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Published in:
Introduction: A Short Overview of Music Consumption and Production Read chapter Read first chapter

2024 | OriginalPaper | Chapter

6. Conclusion

Author : Christie Byun

Published in: The Economics of the Popular Music Industry

Publisher: Springer Nature Switzerland

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Abstract

The music business appears to be (almost) the same as it ever was, with a handful of large firms maintaining control over the production and distribution of music. With significant economies of scale, it makes economic sense for these firms to use their market power to produce music efficiently and cheaply. But musical innovators have challenged the dominant paradigm and many have struck out as independent artists with control over their artistic creations. Technology has and will continue to enable them to do so, leveling the playing field for new musicians to find better ways to create and distribute music.

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previous chapter The Global Marketplace for Music
Footnotes
1
Langer (2003).
 
2
See Piketty and Saez (2003) for an in-depth empirical analysis of income inequality in the United States over time.
 
3
Peitz and Waelbroeck (2006).
 
4
Philips (2001).
 
5
Ingham (2022), Werde (2022).
 
6
Robert Fripp, Discipline Global Mobile
 
Literature
Ingham, T. (2022). It’s Happened: 100,000 Tracks Are Now Being Uploaded to Streaming Services Like Spotify Each Day. Music Business Worldwide.
Langer, A. (2003). Is Steve Jobs the God of Music?. Esquire.
Peitz, M., & Waelbroeck, P. (2006). An Economist’s Guide to Digital Music. In Industrial Organization and the Digital Economy. MIT Press.
Philips, C. (2001). Record Label Chorus: High Risk, Low Margins. Los Angeles Times.
Piketty, T., & Saez E. (2003). Income Inequality in the United States: 1913–1998. The Quarterly Journal of Economics, 118(1), pp. 1–41.
Werde, B. (2022). Debunking the 60,000 Songs Uploaded to Spotify a Day Myth. Hypebot.com.
Metadata
Title
Conclusion
Author
Christie Byun
Copyright Year
2024
Book
The Economics of the Popular Music Industry

Print ISBN: 978-3-031-49898-5

Electronic ISBN: 978-3-031-49899-2

Copyright Year: 2024

DOI
https://doi.org/10.1007/978-3-031-49899-2_6