This paper provides an exploratory study of how rewards-based crowdfunding affects business model development for music industry artists, labels and live sector companies. The empirical methodology incorporated a qualitative, semi-structured, three-stage interview design with fifty seven senior executives from industry crowdfunding platforms and three stakeholder groups. The results and analysis cover new research ground and provide conceptual models to develop theoretical foundations for further research in this field. The findings indicate that the financial model benefits of crowdfunding for independent artists are dependent on fan base demographic variables relating to age group and genre due to sustained apprehension from younger audiences. Furthermore, major labels are now considering a more user-centric financial model as an innovation strategy, and the impact of crowdfunding on their marketing model may already be initiating its development in terms of creativity, strength and artist relations.
Reclaiming the music: The power of local and physical music distribution in the age of global online services
Despite the rise of global online music services like iTunes and Spotify, local and physical music retailers are not extinct. Although many have faced redundancy, others are turning their local presence and technological platforms into assets in regaining customer favour. This article presents an interview-based study of the transformations of two Norwegian record stores in the 2000s, one of which invested in vinyl records, and the other in online streaming with a local profile. These distributors are found not only to have changed the way in which they make records available, but also to have cultivated specific forms of musical communication, in perceptual, psychological and social terms. In doing so, they have developed crucial tools, such as the retailing of high-fidelity sound systems and the hosting of local concert events.
Purpose – The purpose of this paper is to investigate how the budget, when split into a network of projects, can act as a management tool to balance control with creativity.
Design/methodology/approach – A case study is used to discuss the budget in a large Norwegian festival. Simons’ (1995) concept of interactive use of budgets is applied for the analysis of empirical findings. Especially, the authors focus on the design and use of the budget and how it is aligned with the specific characteristics of festivals as economic organizations.
Findings – The findings support earlier research which focusses on the need to balance between control and dynamic changes to successfully manage festivals. This study gives a detailed knowledge on how managers use budgets to combine management control with creativity and dynamic adaptions.
Originality/value – This study contributes to a detailed understanding of how managers can use budgets as tools to stabilize between uncertainty, creativity and control.
Keywords Budgets, Balancing creativity and control, Functions of budgets, Interactive and diagnostic use
Paper type Case study
Bok om betydningen av kunst i byer og tettsteder
The first mapping of the Creative Industries in the UK was published in 1998 by Department for Culture, Media and Sport. This was widely recognized as the first such comprehensive analysis of the economic contribution of creative activities to the overall economic health of the country. The aim was to raise awareness of the industries, the contribution they made to the economy and the issues they faced. Inclusion criteria for Creative Industries was considered “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property”. The mapping is done by sector, comprising of Advertising, Antiques, Architecture, Crafts, Design, Fashion, Film, Leisure software, Music, Performing Arts, Publishing, Software and TV and radio.
This paper argues that, despite its strengths, the UK Department of Culture, Media and Sport (DCMS) classification of the creative industries contains inconsistencies which need to be addressed to make it fully fit for purpose. It presents an improved methodology which retains the strengths of the DCMS’s approach while addressing its deficiencies. We focus on creative intensity: the proportion of total employment within an industry that is engaged in creative occupations.
Mange land og regioner har gjennomført kartlegginger av kulturnæringenes økonomiske omfang målt i sysselsetting og/eller verdiskaping. Selv om både begreper, definisjoner og operasjonaliseringer varierer, indikerer de fleste studiene at disse næringene har hatt en betydelig vekst og spiller en viktig rolle i de fleste økonomier. Dette kan ha sammenheng med en utvikling i retning av det som ofte betegnes som opplevelsesøkonomien.
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