Record Companies Research Articles

Poverty among riches: understanding the contracted economy for recorded music and its impact on market actors

ABSTRACT More people are listening to more recorded music than any other time in history. While record labels have largely rebounded from the lean ‘Napster years’ of the early 2000s, remuneration for artists remain low. This article moves beyond an investigation of label-artist contracts – largely blamed for low recording royalties – and considers the broader array of consequences brought by the institutional structure of the streaming economy. Three factors explain dynamics within the music economy: music as a non-rival, non-excludable good; digital service providers (DSPs) as interchangeable market substitutes; and the concentration of Major Label market power due to their discretion to grant or withhold catalog access to DSPs. The ultimate consequence of this market structure is to depress prices in the music economy; value that can be captured largely rests with rights holders. With the DSPs as nearly perfect substitutes, the music industry is constrained in its ability to increase its revenues. Due to market power asymmetries, the burden of this contracted market size is borne by musicians, and to a lesser extent, by DSPs. To illustrate the problematic dynamics of the music streaming economy, music is compared to another non-rival, non-excludable good with a divergent market structure and outcomes: video streaming.

Analysis of Distribution and Content of Music Industry in the We-Media Era

The We Media Era has revolutionized the music industry, transforming both distribution and content. Music, a universal language that transcends cultures, has found new avenues of expression and connection through the internet and self-media platforms. Independent artists have gained unprecedented access to global audiences, challenging the dominance of traditional record companies. Nevertheless, concerns have arisen regarding the balance between distribution and content. In the quest for online visibility, there is a risk of compromising the quality and substance of music. This essay traces the evolution of the music industry from its inception to the We Media Era, emphasizing the profound impact on both distribution and content. While democratized distribution opens new horizons, safeguarding the integrity and artistic essence of music remains paramount. As the industry continues its evolution, it must navigate the delicate equilibrium between accessibility and quality, ensuring that music endures as a vibrant and indispensable form of human expression.

Declarations and Independents: How Chicago DJ Al Benson Brought Black Cultural Production to 1940s Commercial Radio

ABSTRACT Al Benson’s legacy as one of the first Black DJs on commercial radio is widely acknowledged in Black radio studies. However, his achievements and contributions warrant inclusion in more interdisciplinary scholarship, particularly in popular music and media histories. This article analyzes a surviving Benson aircheck, first contextualizing his role during the mid-century boom in independent record labels and local radio, then showing how he refashioned popular music narratives as Black-mediated sites of cultural production. Additionally, the modest scope of primary sources available for this study brings critical attention to the need to preserve Black radio voices.

Ivo Stolařík's contribution to the research into the musical culture of northeast Moravia and Czech Silesia

Ivo Stolařík was certainly the most important researcher in the field of music-historical and ethnographic research in northeast Moravia and "Czech" Silesia. The authors of the study evaluate the lifelong contribution of this scholar to music history and folklore studies. Stolařík was the first (before the arrival of other musicologists in Ostrava in the second half of the 20th century, graduates of musicology from the universities in Brno or Olomouc, such as Vladimír Gregor, Miroslav Malura, Karel Boženek and others) to begin to systematically research the musical culture of the wider Ostrava region. This was firstly in the Department of Musicology of the Silesian Study Institute in Opava (from 1958 the Silesian Institute of the Czechoslovak Academy of Sciences) where he virtually laid the foundations for systematic research into the musical culture of the region. Stolařík was very active both in scientific publishing and in his other jobs, as Director of the Ostrava State Philharmonic (renamed the Janáček Philharmonic in 1971), A&R Specialist of the Supraphon record label in Prague, and before his retirement at the Wallachian Open Air Museum in Rožnov pod Radhoštěm. The paper also presents analytical probes into Stolařík's two most important monographs, Umělecká hudba v Ostravě 1918–1938 (Art Music in Ostrava 1918–1938) and Hrčava. Monografie goralské obce ve Slezsku (Hrčava. A Monograph of a Goral Village in Silesia).

Platform Power Struggle: Spotify and the Major Record Labels

Platform Power Struggle: Spotify and the Major Record Labels

Makna Tersembunyi Pada Video Klip “Jiwa Yang Bersedih” Milik Ghea Indrawari

Video clips are a means of promotion and expression for those involved in the world of entertainment everywhere, including in Indonesia. The discussion in this research is Ghea Indrawari's video clip, directed by Joshua Axel Limandjaja on the record label Hits Records. This research is a type of descriptive qualitative research which uses a communication science approach, specifically focusing on mass communication, one of the objects of research is the video clip in question. Meanwhile, the data collection method used in this research is Ferdinand Saussure's semiotic theory, observation is also of course documentation to strengthen and serve as authentic evidence. Otherwise, the sources for this research also came from the researcher's book, search results from several research supporting articles on confirmed website pages as well as supporting documents both outside the network and on other networks. The next step is that the collected data is immediately analyzed. The results of the analysis are data education regarding the theory used, explanation and conclusions.

Report: The global music landscape, the role of record companies, and ongoing innovations in the industry

Report: The global music landscape, the role of record companies, and ongoing innovations in the industry

Decentralized App for music Streaming

Abstract: Music has always been a way for artists to express themselves. The music industry has grown exponentially in the last few years with the emergence of digital music streaming platforms. However, streaming platforms for streaming music are centralized, so artists only receive a small part of the revenue and still have no control. Respect their content. Cases of plagiarism are on the rise in the music industry, so there is a need to use technology that can help artists. Currently, there is a need for technological change that will give artists control and transparency over their content. According to the current system, artists are registered with record labels, streaming platforms, etc. must rely on many intermediaries such as to eliminate this problem, our article focuses on blockchain decision-making approach where artists and users can interact directly to upload, buy songs, and pay Royalties. Artists can submit their music to the DApp to ensure ownership and avoid the impact of piracy. Users can buy and stream music from independent artists or support artists with purchases and donations using Ethereum.

THE COMMODIFICATION OF POPULAR MUSIC IN DIGITAL ERA (Case Study of Music Label’s Sun Eater)

The development of digital technology has changed the business structure of the music industry. The presence of social media and music streaming services adds to the size of the music industry itself, starting from the intersection of various actors (music labels, artists/musicians, music streaming service applications, music consumers), interests (business and state regulations), to power (distribution networks), especially in the perspective of the political economy of communication. In the context of this research, the object of research is the independent music label Sun Eater. This study uses a qualitative research method with an intrinsic case study approach. In line with that the data collection used is observation, in-depth interviews and documentation studies. The results of this study indicate that the content commodification carried out by Sun Eater as a music label is not focused on the music itself. But it wraps up the issues of today's youth and makes them like lyrics, pictures and videos. In audience commodification, Sun Eater does not put the audience as mere music fans. However, with a consumer-centric and data driven approach, Sun Eater treats their audience (music fans) like mass media, by “selling” back on advertisers on various digital platforms. Finally, the Commodification of Workers, that musicians are not just music workers. Moreover, Sun Eater places musicians as workers who have other responsibilities, ranging from filming digital content, interacting with fans on social media, to photo shoots with advertisers.

IMPLEMENTASI METODE IFAS EFAS DALAM PENENTUAN STRATEGI BISNIS VI HIGH LABEL RECORD

This thesis examines the business strategy of VI High Label Record in facing the commercial advertising industry. The research involves the analysis of SWOT, IFAS, EFAS, and IE matrices to identify factors influencing the company. The analysis reveals that VI High Label Record's main strength lies in "Commercial music usage," with a weakness in "Lack of physical offline sales market." The most significant opportunity is the "Continuous growth of the digital music industry," while the primary threat is "Rapid changes in music trends." The results of the IFAS and EFAS analyses indicate that the company's strengths outweigh its weaknesses (3.0>1.4), and opportunities outweigh threats (2.5>1.0). VI High Label Record is positioned in IE matrix cell II, suggesting a "Grow" and "Build" strategy. Recommendations include enhancing product marketing, international expansion, developing recording infrastructure, collaborating with influencers and social media, as well as backward and forward integration. This research aids record labels in devising strategies to confront advertising industry challenges and maintain their positions. The findings offer practical guidance for VI High Label Record and contribute to the music industry's understanding of record label challenges.

From chart-topper to gold record: The effects of Billboard chart popularity on RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in the Pre-SoundScan and SoundScan eras, 1977–2008

IntroductionThe purpose of this paper was to examine the effects of genre-specific and mainstream Billboard chart popularity on RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in the Pre-SoundScan (1977–1992) and SoundScan (1993–2008) eras. The first aim was to determine if there were any statistically significant differences in genre-specific and mainstream popularity between singles that achieved RIAA gold or platinum certification and those that did not reach that pinnacle in both eras. The second aim assessed the relative predictive power of genre-specific and mainstream popularity on RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in the Pre-SoundScan and SoundScan eras while controlling for established brand. MethodsIn this comparative assessment of the relationships between Billboard chart data and RIAA gold/platinum certification data in the Pre-SoundScan and SoundScan eras, genre-specific popularity was measured by total weeks at #1 on Billboard's R&B/Hip-Hop charts and total weeks on the charts regardless of position. Mainstream popularity was evaluated with peak position on Billboard's Pop charts. The established brand construct was assessed with the artist's total prior #1 R&B/Hip-Hop singles and total prior #1s by the record label. ResultsA Mann–Whitney U test revealed statistically significant differences in mainstream popularity between gold or platinum singles and non-gold or platinum singles in both the Pre-SoundScan and SoundScan eras. Statistically significant differences in genre-specific popularity were also observed in both periods, but not in the hypothesized direction in the SoundScan era. A binary logistic regression model demonstrated that the two popularity constructs, while controlling for established brand, predicted RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in both the Pre-SoundScan and SoundScan eras. The model better predicted gold or platinum certification in the Pre-SoundScan era. The most powerful predictor was mainstream popularity in both eras. ConclusionGold or platinum certified #1 R&B/Hip-Hop singles had a significantly higher peak position on the mainstream Pop charts than those not certified gold or platinum in both the Pre-SoundScan and SoundScan eras. When observing genre-specific popularity, gold or platinum singles spent significantly more total weeks on the R&B/Hip-Hop charts than non-gold or platinum singles in the Pre-SoundScan era. In contrast, the reverse was observed in the SoundScan era. Mainstream popularity, as measured by peak position on the Pop charts, and genre-specific popularity, as measured by total weeks on the R&B/Hip-Hop charts, were good predictors of gold or platinum certification in both the Pre-SoundScan and SoundScan eras. The model was a better predictor of RIAA gold or platinum certification in the Pre-SoundScan era, suggesting that the Billboard chart methodology in the earlier era was more aligned with the RIAA auditing process than the SoundScan era methodology. Findings also raise questions about whether the initial exclusion of several African American independent retailers, who were generally the primary source for sales data in the Pre-SoundScan era, reduced the validity of SoundScan sales data. In other words, did the SoundScan data measure what it intended to measure, which was the popularity of R&B/Hip-Hop singles among the target audience of that genre? Future research should examine how the transition to SoundScan may have contributed to redefining the target audience for R&B/Hip-Hop music, impacted the quantity and quality of R&B/Hip-Hop music available to the public, and the effects of those outcomes on the broader culture and society. Areas of InterestRecording industry, organizations, stratification, race and ethnic relations, medical sociology, political sociology, quantitative and qualitative methods.

Free music streaming for Kenyan independent artists: A blessing in disguise?

The Fourth Industrial Revolution (4IR) has left an indelible mark on the music industry, driven by technological innovations. In Kenya, on-demand music streaming and downloading platforms have emerged as potent tools, empowering independent artists to access broader audiences without the traditional reliance on record labels or physical distribution channels. However, this transformative model has ignited debates within the industry. While some artists thrive in this access-based ecosystem, concerns loom large over the platforms' intermediary roles and the meagre royalties disbursed to artists, underscoring an urgent call for equitable compensation. This study takes a qualitative approach, utilising in-depth interviews and secondary data analysis, to delve into the impact of free music streaming and downloading platforms on independent artists in Kenya. It unravels a complex tapestry of both positive and negative impacts on these artists. The discussion concludes by shedding light on the opportunities that have arisen for artists due to the prevalence of free music streaming services. Ultimately, this study puts forth recommendations geared toward fostering a sustainable and fair music industry. It seeks to deepen our comprehension of the evolving dynamics within the Kenyan music industry, inform policies and strategies tailored to the digital age, and attempt to address the persistent concerns surrounding artist compensation and the role of technology in the field.

Evolyucionnaya dinamika sektora otkrytyh innovacij: obshchestvennaya nauka, kommercializaciya i akademicheskoe uchastie na primere muzykal'noj industrii

Globalization and the development of digital technologies have led to a fundamental change in the music industry in all countries of the world. The traditional closed model of music commerce, in which the record companies played the leading role, has changed to an open innovative form, where the music artist could directly interact with the listener and distribute the product of his work through appropriate Internet services and special platforms. This article aims to study the evolutionary path of development of the music industry from the point of view of the comprehensive introduction of open innovations, social and academic influence, and commercialization.

Affective Landscapes, Scenes, and Arrangements

This article discusses the affective dynamics of two interwoven spheres of musical life: on the one hand, the sphere of local musical engagements, often connected to the notion of scene; on the other, the sphere of digital music promotion and distribution via social media and streaming platforms. The almost omnipresent importance of the latter raises questions about motivational investments in local music-making in digital times. The discussion takes off from three conceptions of affect in the context of digital media and music: first, the idea of ‘affective landscapes’ (Bucher 2018), which designates the experience of media environments as a locus of micropolitical contestation; second, the concept of ‘affective scenes’ (Bennett 2013), which identifies shared feelings and knowledge, and the intensity of being part of something that is alive, as integral to scene participation; third, the notion of ‘affective arrangements’ (Slaby 2019), which concerns the affordance of specific affects by constellations of, for example, commercial and techno-scientific terms. Although affective scenes may be considered a type of affective arrangement, the latter seems especially relevant to contemplating the impact of platform logics on everyday musical engagements. This is done from the perspective of a small group of Brisbane-based record labels. Specifically, it is claimed, intensive dynamics in local involvement are to some extent pressured by digital opportunities and obligations. This amounts to a striating of the affective scene and an adverse affective landscape surrounding the experience of digital platforms, a landscape marked by micropolitical tensions in addition to socio-technological circumstances.

Social Media Marketing Strategy in Chinese Musical Theatre Industry

The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media.

Effects of Innovation Culture on the Performance of Genge Music Production Companies in Starehe Sub-County, Nairobi County, Kenya

The Kenya Vision 2030 identifies music and performing arts as one of the sectors that can contribute towards transforming Kenya into a globally competitive and prosperous country with a high quality of life by 2030. In particular, the Genge music industry has the potential to create employment for many young people in the country due to the appeal that this music genre has to youth. However, Genge music production companies have not been effective in creating stable employment and entrepreneurial opportunities for many young people. In this regard, the study sought to examine the effect of innovation culture on the performance of Genge music production companies in Starehe Sub-County, Nairobi County, Kenya. The study made use of the convergent parallel research design that combined quantitative and qualitative research approaches. The quantitative component of the study targeted a population of 252 workers in six Genge music production companies located in Starehe Sub-County, while the qualitative component targeted 10 directors of the Music Copyright Association of Kenya (MCSK) and Kenya Association Music Producers (KAMP). A sample of 70 workers was selected using the proportionate random sampling method for the purposes of collecting quantitative data using survey questionnaires. On the other hand, qualitative data was collected using interview guides from six directors of the MCSK and KAMP that were selected purposively. Findings revealed that Genge music companies have performed relative well in terms of generating revenues to meet their costs, signing new artists, and increasing revenues from music streams. However, the firms have not excelled when it comes to providing adequate remuneration to artists. The study found a statistically significant positive association between the performance of Genge music production companies and innovation culture (β =.607, t = 5.785, p =.002). The finding led to the conclusion that inculcating an innovation culture would enhance the performance of the Genge music production companies. The study recommends that policymakers at the State Department of Culture and Heritage should enhance enforcement of copyright law to promote innovation culture. If implemented, the recommendation will be of benefits to Kenyan youth interested in making a career in the music production value chain, either as artists, sound engineers, videographers, song writers, or marketers, among other music production professions.

Analyzing Social Media Strategy in Korean Music Industries

The Korean Wave (K-wave), also known as Hallyu, is the term used to describe the phenomenon of Korean pop culture, including TV dramas, movies, pop music, fashion, and online games, becoming widely popular and shared among the people of Japan, China, Hong Kong, Taiwan, and other Asian nations. Korean pop music, also known as K-pop, became a major component of the second K-wave after the first K-wave's drama-focused craze. Additionally, K-pop's fanbase has grown outside of Asia to the West thanks to the quick adoption of social media platforms like YouTube and Twitter. The popularity of K-pop throughout the world helps to improve the perception of "Korea" and has a positive effect on the Korean economy. According to reports, Korea has 1,000 active entertainment agencies in addition to the "big three" record labels and agencies: SM Entertainment, YG Entertainment, and JYP Entertainment. In this instance, we talk about the K-pop phenomenon's global appeal and how social media has contributed to the genre's recent boom. Our lessons on how to manage social media strategically, with a focus on the major agencies mentioned above, include: aligning your strategic business model with social media; maximizing different social media channels; enticing customers with on- and offline promotions; and stimulating audience with exclusive content.

Mzansi Magic

Mzansi Magic

Songwriters vs. the recording industry: the use and abuse of statistics in UK streaming debates

AbstractIn Britain, the Select Committee of the government department for Digital, Culture, Media and Sport has investigated the economics of streaming and recommended that the share of revenues for record companies should decrease so that songwriters can earn more. This article addresses lobbying activity that has resulted from this recommendation. To support their causes, songwriter representatives and record company organisations have made incorrect or misleading use of data from the report Music Creators’ Earnings in the Digital Age. This article looks at the impact of these uses and provides corrections and alternatives to the statistics that have been employed. It also looks at the importance of the issues that have been raised. In conclusion, it addresses aspects of record company accounting that will need to be considered if an increase for songwriters is to be made at their expense.

‘Fuck Art, Let’s Dance’: An interview with Chris Morton

Born in Singapore, Chris Morton moved with his family to England as a young child, settling in the north-east in the early 1960s. His passion and talent for drawing was reflected in his love of comics and animation, later with a combined interest in music leading him to underground magazines and posters associated with the hippie counterculture. After having to leave art college early in 1975, he found himself in the right place at the right time and was commissioned to create a graphic identity for a new independent record label based in London – Stiff Records. Still running a design studio in Newcastle, he discusses punk, new wave, typography, print technologies, humour, parody and graphic design with Russ Bestley.