Advertisement

Musikwirtschaftsforschung und das Internet

Wie sich nicht nur die Musikindustrie, sondern auch die Forschung verändert
  • Christian Handke
Chapter
Part of the Musikwirtschafts- und Musikkulturforschung book series (MUSIK)

Zusammenfassung

Aus der Digitalisierung und Internetnutzung ergeben sich nicht nur weitreichende Veränderungen in der Musikwirtschaft. Auch für die Musikwirtschaftsforschung entstehen neue Möglichkeiten und Herausforderungen. Dieses Kapitel gibt einen aktuellen Überblick über Themen, Datenquellen und Methoden der Musikwirtschaftsforschung in diesem Zusammenhang, insbesondere aus sozialwissenschaftlicher Sicht. Das Kapitel zeigt auf, dass die akademische Literatur zur Musikwirtschaftsforschung in den letzten Jahren schnell gewachsen ist und heute auf vielfältigere Daten zurückgreift als in den vorherigen Jahrzehnten. Wichtige Themen sind: (1) der Urheberrechtsschutz und seine Alternativen, (2) die Folgen des digitalen Einzelhandels und der Rolle von Internetplattformen wie YouTube oder Spotify, (3) die Verfügbarkeit und Nutzung von digitalen Daten durch AkteurInnen in der Musikwirtschaft, sowie (4) die aktive Rolle von AmateurInnen und EndnutzerInnen in der Wertschöpfung durch sogenannte nutzergenerierte Inhalte oder nutzergetriebene Innovation in der Bewertung und Verbreitung von Musik.

Schlüsselbegriffe

Musikindustrie Musikwirtschaft Digitalisierung Internet empirische Forschung wissenschaftliche Methoden technologischer Wandel Bibliometrie 

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Literatur

  1. Adermon, A., & Liang, C. Y. (2014). Piracy and music sales: The effects of an anti-piracy law. Journal of Economic Behavior und Organization 105 (September 2014), 90-106.Google Scholar
  2. Aguiar, L., & Martens, B. (2016). Digital music consumption on the internet: evidence from clickstream data. Information Economics and Policy 34 (März 2016), 27-43.Google Scholar
  3. Anand, N., & Peterson, R. A. (2000). When market information constitutes fields: Sensemaking of markets in the commercial music industry. Organization Science 11(3), 270-284.Google Scholar
  4. Anderson, C. (2004). The Long Tail. Wired Magazine 12(10). Verfügbar unter http://www.wired.com/wired/archive/12.10/tail.html [16. Mai.2017].
  5. Archambault, É., Campbell, D., Gingras, Y., & Larivière, V. (2009). Comparing bibliometric statistics obtained from the Web of Science and Scopus. Journal of the Association for Information Science and Technology 60(7), 1320-1326.Google Scholar
  6. Banks, J., & Deuze, M. (2009). Co-creative labour. International Journal of Cultural Studies 12(5), 419-431.Google Scholar
  7. Blanc, A., & Huault, I. (2014). Against the digital revolution? Institutional maintenance and artefacts within the French recorded music industry. Technological Forecasting and Social Change 83 (March 2014), 10-23.Google Scholar
  8. Brynjolfsson, E., & Smith, M. (2000). Frictionless commerce? A comparison of Internet and conventional retailers. Management Science 46(4), 563-585.Google Scholar
  9. Brynjolfsson, E., Hu, Y., & Simester, D. (2011). Goodbye Pareto principle, hello long tail: The effect of search costs on the concentration of product sales. Management Science 57(8), 1373-1386.Google Scholar
  10. Burnett, R. (1993). The popular music industry in transition. Popular Music and Society 17(1), 87-114.Google Scholar
  11. Christiansen, M. C. (1995). Cycles in symbol production? A new model to explain concentration, diversity and innovation in the music industry. Popular Music 14(1), 55-93.Google Scholar
  12. Crain, W. M., & Tollison, R. D. (2002). Consumer choice and the popular music industry: A test of the superstar theory. Empirica 29(1), 1-9.Google Scholar
  13. Danaher, B., & Smith, M. D. (2014). Gone in 60 seconds: the impact of the Megaupload shutdown on movie sales. International Journal of Industrial Organization 33 (March 2014), 1-8.Google Scholar
  14. Dewan, S., & Ramaprasad, J. (2012). Research note – Music blogging, online sampling, and the long tail. Information Systems Research 23, 1056-1067.Google Scholar
  15. Dhar, V., & Chang, E. A. (2009). Does chatter matter? The impact of user-generated content on music sales. Journal of Interactive Marketing, 23(4), 300-307.Google Scholar
  16. Dobusch, L., & Schüßler, E. (2014). Copyright reform and business model innovation: Regulatory propaganda at German music industry conferences. Technological Forecasting and Social Change 83 (March 2014), 24-39.Google Scholar
  17. Dolata, U., (2008). Das Internet und die Transformation der Musikindustrie. Berliner Journal für Soziologie 18(3), 344-369.Google Scholar
  18. Falagas, M. E., Pitsouni, E. I., Malietzis, G. A., & Pappas, G. (2008). Comparison of PubMed, Scopus, Web of Science, and Google Scholar: Strengths and weaknesses. The FASEB Journal 22(2), 338-342.Google Scholar
  19. Florida, R., & Jackson, S. (2010). Sonic city: The evolving economic geography of the music industry. Journal of Planning Education and Research 29(3), 310-321.Google Scholar
  20. Foster, P., Borgatti, S. P., & Jones, C. (2011). Gatekeeper search and selection strategies: Relational and network governance in a cultural market. Poetics 39(4), 247-265.Google Scholar
  21. Gourvish, T., & Tennent, K. (2010). Peterson and Berger revisited: Changing market dominance in the British popular music industry, c. 1950–80. Business History 52(2), 187-206.Google Scholar
  22. Hammond, R. G. (2014). Profit Leak? Pre‐Release File Sharing and the Music Industry. Southern Economic Journal 81(2), 387-408.Google Scholar
  23. Handke, C. (2006). Plain Destruction or Creative Destruction? Copyright Erosion and the Evolution of the Record Industry. Review of Economic Research on Copyright Issues 3(2), 29-51.Google Scholar
  24. Handke, C. (2012). A Taxonomy of Empirical Research on Copyright – How Do We Inform Policy? Review of Economic Research on Copyright Issues 9(1), 47-92.Google Scholar
  25. Handke, C. (2012). Digital copying and the supply of sound recordings. Information Economics and Policy 24(1), 15-29.Google Scholar
  26. Handke, C. (2015). Digitization and Competition in Copyright Industries: One Step Forward and Two Steps Back? Homo Oeconomicus 32(2), 209-236Google Scholar
  27. Handke, C., & Herzog, C. (2017). Experimental methods in media policy research. In L. van Audenhove, H. von den Bulck, K. Donders, & M. Puppis (Hrsg.) Palgrave Handbook of Media Policy Research Methods (im Erscheinen). Basingstoke: Palgrave.Google Scholar
  28. Handke, C., Bodó, B., & Vallbé, J.-J. (2016). Going means trouble and staying makes it double: the value of licensing recorded music online. Journal of Cultural Economics 40(3), 227-259.Google Scholar
  29. Handke, C., Guibault, L., & Vallbé, J.-J. (2015). Is Europe Falling Behind in Data Mining? Copyright’s Impact on Data Mining in Academic Research. Verfügbar unter https://ssrn.com/abstract=2608513 [16. Mai 2017].
  30. Huygens, M., Van Den Bosch, F. A., Volberda, H. W., & Baden-Fuller, C. (2001). Co-evolution of firm capabilities and industry competition: Investigating the music industry, 1877- 1997. Organization Studies 22(6), 971-1011.Google Scholar
  31. Lee, S. S. (2004). Predicting cultural output diversity in the radio industry, 1989-2002. Poetics 32(3), 325-342.Google Scholar
  32. Lena, J. C. (2006). Social context and musical content of rap music, 1979-1995. Social Forces 85(1), 479.Google Scholar
  33. Lopes, P. D. (1992). Innovation and diversity in the popular music industry, 1969 to 1990. American Sociological Review 57(1), 56-71.Google Scholar
  34. Mayer-Schönberger, V., & Cukier, K. (2013). Big data: A revolution that will transform how we live, work, and think. Boston: Houghton Mifflin Harcourt.Google Scholar
  35. McCourt, T., & Rothenbuhler, E. (1997). SoundScan and the consolidation of control in the popular music industry. Media, Culture and Society 19(2), 201-218.Google Scholar
  36. Miranda, E. R. (2013). Readings in music and artificial intelligence. New York: Routledge.Google Scholar
  37. Mollick, E. (2014). The dynamics of crowdfunding: An exploratory study. Journal of Business Venturing 29(1), 1-16.Google Scholar
  38. Mongeon, P., & Paul-Hus, A. (2016). The journal coverage of Web of Science and Scopus: a comparative analysis. Scientometrics 106(1), 213-228.Google Scholar
  39. Peterson, R. A., & Berger, D. G. (1971). Entrepreneurship in organizations: Evidence from the popular music industry. Administrative Science Quarterly 16(1), 97-106.Google Scholar
  40. Ricci, F., Rokach, L., Shapira, B., & Kantor, P. B. (2011). Recommendation systems handbook. Heidelberg: Springer.Google Scholar
  41. Shadish, W. R., Cook, T. D., & Campbell, D. T. (2002). Experimental and quasi-experimental designs for generalized causal inference. Boston: Wadsworth Cengage learning.Google Scholar
  42. Tschmuck, P. (2003). Kreativität und Innovation in der Musikindustrie. Innsbruck: Studien- Verlag.Google Scholar
  43. Tschmuck, P. (2012). Creativity and Innovation in the Music Industry, 2. Auflage, Berlin, Heidelberg: Springer.Google Scholar
  44. Van Dijck, J. (2009). Users like you? Theorizing agency in user-generated content. Media, Culture and Society 31(1), 41-58.Google Scholar
  45. Von Hippel, E. (2001). Innovation by user communities: Learning from open-source software. MIT Sloan Management Review 42(4), 82.Google Scholar
  46. Waldfogel, J. (2012). Copyright protection, technological change, and the quality of new products: Evidence from recorded music since Napster. The Journal of Law and Economics 55(4), 715-740.Google Scholar
  47. Zhang, L. (2016). Intellectual property strategy and the long tail: Evidence from the recorded music industry. Management Science. doi:http://dx.doi.org/10.1287/mnsc.2016.2562

Copyright information

© Springer Fachmedien Wiesbaden GmbH 2018

Authors and Affiliations

  1. 1.Department of Arts and Culture Erasmus School of History Culture and CommunicationErasmus Universität RotterdamRotterdamNiederlande

Personalised recommendations