International Journal of Music Business Research – October 2018, vol. 7, no. 2

Marie Connolly & Alan B. Krueger open the October 2018 issue of the International Journal of Music Business Research (IJMBR) with “The secondary market for concert tickets: theory and evidence”. They model the secondary ticketing market by considering that “performers do not want to be perceived as gouging fans, they choose to underprice tickets and provide consumer surplus to customers” (p. 6).

The second article by Sarita M. Stewart “The development of the artist-fan engagement model” develops a model to explain the relationship between musicians and their fans. It is based on hedonic consumption and parasocial interaction theory and explores how the effects of music and artist drive fan engagement through access or ownership of recorded music.

The third and concluding article of this issue is “Blockchain for Music Business: Preventing the Threat of Disruption” by Wolfgang Senges. This article considers the blockchain as a disruptive power for the music industry that needs a useful framework to prevent damage. Therefore, he recommends a “collaborative approach, agile methods, and transition management … as a toolset to allow for successfully shaping the impact of disrupted processes” (p. 83).

 

Volume 7, no 2, October 2018

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

 

 

 

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International Journal of Music Business Research – April 2017, vol. 6, no. 1

This April 2017 issue of the International Journal of Music Business Research (IJMBR) features one theoretical and two empirical papers on different aspects of music business research.

In the first article “A methodology for cultural music business research”, Lorenz Grünewald-Schukalla of the University of Applied Sciences of Media, Communication and Management Berlin proposes a promising methodology for cultural music business research. In the second article – “The impact of digitalisation on the recorded music consumption. An Estonian case study” – Juko-Mart Kõlar of the Estonian Business School in Tallinn analyses disparities in recorded music consumption among different age and gender groups in Estonia. The third article by Arilova A. Randrianasolo of the Boler School of Business at the John Carroll University in Ohio and Jeremiah Sala of the University of Missouri in Saint Louis link musicological analyses with econometrics. In “Song product characteristics and music commercial performance”, they investigate how tempo, song key and genre influence a song’s commercial performance. The book review by Daniel Nordgård of “The New Music Industries: Disruption and Discovery” by Diane Hughes, Guy Morrow, Sarah Keith and Mark L. Evans of Macquarie University Sydney rounds up the IJMBR’s April 2017 issue.

 

Volume 6, no 1, April 2017

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

 

International Journal of Music Business Research – October 2016, vol. 5, no. 2

The new issue of the International Journal of Music Business Research includes three papers that cover music streaming psychology, the relevance of aesthetic preferences in record labels and the importance of narrative as a tool in recording artist biographies. “The Psychology of Music Streaming – Exploring Music Listeners’ motivations To Favour Access over Ownership” by Geoff Luck (Finnish Centre for Interdisciplinary Music Research at the University of Jyväskylä) focuses on streaming’s radical impact on the way we now experience music.  The change from ownership to on-demand access of a virtually unlimited amount of music challenges previous notions of how music is defined, experienced and consumed. “Aesthetic preferences and aesthetic ‘agnosticism’ among managers in music organisations: is liking projects important?” by Paul Saintilan (Director of Macleay and Collarts colleges in Australia) is pertinent to the predominately ‘pull’ nature of the modern streaming based market. The paper examines how senior managers within the large music organisations deal with their individual aesthetic preferences in their decision making when developing and marketing new work? “Why narratives are better than chronicles of achievement in musicians’ biographies” by Peter Gilks (Entertainment Management department at I-Shou University in Taiwan), is relevant to better understanding modern music consumer behaviour including new music discovery and the reliance of many online music services such as Spotify on recording artist biographies. The paper draws on Simon Frith’s theory that music appreciation involves identification with broader cultural narratives and Bruner’s theory that identities are narratively constructed.

 

Volume 5, no 2, October 2016

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

 

 

The Radiohead Revolution?

The British alternative rock band Radiohead caused a sensation when they announced on their website on October 1, 2007 that the new album In Rainbows was completed and would be released in 10 days for free. Fans were instructed to obtain a registration code in order to download the new album in MP3-format. Music consumers were left to determine the price on their own – ranging from US$ 0.00 to US $ 99.99. The response was overwhelming, and within a few weeks more than 1.2 million downloads were counted. According to the Internet market research firm comScore, 38% of the fans paid an average of US $ 6 per album, which resulted in US$ 2.4 million in revenue. Is this business model really as revolutionary as it appears at first sight?