Call for Papers: 12th Young Scholars’ Workshop of the International Music Business Research Days 2022

The Young Scholars’ Workshop, as part of the 13^th International Music Business Research Days (Vienna, Austria), invites once again young researchers to submit paper abstracts of all disciplines exploring questions that help understand economic and managerial problems as well as processes of the music business sector and in the field of music management. There are many questions that call for investigation and need to be discussed in music business research, for example:

• What drives innovation in the music business sector?
• How can we scientifically understand and differentiate music business models?
• What do we know about critical success factors? Have success factors changed over time – and has music business (entrepreneurship) changed in general?
• What rationalities affect this very “personal” industry?
• What does it mean to be self-managed in the music business?
• What can we learn about the customer’s willingness to pay for music recordings or related goods?
• Who will control the future music market, e.g., startups or Apple?
• How can we understand the role of brands and the music industry?
• And how can music business research support efforts for innovative business models?
• What issues of gender, class or “race” exist in a music business context? How are they dealt with?

 
These research questions are not exhaustive, papers may also address other aspects.
 
The workshop organizers Prof. Dr. Peter Tschmuck (University of Music and Performing Arts Vienna) and Prof. Dr. Carsten Winter (Hanover University of Music, Drama and Media) strongly encourage submissions from students at all levels of MA & PhD. Students are supposed to work on their MA or PhD thesis and discuss it with senior researchers of music business research.
 
Abstracts (of about 1,000 characters) are due by May 31, 2022, and full papers (15-30 pages) are due by September 15, 2022. Only abstracts and papers submitted on time will be considered.
 
A maximum of 6-8 papers will be selected for presentation to guarantee a workshop atmosphere. The sessions will combine paper presentations and discussions including interactive elements. Information on the acceptance of the paper proposal will be sent until June 30, 2022, at the latest.
 
Please email your submission to youngscholars@imbra.eu
 
Paper proposals and final papers must be submitted as pdf documents and should include contact information, at least affiliation, e-mail address, telephone number and postal address of the author(s).
 
 
Organized by:

 
 
In cooperation with:

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Call-for-papers: 9th Vienna Music Business Research Days, September 12-14, 2018

The 9^th Vienna Music Business Research Days will be held at the University of Music and Performing Arts Vienna, Austria, from September 12 to 14, 2018.

Music Business Research is an inter-discipline at the intersection of economic, artistic, cultural, social, legal, technological and further developments which contribute to the creation/production, dissemination/ distribution and reception/consumption of music. This interdisciplinary nature calls for methodological multiplicity and is open to scholars from all scientific areas.

The conference organizers invite scholars (from the postdoctoral level on) who have a research focus on music business/industry related topics to submit a paper proposal for the conference day on September 13, 2018 (CfP in pdf-format).

Scholarly submissions on this year’s conference theme “Music Life is Live” or other aspects of music business research are welcomed.

Indicative themes, include, but are not limited to:

• Past, current and future developments in the music industry (recorded / live / publishing / retailing / wholesaling, etc.)
• Economic and historic analyses of music markets, charts or audiences
• Issues in marketing and/or branding music, musicians or music institutions
• Aspects of musical and musician diversity in music business
• Critical discourses on the economic, social and cultural contributions of (live) music
• New products, formats and business models in the music sectors
• Strategies and strategizing of musicians and music institutions
• Situatedness and power in musician labor markets
• Agency and social practices in the music business
• Legal issues in the music business (contracts, copyright, policies) from an international perspective
• Fit for the market? Acquiring skills for the music business
• Doing things right. New solutions for fairness and transparency in the music business
• Entrepreneurial musicians und music entrepreneurs
• An age of disruption? Technological developments in the music industry

 

Submission

Please send an abstract of your proposal to vmbrdays@gmail.com no later than April 9, 2018.

All submissions must include a title, authors (names, affiliations, e-mails of all authors and a notation (*) of the corresponding author), an abstract of 1,000-1,500 words and 3-5 keywords. Abstracts must be submitted in English, as a MS Word file (*.doc or *.docx) or *.pdf file, and include:

• Objectives of the research
• Brief description of the disciplinary/theoretical context/background
• Research questions and/or hypotheses
• Methodology
• Main or expected conclusions / contribution
• Main references

Abstracts will be subject to a double-blind peer-review process by an international jury, and authors will be notified of acceptance by May 15, 2018.

Final papers should not exceed 7,000 words (including abstracts, figures, tables, references and appendices) and follow the author guidelines of the International Journal of Music Business Research (IJMBR). The best paper will be offered publication in IJMBR.

 

Important dates

April 9, 2018                    Abstract submission deadline

May 15, 2018                  Notification of acceptance

July 31, 2018                   Submission deadline for full papers

September 13, 2018       Conference day

September 14, 2018       Conference day for invited speakers on “Music Life is Live.”

For students at all levels of the MA & PhD a doctoral colloquium (8^th Young Scholars’ Workshop) will be held as part of the 9^th Vienna Music Business Research Days on September 12, 2018. Find a separate call for papers here.

 

Registration Fee

The registration fee includes conference attendance, reception, coffee breaks and lunch on conference days as well as the Heurigen-Dinner on September 14, 2018.

Registration fee – early bird (until July 31, 2018):              175,- Euro

Registration fee:                                                                 225,- Euro

End of registration (no refund after this date):                 August 31, 2018

 

Contact

Dagmar Abfalter (mailto: vmbrdays@gmail.com)

Department of Cultural Management and Gender Studies (IKM)

University of Music and Performing Arts, Vienna

Anton-von-Webern-Platz 1, 1030 Vienna, Austria

Tel.: +43-1-71155-3418  /  Fax: +43-1-71155-3499
https://musicbusinessresearch.wordpress.com/vienna-music-business-research-days-2/

 

 

Call-for-papers: 8th Young Scholars’ Workshop of the 9th Vienna Music Business Research Days 2018, September 12, 2018

The Young Scholars’ Workshop, as part of the 9^th Vienna Music Business Research Days (Vienna, Austria), invites once again young researchers to submit paper abstracts of all disciplines exploring questions that help understand economic and managerial problems as well as processes of the music business sector and in the field of music management. There are many questions that call for investigation and need to be discussed in music business research, for example:

• What drives innovation in the music business sector?
• How can we scientifically understand and differentiate music business models?
• What do we know about critical success factors? Have success factors changed over time – and has music business (entrepreneurship) changed in general?
• What rationalities affect this very “personal” industry?
• What does it mean to be self-managed in the music business?
• What can we learn about the customer’s willingness to pay for music recordings or related goods?
• Who will control the future music market, e.g., startups or Apple?
• How can we understand the role of brands and the music industry?
• And how can music business research support efforts for innovative business models?
• What issues of gender, class or “race” exist in a music business context? How are they dealt with?

 

These research questions are not exhaustive, papers may also address other aspects.

The workshop organizers Prof. Dr. Carsten Winter (Hanover University of Music, Drama and Media) and Prof. Dr. Peter Tschmuck (University of Music and Performing Arts Vienna) strongly encourage submissions from students at all levels of MA & PhD. Students are supposed to work on their MA or PhD thesis and discuss it with senior researchers of music business research.

Abstracts (of about 1,000 characters) are due by April 9, 2018, and full papers (15-30 pages) are due by July 31, 2018. Only abstracts and papers submitted on time will be considered.

A maximum of 6-8 papers will be selected for presentation to guarantee a workshop atmosphere. The sessions will combine paper presentations and discussions including interactive elements. Information on the acceptance of the paper proposal will be sent until May 15, 2018, at the latest.

Please email your submission to youngscholars@imbra.eu

Paper proposals and final papers must be submitted as pdf documents and should include contact information, at least affiliation, e-mail address, telephone number and postal address of the author(s). Find der pdf version here.

For researchers on the post-doc level a separate call-for-papers for the conference track day on September 13, 2018 can be found here.

 

Organized by

 

 

 

 

 

 

Music Business Research 2015 – in retrospective

Dear readers of the music business research blog,

2015 Music streaming was again the main topic in the music business. In June, Apple Inc. introduced the long rumoured music streaming portal Apple Music to the public. Instead of a freemium tier Apple Music is built around an online radio station – Beats 1 – and enables direct contact between musicians and fans by Artist Connect. Nevertheless, Taylor Swift was not amused. She threatened to withdraw her music catalogue from Apple Music as long as no licensing fees are paid to rights holders in the initial trail period. Apple’s VP of iTunes, Eddy Cue, immediately responded by Twitter to announce that Apple Inc. has changed its mind and “will pay artist for streaming, even during customer’s free trial period”. However, the conflict shows that the discussion on music streaming payments to artists will continue in 2016. An analysis on the blog already addressed that problem – Music Streaming Revisited – the Problem of Income Distribution – and even superstars cannot afford a living from music streaming revenues: Music Streaming Revisited – The Superstars’ Music Streaming Income. It was also highlighted on the blog that the main winners of the music streaming boom are the major recorded music labels which can successfully market their catalogues: Who Benefits from Spotify & Co.?

Before Apple Music was introduced to the public, premium music streaming service Tidal was launched by Jay-Z and 16 further superstars of the music business in March 2015. It remains to be seen if the music fans are prepared to pay a monthly fee of US $19.99 for high fidelity music streaming. The number of subscribers since Tidal’s launch tells a different story.

In November 2015, Google unveiled the first details on YouTube Red. YouTube Red is the successor of Music Key, which never made it out of the beta version. The new streaming service aims to successfully compete with Spotify & Co. 2016 will show if the dreams will come true.

It is striking, however, that all the new music streaming services lack a freemium tier. This nurtures speculations that the end of free music streaming is near what would be applauded by high ranking music industry representatives who regularly clamoured the dismissal of Freemium music streaming models in 2015. It is, however, questionable if a stop of free music streaming is the golden rule for the music business since most of the music streaming markets are not fully developed yet as highlighted in a blog entry: Music Streaming Revisited – the International Music Streaming Market 2014.

Although music streaming seems to stabilize the recorded music markets – see e.g. U.S. and Germany – the first signs of a market consolidations has become visible. The German music streaming pioneer Simfy had to close down and the U.S. based streaming platform rdio went bankrupt in 2015.

Investors, however, do not bet on music streaming services anymore as the panel discussion “Financing Music in the Digital Age” within the 6^th Vienna Music Business Research Days highlighted. The international music business research conference that again was held at the University of Music and Performing Arts Vienna in cooperation with Waves Vienna Festival & Conference also addressed the question in a presentation and panel discussion if streaming is a relevant revenue source for opera houses and concert halls. And the economic relevance of crowdfunding for the music business was analysed in a keynote talk too.

Music Business Research in 2011 – in retrospect

Dear friends of the music business research blog. I would like to thank you for your interest in my blogging activity and before starting into 2012, I would like to look back to 2011. It was a very eventful year for the music business/industry. The number of recorded music major companies shrank to ony three. The global live music market was faced a downturn after a long boom period. Apple, Goolge and Amazon.com introduced their music clouds to the public. Spotify was not only launched in the U.S., but also in Belgium, Austria and Switzerland. iTunes has become available in most of the Eastern European countries as well as in Latin America. The EU extended to copyright term for sound recordings from 50 to 70 years – to name only a few events.

However, from a music business research perspective, one of the highlights was the second Vienna Music Business Research Days on “New Music Distribution Models” held at University of Music and Performing Arts Vienna. In talks, discussions and in the first Young Scholars’ workshop the recent developments in the dissemination of music by streaming, download and cloud-based services were highlighed by music business researchs and music industry professionals. The summaries of all the talks and discussions can be read in the blog as well as streamed for listening.

In the following you can find all academic theses & papers, which have been added for downloading in 2011. In addition find a list of important music business/industry studies and books published last year. You can also find a top-10-list of the most visited blog-posts and some more information.