International Journal of Music Business Research – October 2017, vol. 6, no. 2

The first article of the October 2017 issue of the International Journal of Music Business Research (IJMBR), “Innovation in the arts – lessons from the creation of Dalhalla” by Per Frankelius of Linköping University/Sweden, is an insightful case study of the Dalhalla opera festival in Sweden that was initiated and organised by the opera singer and retired radio producer Margareta Dellefors. The second article, “Collaborating to compete: the role of cultural intermediaries in hypercompetition” by George Musgrave of University of Westminster in London, employs an innovative methodological approach to examine the role that cultural intermediaries, such as radio DJs and journalists, play in the lives of three unsigned UK urban music artists. The concluding article of this journal issue, “Status quo and perspectives of licensing synchronisation rights” by Stephan Klingner and Julia Friedrich of Leipzig University/Germany, highlights the current state of music licencing and identifies the needs from the users’ perspective. The findings are drawn from interviews with representatives of synchronisation rights licensing platforms and production libraries. The book review by Dennis Collopy of “The Economics of Music” by Peter Tschmuck rounds up the IJMBR’s October 2017 issue.

 

Volume 6, no 2, October 2017

Editorial by Peter Tschmuck, pp. 4-5

Per Frankelius: Innovation in the arts – lessons from the creation of Dalhalla, pp. 6-40

George Musgrave: Collaborating to compete: the role of cultural intermediaries in hypercompetition, pp. 41-68

Stephan Klingner & Julia Friedrich: Status quo and perspectives of licensing synchronisation rights, pp. 69-86

Book review by Dennis Collopy: The Economics of Music by Peter Tschmuck, pp. 87-91

 

 

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Book review: The Economics of Music by Peter Tschmuck

My new book “The Economics of Music” is now avaiable in the bookstores. “The Economics of the Music” is a concise, scientifically grounded textbook on the economic fundamentals of the music industry in particular and the music economy in general. It aims to highlight the economic principles that govern the music business by analysing music as an economic good that is protected by copyright law. The book therefore includes a chapter on the microeconomics of music as well as a chapter on the economics of music copyright that is mainly based on findings of institutional economics. The main parts of the book focus on the different sectors of the music industry – music publishing, sound recording, the live music market, and secondary markets such as media and advertising – in order to explain the network of actors in those sectors and how these markets are organised and linked. The music labour markets are treated in a separate chapter. It highlights different income streams for musicians, occupational careers in the music business, and music-related occupations in the wider music economy (education, advocacy, lobbying, etc.). Since digitization has a tremendous impact on the music business, a final chapter on the “Digital Music Business” highlights the new rules, structures, and processes that were established by the digital revolution in order to foreground the structural break the music economy underwent. The last chapter, therefore, refers back to the opening chapter on “A Short Economic History of the Music Business,” which provides an overview from music patronage  to the current digital music economy.

Peter Tschmuck, 2017, The Economics of Music. Newcastle-upon-Tyne: Agenda Publishing.

Hardback £55.00 | $70.00 ISBN 9781911116073

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Buy a book copy here: Agenda Publishing