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1.
Ruth Towse 《Journal of Cultural Economics》2017,41(4):403-420
The paper argues that the paradigmatic shift from the sale of printed music to exploiting and managing musical rights that took place in music publishing during the early years of the twentieth century was due to the changing market rather than to changes in copyright law. On the one hand, copyright law was ineffectual in controlling piracy throughout the nineteenth century, and on the other hand, performing rights were ignored by music publishers for over 70 years; these points suggest that copyright was not the main reason behind the success of the industry. Rather than leading entrepreneurially (the current view of dynamism in the creative industries), publishers ‘followed the money’ and adapted their business models only when new streams of income from new forms of exploitation through sound recording, broadcasting and film became available as a result of exogenous technical progress. Publishers were locked-in to sales revenue as their business model, though when switching to the new business model of rights management took place, the costs seem not to have been greatly significant. The paper takes an historical approach to the development of music publishing viewed through the lens of present-day issues. The research has resonance for the transition from sales to licensing digital works that is taking place in the creative industries today and puts into perspective the relative significance of market forces and copyright law in the process. 相似文献
2.
Charlotta Mellander Richard Florida Peter J. Rentfrow Jeff Potter 《Journal of Cultural Economics》2018,42(4):593-618
Considerable attention has been paid to America’s political and economic divides. These divides revolve around class and location, with more affluent, more educated and denser places leaning more open-minded and liberal and less affluent, less educated and less dense places leaning more conservative. We contend that such divides are also reflected and reinforced by preferences, attitudes and predispositions for culture. More specifically we argue that Americans’ preferences for music will reflect dimensions of these political and economic divides. To test this proposition, our research examines the geographic variation of five key categories of music preferences across 95 of the largest US metropolitan areas. We use factor analysis to identify and map geographic variation of musical preferences, and we use both bivariate correlation analyses and regression analysis to examine the associations between metro-level musical preferences and key economic, demographic, political, and psychological variables. We find that musical preferences generally reflect and reinforce America’s broader economic and political divides. 相似文献
3.
Nela Filimon Jordi López-Sintas Carlos Padrós-Reig 《Journal of Cultural Economics》2011,35(2):137-161
This article compares and contrasts Adler and Rosen’s theories regarding the stardom and popularity of musical artists through
the impact of local linguistic policies on consumers’ decisions to buy recorded music (CDs). Spain, with local linguistic
policies implemented in Catalonia and the Basque Country, serves as an ideal quasi ‘natural experiment’ for testing these
theories. The authors’ predictions are addressed within a multilevel regression framework, with two main results: first, contrary
to Rosen’s predictions, the impact of local linguistic policies on the probability of buying music CDs is positive; second,
local linguistic policies seem to contribute to increasing the production of music CDs in local languages, increasing the
popularity of local artists with their audiences. 相似文献
4.
Ivan L. Pitt 《Journal of Cultural Economics》2010,34(3):219-236
This paper examines the economic accomplishments of individual members in a Performing Rights Organization (PRO), sometimes
referred to as a Performing Rights Society. Today, there is the growing importance of intellectual property and copyright
protection for authors and creators of literary, dramatic, musical, artistic and other intellectual works. The digital age
has placed added pressure on songwriters, lyricists and composers in their ability to derive economic benefits from their
intellectual creativity in the form of a copyright. Copyright laws protect and enable the creation of music by allowing authors and composers to license the control and use
of their creations, and receive compensation in the form of royalty payments for their work. The PROs license, collect and
distribute royalty payments for non-dramatic public performances of copyrighted musical works created and owned by its members or affiliates. In this paper, skewness and heavy tail of returns
in the form of member royalty payments are estimated using the skew-normal and skew-t distributions in a parametric approach. We found strong evidence of the so-called ‘superstar effect’ in which the average
royalty payment made by a PRO is still dominated by extreme outcomes, and relatively few members earned a substantial share
of royalty payments from blockbuster hits that have endured over time. There is little evidence of smaller niche members dominating
or replacing the ‘superstars.’ Economists and others will benefit from this empirical study which emphasizes a new understanding
of the music industry from a PRO, member royalty payment and performance copyright perspective. 相似文献
5.
Section 1 introduces the hypothesis that competition among neighboring states may favor cultural innovation, and it surveys
the available quantitative evidence. Section 2 starts from the assumption that European instrumental music had its breakthrough
during the Baroque era and that the most famous composers came from the two countries characterized by the highest degree
of political fragmentation: Italy and Germany. It suggests that political fragmentation has promoted musical composition and
performance in several ways. The average duration of employment is proposed as a proxy for competition on the demand side.
Section 3 shows that the most famous Italian and German composers of the Baroque period changed their employers significantly
more often than their French and British counterparts did. Moreover, the Reformation led to musical competition between the
Catholic and Protestant churches. Section 4 argues that competition for composers has also been important in other periods
of European history – including competition between the Church and the courts. It shows that composers moved no less in the
Renaissance than in the Baroque. Section 5 raises the question whether European music may also be said to express a competitive
spirit.
JEL classification: Z11 相似文献
6.
In this article we present an empirical analysis of the ‘patterns of cultural choice’ in the musical domain in Italy. The
main goal of the article is to verify whether musical tastes in Italy are diversified, with the presence of a group of ‘cultural
omnivores’. Our study is based on the theoretical model of the demand for cultural goods proposed by Lévy-Garboua and Montmarquette
(1996). In the empirical analysis we simultaneously evaluate the probability of choosing different musical genres. Through the
specification of the set of alternatives into three groupings of musical genres —“only classical music”, “only popular music”
and “all music”—we were able to detect the relative impact of several socio-economic characteristics on the probability of
having “univorous” or “omnivorous” musical likings. In addition, our approach allows us to verify the existence of different
patterns of music consumption by testing the significance of differences among the estimated coefficients of the probability
functions related to the three groupings of musical genres. We find that age, gender and education are important predictors
of an omnivorous taste.
相似文献
| Carlofilippo FrateschiEmail: |
7.
This research analyzes the performance of 467 record labels in eight European countries over a period of 13 years (2003–2015). The main goal is to explain a relative measure of profitability in terms of observed variables, although the nature of the dataset also allows us to include non-observed firm and country effects. To this end alternative models are estimated and three main research questions are tested, namely: (1) the effect of the dual structure of the recorded music market, in which a competitive segment and an oligopoly coexist; (2) the extent and source of the volatility of profits in record labels; and (3) the nonlinear impact of size on performance. 相似文献
8.
9.
The estimation of the economic effects of cultural events is a topic that has stirred numerous debates in cultural economics. Although economic impact studies and contingent valuation have been the most frequently used methods, both suffer from numerous problems. In this article, we use ex-post econometric verification as a new and promising method in cultural economics in the estimation of the economic effects of cultural events and apply it to the estimation of the effects of the 2012 European Capital of Culture Maribor on tourism and employment. This enables us to compare results from economic impact and ex-post econometric verification studies to find significant differences in particular in terms of new employment. We determine the net effects on new tourism and find that they were mainly present in Maribor, the holder of the project, and not in the other five partner cities. We conclude by reflecting on the state of the art of the studies of economic effects of cultural events in cultural economics and their relevance for the study of cultural tourism. 相似文献
10.
Andrew E. Burke 《Journal of Cultural Economics》1996,20(2):145-164
The paper conducts a statistical analysis of the dynamics of the sale of new music (product differentiation innovation) in the record industry. In pursuing this goal the paper generates new data and analyses a previously unutilized data set. The paper finds that there is a strong correlation between new music innovation in the audio singles and albums market. This is found to be mainly concurrent in the same quarter and to have a reasonably short product life. The paper discovers that these features also characterise the dynamics of record company performance. The research indicates that record companies are willing to sell singles at a loss due to advertising rather than learning externalities. At the industry level, the paper finds that new music innovation does not effect market size significantly and mainly causes business stealing effects between record companies, with exceptional cases of multiplier effects. 相似文献
11.
Brinja Meiseberg 《Journal of Cultural Economics》2014,38(1):9-42
Based on a unique dataset of artists that are active in the German market for folk music—the third largest music genre in terms of popularity and sales—I study what factors determine the artists’ success. Following Rosen (Am Econ Rev 71(5):845–858, 1981), I test if differences in artistic performance have a direct effect on financial rewards as regards physical and digital record sales (“direct superstar effect”). Following Adler (Handbook on the economics of art and culture. Elsevier, Amsterdam, 1985), I also study sales effects of a media presence of artists (“classical superstar effect”). Controlling for various contingency factors (e.g., record labels’ support, artists’ socio-demographics), I deal with an economic issue of general interest: Does it pay more to develop your skills in your core business to perfection or to maintain the current level of skills and invest in self-marketing; and do these effects apply to all folk artists alike? Rather contrary to studies on pop and rock genres, I find that higher ability increases artists’ revenues disproportionately, but simultaneously, openly competing for the recognition of one’s talent holds substantial economic risk. I also observe a positive effect of various types of media presence on financial rewards. However, these income determinants have different impacts on sales in physical versus in digital markets, and their effects vary across the success distribution from low- to top-selling artists as well. 相似文献
12.
将民族音乐品牌推向世界,是每一个民乐人的梦想。7月13日,浙江歌舞剧院"彩蝶女乐"首访加拿大,承演了"枫华国际艺术节"的开幕式。作为浙江省的优秀民乐演出团队,她们通过对江南丝竹的精湛演绎,向世人展示中华民族音乐文化的博大精深。当地时间7月13日,2013枫华国际艺 相似文献
13.
Marcel Cobussen 《Culture, Theory & Critique》2013,54(1):29-42
This essay investigates the possible relationship between noise and ethics through the music of improvising musician Evan Parker and the ‘post‐post‐structuralist’ philosophy of Alain Badiou. According to Badiou, one of the most important features of an ethical attitude is the recognition of a void in a situation, that is, the attention for something that cannot be thought, felt, or experienced within a conventional system, something that always already escapes established and existing structures. This seems to bear some resemblance to the way French thinker Jacques Attali describes noise. According to Attali, noise interrupts and disconnects. It is an aggression against all sorts of code, against all kinds of order. Noise is an evental break from the status quo or ordinary situation, which compels recognition of something new. Rethinking noise this way means that noise does not exist in and of itself, but only in relation to the system within which it is inscribed. Noise is a void in a situation and can therefore be connected to Badiou's ideas about ethics. In a relative rather than an absolute sense, the improvised music of Evan Parker – and this essay especially draws attention to one of his projects, Drawn Inward, in which electronics and acoustical instruments meet and hold a dialogue – produces noise, precisely in and through improvisation; in many ways it disrupts musical conventions. The essay thus explores the space within the triangle noise–improvisation–ethics. 相似文献
14.
To assess the possible effects of mechanical loading on the conservation of historical wooden musical instruments, a research project was carried out on the violin Guarneri “del Gesù” (1743), known as the “Cannone”. This paper refers to the results obtained by studying the deformations to which a violin is subjected after being tuned, with special attention to the viscous and mechano-sorptive behaviour (as in a concert environment for example). The amount of viscoelastic creep was quantified under normal tuning conditions, and the mechano-sorptive creep was quantified using a dead mass resulting in 55% of the elastic deformation obtained after tuning. The viscoelastic and mechano-sorptive deformations were clearly observed. These deformations were completely recovered once the violin was unloaded, demonstrating that this violin structure is appropriately dimensioned for the applied stresses. 相似文献
15.
我曾几次访问过一位白衣布履的智者,他就是来自台湾的著名学者、禅人、文艺评论家林谷芳先生。他贯通中国传统文化中的音乐、绘画、文史哲各大门类,在台湾被称为几十年来唯一持中国牌的文化标杆。少年时泛舟湖面,一曲空灵笛乐触发了林谷芳的生命情思。如此这般不可思议之因缘使得音乐最终成为林谷芳生命观照中的焦点。三十多年后,他出版了著作《谛观有情—中 相似文献
16.
Guillaume Dumont 《Journal of Cultural Economy》2018,11(1):69-82
Creative work has emerged at the core of the new economy and is primarily studied in the art and the media, music and advertising business. This article presents data from an ethnographic research with professional rock climbers. It argues that the production of work for sale by these climbers is a form of creative work. The thread of the argument is twofold. First, their work is inextricably intertwined and paced with highly creative activities. Second, it is anchored in a complex system of communication aiming for the production and dissemination of experiences through media production. 相似文献
17.
The impact of cultural economics on economic theory 总被引：1，自引：1，他引：0
Michael Hutter 《Journal of Cultural Economics》1996,20(4):263-268
The paper asks what kind of impact cultural economics has had on the development of economic theory. Six research areas are discussed: productivity differentials between artistic and non-artistic labor, variations of the public good concept, particularly in relation to environmental goods, endogenous changes in preferences, long-term rates of return on paintings, impact of new media technologies and the autonomy of artistic valuation.It is shown that these topics have relevance beyond their applications in the cultural field, and that the theoretical issues involved challenge standard assumptions and standard modelling procedures in economic theory.Presidential address delivered at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996. 相似文献
18.
For the last 60 years, varnishes of ancient musical instruments, particularly stringed instruments of the violin family dating 17th and 18th centuries, have been analysed to establish their chemical composition and multi-layered structure. The objective was to rediscover the technology for making the varnish of esteemed Italian violins and to reconstitute it. This paper reviews the physico-chemical studies published on such varnishes and also focuses on a research project carried out since 2002 at the Musée de la musique in Paris. It aims to apply in a comprehensive way different non-destructive or micro destructive methods (Py-GC/MS, IR microscopy, SEM/EDX, EDXRF, synchrotron radiation-based techniques, …) to the study of a large and representative number of ancient varnished musical instruments from a museum collection. 相似文献
19.
This paper considers street performance, or busking,focusing on differences between performance in thisenvironment compared with the standard concertsetting. First, in contrast with a set, known ticketprice, the price of street performance isendogenously determined. Second, busking generallyinvolves a joint product: music and charity, wherecharity is produced internally by the audience andhas as its principal input the price paid for music.We show that these facts call into question somegeneral conclusions of conventional public financemodels, which suggest that the major efficiency problemwith busking is its inability to preventfreeriding behavior, and that freeriding, while efficient at the individuallevel, is inefficient at the societal level. In contrast, we argue in thispaper that busking, with freeriding and all, is not unambiguously inferior toconcert hall performance in terms of efficiency. 相似文献
20.
《Journal of Cultural Economy》2013,6(3):269-283
In political theory citizens are defined as being willing to serve the ‘common good’ while consumers are supposed to seek ‘pleasure’. The two terms pull in different directions, so that adding a hyphen is not enough to craft a figure capable of acting in ways that are generous as well as gratifying. This, or so I will argue, is linked with the understanding of the body that lurks in the background. The idea is that the body is naturally greedy. It only acts ‘properly’ if norms are imposed on it from the outside. To interfere with this understanding, I seek help from advertisements for ‘good food’ as well as from ethnographic research into the way bodily pleasure (rather than being innate) is being shaped in socio-material practices. It might as well be shaped in wise, sensitive and responsive ways. This leads me to suggest that, in theory, we experiment with a ‘consumer-citizen’ whose normativity is literally incorporated. I propose that, despite the caveats, we might call this normativity good taste. 相似文献