Opplevelser
2015
Norge
Bokkapittel
Musikk

(Virke)apparatet bak musikken

Rykkja, A.
Kunnskapsverket
02/2017

Formålet med denne rapporten er å utrede og kartlegge i hvilken grad det nasjonale virkemiddelapparatet rettet mot musikkindustrien har virkemidler som svarer til virksomheters behov. Virksomhetenes behov for finansiering av drift, kompetanseheving og ulike drivere og barrierer for utvikling, særlig i forhold til internasjonalisering og eksport har blitt vektlagt i analyser.  Behov og ønsker er forsøkt avdekket gjennom en kvalitativ studie hvor 18 virksomheter, som har det til felles at de enten har mottatt Music Norways eksportprogram eller vært deltagere i det tilpassede FRAM programmet for musikkindustrien i regi av Innovasjon Norge og Music Norway, har deltatt.
Prosjektet er gjennomført i samarbeid med Music Norway og Buzzfond, som har bidratt med delfinansiering, kontakt med informanter og virksomhetene og personalressurser.

2017
Norge
Rapport
Opplevelser

33 tekster om opplevelsesforskning

Stene, M. (red.)
2011:21

En samling av allmennrettede formidlingstekster skrevet i forbindelse med instituttprogram "Opplevelseskvalitet, nettverksproduksjon av opplevelse, opplevelsesverdi, «performing places»"

2011
Rapport
Musikk

A Creative Industry In Transition: The rise of digitally-driven independent music production

Hracs, B. J.
Growth and Change
Volume 43 (3): 442-461

This paper nuances our understanding of the ongoing transition within the North American music industry. It extends the existing analysis of the so-called “MP3 Crisis” by exploring the ways in which digital technologies have challenged the entrenched power of the major record labels. In particular, new insights are offered based on interviews with music industry executives who have been active in shaping the industry's response to illegal file sharing. The paper also uses interview data from musicians to investigate the implications of restructuring at the macroscale on creative talent at the microscale. As such, it documents the structures and spatial dynamics of digitally driven independent music production in Canada for the first time.

2012
Artikkel
Musikk

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

Gamble, Jordan Robert,
Brennan, Michael,
McAdam, Rodney
Journal of Business Research
Volume 70, pages 25-36

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.

2017
Vitenskapelig artikkel
Bokbransjen

Analyzing Norway’s experience from adopting on-demand streaming: Exceptions or rules to a future economy?

Nordgård, D.
Vienna Music Business Research Days
2014, October 4

While the music industry, artists and fans are discussing the streaming’s ability to advance music’s digitalization-process into more sustainable models, Norway has indeed adopted subscription based, on-demand streaming and hence, may work as case to better understand the impacts of such an adoption. This paper builds on the findings in two separate but related committees, each resulting in a Norwegian report: The report from the Government initiated Nordgård-committee from 2013 (the committee on Challenges concerning the digitalization of the music industry1) and the report from the Norwegian Musicians Union (Musikernes fellesorganisasjon), the MFO committee2 from September 2014.  

2014
Norway
Conference paper
Opplevelser

Ansats til en begivenhetsfilosofisk utlegging av opplevelsens fenomenologi og ontologi

Sletterød, N. A.
Tapir Akademiske Forlag, Trondheim
(s. 175-210)
2012
Norge
Bokkapittel
Musikk

Blues i det blå?

Heian, M. T.,
Åslund, A.
Telemarksforskning
TF-rapport 388

Denne rapporten handler om rekruttering, status og utvikling av blues i Norge. Initiativet for prosjektet er tatt av Europas Bluessenter (EBS), som ønsket å få mer kunnskap om bluesens status for å kunne videreutvikle virksomheten og opprettholde blues som en sterk merkevare på Notodden og i Telemark

2016
Norge
Rapport
Bokbransjen

Bransjestatistikk 2014

Forleggerforeningens servicekontor
Forleggerforeningens servicekontor
2014

Forleggerforeningens servicekontor utarbeider årlig bransjestatistikk over bokomsetningen i Norge. Tallene bygger på opplysninger innhentet fra medlemsforlag, bokklubber og andre aktører i bokmarkedet. Omsetningen til aktører som ikke er medlemmer av foreningen, bygger dels på innrapporterte tall og dels på skjønn. Det er benyttet tilnærmet samme metode hvert år for å anslå totalmarkedet vurdert til utsalgspriser, men det er grunn til å understreke at denne delen av tallgrunnlaget er grove anslag.

Statistikken presenteres i to deler. Første del omhandler estimater for totalmarkedets utvikling, mens den andre delen bare omfatter forlag som er medlemmer av Den norske Forleggerforening. 

2014
Norge
Rapport
Musikk

Consolidating the music scenes perspective

Bennett, A.
Poetics
32(2004) 223–234

The concept of scene has long been used by musicians and music journalists to describe the clusters of musicians, promoters and fans, etc., who grow up around particular genres of music. Typically, this everyday usage of scene has referred to a particular local setting, usually a city or district, where a particular style of music has either originated, or has been appropriated and locally adapted. Examples here would include Chicago blues, New Orleans jazz and Nashville Country music, as well as numerous lesser known instances of local musical innovation and production.

Since the early 1990s, the concept of scene has also begun to acquire currency as an academic model of analysis. Scene’s significance in this respect has resulted partly from the criticism and rejection of prior theoretical frameworks used in research on music, and the local, notably subcultural theory (see, for example, Clarke, 1981; Bennett, 1999), and also due to the influential work on ‘‘art worlds’’ and cultural industries (Becker, 1982). Peterson and Bennett (2004) observe as an academic research model that the concept of scene can usefully be subdivided into three categories: local (Cohen, 1991; Shank, 1994), trans-local (Kruse, 1993; Hodkinson, 2002) and virtual (Kibby, 2000; Bennett, 2002). The purpose of this paper is to assess the different ways that scene has been conceptualised in academic research as a means of understanding music as a ‘resource’ in contemporary everyday life. 

2004
Artikkel
Antall publikasjoner i denne databasen: 45

Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.