On March 3, 2017, an international workshop on “The Blockchained Music Business” was organized by the Department of Cultural Management and Gender Studies (IKM) of the University of Music and Performing Arts Vienna and the Music Information Center Austria (MICA). Carlotta De Ninni (Mycelia for Music Foundation, London), Peter Jenner (Sincere Management, London) and Benji Rogers (PledgeMusic & Dot Blockchain Music, New York) were the workshop supervisors focusing on different aspects of the blockchain technology’s impact on the music business. In the second part of the workshop’s summary, we focus on the discussion of the workshop-group on the impact of blockchain technology on the music industry’s intermediaries that was supervised by Benji Rogers (PledgeMusic & Dot Blockchain Music, New York).
Posts Tagged ‘disintermediation
Tags: Benji Rogers, blockchain, collecting societies, cutting out the middlemen, disintermediation, Dot Blockchain Music, fairness, intermediaries, music distributors, music managers, music publishers, Performing Rights Association, PRO, record labels, recorded music companies, transparency
Tags: Ben O'Hare, Betraice Jetto, cultural intermediaries, digital network-media, disintermediation, ethnography, fans cultures, Francisco Bernardo, IJMBR, Independence, indies, International Journal of Music Business Research, Luís Gustavo Martins, Music blogs, music business creativity, music business curriculum, Music business education, music business innovation, music entrepreneurship, music industry
The latest issue of the International Journal of Music Business Research (IJMBR) is online now. In the first article Francisco Bernardo & Luís Gustavo Martins of the Catholic University of Portugal in Porto pose the crucial question of whether, in the digital age, disintermediation is reshaping the music industry and fostering independent approaches to the market. They argue that digital network media enable ordinary people to adopt a do-it-yourself or “DIY” approach to producing and disseminating music by eliminating intermediaries such as record labels. In the following, Ben O’Hare, Head of Higher Education (Music Business) at Box Hill Institute in Melbourne/Australia, argues in an article entitled “Creativity, Innovation and Entrepreneurship in Music Business Education” that in these days a music business education is essential to achieve success in the music business and provides valuable theoretical as well as empirical insights. Beatrice Jetto of the University of Technology and Notre Dame University in Sydney, Australia focuses in the last contribution on the relationship between music blogs and the music industry by analysing 18 semi-structured interviews with bloggers specialising in music.
Find all articles as well as the entire journal issue here: https://musicbusinessresearch.wordpress.com/international-journal-of-music-business-research-ijmbr/
Tags: convergence, digital music industry, digital revolution, disintermediation, disruptive technology, evolution, Jim Rogers, live music sector, music industry, music publishing, paradigm shift, phonographic industry, radical change, record industry, recorded music industry
Jim Rogers’ PhD-thesis at Dublin City University was recently published under the title “The Death & Life of the Music Industry in the Digital Age” at Bloomsbury/London. He interviewed 30 music business professionals in the UK and Ireland from 2007 to 2010 to answer the main research question if the Internet caused a crisis in the music industry that is signalling its final collapse or if it, in contrast, resulted in an intensive restructuring and reordering within the industry.
He concludes that the music industry has not undergone a fundamental structural upheaval but was reshaped by an evolutionary change. Rogers observes more continuities than discontinuities in the music industry and states that most of the music industry actors do more or less the same things but in a different way. In the following I highlight how the author comes to such a conclusion.