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
Festival/arrangør
2009
Handbok
Festival/arrangør

Focus On Festivals: Contemporary European case studies and perspectives

NEWBOLD, C.,
MAUGHAN, C.,
JORDAN, J.,
BIANCHINI, F.
Goodfellow Publishers
This book presents a contemporary overview of our most ubiquitous cultural phenomena - festivals. It is able to do so by taking a powerful and unique case-study focused, theoretically rigorous and pan-European approach. It comes from a hugely expert and experienced team of editors and authors drawn from across Europe and is based on the groundbreaking work of the European Festival Research Project (EFRP). The EFRP and the book are focused on understanding the causes and implications of the current growth in festivals internationally, and the implications this has across major sectors ranging from tourism to culture. The key themes the books brings out are the politics, programming, impacts, governance and management of festivals; the social, cultural, political, economic and physical contexts in which festivals operate; the potential of festivals to explore and stimulate a more risk-oriented approach to the arts; and the key conclusions, trends, forecasts and recommendations for the sector in the future. The exciting range of real world examples and the mix of practical and academic contributions provides readers with a broad perspective across agendas from economic regeneration and tourism, to education and social inclusion. An indispensable text for students in arts and festival management, events, tourism, hospitality and cultural policy and management courses. It is also essential reading for festival and events managers, public authorities and existing and potential sponsors.
2015
bok
Festival/arrangør

The current and future impacts of the global financial crisis upon events and festivals industry.

SEUNGWON, L.,
GOLDBLATT, J.
International Journal of Event and Festival Management, 3(2): 137-148
3(2): 137-148
2012
Artikkel
Festival/arrangør

Strategic SWOT analysis of public, private and non-for-profit festival organisation.

ANDERSSON, T.,
CARLSEN, J.
International Journal of Event and Festival Management, 2(1): 83-97
The purpose of this analysis is to relate to the strategic orientation of public, private and not-for-profit festivals and the adoption of stakeholder, financial, marketing and management strategies that enable them to achieve their organizational objectives. The paper aims to address these issues. In order to test the effectiveness of this new strategic SWOT approach, data from the four-country study of festivals were employed to investigate how a strategic approach can be adopted by festival managers in the public, private and not-for-profit sector. The strategic issues that confront all festivals, including, financial management and related issues of costs, revenue, sponsorship and support are the subject of analysis. The findings indicate that among festival managers there are some interesting and significant differences between the three ownership types in terms of their strengths, weaknesses, opportunities and threats. Private and non-profit festivals are comparatively more strategic in responding to financial opportunities, threats and weaknesses and public festivals are more dependent on a single stakeholder and source of revenue. Other significant differences exist in terms of stakeholder management and sponsorship strategies, which can be explained with reference to resource dependency theory. This paper demonstrates that it has some utility in identifying strategies in response to financial, stakeholder and sponsorship imperatives. It also provides new insights into the strategic management of public, private and not-for-profit festival organizations using an original approach and an extensive four-country dataset.
2011
Artikkel
Festival/arrangør

International perspectives of festivals and events : paradigms of analysis

ALI-KNIGHT, J. ,
Robertson, M.,
Fyall, A.,
Ladkin, A. (eds)
Taylor & Francis
The paradigms of analysis within the pages of this book have as their root a conference co-organised in 2007 by the School of Services Management, Bournemouth University and the Centre for Festival and Event Management, Napier University Business School. While the conference, ‘Event Tourism: Enhancing Destinations and the Visitor Economy' brought forward journal publications particular to the conference themes, the range of research concepts, research practice and practical example evidenced around this indicated a need for a more expansive research text. It is from this environment that the book has emerged.
The interrelated nature of festivals and events, the fact that they are cultural, business, economic and emotional occurrences makes thematic distinction a great challenge. We, the editors, have nevertheless divided the work into four core subject themes, each with an introduction by one of the editors:

Part one, Destination, Image and Development;

Part two, Community and Identity;

Part three, Audience and Participant Experience, and

Part four, Managing the Event.

Through reading these articles the thematic division of the book will become clear. Equally we anticipate many other areas of investigation, interpretation and inference will emerge for the reader from the particular focus given to the subject by the respective author. This is as it should be. While student numbers for the subject area of festivals and events are growing, publication routes are emerging and the event sector grows so too the call for research synthesis is more evident.
As a relatively new research area so too there is a call for ensuring that academic rigour is applied to the analysis of festivals and events and their affect. This is all the more the case when there is a proliferation of research interest in, and evaluative skills being applied to, the social and cultural effects of festivals and events. The other micro and macro economic and business management requirements of events have not disappeared in the meantime. Academic and professional legitimacy for the subject area can only be maintained if quality is evident through all areas of analysis. Thus, we believe International Perspectives of Festivals and Events: Paradigms of Analysis is a distillation of the potential to offer strong components in a multi-disciplined whole.
2009
bok
Musikk

The music industry in the dawn of the 21st century

Álvarez Vázquez, R. R.
Kunnskapsverket
Rapport 02-2017

The music business, as any other business with a strong online presence or that relies on digital technologies for its advancement, has become much more complex and intricate in recent years and there are now many more stakeholders in the music “ecosystem” than 20 or 30 years ago.
Who are these stakeholders, how do they relate to each other and how do they influence the music network? With these questions in mind this working paper aims to review the current state-of-the-art on new business models in the music industry by carrying out a structural analysis. It looks into diverse examples to illustrate how the value chain of the music business has been transforming in recent years to accommodate for (mostly technological) innovations in terms of music creation, production, distribution and market development. This leads me to propose a model of a value network for the music industry that reflects all this. A model that aims to add to the ongoing discussion regarding the reshaping of the music industry and its understanding, serving as the basis for future development of more useful models and tools for the industry and the research community.
Lastly, I also analyze the Norwegian market in its current state to try to reveal opportunities and vulnerabilities in order to suggest key areas of development for the future, including the kind of government action possible and desirable in the musical arena.

2017
Rapport
Festival/arrangør

Exploring the music festival as a music educational project

Karlsen, S.,
Brändstöm, S.
In International Journal of Music Education
26 (4) (s. 363-373)

The purpose of this article was to explore the music festival as a music educational project by means of results drawn from a case study investigating one particular festival's impact on identity development, both for the individual member of the audience (musical identity) and for the local society (local identity). The theoretical framework was taken from theories of modernity, dealing with identity as a reflexive project, created and maintained by self-narratives. The study combined a survey among the festival audience with observations of festival events. The results showed that the festival mediated stories, myths, beliefs and values connected to music and that there was a contrast between the festival staff encouraging the development and the audience preferring the maintenance of musical identities. The festival also created different social rooms for musical activity. These features are discussed in a music educational perspective. Implications are also drawn for music educational practice and research.

2008
Artikkel
Festival/arrangør

Can Large-Scale Cultural Events Lead to Cultural Scepticism?

Knudsen, K.
Nordic Journal of Cultural Policy/Nordisk Kulturpolitisk Tidskrift
13 (1)

Large scale cultural events often have idealistic aims of affecting participants and spectators in a positive manner, by widening public’s cultural understandings and horizons. The ‘Open Port’ motto chosen for the Stavanger region as European Capital of Culture in 2008 explicitly signalled such ambitions. This article takes the idea of a positive link between exposure to broad-ranging cultural events and tolerance for cultural diversity as a starting point. Nevertheless, there is seemingly little empirical support in the research literature for such a postulate. On this background we suggest a different line of arguments, based on the idea of relative deprivation. Rather than expecting positive change in the beliefs of those more exposed, this alternative hypothesis presumes that inhabitants away from the main centres of artistic and cultural activities, could react. They will often see themselves as left behind and kept out from the grand events, it is contended. In this way we hypothesise that local inhabitants living outside of the central areas will react negatively, by becoming less sympathetic. Special survey data from the region for the period 2007-2009 indicate empirical support for this alternative hypothesis, based on the idea of relative deprivation. At the same time there is little evidence of a possible link between higher exposure and increased tolerance. Multiple regression analysis with an index of cultural scepticism as the dependent variable shows basically no change in attitudes for those living close to main centres of Stavanger 2008 activities. At the same time there is a significant increase in cultural scepticism among local inhabitants living farther away from the central axis. Moreover, results from surveys at the national level confirm a picture of stability in cultural scepticism for Norwegians in general during the same period. This makes an explanation of the observed change for inhabitants living within the larger Stavanger region but outside the central axis, especially challenging. Although the empirical patterns are consistent with the idea of relative deprivation, these findings could not be regarded as a strong test of the hypothesis at this stage. Further research, in alternative settings and with supplementary measures is needed.

2010
Artikkel
Musikk

The Production and Consumption of Music in the Digital Age

Hracs, B. J.,
Seman, M.,
Virani, T. E.
New York: Routledge

The economic geography of music is evolving as new digital technologies, organizational forms, market dynamics and consumer behavior continue to restructure the industry. This book is an international collection of case studies examining the spatial dynamics of today’s music industry. Drawing on research from a diverse range of cities such as Santiago, Toronto, Paris, New York, Amsterdam, London, and Berlin, this volume helps readers understand how the production and consumption of music is changing at multiple scales – from global firms to local entrepreneurs; and, in multiple settings – from established clusters to burgeoning scenes. The volume is divided into interrelated sections and offers an engaging and immersive look at today’s central players, processes, and spaces of music production and consumption. Academic students and researchers across the social sciences, including human geography, sociology, economics, and cultural studies, will find this volume helpful in answering questions about how and where music is financed, produced, marketed, distributed, curated and consumed in the digital age.

2016
bok
Antall publikasjoner i denne databasen: 248

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