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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 power of names in a Chinese Indonesian family’s negotiations of politics,culture, and identities
Sunny Lie Benjamin Bailey 《Journal of International and Intercultural Communication》2017,10(1):80-95
Based on patterns of naming across four generations in first author Lie’s Chinese Indonesian family, we argue that naming practices are not just a function of personal taste or cultural habit but rather reflect negotiation of larger-scale political and historical conditions. We show that seeming contradictions and puzzles in the names and naming practices in Lie’s family can be explained by the specific social and political challenges faced by members of the family, particularly during the assimilation period of Suharto’s 1966–1998 reign. Both Lie’s family and the Indonesian state have treated names as having a high degree of constitutive power in these negotiations. 相似文献
3.
Daniel Thomas Cook 《Journal of Cultural Economy》2019,12(1):70-82
Drawing on interviews with children’s market researchers, brand managers and other market actors in North America, the UK and Europe, this study analyzes and positions children’s market professionals as knowledge brokers and moral interlocutors who transact between and among clients, colleagues and, at times, parents. The transactions – as understood by practitioners – extend beyond simply seeking to elicit ‘preferences’ for this or that product or experience and suggesting ‘market solutions’ to the immediate business problem at hand. Rather, the cultural labor exerted here resembles a continual sorting process in pursuit of the distinction between the child as a dependent economic actor from the child as a moral being worthy of recognition and commercial deference. They thereby strive to enable the continuity – i.e. erase the boundary – between markets and culture by enacting sympathy, sentiment and even intimacy in the conceptualization and execution of research. Investigating how these market professionals understand, construct and act upon children as economic actors, while situated amidst public, moral discourses to the contrary, opens possibilities to examine how value arises in the cultural practice of making social persons and how social personhood in some ways modulates and informs market exigencies. 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.
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.
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6.
7.
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
8.
9.
The aim of this paper is to analyze the effect of electoral timing on municipal public cultural spending. We use a panel sample of all municipalities from the Spanish Region of Murcia for 1995–2008. Our results reveal that mayors adopt an opportunistic behavior, increasing cultural spending in the election year and reducing it in the second year after the election. We also investigate whether the electoral cycle in cultural spending is influenced by mayors’ ideology, political strength, willingness to run for re-election, and electoral competitiveness. In this regard, our study shows that when mayors expect close elections, political budget cycles’ size is greater. Concerning political leadership, the magnitude of the electoral cycle is influenced by mayors’ political ideology rather than mayors’ political strength and re-election willingness. Additionally, we seek to shed some light on the determinants of public cultural spending. We find that income and upper-level governments’ transfers have a positive impact on cultural spending. Finally, unemployment, young people’s proportion and elderly people’s proportion negatively influence cultural spending. 相似文献
10.
Sam Dallyn 《Journal of Cultural Economy》2017,10(5):462-473
Since its creation in 2009, the electronic currency Bitcoin has generated volumes of online debate in the business press. While there have been plenty of economic arguments situating it as a financial bubble about to collapse including from Nobel Prize winning economists, its price value has proven to be more durable than many have predicted. To explain this durability, Karpik’s conception of market singularities is used to understand the Bitcoin phenomenon by outlining the beliefs that maintain Bitcoin’s status as a volatile financial asset. Market singularities are markets for particular kinds of goods and services that are of uncertain and incommensurable value. Singularities markets have communities of followers and a distinctive belief system that ascribes value to a particular product, service, or asset. Developing Karpik’s conception, the paper explores the libertarian political belief system that surrounds Bitcoin’s status as a financial asset. I also outline some political tensions within the electronic currency community concerning governance and centralisation. 相似文献
11.
We investigate the relationship between Italian municipalities’ spending on culture in the 1990s and 2000s and a number of
political variables—such as a left/right dummy, an election-year dummy and a term-limit indicator—controlling, among other
things, for economic and socio-demographic characteristics of the population, the level of human capital and instruction,
proxies of social capital, the extent of private financing of cultural provisions and touristic and artistic relevance. We
use a panel-data regression analysis and find that, indeed, some determinants of public expenditures on culture are political.
In particular, we identify an electoral cycle in which the incumbent spends less on culture in an election year. This result
is robust for variations in the empirical model accounting for both the persistence and spatial interdependence of cultural
expenditures by municipalities. 相似文献
12.
《Journal of Cultural Economy》2013,6(3):297-320
Why has the financial crisis not led to more radical public contestation and political reforms? In investigating the muted response to the crisis so far, the paper highlights the significance of ideological fantasy for appreciating the interpenetration of economy and society. We interpret this muted response to the crisis in terms of a ‘cooling out’ process (Goffman) underpinned by a restorative fantasmatic narrative. The ‘enjoyment’ derived from scapegoating individual bankers has narrowed the debate and stifled political imagination and mobilization. By investigating a range of media and policy responses to the meltdown, we conclude that the pre-credit crunch ideology of ‘no more boom and bust’ has been replaced by an equally ideological narrative that promises a re-normalization of processes of financialization. This allows for the preservation of key elements of neo-liberal capitalism as well as the marginalization of alternative projects. The paper shows how, exemplified by the establishment and operation of United Kingdom Financial Investments Ltd, the post-crisis ideology continues to shield financial markets from public scrutiny and intervention. 相似文献
13.
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
14.
Arnar Árnason Sigurjón Baldur Hafsteinsson Tinna Grétarsdóttir 《Culture, Theory & Critique》2013,54(2):199-217
Abstract There are two starting points from which this paper is constructed: first, Virilio’s observation that the wealth of societies is founded on their dromocratic condition, that the faster societies accelerate their citizens, commercial goods and communication the more political and economic power they have and, second, the links that he traces between technologies of speed and acceleration and the accident. We suggest that Virilio’s ideas on this invite and deserve a closer ethnographic scrutiny than they have so far received, scrutiny that highlights the varied ways in which speed, acceleration and the accident are articulated in different cultural contexts. To this end we offer an investigation into the dromocratic condition, the violence of speed and the uses of accidents in Iceland. 相似文献
15.
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
16.
Zheng Liu 《Journal of Cultural Economy》2020,13(4):461-474
ABSTRACT This article investigates how cultural businesses may facilitate contentious political activity in authoritarian contexts. Existing research in Western liberal democracies has shown the widespread political activism of actors in the cultural and creative industries. Whether such activism exists in authoritarian society, how it may differ in character and form, and what implications this will have for our understanding of relations between business, politics, and culture in authoritarian countries remain to be addressed. Drawing on data collected from 55 ‘independent bookshops’ in China, I illustrate how these organisations perform ‘cultural politics,’ a type of political participation in which actors employ mainly symbolic means to express social and political concerns. The organisations’ economic relations and conditions facilitate their efforts to create spaces in which contentious questions can be raised, sensitive topics explored, and alternative ideas expressed, despite the Chinese state’s political regulation of the cultural sphere. The finding of the economic embeddedness of cultural politics sheds new light on our understanding of the political economy of cultural businesses in contemporary China. 相似文献
17.
Maria Eriksson 《Journal of Cultural Economy》2020,13(4):415-427
ABSTRACT This article explores the role of editorial playlists in Spotify’s streaming economy. In particular, it approaches Spotify’s playlists as container technologies – i.e. technical solutions that assemble, preserve, and transport music objects and thereby uphold logistical operations within the music industry. Such an approach seeks to complement previous research concerning playlists, which has often analyzed their emotional and affective dimensions but paid less attention to how playlists enhance calculative, mathematical, and logistical retail flows within the online music economy. On the one hand, the article considers how playlists – like containers in general – materialize principles of modularization and automation in ways that enhance control and remote oversight. On the other hand, it discusses how the playlist is far from a perfected means of measurement and control, and sometimes acts as an unruly transport device. Ultimately, the article shows how the playlist format occupies an uneasy position between order and disorder within the digital music economy which has not yet been fully accounted for in the context of music-oriented media studies. 相似文献
18.
《Journal of Cultural Economy》2013,6(2):181-197
This article discusses the role of creativity, graphic design innovations and tacit knowledge within advertising agency competition processes during the first half of the twentieth century. This period witnessed the arrival of the ‘advertising creative’: the artist-designer, whose output and tacit understanding of consumer tastes became key for the competitive advantage of agencies. Adapting Bourdieu's concept of the social field within which actors create and trade various forms of capital, I show how and why William Crawford's advertising agency in London became a pioneer in promoting the social, cultural and economic role of this new group of agency workers. I argue that Crawford's became the first advertising agency that carved out a unique position within a highly competitive market by defining its visual production and organisational identity entirely through notions of creativity. This places Crawford's at the heart of the emergence of a cultural economy for which creative skills are a paramount source of value creation. 相似文献
19.
Marc Bourreau Michel Gensollen François Moreau Patrick Waelbroeck 《Journal of Cultural Economics》2013,37(3):327-346
In this paper, we use data from a survey of 151 French record companies to test the “long-tail” hypothesis at the level of the firm. More specifically, we test whether, following the “selling less of more” principle coined by Anderson (2006), record companies that have adapted to digitization (at various levels: artists’ scouting, distribution, and promotion) release more new albums without having higher overall sales. We construct a production function in which the output is produced from conventional inputs of labor and capital, as well as inputs that are more specific to the recorded music industry. We consider two types of output: a commercial output (albums sales) and a creative output (number of new albums released). We show that labels that have adapted to digitization are more efficient in respect of creative output, but that there is no effect of adaptation to digitization on the commercial output, which is consistent with the predictions of the long-tail hypothesis. 相似文献
20.
《Journal of Cultural Heritage》2014,15(1):64-67
UNESCO world cultural heritage sites, in particular landscapes, impose several land use restrictions and consequently impact the welfare of various stakeholders. As the preservation of the denomination implies costs, it is of utmost importance to identify and value stakeholders’ preferences. This paper applies discrete choice experiments to the Alto Douro Wine Region, classified by UNESCO as world heritage site. The results suggest a clear hierarchy of attributes. In addition, the introduction of both socioeconomic variables and interaction terms provides useful insights on systematic heterogeneity of preferences with interesting directions for heritage safeguarding. 相似文献