Skip to main content
Fachgebiete
Automobil + Motoren Bauwesen + Immobilien Business IT + Informatik Elektrotechnik + Elektronik Energie + Nachhaltigkeit Finance + Banking Management + Führung Marketing + Vertrieb Maschinenbau + Werkstoffe Versicherung + Risiko
DE
EN
Themenseiten
Organisationspsychologie Projektmanagement Marketing Smart Manufacturing
Bücher
Zeitschriften
Weitere Formate
Podcasts Webinare Technik Webinare Wirtschaft Kongresse Veranstaltungskalender Awards
Jetzt Einzelzugang starten
Zugang für Unternehmen
Referenzkunden
ATZ-Fachkongress

Chassis.tech plus 2024


4 Kongresse in einer Veranstaltung

Treffen Sie in München die Fachleute von Chassis, Lenkung, Bremsen sowie Reifen/Räder.
Erweiterte Suche
Anmelden
nach oben

2012 | Buch

Introduction Kapitel lesen Erstes Kapitel lesen

Creativity and Innovation in the Music Industry

verfasst von: Peter Tschmuck

Verlag: Springer Berlin Heidelberg

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

Einloggen, um Zugang zu erhalten
insite
SUCHEN

Über dieses Buch

Why did jazz become a dominant popular music genre in the 1920s and rock 'n' roll in the 1950s? Why did heavy metal, punk rock and hiphop find their way from sub-cultures to the established music industry? What are the effects of new communication technologies and the Internet on the creation of music in the early 21st century? These and other questions are answered by Peter Tschmuck through an integrated model of creativity and innovation that is based on an international history of music industry since Thomas A. Edison invented the phonograph in 1877. Thus, the history of the music industry is described in full detail. By discussing the historic process of music production, distribution and reception the author highlights several revolutions in the music industry that were caused by the inference of aesthetic, technological, legal, economic, social and political processes of change. On the basis of an integrated model of creativity and innovation, an explanation is given on how the processes and structures of the present music industry will be altered by the ongoing digital revolution, which totally changed the value-added network of the production, dissemination and use of music. For the second edition, the author has reworked chapter 9 in order to include all the developments which shaped the music industry in the first decade of the 21st century – from Napster to cloud-based music services and even beyond.

Inhaltsverzeichnis

Frontmatter
Chapter 1. Introduction
Abstract
The book’s title, Creativity and Innovation in the Music Industry, might lead some readers to believe that I will offer the ultimate explanation for how creative and innovative music is made. My intention, however, is not to provide a manual for “creative” or “innovative” work. Rather, I will subject “creative” or “innovative” work to a precise analysis. Nevertheless, I hope the reader will not discard the book out of disappointment and instead accompanies me on a journey through the history of the music industry during the twentieth and the early twenty-first century in order to eventually obtain one, though not the, answer to the question of how novelty is created in the music industry.
Peter Tschmuck
Chapter 2. The Emergence of the Phonographic Industry Within the Music Industry
Abstract
The music industry did not originate with the invention of the phonograph and the record but with the beginning of mass distribution and the commercial use of music. We can thus speak of a music industry from the moment that music production and consumption severed ties with the context of the feudal court and church. Of course, we cannot determine an exact date, since we are talking about a developmental process characterized by a seamless transition from a feudal court culture to that of a bourgeois-capitalistic one.
Peter Tschmuck
Chapter 3. The Music Industry Boom Until 1920
Abstract
The companies of the phonographic industry were already globally acting corporations around 1900. Between 1902 and 1910, the U.S. and European companies expanded their business activities into the most remote regions of the world. For instance, in 1910 a sound engineer of the British Gramophone Company gave an account of a recording tour through the Caucasus where he recorded the folk songs of the native Cossacks onto record (Noble 1913, cited in Gronow 1983, p. 58). But the sound engineers from Paris, London, and New York were also sent to other regions of the world, such as Central Asia, India, China, Southeast Asia, South and Central America, North Africa, etc., in order to record locally performed music. Subsequently, the central record plants in Europe and the U.S. reproduced these recordings and re-imported them as records to the music’s countries of origin.
Peter Tschmuck
Chapter 4. New Technology and the Emergence of Jazz
Abstract
In 1921, U.S. record sales reached a historic high of $106 million. This figure was not exceeded until 1945 when it reached $109 million. During this time period, the phonographic industry experienced a steady sales decline between 1921 and 1925. From 1925 to 1929, sales boomed for a last time before the market crash of 1929 initiated a drastic decline that reached its lowest point in 1933 with only $6 million in sales.
Peter Tschmuck
Chapter 5. The Music Industry as Radio Industry
Abstract
After the stock market crash in October 1929, the phonographic industry plummeted into its worst crisis to date. Thomas A. Edison Inc.’s production of phonographs became the first prominent victim. On November 1, 1929, the company announced that it would stop the production of phonograms and phonographs. Since 1925, they had desperately tried to find a way back into the market, but Edison’s refusal to make electrical recordings prevented successful market performance.
Peter Tschmuck
Chapter 6. The Swing Monopoly During the Years of Wartime Economy
Abstract
From 1939 on, the European phonographic industry had to switch to a wartime economy. In Germany, the Ministry of Propaganda additionally made sure that the broadcasting and record repertoire would conform to the ideological desires of the regime. Telefunken and its subsidiaries nevertheless continued their recording activities despite being subjected to an exertion of political influence; yet, they had to reduce their production output, since most foreign markets were no longer available. In Great Britain, EMI-HMV cooperated with the British Council and produced new records despite the ongoing Nazi bomb attacks and the wartime economy.
Peter Tschmuck
Chapter 7. Rock ‘n’ Roll Revolution
Abstract
A full-fledged music industry boom characterized the immediate post-war years in the United States. From 1945 to 1946, record sales doubled from $109 to $218 million. In 1947, sales reached a new record high at $224 million. In 1948, however, sales declined by 15% to $189 million, and in 1949 by an additional 8% to $173 million.
Peter Tschmuck
Chapter 8. The Recovery of the Phonographic Industry and New Global Players
Abstract
In the early 1960s, the majors’ market losses manifested themselves in lower market shares. However, this does not necessarily mean that the majors’ sales stagnated; the market volume nearly doubled between 1960 and 1969. It simply indicates that the majors’ growth rate was surpassed by that of the independent labels. In 1962, the U.S. music industry reached its lowest level of market concentration. The top four companies’ share of hits amounted to only 25%. The largest eight companies controlled 46% of the market.
Peter Tschmuck
Chapter 9. The Era of Music Conglomerates
Abstract
The development of the music industry from the mid 1960s to the early 1970s was characterized by a growing market and a simultaneous market concentration. This concentration had the effect that the majors of the early 1970s differed fundamentally from those of the early 1950s, even though some company names of that earlier era continued to exist. Chapple and Garofalo (1977, pp. 82–87) distinguish three types of mergers that could be observed in the music industry beginning in the mid 1960s. First, there were the horizontal mergers where record companies joined to increase their market share and thus market power. EMI and Capitol’s merger is an example of this, even though EMI was the driving force of the fusion. In other examples, one company acquired another: for example, PolyGram bought MGM, and Mercury and MCA bought Decca-U.S.
Peter Tschmuck
Chapter 10. The Digital Music Revolution
Abstract
At the beginning of the 1980s, a period of stagnation set in. In 1980, 1981, and 1982, the U.S. record companies had no sales growth. 1983 saw a small increase of 6%, which was followed by a more significant increase of 15% in the following year. Sales remained more or less constant at this level for the next 2 years. In 1987, however, another jump in sales occurred (+20%). Subsequent years witnessed additional increases of 12% (1988), 3% (1989), and 17% (1990).
Peter Tschmuck
Chapter 11. Theoretical Concepts of Innovation and Creativity
Abstract
In Chaps. 2 through 10, I delineated the development of the music industry in the twentieth century in order to reveal the complex relationships between music aesthetic, technological, legal, economic, and social processes of change. Up to this point, this book could also be read as presenting a history of the music industry in the twentieth century, even though I do not claim that my account has exhausted the topic. Table 11.1 provides an overview of the music industry’s most important novelties in summary form.
Peter Tschmuck
Chapter 12. Creativity and Innovation in the Music Industry
Abstract
Based on empirical evidence, the development of the music industry in the twentieth century is characterized by two large structural breaks. The first is that of the Jazz revolution in the 1920s, and the second one is the Rock ‘n’ Roll revolution in the early 1950s.
Peter Tschmuck
Chapter 13. Creativity and Innovation in the Music Industry’s Value-Added Chain
Abstract
Based on the thesis that creativity is a collective process of action and that innovation emerges from it, this concluding chapter will analyze the phonographic industry’s most important processes of action that have been at its core since the Rock ’n‘ Roll revolution. My focus, here, will be the four central processes of the industry’s value-adding chain: (1) the process of talent-scouting by Artist & Repertoire (A & R) management; (2) the process of music production and of physically manufacturing phonograms; (3) the process of music marketing and promotion; and (4) the process of phonogram distribution. All four of these processes work together, but for the purposes of analysis, I shall consider them individually. They all have one thing in common, as my comparison of individual historic periods of the music industry in the twentieth century will show: depending on how the individual processes are designed and run their course, they create more or less generous conditions for creativity to emerge.
Peter Tschmuck
Backmatter
Metadaten
Titel
Creativity and Innovation in the Music Industry
verfasst von
Peter Tschmuck
Copyright-Jahr
2012
Verlag
Springer Berlin Heidelberg
Electronic ISBN
978-3-642-28430-4
Print ISBN
978-3-642-28429-8
DOI
https://doi.org/10.1007/978-3-642-28430-4

Premium Partner

    Bildnachweise