advisers, Professor Alan Krueger holds a keynote on “The Economics of the International Live Music Business” in Joseph Haydn-Hall at the University of Music and Performing Arts Vienna on Sep. 14 from 15:00-15:45 by video conference from Princeton University.

Alan Krueger is the Bendheim Professor of Economics and Public Affairs at Princeton University.  He has published research on the gig economy, minimum wage, value of education, income inequality, terrorism, and Rockonomics. Since 1987 he has held a joint appointment in the Economics Department and Woodrow Wilson School at Princeton University.

Professor Krueger served as Chairman of President Barack Obama’s Council of Economic Advisers and a Member of the Cabinet from 2011 to 2013.  He also served as Assistant Secretary for Economic Policy and Chief Economist of the U.S. Department of the Treasury in 2009-10 and as Chief Economist of the U.S. Department of Labor in 2004-05.

He was elected Vice President of the American Economic Association in 2016, and is the founding President of the Music Industry Research Association (MIRA). He was elected a Fellow of the Econometric Society in 1996, and a fellow of the Society of Labor Economists in 2005. He was awarded the Kershaw Prize by the Association for Public Policy and Management in 1997 (for distinguished contributions to public policy analysis by someone under the age of 40) and the Mahalanobis Memorial Medal by the Indian Econometric Society in 2001. In 2002 Professor Krueger was elected a fellow of the American Academy of Arts & Sciences, and in 2003 he was elected a fellow of the American Academy of Political and Social Science. He was awarded the IZA Prize in Labor Economics in 2006.  He was awarded the Moynihan Prize by the American Academy of Political and Social Science in 2017.

He received a B.S. degree from Cornell University in 1983, and A.M. and Ph.D. in Economics from Harvard University in 1987.

 

 

07
Sep
18

Introducing our guests: Beate Flath (University of Paderborn)

“Music Life Is Live” is the main topic of the 9th 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.

 

 

06
Sep
18

Introducing our guests: Axel Ballreich (LiveKomm and Concertbüro Franken)

“Music Life Is Live” is the main topic of the 9th 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.

Besides Martin Cloonan (University of Turku, Finland), Hannah Crepaz (Osterfestival Tirol, Austria), Detlef Schwarte (Reeperbahn Festival Hamburg, Germany) and Peter Smidt (Eurosonic Noorderslag, The Netherlands) Axel Ballreich is a participant in the panel discussion of “The Political Economics of Music Festivals” moderated by Beate Flath on September 14 from 9:45-11:15 in Joseph Haydn-Hall at the University of Music and Performing Arts Vienna.

Axel Ballreich studied sociology and finished his diploma in 1987 in Bamberg. He is promoting concerts since 1982 and is running two music clubs in Nuremburg, the Hirsch with a capacity of 700 and the Löwensaal with a capacity of 1,500. He has also promoted more than a dozen open air festivals in North Bavaria with his promoting and booking agency Concertbüro Franken. Axel Ballreich is also the co-founder and one of the CEOs of the Hamburg-based LiveMusikKommission (LiveKomm), an umbrella organization representing more than 450 music clubs and festivals in 100 German towns and municipalities.

 

 




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