共查询到20条相似文献，搜索用时 30 毫秒
1.
2.
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
3.
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
4.
The economics of music festivals 总被引：1，自引：1，他引：0
Bruno S. Frey 《Journal of Cultural Economics》1994,18(1):29-39
This paper attempts to explain the rapid growth in the number of classical music and opera festivals. Two secularly increasing demand factors — a rise in real disposable incomes and an increased amount of time and money devoted to holidays — are well met by the supply of music festivals which almost perfectly combine culture and holidays. On the supply side, festivals may profit from low marginal cost of production factors and are considered as an effort to avoid restrictions from government regulations and trade unions. 相似文献
5.
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
6.
The consumption of music: Integrating aesthetics and economics 总被引：1，自引：1，他引：0
James L. Shanahan 《Journal of Cultural Economics》1978,2(2):13-26
7.
Sumiko Asai 《Journal of Cultural Economics》2011,35(2):101-117
This study constructed a music demand model with variables representing quality in order to conduct an empirical analysis
of popular music in Japan. The demand function was estimated, using the data by title of CDs that appeared on the Top 100
single and album charts in 2007 and 2008. It was found that demand for both singles and albums was inelastic with respect
to price. In addition, the estimation results showed that the factors affecting hits differed between singles and albums. 相似文献
8.
9.
10.
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
11.
12.
Peter J. Alexander 《Journal of Cultural Economics》1994,18(2):113-123
This paper explores how new scale-reducing technology induced two periods of substantial new entry into the music recording industry. Many of the new firms were product innovators, whose products became popular with consumers. This in turn leads to shifts in the distribution of industry market share, and hence market structure. Reconcentration in the industry resulted largely from horizontal mergers, among other reasons. New digital distribution networks may induce a third-wave of industry deconcentration. 相似文献
13.
The protection of copyrights in the music industry has been of paramount concern as the popularity of digital music players,
personal websites, and file-sharing continues to grow, each of which subsequently contributes to the persistence of Internet
music piracy. While the Recording Industry Association of America (RIAA) links file-sharing to copyright piracy, others argue
that file-sharing allows maximum exposure of artists’ music which in turn increases its value. While this debate continues,
little empirical research has specifically addressed the behavioral aspects of the consumer. In this paper, we use survey
data on university students to study how attitudes toward copyright law along with economic and demographic factors affect
the extent of music copyright violations. We find that while students are responsive to economic incentives and perceptions
of risk, the extent of these incentives has not reversed the overall propensity to engage in file-sharing.
相似文献
| Djeto AssaneEmail: |
14.
15.
16.
Andrew E. Burke 《Journal of Cultural Economics》1996,20(1):51-66
The paper is concerned with the issue of whether international copyright legislation is effective in curbing audio software counterfeiting. The paper finds that copyright conventions have not been effective in reducing audio counterfeiting to comparatively low levels. This result holds even when allowances are made for the duration of copyright convention membership and the specificity of the articles of the convention. Economic development is found to be the main determinant of low counterfeit levels. This would tend to support anecdotal evidence which indicates that economic development is a necessary condition for the active recognition of audio property rights by the general public, judiciary and police. It is also consistent with a view that pirate audio software, being an inferior good, has a more buoyant market in less developed economies. From a policy perspective the research would seem to suggest that the extensive efforts and copious attention to detail by legal experts has made little impact on counterfeit activity and is secondary in importance to the socio-economic environment in which these laws are being applied. 相似文献
17.
R. Scott Hiller 《Journal of Cultural Economics》2016,40(3):309-334
This paper examines the characteristics that are important to current commercially viable massive music festivals when making decisions on who to hire while facing horizontal and vertical quality differentiation with heterogeneous preferences among intended consumers. A model of customer demand motivates the empirical analysis using a unique bundling problem in which the consumer faces an unknown element, depending on festival reputation for expected utility. The empirical analysis utilizes characteristics important to the negotiation between the festival and the band as input. Musical acts with an album recognized as being of a high quality are about 33 % more likely to be hired by a festival in the year of release and 50 % more likely the following year. A top touring band is 40 % more likely to be hired in the first year, but 45 % less likely to be hired in the following year, likely due to an increased cost of hiring. Festivals hire quality, unknown bands to take advantage of the lower costs of lesser known acts by leveraging a reputation for evaluating quality before the consumer. Other industries face similar input decisions, giving the results a broader application. 相似文献
18.
Godefroy Dang Nguyen Sylvain Dejean François Moreau 《Journal of Cultural Economics》2014,38(4):315-330
From a representative survey of 2,000 individuals, we study whether consumption of music through streaming services, like Spotify or YouTube, is a substitute or a complement to physical music consumption modes, such as CDs and live music. Controlling for the taste for music, various socio-demographic characteristics and the usual determinants of music consumption either offline (radio, TV, friends/relatives) or online (online recommendations, social networks), our results show that free music streaming (where the consumer does not possess the music but only has access to it) has no significant effect on CD sales and affects positively live music attendance, but only for national or international artists who are more likely to be available on streaming services. 相似文献
19.
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