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1.
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
2.
The purpose of this contribution is to move the study of performing rights forward and away from discussion of matters of principle to matters of implementation. Our procedure is to identify the chronological steps which have to be taken by composers or their representatives in ensuring that their property right can be exploited, resulting in payment for performances. At each step we shall attempt to offer observations, based principally but by no means solely on UK experience, on both the economic and legal issues that arise. The first stage in the exploitation of copyright is to create a work in a discernible form. In music this has traditionally taken the form of a score. However, today most popular music will take the form of a taped performance. This is followed by critical discussion of the term of copyright protection and whether a monopoly is created in respect of performing rights. In addition to performing rights, account has also to be taken of performers' rights, raising issues of where copyright protection ends and performers' rights begin. The second stage of exploitation is publication, promotion and performance of the work, a matter so complex that it has necessitated the establishment of collective organisations of authors and publishers to be effective. Policy issues arise about the relations between the members of such organisationsinter se, and between the organisations and users, and these are illustrated by a number of examples from the history of the British Performing Right Society. Disputes led to the establishment of specialist tribunals in the UK and elsewhere, and there have also been investigations of collecting societies by the British and EC competition authorities. The global market for music means that such issues transcend national frontiers, and there is some discussion of how performing rights are enforced internationally. The paper concludes by identifying a number of major issues: whether or not collecting societies operate against the consumer interest (it is suggested, generally not); the extent to which serious music is or should be subsidised by diversion of the income of the collecting societies in its support; and the possible extension of collective copyright administration into other fields, against the background of ever-increasing cross-border activity in cultural matters generally. 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.
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: |
5.
Staffan Albinsson 《Journal of Cultural Economics》2013,37(2):175-184
For this study, data from the annual reports of the STIM (the Swedish Performing Right Society) (By Swedes it is read as a word: ‘stim’ and not as four separate initials S.T.I.M.) were collected and analysed. If the general hypothesis that a digital technology shift has resulted in illegal downloading holds true, there should be a decrease in total revenues for composers from record sales. This is what the STIM data show. There has, however, been a simultaneous growth in income from other sources, which compensates for the loss from record royalties. This study also includes a unique data set from the STIM showing revenues for individual music IPR owners. The general finding is that a very small group of composers receives a very large share of the copyright revenues. Music as a ‘winner-takes-all’ arena is apparent. 相似文献
6.
Legislation creating or reinforcing resale royalties for visual artists retains substantial political popularity – particularly in the European Union – despite the often skeptical attitude toward those rights in the economics literature. In this essay, we probe more deeply the affirmative arguments that can be made for a resale royalty right, in either a mandatory or a discretionary form. We also compare the rationale for visual artists' resale royalties with the potential rationales for the now-well-established systems of royalty rights for authors and composers. This comparison has particular interest both because some of the principal arguments made against visual artists' resale royalties also apply to authors' royalties, and because the economic rationale for compensating authors with royalties has itself not been well explored. We also discuss briefly the related subject of display rights for visual artists. We conclude with some general implications for policy. 相似文献
7.
The impact of the <Emphasis Type="Italic">Droit de Suite</Emphasis> in the UK: an empirical analysis
The Droit de Suite, known in the UK as Artists’ Resale Rights, provides an artist with the inalienable right to receive a royalty based on the
resale price of an original work of art. This paper provides an empirical analysis of actual changes in the UK auction market
for art that is newly subject to the Droit de Suite (DDS) because of a change in law. All changes are measured relative to changes for art not subject to the DDS and relative
to changes in the auction markets for art in countries where there has been no change in law. We do a difference-in-difference
analysis, differencing price growth and sales growth across market segments and across countries over the period 1993–2007.
Our results suggest that the introduction of the DDS has not had a consistent negative impact on the UK art auction market
during the period of study. 相似文献
8.
In recent years questions concerning the impact of public research funding have become the preeminent site at which struggles
over the meanings and value of science are played out. In this paper we explore the ‘politics of impact’ in contemporary UK
science and research policy and, in particular, detail the ways in which UK research councils have responded to and reframed
recent calls for the quantitative measurement of research impacts. Operating as ‘boundary organisations’ research councils
are embroiled in what might be characterised as the ‘politics of demarcation’ in which competing understandings of the cultural
values of science are traded, exchanged and contested. In this paper we focus on the way the UK’s ‘Engineering and Physical
Sciences Research Council’ (EPSRC) has responded to contemporary policy discourses concerning the impacts of public research
expenditure. We argue that, in response to the shifting terms of contemporary science policy, the EPSRC has adopted three
distinct strategies. Firstly, in collaboration with other research councils the EPSRC have emphasised the intellectual and
metrological challenge presented by attempts to quantify the economic impact of public research expenditure, emphasising instead
the cumulative impacts of a broad portfolio of ‘basic science’. Secondly, the EPSRC has sought to widen the discursive meaning
of research impacts – specifically to include societal and policy impacts in addition to economic ones. Thirdly, the EPSRC
has introduced a new framing into the ‘impact agenda’, preferring to talk about ‘pathways to impact’ rather than research
impacts per se. In responding to government priority setting, we argue that the EPSRC has sought to exploit both the technical fragility
of auditing techniques and the discursive ambiguity of notions of impact. 相似文献
9.
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
10.
F. M. Scherer 《Journal of Cultural Economics》2001,25(4):307-319
Using qualitative histories and coded data on 645 composers born between 1650and 1849, this article traces the evolution of free-lance activity by musiccomposers over the course of two centuries. Contrary to widely advancedsuppositions, many composers were pursuing free-lance composition as the 17thcentury ended, although more for opera than instrumental music writing. Fromthat time on, free-lance composition expanded steadily, replacing employmentby the church and the nobility. A growing number of composers also acted asimpresarios in organizing their own opera or concert performances. Composersearned their bread in many other ways too. There were clear rising trends intheir employment as private orchestra directors and conservatory professors. 相似文献
11.
This article addresses the business of film music in mainstream Nollywood. It does so by focusing on the materiality of the industry as an institution: its social organisation and systems of film music production; markets; networks; and power relations. Specifically, the arguments rely on social organisational theories, and economic concepts such as vertical integration and market competition alongside inferences from interviews with insider-practitioners. Findings reveal that the Nollywood film music industry is characterised by non-institutionalised vertical integration within a perfectly competitive market in which its film music composers are, essentially, competing without advantage. 相似文献
12.
Rethinking Polanyi’s Concept of Tacit Knowledge: From Personal Knowing to Imagined Institutions 总被引：1，自引：0，他引：1
Half a century after Michael Polanyi conceptualised ‘the tacit component’ in personal knowing, management studies has reinvented
‘tacit knowledge’—albeit in ways that squander the advantages of Polanyi’s insights and ignore his faith in ‘spiritual reality’.
While tacit knowing challenged the absurdities of sheer objectivity, expressed in a ‘perfect language’, it fused rational knowing, based on personal experience, with mystical speculation about an un-experienced ‘external reality’. Faith alone saved Polanyi’s model from solipsism. But Ernst von Glasersfeld’s
radical constructivism provides scope to rethink personal tacit knowing with regard to ‘other people’ and the intersubjectively
viable construction of ‘experiential reality’. By separating tacit knowing from Polanyi’s metaphysical realism and drawing
on Benedict Anderson’s concept of ‘imagined communities’, it is possible to conceptualise ‘imagined institutions’ as the tacit
dimension of power that shapes human interaction. Whereas Douglass North claimed institutions could be reduced to rules, imagined
institutions are known in ways we cannot tell. 相似文献
13.
On the economics of musical composition in Mozart's Vienna 总被引：2，自引：1，他引：1
The article provides historical evidence suggesting that a substantial element in the explanation of the profusion of talented composers in the 18th century Habsburg empire was the fragmentation of the state into many near-independent states, each with its own court seeking entertainment and prestige through new musical offerings. The resulting profusion of jobs attracted people into the profession and provided hearings for their work. The article also examines the data on Mozart's finances and using a rough translation of 18th century Austrian currency into current dollars supports recent revisionist findings that, with the exception of several years, he was relatively well off. 相似文献
14.
This paper investigates market segments for theatre demand using a latent class model. The model is applied using data from
a stated preference survey implemented in a regional theatre in England. Results allow three classes of theatregoers to be
identified. The largest and ‘main class’ comprises mainly affluent people who show a strong preference for main theatre venues,
consider reviews of the productions, whether the author is known, and like all types of shows. The second is a ‘popular class’,
exhibiting the smallest willingness to pay and manifesting a strong preference for comedies, paying little attention to venues
and disliking more sophisticated shows. The third is an ‘intellectual class’ of theatre goers, who exhibit the maximum willingness
to pay, and show a strong interest for drama and adaptation of productions, and more independent aesthetic judgement. The
study shows the usefulness of latent class models in identifying market segments, a procedure that is relevant to policy makers
and theatre managers in setting prices, identifying different kinds of consumers to increase people’s engagement with theatre,
and undertaking social analysis of performing arts. 相似文献
15.
Samuel Cameron 《Journal of Cultural Economics》2016,40(1):1-12
This paper contextualises research on the economics of music. The papers considered represent a crossroad in economics music research. One branch is the most heavily explored area of the impact of digital technology on consumption of music. The others comprise one entirely new topic which is crowd-sourced funding of new music recordings. The other topics are extremely old in terms of relevance but very new in terms of there being little prior economic analysis. These are environmental damages from musical activity and the efficiency of belonging to a pop–rock musical ensemble versus being a solo artist. 相似文献
16.
Darlene C. Chisholm 《Journal of Cultural Economics》2004,28(1):37-56
What determines the market value of a star? This paper examines the size of fixed payments to leading actors in the U.S. motion picture industry from a sample of contracts between 1959 and 1989. Competing explanations for the size of compensation, including rent capture, risk sharing, signalling, and portfolio optimization by studio executives are explored. The size of fixed payment across all contract types moves with an actor's history of participating in top-20 grossing films over the past five, ten, fifteen, and twenty films. Further, the impact of past top-20 successes is enhanced by the length of the actor's career. When contracts are divided into those with both fixed payments and share payments and those with only fixed payments, the fixed payment in two-part share contracts is influenced to some extent by risk concerns, in addition to the actor's star power. Fixed-payment-only contracts are most strongly influenced by measures of signalling and star power. Data on both types of contract provide strong support for the rent-capture theory: actors are paid rents upfront for the star value they add to the production. 相似文献
17.
Live and prerecorded popular music consumption 总被引：1，自引：1，他引：0
Changing consumption habits have rearranged the popular music market in the last decade, and a pattern in which live music
attendance gets an increasing share of the market has emerged. This work analyzes the demand for the popular music sector
considering its double dimension as supplier of live concerts and prerecorded music. We use the 2006/2007 wave of Spain’s
Survey on Habits and Cultural Practices, and estimate a bivariate probit model for attendance to live concerts and the purchase of prerecorded music. Results allow
us to describe the profile of the average and frequent consumer in both markets, which shows some similarities—gender effects
and the role of cultural capital—but also striking differences—time restrictions and relation to economic activity, and the
use of technology. Finally, we find evidence of demand complementarities, with a direct causal link from prerecorded music
to live attendance that helps explain recent institutional changes. 相似文献
18.
Fumi Kitagawa 《Minerva》2010,48(2):169-187
There are a number of different forms of inter-organisational collaborative arrangements between universities at international,
national and sub-national levels. This paper focuses on a particular form of inter-university collaboration mechanisms, which
represents one of the key recent policy developments in Scotland. Research pooling initiatives are a regional response to
create international research excellence and regional relevance by ‘pooling’ specific areas of research excellences that are
seen to be of strategic importance to Scotland universities across the region. Research pooling initiatives as networks can
be seen as strategic processes. Universities share resources and research facilities among selective partners and recruit professors and research students internationally by branding their subject areas together. This multi-scalar
institutional development is set against the background of devolution and globalisation of science, technology and innovation
policy on the one hand, and changing national higher education policies in the UK on the other. 相似文献
19.
Dominique Pestre 《Minerva》2009,47(3):243-260
What I consider in this paper are various forms of government, various technologies and discursive regimes of government that
are in common use today. What interests me are the categories and tools, practical dispositifs and languages that developed over the last decades ‘to constitute, define, organize, and instrumentalize the strategies that
individuals, acting freely, may use to deal with one another’ (Foucault). The paper considers first the neo-liberal wish to
reassert the individual as alone in responsibility for his/her own life after the unfortunate digression into Welfare Statism and Keynesian economics,
source of all ills. It then focuses on some material and social technologies that encourage people to accept full and complete
‘self-sovereignty’. This section leads to a discussion on the new demands (and resistance) society imposed on this liberal
normative ideal. It notably considers the growing demands to ‘participate’ in decision processes and to be environmentally
friendly. In section “Les Mots et Les Choses: A New Discursive Regime”, it considers the discursive regime that progressively
took shape and which currently permeates international governance bodies of all stripes—from the World Bank to the Conference
of Parties for Climate Change. In the final section, it comes back to the initial question and considers what these changes
actually mean for the democratic order as constituted over the past 250 years. 相似文献
20.
Alvin Weinberg’s classic and much debated two articles in Minerva, “Criteria for Scientific Choice” (1963) and “Criteria for Scientific Choice II – The Two Cultures” (1964), represent two of the first and most important attempts to create a meta-discourse about priority setting in science policy, and many of the points advanced remain relevant. The goal of this paper is to elaborate on the relevance of some of Weinberg’s original arguments to priority setting today. We have singled out four issues for attention: The tension between scientific and institutional choice, the assumptions behind the triad of scientific, technological and social merit, the elusive ‘externality from size’ argument for funding promoted by Weinberg, and finally the problems involved in the idea of basic science as an ‘overhead cost’ for applied science, and applied science as an ‘overhead’ on a sectoral mission. These four issues will be elaborated from a policy perspective and connected to present day challenges for science and technology policy. 相似文献