Background This is a summary report of on-going research into the UK music industry conducted at the University of Nottingham. It is part of a broader study which is considering the implications for copyright-based economic activities in an era of digital reproduction and distribution. The focus of the study is the musical economy which in recent years has been subject to a significant crisis of reproduction which has been exacerbated by the advent of Internet 'piracy'(Leyshon et al., 2005).
This report summarizes the Nordic research project behind the music - Profiting from Sound: A Systems Approach to the Dynamics of Nordic Music Industry. The project was funded by The Nordic Industrial Fund (Center for Innovation and Commercial Development) which is an institution under the Nordic Council of Ministers. The Fund initiates and finances research and development into the Nordic innovation system.
The paper makes a brief historical review of the evolution of the music industry over time, contextualizing the technological aftermath in the industry’s current reality. Business models and success factors of the traditional entities within the music industry's landscape are suffering significant change. In a reality afforded by easy access to networked global communications, disintermediation effects are succeeding, in what appears to be a comeback to the old days of music business, when artists had control and a more self-sufficient and autonomous role in business. The paper argues that the relation between artist and consumer, which was once direct, grew overtime to accommodate intermediaries, due to promotion and distribution needs. Furthermore, it suggests that new business models are arising, that encompass elements of the traditional value chains and that can constitute the alternative to support a direct and successful relation between artist and consumer.
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Independent music production, often viewed as a niche-driven and genre-specific practice restricted to isolated and fragmented communities lacking financial and technological resources, generates a wealth of creative work and opportunities for entrepreneurship. Independent producers, artists, and musicians refine their recording and promotion skills through intense dedication, creative marketing, and a deep want to connect their personal ideologies with a global audience. The modest project studio, a source of creative inspiration, and cultural study, exerts a powerful influence through its accessibility, simple functionality, and connectivity to the Internet. The author examines some of the multifaceted cultural, ideological, technical, and entrepreneurial factors contributing to a significant evolution in DIY music production and distribution. The rise of this independent recording class anticipates the many changes in the contemporary music industry and offers new production and cooperative business models. (Accepted version for Creative Industries Journal)
This thesis project aims to research and analyze the changes that digitalization brought to the music industry while in particular; the research focuses on the forms of value creation in music intermediaries. Accordingly, the qualitative research’s target is to investigate the means that music intermediaries use in order to create value, remaining relevant in the era of digitalization and online distribution, where physical record sales tend to disappear. Moreover, the research was designed and based on two theoretical arguments. On one hand a number of writers and researchers that indicate the end of music intermediation as emerging technologies remove the barriers between artists and listeners. For them, this new era of independents, eliminates traditional monopolies in music production and consumption such as the record labels and the radio. On the other hand, many suggest that digitalization brings new aspects in the music industry as it creates new necessities. Therefore this projects aims to dive deeper in the changes that digital technology brings in the field of music intermediation as well as the transformations that music intermediaries have to confront. Thus, through a holistic approach to music intermediation, the research tried to investigate how music intermediaries continue to create value in an uncharted period where new models of music consumption, such as Spotify or YouTube, emerge. Furthermore, the research approach was based on the importance of traditional or new gatekeepers in the field of music business as well as the elements that help them to remain sustainable for the industry. Thus, through ten exploratory expert interviews, relevant questions based on a given literature were asked. Subsequently, music intermediaries from several types of companies such as record labels, music media, radio or live events operators were contacted and answered questions based on given themes. Hence, concepts like the “digitalization of record industry», the “necessity of contemporary intermediation” and the” positive or negative aspects of digital transformation in music intermediaries”, were explored throughout the interviews. Ultimately, besides the methods that music intermediaries use in order to remain relevant in the music industry, this project also wants to fuel the conversation regarding intermediation in the larger spectrum of media, culture and entertainment. Similarly, as the web creates new frames in creation and distribution, it challenges simultaneously, the role of intermediaries not only in music but in several fields such as media and creative industries. Keywords: digitalization, intermediaries, intermediation, music, media, digital transformation, music industry, music business
Independent music production, often viewed as a niche-driven and genre-specific practice restricted to isolated and fragmented communities lacking financial and technological resources, generates a wealth of creative work and opportunities for entrepreneurship. Independent producers, artists, and musicians refine their recording and promotion skills through intense dedication, creative marketing, and a deep want to connect their personal ideologies with a global audience. The modest project studio, a source of creative inspiration, and cultural study, exerts a powerful influence through its accessibility, simple functionality, and connectivity to the Internet. The author examines some of the multifaceted cultural, ideological, technical, and entrepreneurial factors contributing to a significant evolution in DIY music production and distribution. The rise of this independent recording class anticipates the many changes in the contemporary music industry and offers new production and cooperative business models. (Accepted version for Creative Industries Journal)
This thesis project aims to research and analyze the changes that digitalization brought to the music industry while in particular; the research focuses on the forms of value creation in music intermediaries. Accordingly, the qualitative research’s target is to investigate the means that music intermediaries use in order to create value, remaining relevant in the era of digitalization and online distribution, where physical record sales tend to disappear. Moreover, the research was designed and based on two theoretical arguments. On one hand a number of writers and researchers that indicate the end of music intermediation as emerging technologies remove the barriers between artists and listeners. For them, this new era of independents, eliminates traditional monopolies in music production and consumption such as the record labels and the radio. On the other hand, many suggest that digitalization brings new aspects in the music industry as it creates new necessities. Therefore this projects aims to dive deeper in the changes that digital technology brings in the field of music intermediation as well as the transformations that music intermediaries have to confront. Thus, through a holistic approach to music intermediation, the research tried to investigate how music intermediaries continue to create value in an uncharted period where new models of music consumption, such as Spotify or YouTube, emerge. Furthermore, the research approach was based on the importance of traditional or new gatekeepers in the field of music business as well as the elements that help them to remain sustainable for the industry. Thus, through ten exploratory expert interviews, relevant questions based on a given literature were asked. Subsequently, music intermediaries from several types of companies such as record labels, music media, radio or live events operators were contacted and answered questions based on given themes. Hence, concepts like the “digitalization of record industry», the “necessity of contemporary intermediation” and the” positive or negative aspects of digital transformation in music intermediaries”, were explored throughout the interviews. Ultimately, besides the methods that music intermediaries use in order to remain relevant in the music industry, this project also wants to fuel the conversation regarding intermediation in the larger spectrum of media, culture and entertainment. Similarly, as the web creates new frames in creation and distribution, it challenges simultaneously, the role of intermediaries not only in music but in several fields such as media and creative industries. Keywords: digitalization, intermediaries, intermediation, music, media, digital transformation, music industry, music business
Independent music production, often viewed as a niche-driven and genre-specific practice restricted to isolated and fragmented communities lacking financial and technological resources, generates a wealth of creative work and opportunities for entrepreneurship. Independent producers, artists, and musicians refine their recording and promotion skills through intense dedication, creative marketing, and a deep want to connect their personal ideologies with a global audience. The modest project studio, a source of creative inspiration, and cultural study, exerts a powerful influence through its accessibility, simple functionality, and connectivity to the Internet. The author examines some of the multifaceted cultural, ideological, technical, and entrepreneurial factors contributing to a significant evolution in DIY music production and distribution. The rise of this independent recording class anticipates the many changes in the contemporary music industry and offers new production and cooperative business models. (Accepted version for Creative Industries Journal)
This thesis project aims to research and analyze the changes that digitalization brought to the music industry while in particular; the research focuses on the forms of value creation in music intermediaries. Accordingly, the qualitative research’s target is to investigate the means that music intermediaries use in order to create value, remaining relevant in the era of digitalization and online distribution, where physical record sales tend to disappear. Moreover, the research was designed and based on two theoretical arguments. On one hand a number of writers and researchers that indicate the end of music intermediation as emerging technologies remove the barriers between artists and listeners. For them, this new era of independents, eliminates traditional monopolies in music production and consumption such as the record labels and the radio. On the other hand, many suggest that digitalization brings new aspects in the music industry as it creates new necessities. Therefore this projects aims to dive deeper in the changes that digital technology brings in the field of music intermediation as well as the transformations that music intermediaries have to confront. Thus, through a holistic approach to music intermediation, the research tried to investigate how music intermediaries continue to create value in an uncharted period where new models of music consumption, such as Spotify or YouTube, emerge. Furthermore, the research approach was based on the importance of traditional or new gatekeepers in the field of music business as well as the elements that help them to remain sustainable for the industry. Thus, through ten exploratory expert interviews, relevant questions based on a given literature were asked. Subsequently, music intermediaries from several types of companies such as record labels, music media, radio or live events operators were contacted and answered questions based on given themes. Hence, concepts like the “digitalization of record industry», the “necessity of contemporary intermediation” and the” positive or negative aspects of digital transformation in music intermediaries”, were explored throughout the interviews. Ultimately, besides the methods that music intermediaries use in order to remain relevant in the music industry, this project also wants to fuel the conversation regarding intermediation in the larger spectrum of media, culture and entertainment. Similarly, as the web creates new frames in creation and distribution, it challenges simultaneously, the role of intermediaries not only in music but in several fields such as media and creative industries. Keywords: digitalization, intermediaries, intermediation, music, media, digital transformation, music industry, music business
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