Hui‐Chih Wang and Her‐Sen Doong
Taiwan is one of several leading countries in the mobile music context. Accordingly, Taiwan's experiences in promoting mobile music service diffusion are of importance and…
Abstract
Purpose
Taiwan is one of several leading countries in the mobile music context. Accordingly, Taiwan's experiences in promoting mobile music service diffusion are of importance and interest to international practitioners and researchers. Applying Rogers' innovation diffusion theory, this study aims to employ econometric models to investigate whether the diffusion of mobile music service adoption is affected by external influences (e.g. mass media advertising, salespeople, and service providers), internal influences (e.g. interactions and imitations among acquaintances), or a combination of such influences.
Design/methodology/approach
To determine which influence best explained the diffusion of mobile music adoptions, the external, internal, and Von Bertalanffy mixed influence diffusion models were tested in this study. GNUS, a strongly functional language and environment to statistically explore data sets, was used to estimate the parameters of each model. The performance of each diffusion model was then examined using the Akaike AIC and Schwarz BIC statistics.
Findings
Findings indicated that the Von Bertalanffy mixed influences model best describes the diffusion pattern of mobile music service adoption and that acquaintances' influence in terms of interactions is the dominant factor influencing mobile music service adoption decision in Taiwan.
Originality/value
How managers of a mobile music service provider can use the internal and external influences interchangeably to effectively accelerate the mobile music diffusion at the different stage of product lifecycle is presented in this study. Indeed, the mobile music service is one of the most important industries worldwide not only because its penetration rate in many countries is over 50 percent, but also because of its killer applications. In light of this, the study contributes highly to theoretical and empirical examinations because the diffusion of the mobile music services within a society is the essence of the development/usage of the m‐commerce or music industries.
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The aim of this paper is to aid the DIY artist in moving towards sustainability through the use of new technologies, which will be achieved by defining DIY music culture…
Abstract
Purpose
The aim of this paper is to aid the DIY artist in moving towards sustainability through the use of new technologies, which will be achieved by defining DIY music culture, identifying the creative and business needs of an artist as well as establishing a model for artists to be self‐sufficient.
Design/methodology/approach
The research methodology consisted of a mixture of unstructured interviews, such as e‐mail, telephone and face‐to‐face. A total of 15 interviews were conducted with DIY artists from local music scenes around the UK.
Findings
The DIY musicology model is a foundation for the DIY artist to be self‐sufficient through the three main perspectives: artistic process, managerial process and information systems.
Research limitations/implications
Many artists and managers continue in their struggle to be independently sustainable, therefore it is necessary to continue this research on a wider scale.
Practical implications
By gaining a more in‐depth understanding of the sub‐sectors within the music industries, artists and managers can understand more about how to manage their own creative activities or projects.
Social implications
Through a strong DIY ethic, with an emphasis on creativity and self‐management, a clear understanding of local music scenes helps to identify one of the key sub‐sectors of the music industries as well as demonstrate that sub‐cultures have value.
Originality/value
The paper discusses issues of sustainability within local music scenes from the perspective of the DIY artist, which is a new area of academic research.
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This paper aims to investigate the potential impacts that differences between UK and US copyright laws for sound recordings have on musicians. It also highlights the needs for…
Abstract
Purpose
This paper aims to investigate the potential impacts that differences between UK and US copyright laws for sound recordings have on musicians. It also highlights the needs for continued standardisation of international copyright laws (particularly those for sound recordings), copyright law education for creators, and a need for musicians to re‐think future artistic and managerial decisions.
Design/methodology/approach
In this critical analysis of current academic literature and legislation, significant differences between the domestic copyright laws of the UK and USA have been identified. The impacts of these differences on musicians are discussed and conclusions drawn.
Findings
Findings suggest that there are several significant differences between the UK and US copyright laws for sound recordings, which do impact on musicians in both countries. However, determining the degree of impact is dependent on several contributing factors: the nationality of the musician; the level of success of the musician; the creative roles adopted by the musician; and the ambition of the musician.
Research limitations/implications
Research scope was limited to the domestic copyright laws of the UK and USA only; and, specifically, the copyright laws for sound recordings. Findings were generalised for all musicians, regardless of type or genre.
Originality/value
This paper is one of the first to investigate the impact of differences in domestic copyright laws on musicians, and identifies several strategy issues that must be considered by musicians when making future artistic and managerial decisions.
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Juha T. Mattsson, Mirva Peltoniemi and Petri M.T. Parvinen
The purpose of the paper is to conceptually elaborate two important mechanisms, authenticity and fuzziness, that affect how audiences react to deviations from existing genres by…
Abstract
Purpose
The purpose of the paper is to conceptually elaborate two important mechanisms, authenticity and fuzziness, that affect how audiences react to deviations from existing genres by artists that are making their first entry. In cultural industries such as music, social categorization systems play an important role in the success of actors. Audience members evaluate entering artists vis‐à‐vis the existing, collective system of categories and related normative social codes, and may or may not impose penalties for code violations.
Design/methodology/approach
This is a conceptual paper and the conceptual framework is built on recent theorization regarding social categories in organizational fields. A key premise is that such categories, including musical genres, are fuzzy with blurred boundaries and partial membership. Such fuzziness is likely to affect organizational viability and dynamics.
Findings
Based on the conceptualization, the baseline proposition is that artists making their first entry are likely to face higher penalties by audiences if they deviate from existing genres. However, the higher the idiosyncratic authenticity of an artist, the smaller such penalties are. Moreover, we expect penalties to be smaller when genre fuzziness increases.
Practical implications
Besides contributions to theory, the propositions that are stated in the paper should have relevance to record companies and artists when they are making strategic decisions regarding artist identity upon first entry.
Originality/value
The paper offers a novel perspective to extant research in music regarding genres, categories, and organizational identities. Furthermore, the paper contributes to recently emerged sociological theory on fuzzy categories and authenticity.
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F. Javier Rondán‐Cataluña and David Martín‐Ruiz
Taking into account the increasing prices of attending concerts and gigs and the decreasing prices and better sound quality of CDs and music in file‐computer format, is the future…
Abstract
Purpose
Taking into account the increasing prices of attending concerts and gigs and the decreasing prices and better sound quality of CDs and music in file‐computer format, is the future of music events threatened by music CDs? Are clients' perceptions about concerts and CDs very different? This study aims to answer these research questions by comparing important perceptions of concert attendees and CD buyers.
Design/methodology/approach
An empirical study is conducted in two different contexts: CD buyers and concert attendees. In order to answer the research questions outlined the most appropriate statistical tool is the student's t‐test. The variables to compare do not have normal distributions; therefore, non‐parametric tests have been conducted to confirm the results. In addition, a discriminant analysis has been applied in order to assure that both consumers sub‐samples differ with regard to the variables used in the study.
Findings
The future of music events is not threatened at all by music CDs. On one hand, the concert industry has been increasingly making more profits in many countries in last decade. On the other hand, consumer satisfaction, price fairness perception, willingness to pay, customer value, and product/service quality are significantly more highly ranked in concert attendees than in CD buyers. The statistical analyses show clients' perceptions about concerts and CDs are very different. All the variables analysed except image have been significantly different in both sub‐samples of consumers.
Originality/value
This paper examines customer perceptions of two of the most important sectors in the music industry: concerts and CDs, using variables that directly measure these perceptions. It is crucial for music managers to understand motives and feelings of music consumers of these basic sectors in order to make appropriate decisions.
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Steven Bonner and Eleanor O'Higgins
This paper aims to examine the issue of illegal downloading of music under an ethical lens.
Abstract
Purpose
This paper aims to examine the issue of illegal downloading of music under an ethical lens.
Design/methodology/approach
The theoretical framework observed was one which included three independent variables: individual, situational and experimental elements. The dependent variable of the study was legal vs illegal downloading of music. A 20‐item questionnaire was completed by 84 respondents. The final four questions in the study were guilt‐inducing questions (which the respondent was informed of in compliance with ethical primary research); the remainder of the questions were neutral in nature.
Findings
The paper finds that the respondents illegally download despite viewing the act as immoral. Respondents choose to morally disengage from the non‐ethical nature of the act in an attempt to avoid feeling guilty about illegal downloading and also to avoid any blame being attributed to them personally. Many respondents feel the act of illegal downloading is simply today's reality and that there is nothing wrong or immoral about illegal downloading. Those who illegally download were less likely to attack the activity for being wrong. Active music fans were more likely to engage in illegal downloading than passive ones. Being a student versus being gainfully employed did not affect downloading behaviour.
Research limitations/implications
A limitation of the study was the difficulty in getting people to disclose the truth about their own ethical violations. A related limitation was the difficulty in obtaining respondents, since participation in such a study meant revealing their music consumption behaviour. However, in the end, social networking proved to be a successful way of recruiting participants.
Practical implications
The results cast light on the obstacles managers in the music business face in eliminating music piracy.
Social implications
The results show the reasons for the difficulties in eliminating this widespread crime, because of the ethical ambiguity involved.
Originality/value
The study has the effect of explaining music piracy very clearly through the application of ethical/psychological theory. This has not been done before.
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The purpose of this paper is to examine the facets of copyright licensing for commercial composers. As traditional business models within the music industry wane, there emerges a…
Abstract
Purpose
The purpose of this paper is to examine the facets of copyright licensing for commercial composers. As traditional business models within the music industry wane, there emerges a tacit opportunity for composers to exploit copyright through partnerships with third‐party entrepreneurs, across sectors such as television, video games and film.
Design/methodology/approach
A case study is utilised to identify opportunities within the television sector for commercial composers who own both publishing and mechanical copyright. Despite the economic crisis facing the entertainment industries, the paper identifies facets for commercial composers through licensing their intellectual property (IP) to third‐party entrepreneurs.
Findings
Composers who own both publishing and mechanical rights arguably hold a market advantage, resulting in an emergence of “one‐stop” licensing agreements – and less administrative fees – for major publishers.
Research limitations/implications
The implications asserted within this paper relate specifically to the television sector and further research could be undertaken in order to examine the utilisation of similar practice across different sectors, such as video games, and film, within which different opportunities and limitations will undoubtedly exist.
Practical implications
The implications for composers and managers is clear. A basic understanding of key legal terms, contract structure and the administrative functions of societies such as the MCPS‐PRS Alliance, are essential. This paper offers a valuable insight into very current changes across both the music and television sectors, identifying tangible opportunities for commercial composers.
Originality/value
This paper explores the facets of copyright licensing for commercial composers within new sectors including television. The author believes that sectors such as television, film and videogames can and do provide lucrative opportunities for independent musicians, composers and record labels. It is essential to explore such opportunities.
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Rachel McLean, Paul G. Oliver and David W. Wainwright
The aim of this paper is to examine the impact of the digital culture on the music industries through an analysis of official and unofficial web sites, media reports and…
Abstract
Purpose
The aim of this paper is to examine the impact of the digital culture on the music industries through an analysis of official and unofficial web sites, media reports and discussions with musicians.
Design/methodology/approach
A critical social theory approach is adopted to examine structures and processes related to communication between artists, fans, the media, as well as commercial and independent labels. The authors draw upon Habermas' theory using the concept of “communicative action” to inform an analysis of three vignettes or short case studies.
Findings
At first glance it would appear that technology has brought about greater opportunities for independent musicians to communicate, network, promote and distribute, which previously could not be widely published, and to organise against the commercial power of major labels (Majors).
Research limitations/implications
In many spheres of the music industries this “empowerment” does not appear to be realised. For example, previous studies have shown that the domination of the Majors continues to impact on local music scenes to restrict and ultimately prevent the creative ideal deliver a situation that is necessary to empower independent musicians. Current media manipulation and corporate interests restrict and alienate independent musicians who often have more of an intellectual ownership and culture within their local music communities.
Practical implications
Although steps to enable improved visibility and cooperation have been made we are still a long way off musicians having a powerful enough voice to organise against the commercial power of the large labels and media conglomerates (e.g. Apple i‐Tunes). The ideal speech situation remains elusive and the hegemonic state remains unchallenged.
Social implications
Music continues to be commodified and fans are increasingly constructed as “consumers”; the ultimate power remains in mass media and broadcasting rather than independent “narrowcast” and DIY artistry.
Originality/value
This paper extends debate on the impact of the developing “digital culture” focusing on independent musicians and the music industries. It raises issues for further research in this area.
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T. Kwikkers, J. Lantaires, R.B. Turnbull, H.T. Law, Barry George and Dave Savage
On 20 April ISHM‐Benelux held its 1988 Spring meeting at the Grand Hotel Heerlen. This meeting was totally devoted to implantable devices, in particular to the technologies used…
Abstract
On 20 April ISHM‐Benelux held its 1988 Spring meeting at the Grand Hotel Heerlen. This meeting was totally devoted to implantable devices, in particular to the technologies used for these high reliability, extremely demanding devices. For this meeting ISHM‐Benelux was the guest of the Kerkrade facility of Medtronic. Medtronic (headquartered in Minneapolis, USA) is the world's leading manufacturer of implantable electronic devices. Apart from the assembly of pacemakers and heart‐wires, the Kerkrade facility acts as a manufacturing technology centre for Medtronic's European facilities.