Music production-consumption and the service-good spectrum under the sway of a shift within a shift
Main Article Content
صندلی اداریAbstract
Nowadays music constitutes a phenomenon whose complexion entangles aspects simultaneously related to society, culture, art, business, and technology. Due to the combined influence of these aspects, music production-consumption acquires some unique features. Added to that, the swift evolution and growing influence of the economic-technological association have increasingly affected music as a sociocultural phenomenon, as an art form, and as a corporative business, increasing the complexity of an already convoluted context. Given the composite and dynamic constitution of the music field, the present approach departs from a multidisciplinary analysis, establishing a methodological groundwork that comprehends conceptual and qualitative research, elaborated through exploratory study.
Under a standard economic perspective, music production-consumption belongs in the structure of the music supply chain, presenting a rather uncertain status between service and good. Apart from the economic understanding, however, music comprises a wide variety of manifestations, which do not suit conventional production-consumption processes. In order to cope with the inexorable duality of this paradoxical coexistence, this study proposes a model intended to contribute to the building of a comprehensive knowledge on music production and consumption.
As this model departs from some specific flows of music production and consumption, it creates an array of patterns, pinpointing their situation within the service-good spectrum. In addition, it considers Digital Revolution and globalized communications as enablers that affect the foundations of traditional music, unbalance routine flows inside the supply chain of the music industry and cause music production-consumption relationships to shift their status from product-oriented to service-oriented.
Downloads
Article Details
1. Proposal of Policy for Free Access Periodics
Authors whom publish in this magazine should agree to the following terms:
a. Authors should keep the copyrights and grant to the magazine the right of the first publication, with the work simultaneously permitted under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 that allows the sharing of the work with recognition of the authorship of the work and initial publication in this magazine.
b. Authors should have authorization for assuming additional contracts separately, for non-exclusive distribution of the version of the work published in this magazine (e.g.: to publish in an institutional repository or as book chapter), with recognition of authorship and initial publication in this magazine.
c. Authors should have permission and should be stimulated to publish and to distribute its work online (e.g.: in institutional repositories or its personal page) to any point before or during the publishing process, since this can generate productive alterations, as well as increasing the impact and the citation of the published work (See The Effect of Free Access).
Proposal of Policy for Periodic that offer Postponed Free Access
Authors whom publish in this magazine should agree to the following terms:
a. Authors should keep the copyrights and grant to the magazine the right of the first publication, with the work simultaneously permitted under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 [SPECIFY TIME HERE] after the publication, allowing the sharing of the work with recognition of the authorship of the work and initial publication in this magazine.
b. Authors should have authorization for assuming additional contracts separately, for non-exclusive distribution of the version of the work published in this magazine (e.g.: to publish in institutional repository or as book chapter), with recognition of authorship and initial publication in this magazine.
c. Authors should have permission and should be stimulated to publish and to distribute its work online (e.g.: in institutional repositories or its personal page) to any point before or during the publishing process, since this can generate productive alterations, as well as increasing the impact and the citation of the published work (See The Effect of Free Access).
d. They allow some kind of open dissemination. Authors can disseminate their articles in open access, but with specific conditions imposed by the editor that are related to:
Version of the article that can be deposited in the repository:
Pre-print: before being reviewed by pairs.
Post-print: once reviewed by pairs, which can be:
The version of the author that has been accepted for publication.
The editor's version, that is, the article published in the magazine.
At which point the article can be made accessible in an open manner: before it is published in the magazine, immediately afterwards or if a period of seizure is required, which can range from six months to several years.
Where to leave open: on the author's personal web page, only departmental websites, the repository of the institution, the file of the research funding agency, among others.
References
ADLER, M. (1985) Stardom and talent. The American Economic Review, v. 75, n. 1, p. 208–212.
ALEXANDER, P. J. (1994) New Technology and Market Structure: Evidence from the Music Recording Industry. Journal of Cultural Economics, v. 18, n. 2, p. 113–123. Retrieved from http://www.peterjalexander.com/images/New_Technology_and_Market_Structure.pdfAccess: 02/01/14.
BENHAMOU, F. (2007) A economia da cultura, Translated by Souza, G. G.. Cotia‐SP: Ateliê Editorial.
BURKHOLDER, J. P.; GROUT, D. J.; PALISCA, C. V. (2010) A history of Western music. New York: WW Norton.
CONARD, N. J.; MALINA, M. (2008) New evidence for the origins of music from caves of the Swabian Jura, in: BOTH, A.A. et al. (Eds.), Orient-Archäologie, n. 22, p. 13–22. Retrieved from http://www.academia.edu/download/30927770/new_flutes-conard-malina-muenzel-2009.pdf Access: 11/14/13.
CONARD, N. J.; MALINA, M.; MÜNZEL, S. C. (2009) New flutes document the earliest musical tradition in southwestern Germany. Nature, v. 460, n. 7256, p. 737–740. Retrieved from http://134.2.48.77/fileadmin/website/arbeitsbereich/ufg/urgeschichte_quartaeroekologie/publikationen/Conard_Malina_M__nzel_Flutes_Nature_2009.pdf. Access: 11/14/13.
COOK, N.; DIBBEN, N. (2010) Emotion in Culture and History, in: JUSLIN, P. N.; SLOBODA, J. A. (Eds.), Handbook of music and emotion: theory, research, applications. Oxford University Press, p. 45–72.
CREATIVE COMMONS (2009) Defining “noncommercial” a study of how the online population understands “noncommercial use.” Creative Commons Corporation: San Francisco, CA. Retrieved from http://mirrors.creativecommons.org/defining-noncommercial/Defining_Noncommercial_fullreport.pdf. Access: 12/04/11.
DOWNS, P. G. (1992) Classical music: the era of Haydn, Mozart, and Beethoven, New York: WW Norton.
GENDRON, B. (1986) Theodor Adorno Meets the Cadillacs, in: MODLESKI, T. (Ed.), Studies in entertainment: Critical approaches to mass culture. Indiana University Press, p. 18–36. Retrieved from http://users.ipfw.edu/tankel/pdf/gedron.pdf. Access: 02/02/14.
GOODRICH, P.; RENARD, S.; ROSSITER, N. (2011) Social network analysis of the music industry: from barrel organ To Youtube. Retrieved from http://www.w.aabri.com/NC2011Manuscripts/NC11083.pdf. Access: 02/03/14.
GRAHAM, Gary, et al. (2004) The transformation of the music industry supply chain: A major label perspective. International Journal of Operations & Production Management, v. 24, n. 11, p. 1087-1103. Retrieved from www.emeraldinsight.com/researchregister Access: 11/01/2013.
HERSCHMANN, M. (2010) Indústria da música em transição, São Paulo: Estação das letras e cores.
IFPI (2012) IFPI digital music report 2012, London: IFPI. Retrieved from http://www.ifpi.org/content/section_resources/dmr2012.html Access: 01/29/14.
IFPI (2013) An industry on the road to recovery: Facts and figures. IFPI digital music report 2013, London. Retrieved from http://www.ifpi.org/content/section_resources/dmr2013.html. Access: 01/29/14.
JONES, S. (2000) Music and the Internet. Popular Music, v. 19, n. 2, p. 217–230. Retrieved from http://journals.cambridge.org/PMU. Access: 02/02/14.
KRIMS, A. (2007) Music and Urban Geography. Routledge: Taylor and Francis Group: New York.
MARTIN, P. J. (1997) Sounds and society: Themes in the sociology of music, Manchester University Press, Manchester.
MORLEY, I. (2009) Ritual and music: Parallels and practice, and the Paleolithic. Becoming Human: Innovation in Prehistoric Material and Spiritual Culture. Cambridge University Press, p. 159–175.
PRESTES FILHO, L. C. (Coord.) (2005) Cadeia produtiva da economia da música, Rio de Janeiro: Instituto Gênesis/ PUC-RJ.
RAYNOR, H. (1972) A social history of music: From the Middle Ages to Beethoven, London, Barrie & Jenkins.
RENARD, S. (2010) Unbundling the supply chain for the international music industry. Manchester, New Hampshire, 2010. 155f. Doctor of Business Administration (D.B.A.) Dissertation - International Business, School of Business Southern New Hampshire University Retrieved from http://academicarchive.snhu.edu/bitstream/handle/10474/474/int2010renard.pdf. Access: 02/01/2014.
ROSEN, S. (1981) The economics of superstars. The American economic review, v. 71, n. 5, p. 845-858.
STOLBA, K. M. (1990) The Development of Western Music: A History, Dubuque, Wm. C. Brown Publishers.
THROSBY, D. (2002) The music industry in the new millennium: Global and local perspectives. Global Alliance for Cultural Diversity. Paris: UNESCO–Division of Arts and Cultural Enterprise. Retrieved from http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.199.8085&rep=rep1&type=pdf. Access: 02/02/2014.