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Musicians, singers and bands can use their popularity to promote various causes and products, either through endorsements or more individual initiatives. Environmental activism is becoming more widespread as humans are trying to tackle and mitigate climate change. In this paper, we ask how best a band can compensate for the carbon emissions generated by fans travelling to its shows. We first report on the various “green” initiatives and practices of the music industry. We then focus on greenhouse gas emissions that result from tours and concerts since they are one of the largest environmental impacts generated by the music industry. We take the perspective of the artist or band wishing to internalize their carbon emissions and present a model of carbon offsets in the context of rock concerts, which amounts to the private provision of a public good. In our model, bands have the option to include offsets in the ticket price or to offer voluntary offsets. To illustrate our point, we present a field study conducted by a Quebec rock band at shows in Montreal and in Europe to show how the artists can reduce the environmental impact of their concert by buying carbon credits equivalent to their fans’ footprint. We show that at 1 % of the ticket price on average, the cost of carbon offsets is marginal and discuss the numerous challenges that arise for those artists wanting to engage in carbon offsetting. 相似文献
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巴西盛装狂欢巴西狂欢节是著名的节庆,遍及全国各地,其中里约热内卢狂欢活动,闻名遐迩,被称为世界上最大的庆典秀。巴西狂欢节每年举行一次,时间在2月底或者3月初,或者说是每年复活节之前的第46天拉开帷幕。巴西狂欢节规模宏大。为期一周的狂欢节期间,整个国 相似文献
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Sumiko Asai 《Journal of Cultural Economics》2011,35(2):101-117
This study constructed a music demand model with variables representing quality in order to conduct an empirical analysis
of popular music in Japan. The demand function was estimated, using the data by title of CDs that appeared on the Top 100
single and album charts in 2007 and 2008. It was found that demand for both singles and albums was inelastic with respect
to price. In addition, the estimation results showed that the factors affecting hits differed between singles and albums. 相似文献
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This paper analyses the performance of a speculative investment in paintings during the period 1987–1995 by applying a modified repeat sales technique to a sample of 1446 repeat sales. Since this period is characterised by a boom and a non-boom sub-period, a price risk term is introduced to estimate influences that only affect a painting's value upon its sale, by isolating shocks that can cause realised returns to stray from expectations. The main finding is that from 1987 to 1991 an investment in paintigs performs well if compared with alternative forms of investment, such as U.S. stocks, U.S. 30 year government bonds and gold; by contrast, from 1992 to 1995 returns are lower, with the exception of 1993. 相似文献
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将民族音乐品牌推向世界,是每一个民乐人的梦想。7月13日,浙江歌舞剧院"彩蝶女乐"首访加拿大,承演了"枫华国际艺术节"的开幕式。作为浙江省的优秀民乐演出团队,她们通过对江南丝竹的精湛演绎,向世人展示中华民族音乐文化的博大精深。当地时间7月13日,2013枫华国际艺 相似文献
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Hendrik Sonnabend 《Journal of Cultural Economics》2016,40(4):529-545
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
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Samuel Cameron 《Journal of Cultural Economics》2016,40(1):1-12
This paper contextualises research on the economics of music. The papers considered represent a crossroad in economics music research. One branch is the most heavily explored area of the impact of digital technology on consumption of music. The others comprise one entirely new topic which is crowd-sourced funding of new music recordings. The other topics are extremely old in terms of relevance but very new in terms of there being little prior economic analysis. These are environmental damages from musical activity and the efficiency of belonging to a pop–rock musical ensemble versus being a solo artist. 相似文献
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This article addresses the business of film music in mainstream Nollywood. It does so by focusing on the materiality of the industry as an institution: its social organisation and systems of film music production; markets; networks; and power relations. Specifically, the arguments rely on social organisational theories, and economic concepts such as vertical integration and market competition alongside inferences from interviews with insider-practitioners. Findings reveal that the Nollywood film music industry is characterised by non-institutionalised vertical integration within a perfectly competitive market in which its film music composers are, essentially, competing without advantage. 相似文献
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Andrew E. Burke 《Journal of Cultural Economics》1996,20(2):145-164
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
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我曾几次访问过一位白衣布履的智者,他就是来自台湾的著名学者、禅人、文艺评论家林谷芳先生。他贯通中国传统文化中的音乐、绘画、文史哲各大门类,在台湾被称为几十年来唯一持中国牌的文化标杆。少年时泛舟湖面,一曲空灵笛乐触发了林谷芳的生命情思。如此这般不可思议之因缘使得音乐最终成为林谷芳生命观照中的焦点。三十多年后,他出版了著作《谛观有情—中 相似文献
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Section 1 introduces the hypothesis that competition among neighboring states may favor cultural innovation, and it surveys
the available quantitative evidence. Section 2 starts from the assumption that European instrumental music had its breakthrough
during the Baroque era and that the most famous composers came from the two countries characterized by the highest degree
of political fragmentation: Italy and Germany. It suggests that political fragmentation has promoted musical composition and
performance in several ways. The average duration of employment is proposed as a proxy for competition on the demand side.
Section 3 shows that the most famous Italian and German composers of the Baroque period changed their employers significantly
more often than their French and British counterparts did. Moreover, the Reformation led to musical competition between the
Catholic and Protestant churches. Section 4 argues that competition for composers has also been important in other periods
of European history – including competition between the Church and the courts. It shows that composers moved no less in the
Renaissance than in the Baroque. Section 5 raises the question whether European music may also be said to express a competitive
spirit.
JEL classification: Z11 相似文献
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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
14.
中国城市发展已步入存量提升阶段,城市保护与更新工作愈发重要.城市形态类型学是一门分析城市物质要素形态特征、总结城市形态发展内在规律的学科,对指导城市保护与更新具有理论与现实意义.通过对城市形态类型学理论的剖析,构建可用于传统城市形态类型分析的8个研究要素:区域、城镇、三维空间、街道网络和街道、街区、地块、公共空间、建筑... 相似文献
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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
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This paper analyses the performance of an investment in sculpture during theperiod 1987–1995 by applying the hedonic price technique with time dummyvariables to a sample of over 27,000 sales at auctions. The main finding isthat the adjacent year price index differs substantially between theinexpensive/middle portfolio and the expensive portfolio. The first showsthe existence of a boom period until 1990, followed by a non boom period. Bycontrast, the return of an investment in the expensive portfolio performedsomewhat better during the period analysed, with the only fall in the priceindex in 1990 and 1991. 相似文献
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Klingner Stephan Miller Mihail Becker Michael Schumacher Frank 《Journal of Cultural Economics》2021,45(4):633-670
Journal of Cultural Economics - In the competitive, increasingly international music business, publishers are developing new ways to increase effectiveness and efficiency of the monetization of the... 相似文献
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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
19.
For-profit popular music concerts, a seldom studied event, may create sizeable economic impacts in a local economy. Using
information from a survey of more than 1,000 concert goers to a Grateful Dead performance in Las Vegas and RIMS II multipliers,
we estimate income and employment impacts. We conclude that the potential large spill-overs effects of such an event should
not be ignored.
This revised version was published online in August 2006 with corrections to the Cover Date. 相似文献
20.
《Journal of Cultural Economy》2013,6(3):239-268
What is a global price? Studying the making of prices in spot, options and futures markets, the article ethnographically addresses this question by using world cotton trade as its empirical context. It argues that global market prices are not set by the mere coming together of demand and supply, but are produced as mercantile tools. These tools or prosthetic prices are realized by a multiplicity of actors. The article shows that instead of focusing narrowly on price setting, policy makers and researchers should attend to the conditions of price realization. In world and regional markets, prices are realized in multiple forms. Drawing on contemporary economic anthropology and sociology, the article maps the rich world of prices in their multiple manifestations and processes of realization. Price realization in the world cotton market is performed and maintained by constant interventions in the making of the markets and their prices through different forms of perceptions, scientific assumptions, standardizations of the object of exchange, various calculative tools, rumours and indexes. In conclusion, the article hints at the political implications and social scientific consequences of seeing the world price as a mercantile prosthesis. 相似文献