Economics Dictionary of ArgumentsHome
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| Music industry: The music industry encompasses businesses involved in creating, producing, distributing, and monetizing music. It includes artists, composers, record labels, streaming services, concert promoters, and various intermediaries._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
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Yochai Benkler on Music Industry - Dictionary of Arguments
Benkler I 50 Music Industry/Benkler: Music in the nineteenth century was largely a relational good. It was something people did in the physical presence of each other: in the folk way through hearing, repeating, and improvising; in the middle-class way of buying sheet music and playing for guests or attending public performances; or in the upper-class way of hiring musicians. I 51 Market-based production depended on performance through presence. With the introduction of the phonograph, a new, more passive relationship to played music was made possible in reliance on the high-capital requirements of recording, copying, and distributing specific instantiations of recorded music—records. What developed was a concentrated, commercial industry, based on massive financial investments in advertising, or preference formation, aimed at getting ever-larger crowds to want those recordings that the recording executives had chosen. (…) the music industry took on a more industrial model of production, and many of the local venues—from the living room to the local dance hall—came to be occupied by mechanical recordings rather than amateur and professional local performances. This model (…) created new live-performance markets—the megastar concert tour. As computers became more music-capable and digital networks became a ubiquitously available distribution medium, we saw the emergence of the present conflict over the regulation of cultural production - the law of copyright - between the twentieth-century, industrial model recording industry and the emerging amateur distribution systems coupled, at least according to its supporters, to a reemergence of decentralized, relation-based markets for professional performance artists. >Copyright, >Authorship, >Internet, >Internet culture._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
Benkler I Yochai Benkler The Wealth of Networks: How Social Production Transforms Markets and Freedom New Haven 2007 |
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