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1.
Live and prerecorded popular music consumption   总被引：1，自引：1，他引：0  
Changing consumption habits have rearranged the popular music market in the last decade, and a pattern in which live music attendance gets an increasing share of the market has emerged. This work analyzes the demand for the popular music sector considering its double dimension as supplier of live concerts and prerecorded music. We use the 2006/2007 wave of Spain’s Survey on Habits and Cultural Practices, and estimate a bivariate probit model for attendance to live concerts and the purchase of prerecorded music. Results allow us to describe the profile of the average and frequent consumer in both markets, which shows some similarities—gender effects and the role of cultural capital—but also striking differences—time restrictions and relation to economic activity, and the use of technology. Finally, we find evidence of demand complementarities, with a direct causal link from prerecorded music to live attendance that helps explain recent institutional changes.  相似文献   

2.
ABSTRACT

This article explores the role of editorial playlists in Spotify’s streaming economy. In particular, it approaches Spotify’s playlists as container technologies – i.e. technical solutions that assemble, preserve, and transport music objects and thereby uphold logistical operations within the music industry. Such an approach seeks to complement previous research concerning playlists, which has often analyzed their emotional and affective dimensions but paid less attention to how playlists enhance calculative, mathematical, and logistical retail flows within the online music economy. On the one hand, the article considers how playlists – like containers in general – materialize principles of modularization and automation in ways that enhance control and remote oversight. On the other hand, it discusses how the playlist is far from a perfected means of measurement and control, and sometimes acts as an unruly transport device. Ultimately, the article shows how the playlist format occupies an uneasy position between order and disorder within the digital music economy which has not yet been fully accounted for in the context of music-oriented media studies.  相似文献   

3.
The cultural atmosphere in a society is accumulated over time through the consumption of cultural services and is diminished through depreciation. Using cultural capital (e.g., cultural heritage, paintings, music scores), cultural services are provided by the cultural-services industry (e.g., museums, opera houses); cultural capital is enlarged by new cultural goods created by individuals. Individuals’ utilities are positively affected by the cultural services they consume, by the cultural goods they create and by the cultural atmosphere and the cultural capital accumulated in society. In a laissez-faire economy, individuals tend to ignore the positive external effects of their cultural-services consumption and creation of cultural goods on other individuals via accumulating cultural atmosphere and cultural capital. Consequently, suboptimally little cultural atmosphere and cultural capital will be accumulated. The efficient intertemporal allocation can be restored by introducing an appropriate subsidy that not only stimulates consumers’ demand for cultural services and the creation of new cultural goods but also enhances the accumulation of cultural atmosphere and cultural capital.
Sao-Wen ChengEmail: Phone: +49-271-7404534
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4.
Unlike Kahneman et al. (Am Econ Rev 76(4):728–741, 1986) iconic snow shovel, live music is a performance good that fans attach a particular value to. Hence, an artist’s pricing decision might differ from standard rent-seeking behavior. In this paper, I propose a model that incorporates fairness concerns into the pricing decision for concert tickets. The hypotheses derived from this model are tested on data from the German club concert industry. The results are consistent with the model: Although (1) price dispersion is the dominant pricing strategy in the club concert industry and artists prefer to perform on a Friday or Saturday night, (2) artists do not set higher prices on the weekend. These results are consistent with fairness constraints, but are difficult to explain within a standard profit maximization framework. As a third result, (3) the data reveal that ticket prices are positively correlated with a city’s number of inhabitants .  相似文献   

5.
This paper tests whether demand for theatre in Italy is consistent with the model of rational addiction presented in Becker and Murphy (J Polit Econ 96(4):675–700, 1988). Data from a novel 34-year panel on regional annual theatre attendance are used to estimate market demand. Four models are applied to investigate the demand function, and all of these also include per capita income and other control variables as regressors. The first two models are estimated to check whether theatregoers are myopically addicted to theatre. The results suggest that the theatre is an addictive good because past consumption (and prices) significantly raises the marginal utility of current consumption. The third model tests the rational addiction hypothesis, which assumes that future attendance also influences current attendance, whilst past and future prices influence current attendance only indirectly through their impact on past and future attendances. However, our most highly specified model, introducing past and future prices, demonstrates that Italian theatregoers are not myopic but fully rational as outlined in Becker and Murphy (1988). The results demonstrate that the rational addiction hypothesis is applicable not only to “harmful” addictions such as alcohol, cigarettes and drug consumption, but also to “beneficial” addictions, such as theatre attendance. This result has important policy implications because theatre is one of the most subsidised performing arts in Italy; if theatregoers are fully rational, policy makers can influence theatre attendance using alternative policy instruments (price and income), thereby reducing government expenditure on theatre subsidies.  相似文献   

6.
This essay argues that Lee Edelman's 2004 Edelman, L. 2004. No Future: Queer Theory and the Death Drive, Durham: Duke University Press. [Crossref] , [Google Scholar] No Future, while most well known for challenging the heteronormative fantasy of reproductive futurism, also performs a systematic critique of Lacanian ‘sexual difference’. This essay tracks that critique, showing its moments of success and of failure, and concludes that Edelman's neologism – the sinthomosexual, whose jouissance he believes to be capable of undoing the symbolic order – in fact supports rather than challenges it.  相似文献   

7.
The purpose of this contribution is to move the study of performing rights forward and away from discussion of matters of principle to matters of implementation. Our procedure is to identify the chronological steps which have to be taken by composers or their representatives in ensuring that their property right can be exploited, resulting in payment for performances. At each step we shall attempt to offer observations, based principally but by no means solely on UK experience, on both the economic and legal issues that arise. The first stage in the exploitation of copyright is to create a work in a discernible form. In music this has traditionally taken the form of a score. However, today most popular music will take the form of a taped performance. This is followed by critical discussion of the term of copyright protection and whether a monopoly is created in respect of performing rights. In addition to performing rights, account has also to be taken of performers' rights, raising issues of where copyright protection ends and performers' rights begin. The second stage of exploitation is publication, promotion and performance of the work, a matter so complex that it has necessitated the establishment of collective organisations of authors and publishers to be effective. Policy issues arise about the relations between the members of such organisationsinter se, and between the organisations and users, and these are illustrated by a number of examples from the history of the British Performing Right Society. Disputes led to the establishment of specialist tribunals in the UK and elsewhere, and there have also been investigations of collecting societies by the British and EC competition authorities. The global market for music means that such issues transcend national frontiers, and there is some discussion of how performing rights are enforced internationally. The paper concludes by identifying a number of major issues: whether or not collecting societies operate against the consumer interest (it is suggested, generally not); the extent to which serious music is or should be subsidised by diversion of the income of the collecting societies in its support; and the possible extension of collective copyright administration into other fields, against the background of ever-increasing cross-border activity in cultural matters generally.  相似文献   

8.
Platforms are important actors in contemporary cultural economic processes. They include social network sites, online content management systems, streaming media platforms, mobile communication infrastructures, supply chain logistics solutions, and cryptocurrencies. Analysis of platforms and their capitalization should take into account the ways they structure social practice as assets and the constitutive opacity of platforms as configured realities. It explores capitalization by focusing on the problems of counting people and things on platforms. Via a case study of the software repository platform [Github.com] (https://github.com), it analyzes how 'platform numbers’ participate in capitalization. It describes attempts to enumerate the elements of the platform by counting, mapping or listing them. The paper shows how attempts to enumerate people and things encounter forms of association, duplication, combination, imitation and configuration that are crucial to the ensemble but remain refractory to capitalization. It proposes configurative enumeration of the platform numbers as a way of conceptualizing these un-enacted excesses. In a configurative enumeration, the composition, the rhythms of imitation, variation and commutation, and constant relating, repairing and adjusting of configurations crucial to the ongoing formation of platforms come into view. Configurative enumerations engage the inventive realities of platformization, realities that precede and sometimes overflow their capitalization.  相似文献   

9.
Ruth Müller 《Minerva》2014,52(3):329-349
This paper explores the ways in which postdoctoral life scientists engage in supervision work in academic institutions in Austria. Reward systems and career conditions in academic institutions in most European and other OECD countries have changed significantly during the last two decades. While an increasing focus is put on evaluating research performances, little reward is attached to excellent performances in mentoring and advising students. Postdoctoral scientists mostly inhabit fragile institutional positions and experience harsh competition, as the number of available senior positions is small compared to that of young scientists striving for an academic career. To prevail in this competition, publications and mobility are key. Educational work is rarely rewarded. Nevertheless, postdocs play a key role in educating PhD students, as overburdened senior scientists often pass on practical supervision duties to their postdoctoral fellows. This paper shows how under these conditions, postdocs reframe the students they supervise as potential resources for co-authored publications. What might look like a mutually beneficial solution at a first glance, in practice implies the subordination of the values of education to the logic of production, which marginalizes spaces primarily devoted to education. The author argues that conflicts like this are indicative of broader changes in the cultural norms of science and academic citizenship, rendering community-oriented tasks such as education work less attractive to academic scientists. Since education and supervision work are central cornerstones of any functioning higher education and research system, this could have negative repercussions for the long-term development of academic institutions.  相似文献   

10.
ABSTRACT

In this article, I discuss how changes in the economic infrastructure of mass consumption have changed the values and attitudes of consumer culture. By focusing on an online community of Israeli sex consumers and applying the theoretical framework of the prosumer economy, this article suggests its innovative potential for understanding the intersections of cyberspace, capitalism, and sex work consumption. Using the context of the dynamic cultural terrain of prosumerism, the article examines how commercial way of thinking is encouraged, understood, and adopted by sex consumers in the practice of purchasing sexual encounters and sharing them online. The main argument is that the online community of sex consumers has become a collaborative project in which consumers simultaneously produce and consume – that is, they become ‘prosumers’ and thus occupy positions of power within the capitalist market-place. They, therefore, not only responding to market rules but also producing them. I claim that the change in the nature of the community has impacted both the nature of online writing and the way clients perceive sex workers.  相似文献   

11.
Based on a unique dataset of artists that are active in the German market for folk music—the third largest music genre in terms of popularity and sales—I study what factors determine the artists’ success. Following Rosen (Am Econ Rev 71(5):845–858, 1981), I test if differences in artistic performance have a direct effect on financial rewards as regards physical and digital record sales (“direct superstar effect”). Following Adler (Handbook on the economics of art and culture. Elsevier, Amsterdam, 1985), I also study sales effects of a media presence of artists (“classical superstar effect”). Controlling for various contingency factors (e.g., record labels’ support, artists’ socio-demographics), I deal with an economic issue of general interest: Does it pay more to develop your skills in your core business to perfection or to maintain the current level of skills and invest in self-marketing; and do these effects apply to all folk artists alike? Rather contrary to studies on pop and rock genres, I find that higher ability increases artists’ revenues disproportionately, but simultaneously, openly competing for the recognition of one’s talent holds substantial economic risk. I also observe a positive effect of various types of media presence on financial rewards. However, these income determinants have different impacts on sales in physical versus in digital markets, and their effects vary across the success distribution from low- to top-selling artists as well.  相似文献   

12.
The paper conducts a statistical analysis of the dynamics of the sale of new music (product differentiation innovation) in the record industry. In pursuing this goal the paper generates new data and analyses a previously unutilized data set. The paper finds that there is a strong correlation between new music innovation in the audio singles and albums market. This is found to be mainly concurrent in the same quarter and to have a reasonably short product life. The paper discovers that these features also characterise the dynamics of record company performance. The research indicates that record companies are willing to sell singles at a loss due to advertising rather than learning externalities. At the industry level, the paper finds that new music innovation does not effect market size significantly and mainly causes business stealing effects between record companies, with exceptional cases of multiplier effects.  相似文献   

13.
Stupidity     
Fax-Bak (NY) (AC Projects), by BANK, 1999 and courtesy MOT International.  相似文献   

14.
This paper discusses the extent to which sociodemographic characteristics of consumers and their past consumption are less effective in explaining the decision of purchasing a cultural good than the characteristics of the product itself, which allow for imitative behaviors and are at the basis of distinction. While the former approaches are well documented in the literature, the latter refers to Bourdieu’s idea of objectified cultural capital, which has been revisited and empirically explored. Because the various causal effects interact with each other, this paper tests a theoretical model which matches individual characteristics of the consumer with the properties of the cultural product. Specifically, we discussed the emergence of a new version of a cultural good, which is able to broaden the dimension of the market by gaining rapid success in its audience. This diffusion pattern is a quite rare event, but disruptive for the market and extremely profitable for the producer. The authors label this occurrence a disruptive cultural fad and try to understand the determinants of its adoption. The hypotheses of the model are tested on a unique dataset of microdata of purchasing transactions in Milan in the early nineteenth century, when the music by Gioachino Rossini emerged as a disruptive cultural fad at the dawn of the music industry. Results show that key features of a successful disruptive cultural fad are the role of some specific patterns of personal past consumption, the capabilities of generating positive network externalities in the consumption, and, surprisingly, the lack of negative ones due to any possible hip or snob effect.  相似文献   

15.
The protection of copyrights in the music industry has been of paramount concern as the popularity of digital music players, personal websites, and file-sharing continues to grow, each of which subsequently contributes to the persistence of Internet music piracy. While the Recording Industry Association of America (RIAA) links file-sharing to copyright piracy, others argue that file-sharing allows maximum exposure of artists’ music which in turn increases its value. While this debate continues, little empirical research has specifically addressed the behavioral aspects of the consumer. In this paper, we use survey data on university students to study how attitudes toward copyright law along with economic and demographic factors affect the extent of music copyright violations. We find that while students are responsive to economic incentives and perceptions of risk, the extent of these incentives has not reversed the overall propensity to engage in file-sharing.
Djeto AssaneEmail:
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16.
Though there is a long tradition of band members quitting the group or taking a hiatus, the rock group as an organization to produce music continues to be both popular and economically viable. The research question addressed in this paper is whether or not it is a good idea to quit or take a hiatus from the group. We begin with a discussion of the framework for understanding why groups are formed and why they may be difficult to keep together. We then discuss differences between groups in the decade of the 1960s versus today. We argue that there is something unique about the output of the group even with the changes in the structure of contracts, compensation, and consumer focus on the artist that explain the resilience of the rock band as an organizational form within which to create music. We compare the charting success of bands that have members leave the group with the charting success of the members who left the group. We identified the groups in five representative years: 1965, 1975, 1985, 1995, and 2005. We then analyzed the entire Billboard Hot 100 charting careers of those groups and the artists who quit those groups. Our main finding is that when charting success is divided equally among members, going solo pays off—there is a clear economic rationale because solo acts have greater average charting success than the original bands they started in. The other ensuing side projects: duos, collaborations, and other groups are not as lucrative as the original bands. These findings are valid for members of charting groups from each of the 5 years examined. Despite the difficulties in keeping a rock band together, there are fewer band breakups today and remaining with the group generally results in a longer and more productive charting career. Thus, the rock group remains an important organization for producing contemporary music. However, there remains a compelling incentive to go solo. Superstars may benefit from solo projects, but for the average, non-superstar group member, in many circumstances it is better for the band to stay together if the income is divided equally.  相似文献   

17.
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18.
Abstract

‘Islands of Detroit’ explores the possibilities for an ‘everyday, oppositional whiteness’, a thoughtful randomness, as a corrective to ‘reactionary’ and ‘evasive’ forms of whiteness which often embed themselves in populist media sites for nostalgia. Drawing on the theoretical work of Svetlana Boym, Uday Singh Mehta and Roland Barthes, this essay looks in particular at a coffee table book, The Way it Was (2004 Bulanda, G., ed. 2004. The Way It Was: Glimpses of Detroit’s History from the Pages of Hour Detroit Magazine, Royal Oak, MI: Momentum.  [Google Scholar]), and its generic sentimentalism, to understand how certain white visual representations of Detroit affectively generate nostalgia, which can in turn conceal pasts and racial tensions. Looking at the history of Detroit (with particular attention on how the two infamous race riots are and are not negotiated), Islands examines visual images of the city – as opposed to the city itself – through the discursive lenses of nostalgia, modernity and affect, while positing that the histories and identities of Detroit remain irreducible to the images which attempt to capture them.  相似文献   

19.
Bioinformatics – the so-called shotgun marriage between biology and computer science – is an interdiscipline. Despite interdisciplinarity being seen as a virtue, for having the capacity to solve complex problems and foster innovation, it has the potential to place projects and people in anomalous categories. For example, valorised ‘outputs’ in academia are often defined and rewarded by discipline. Bioinformatics, as an interdisciplinary bricolage, incorporates experts from various disciplinary cultures with their own distinct ways of working. Perceived problems of interdisciplinarity include difficulties of making explicit knowledge that is practical, theoretical, or cognitive. But successful interdisciplinary research also depends on an understanding of disciplinary cultures and value systems, often only tacitly understood by members of the communities in question. In bioinformatics, the ‘parent’ disciplines have different value systems; for example, what is considered worthwhile research by computer scientists can be thought of as trivial by biologists, and vice versa. This paper concentrates on the problems of reward and recognition described by scientists working in academic bioinformatics in the United Kingdom. We highlight problems that are a consequence of its cross-cultural make-up, recognising that the mismatches in knowledge in this borderland take place not just at the level of the practical, theoretical, or epistemological, but also at the cultural level too. The trend in big, interdisciplinary science is towards multiple authors on a single paper; in bioinformatics this has created hybrid or fractional scientists who find they are being positioned not just in-between established disciplines but also in-between as middle authors or, worse still, left off papers altogether.  相似文献   

20.
A discrete choice model of consumption of cultural goods: the case of music   总被引：1，自引：1，他引：0  
In this article we present an empirical analysis of the ‘patterns of cultural choice’ in the musical domain in Italy. The main goal of the article is to verify whether musical tastes in Italy are diversified, with the presence of a group of ‘cultural omnivores’. Our study is based on the theoretical model of the demand for cultural goods proposed by Lévy-Garboua and Montmarquette (1996). In the empirical analysis we simultaneously evaluate the probability of choosing different musical genres. Through the specification of the set of alternatives into three groupings of musical genres —“only classical music”, “only popular music” and “all music”—we were able to detect the relative impact of several socio-economic characteristics on the probability of having “univorous” or “omnivorous” musical likings. In addition, our approach allows us to verify the existence of different patterns of music consumption by testing the significance of differences among the estimated coefficients of the probability functions related to the three groupings of musical genres. We find that age, gender and education are important predictors of an omnivorous taste.
Carlofilippo FrateschiEmail:
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