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2013 | Buch

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Music Business and the Experience Economy

The Australasian Case

herausgegeben von: Peter Tschmuck, Philip L. Pearce, Steven Campbell

Verlag: Springer Berlin Heidelberg

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

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Über dieses Buch

Music Business and the Experience Economy is the first book on the music business in Australasia from an academic perspective. In a cross-disciplinary approach, the contributions deal with a wide-range of topics concerning the production, distribution and consumption of music in the digital age. The interrelationship of legal, aesthetic and economic aspects in the production of music in Australasia is also highlighted as well as the emergence of new business models, the role of P2P file sharing, and the live music sector. In addition, the impact of the digital revolution on music experience and valuation, the role of music for tourism and for branding, and last but not least the developments of higher music education, are discussed from different perspectives.

Inhaltsverzeichnis

Frontmatter

From Discord to Harmony: Connecting Australian Music and Business Through the Experience Economy

Abstract

It is argued that connecting music and business presents some challenges. There is the primary issue of the different values of people who inhabit separate worlds; the music set oriented towards expressive, identity affirming creativity and their business counterparts driven by instrumental values underpinned by personal commercial gain. By analysing the way access to music has evolved for Australian audiences, a process shaped by rising affluence and technology, it is possible to see the mutual intersecting interests which reside in creating enabling environments where audiences can enjoy diverse musical styles. This sense of co-production, a covert liaison between music entrepreneurs and the musical audiences, can be further understood by analysing the component parts of experience including an appreciation of the sensory, relationship, affective and personal capital components of listening to music. The players in the music and business sector may be different but it is possible to depict their points of harmony through an appreciation of the dimensions of the modern experience economy.

Philip L. Pearce

Australian Copyright Regimes and Political Economy of Music

Abstract

In this chapter I review the history of copyright in Australia through a singular and exemplary ruling of the Australian High Court made in 2012 and then relate that to the declining fortunes of Australian recorded music professionals. The case in point is Phonographic Performance Company [PPCA] of Australia Limited v Commonwealth of Australia [2012] HCA 8 (hereafter, HCA 8 2012). The case encapsulates the history of copyright law in Australia, with the judicial decision drawing substantive parts of its rationale from the Statute of Anne (8 Anne, c. 19, 1710), as well as copyright acts that regulated the Australian markets prior to 1968. More importantly the High Court decision serves to delineate some important political economic aspects of the recorded music professional in Australia and demonstrates Attali’s (1985) assertion that copyright is the mechanism through which composers are, by statute, literally excluded from capitalistic engagement as ‘productive labour’.

Phil Graham

New Music Production Modes and Indigenous Music in North Queensland and the Torres Strait

Abstract

This chapter explores the evolution of Indigenous music and musicians in North Queensland and the Torres Strait. In the current climate the production modes have changed dramatically from an industry based and controlled production system to a more independent and Internet based distribution and economy. Drawing on Dunbar-Hall and Gibson’s 2004 study as well as researchers including Hayward (Tide lines: Music, tourism & cultural transition in the Whitsunday islands (and adjacent coast). Lismore: Southern Cross University, 2001); Neuenfeldt (The World Of Music, 49, 7–21, 2007), and Castles (Tjungaringanyi: Aboriginal rock (1971–91). In P. Hayward (Ed.), Sound alliances: Indigenous peoples, cultural politics, and popular music in the Pacific (pp. 11–25). New York/London: Cassell, 1998), a brief overview of Indigenous music and musicians is presented, along with an examination of current practices. Case studies of Indigenous artists, such as David Hudson and Seaman Dan, are used as a means of highlighting current practices.

David Salisbury

Australian Independent Music and the Experience Economy

Abstract

Australian independent music has, from the 1970s, shifted from a commodity-based economy with a focus on the sale of recordings, into the experience economy, particularly with a greater contemporary focus on live performance. Performance however is only one aspect of only one dimension of the overall experience of independent music within the experience economy. Explored here are numerous further aspects within four dimensions; musical, sociological, sensorial and digital, that each interconnect and overlap with one another to form the contemporary experience of Australian independent music.

Steven Campbell

Recorded Music Sales and Music Licencing in Australia, 2000–2011

Abstract

The article highlights in the first part the Australian recorded music market, which has lost 55 % of its volume (adjusted for inflation) since 2001. The main reason for the overall decline lies in the shrinking CD market segment, whereas the booming market for digital music cannot compensate for the loss in the physical market segment. This development was not mainly caused by music file sharing practices, but by a change from an album-based to a track-based music consumption behaviour. In the second part of the article the economic performance of the three Australian music collecting societies – APRA, AMCOS and PPCA – is highlighted. The analysis shows that the mechanical rights society – AMCOS – suffers from the digital paradigm shift in the music industry, whereas APRA and PPCA profit from increasing revenue from broadcasting, public performance and digital/online licensing fees.

Peter Tschmuck

P2P File-Sharing: How Does Music File-Sharing Affect Recorded Music Sales in Australia?

Abstract

Like many other countries, the Australian recorded music industry has suffered a significant decline in sales over the last decade or so. While it would be naïve to dismiss digital piracy as a contributor to this decline, there is inconclusive evidence to attribute the entirety of the decline to piracy. Moreover, there are many other salient issues that need to be considered when understanding the observed sales decline. For example, these may include music pricing, changing consumption habits, live performance incomes, and demand externality (network) effects of music consumption. Following the introduction section, this chapter begins by documenting some aggregate level industry sales statistics of the Australian recorded music industry. Beyond these statistics, summary results are also presented from a recent survey on Australian consumers’ file-sharing activities in relation to music. The third section provides an extended discussion of various economic issues which are relevant to a more-rounded discussion of piracy. The fourth section discusses some recent academic studies of digital piracy related to music, while the fifth section reports on a recent econometric analysis of digital piracy in the Australian context from McKenzie (Australian Economic Papers 48(4), 296–307, 2009). The sixth and final section provides some concluding thoughts and comments.

Jordi McKenzie

Digital Distribution Models Reviewed: The Content Provider’s Perspective

Abstract

Digital distribution has surpassed physical distribution in key markets and will soon be the dominant music distribution model in Australia. Four different business models (free, ad-funded, pay-per-use and subscription-based) and two different music delivery methods (downloading and streaming) currently compete in the market place. The author analyses each distribution model available in Australia and evaluates advantages and disadvantages from the content provider’s perspective. The most striking development is the blurring line between promotion and distribution. Content providers can either lower the barriers to access music in order to facilitate rapid music circulation and create a strong promotional effect to support various revenue streams; or heighten the barriers to access music in order to install an artificial scarcity through excludability, which is essential to implement a business model based on selling musical recordings. In this regard, the variety of different digital distribution models provides a flexible toolbox for content providers to coordinate their overall marketing strategy.

Philipp Peltz

The Landscape of Music Festivals in Australia

Abstract

The landscape of festivals in Australia is a diverse one, ranging from large urban festivals to small, community-based rural festivals. Music, in all its forms, has the potential to contribute social, financial and artistic capital to a community. This chapter seeks to explore the human needs fulfilled by music and understand why such festivals and events have become so popular with policy makers and researchers alike. The chapter is organised as follows. Firstly, the universal appeal of music is explained by drawing on academic concepts of emotion, authenticity, experiential consumption, fandom, subcultures and identity. Secondly the concept of a festival is explored, their cultural value is highlighted and a profile of music festivals in Australasia is given. Recent studies strongly suggest that the number, diversity, and popularity of festivals have grown spectacularly over the past several decades. Thirdly, the commodification of music in modern times is described and the ramifications of festivals for local economies, tourism development and the natural environment are explored. Finally, conclusions are drawn about the future of music festivals in the light of the digital age.

Breda McCarthy

The Influence of Dirty Pool on the Australian Live Music Industry: A Case Study of Boy & Bear

Abstract

This chapter is based on fieldwork conducted in Australia, the UK and the US from April 2010 until December 2011 during my tenure as co-manager/promoter of Australian band Boy & Bear. It draws on participant observation and secondary interview data featuring the perspectives of other Australian and international agents, artist managers and concert promoters. It argues that due to the establishment of the company Dirty Pool Management in the late 1970s, the Australasian case is different to that of other Anglophone countries, such as the US and the UK, in terms of who takes the risk on promoting, and then either incurring a loss or reaping a return from, the unique localised experience of live music. At the entry to mid-level of the Australian live music industry it is common for a combination of the artist and their management to promote their live shows themselves, without the assistance of a promoter. There is an historical precedent for this. This chapter will argue that the management company Dirty Pool changed the way in which the Australian music industry operated and this has had lasting ramifications.

Guy Morrow

Building Brands with Music: Australian Cases

Abstract

Music is a powerful medium of communication, evoking both strong emotions and stimulating the senses. Not surprisingly music has become an important component of effective brands. This chapter examines the links between music and brands using three Australian case studies: Wolf Blass, Qantas, and the television show Offspring. The three case studies presented illustrate the role that music can play in fostering brand knowledge transfer at all levels, at developing emotional ties between the brand and the consumer and among consumers in the brand community, in defining and differentiating brand personality, and in weaving the brand into the thoughts, feelings, emotions and daily experiences of consumers. However, it is important to note that congruency with both brand image and self-identity are core to the success of any attempt to use music as the emotional link between brands and consumers.

Laurie Murphy, Andrea Schurmann, Gianna Moscardo

Australian Music and Aussie Team Sports: How the Experience Economy and the Score Interact

Abstract

As the reach of the experience economy expands into multiple facets of contemporary business new synergies between forms of leisure emerge. One such conjunction is that between music and sport, both popular features of Australian recreational life but now increasingly interwoven contributors to the good times of many Australians. The popularity of three sports in Australia – rugby league, Australian Rules football and cricket – are chosen as examples of nationally popular spectator sports. The increased role of Australian music in enhancing promotion, in shaping game day experiences and extending the social appeal of the three sports are highlighted.

Philip L. Pearce

The Valuation of Music in Australia: A Chart Analysis 1988–2011

Abstract

In this chapter the ARIA charts are analysed to understand what musicians and music genres are appreciated most in Australia from 1988 to 2011. With the help of several indices a cycle of popularity of Australian music is highlighted. Therefore we can distinguish four different periods in the Australian popular music business. In the era of Australian superstars a few artist such as AC/DC, INXS, John Farnham and Kylie Minogue charted high from 1988 to 1995 despite a dominance of international repertory. A generation shift to younger acts such as Powderfinger, Silverchair, Grinspoon, Savage Garden, and The John Butler Trio shaped the period from 1995 to 2002 with less chart successes of domestic artists. However, in 2002 the Australian pop music market entered the so called “Golden Age of Australian music” with great chart successes of Australian artists, which was triggered by casting shows on the one hand and the emergence of new innovative indie labels on the other. Since 2008 however, we can observe less charting Australian artists, but of a new generation of acts which indicates a second transition period in the Australian popular music market.

Peter Tschmuck

Enterprise Learning in Australasian Tertiary Music Education: The Status Quo

Abstract

The creative industries is recognized as one of the fastest growing sectors of the global economy. Music, and the industry sector built around this discipline of creative practice, is a major part of the creative industries and contributor to global experience economies. The music sector is broad, diverse and complex, indeed it has arguably become increasingly so as a result of the explosion in digital and web 2.0 environments. In addition, within the literature there are ongoing references to the particular challenges associated with securing viable and consistent employment in the music sector and regardless of musical style. As a result, there is ongoing debate in the tertiary sector in relation to if and how educators should respond to the arguments for business, entrepreneurial and/or enterprise learning within undergraduate music curricula. This chapter therefore reports on an analysis of current undergraduate music programs in Australasia in terms of the extent to which they focus on the development of entrepreneurial or enterprise skills.

Ryan Daniel

Titel: Music Business and the Experience Economy
herausgegeben von: Peter Tschmuck
Philip L. Pearce
Steven Campbell
Verlag: Springer Berlin Heidelberg
Electronic ISBN: 978-3-642-27898-3
Print ISBN: 978-3-642-27897-6
DOI: https://doi.org/10.1007/978-3-642-27898-3