1,721,017 research outputs found
Introduction to "Business Innovation and Disruption in Publishing"
No full textThis is the first volume in a book series examining how organizations in the creative\ud
industries (see preface for extensive discussion of creative industries) respond to\ud
disruptive change and how they themselves generate business innovations. The papers\ud
included in the volume examine the processes of disruption and transformation due to\ud
the technology of the Internet, social forces driven by social media, the development\ud
of new portable digital devices with greater capabilities and smaller size, the\ud
decreasing costs of new information, and the creation of new business models and\ud
forms of intellectual property ownership rights for a digitized industry..
Introduction to "Business innovation and disruption in the music industry"
No full textSimilar to most other creative industries, the evolution of the music industry is heavily shaped by media technologies. This was equally true in 1999, when the global recorded music industry had experienced two decades of continuous growth largely driven by the rapid transition from vinyl records to Compact Discs. The transition encouraged avid music listeners to purchase much of their music collections all over again in order to listen to their favourite music with ‘digital sound’. As a consequence of this successful product innovation, recorded music sales (unit measure) more than doubled between the early 1980s and the end of the 1990s. It was with this backdrop that the first peer-to-peer file sharing service was developed and released to the mainstream music market in 1999 by the college student Shawn Fanning. The service was named Napster and it marks the beginning of an era that is now a classic example of how an innovation is able to disrupt an entire industry and make large swathes of existing industry competences obsolete. File sharing services such as Napster, followed by a range of similar services in its path, reduced physical unit sales in the music industry to levels that had not been seen since the 1970s. The severe impact of the internet on physical sales shocked many music industry executives who spent much of the 2000s vigorously trying to reverse the decline and make the disruptive technologies go away. At the end, they learned that their efforts were to no avail and the impact on the music industry proved to be transformative, irreversible and, to many music industry professionals, also devastating. Thousands of people lost their livelihood, large and small music companies have folded or been forced into mergers or acquisitions. But as always during periods of disruption, the past 15 years have also been very innovative, spurring a plethora of new music business models. These new business models have mainly emerged outside the music industry and the innovators have been often been required to be both persuasive and persistent in order to get acceptance from the risk-averse and cash-poor music industry establishment. Apple was one such change agent that in 2003 was the first company to open up a functioning and legal market for online music. iTunes Music Store was the first online retail outlet that was able to offer the music catalogues from all the major music companies; it used an entirely novel pricing model, and it allowed consumers to de-bundle the music album and only buy the songs that they actually liked. Songs had previously been bundled by physical necessity as discs or cassettes, but with iTunes Music Store, the institutionalized album bundle slowly started to fall apart. The consequences had an immediate impact on music retailing and within just a few years, many brick and mortar record stores were forced out of business in markets across the world. The transformation also had disruptive consequences beyond music retailing and redefined music companies’ organizational structures, work processes and routines, as well as professional roles. iTunes Music Store in one sense was a disruptive innovation, but it was at the same time relatively incremental, since the major labels’ positions and power structures remained largely unscathed. The rights holders still controlled their intellectual properties and the structures that guided the royalties paid per song that was sold were predictable, transparent and in line with established music industry practices
Introduction to "International Perspectives on Business Innovation and Disruption in the Creative Industries\ud Film, Video and Photography"
No full textThe creative industries are particularly fecund empirical fields for investigating\ud
the processes of business innovation and disruption. The creative\ud
industries are some of the fastest growing sectors in many economies\ud
(European Commission, 2001; OECD, 2006; United States Census Bureau,\ud
2010) and thus are worthy of study in their own right. Additionally, the\ud
study of the creative industries affords insights into how we understand\ud
the current economic transformation towards knowledge- based economies\ud
more broadly. The transformation toward knowledge- based economies\ud
has been foreshadowed by the transformation of creative industries such\ud
as publishing, film, video, photography, music and so on..
International Perspectives on Business Innovation and Disruption in Design
No full textThe third volume of the <i>International Perspectives on Business Innovation and Disruption</i> book series focuses on the role of design innovation in transforming industry practice. An international cast of scholars and practitioners examine how design innovation is impacting\ud
the creation of new business models, innovative forms of service delivery, multinational innovation practices, the role of aesthetics and psycho-spatial dynamics in fostering innovation, and the types of design capabilities found in the most innovative businesses worldwide. Theoretically, many of the chapters focus upon design thinking and conceptualize design as a user centered, empathic and participative practice that allows diverse stakeholders to creatively contribute to business innovation
Business Innovation and Disruption in Publishing
No full textThis is the first volume in a book series examining how organizations in the creative industries respond to disruptive change and how they themselves generate business innovations. The aspiration of this book series is to understand some of the common forces behind the disruptions occurring in so many creative industries today and identifying the most promising strategies and responses by organizations to create new value propositions, business models and business practices that can enable these industry participants to cope with and eventually thrive as their industries and sectors are transformed. The chapters included in the volume examine the processes of disruption and transformation due to the technology of the Internet, social forces driven by social media, the development of new portable digital devices with greater capabilities and smaller size, the decreasing costs of new information, and the creation of new business models and forms of intellectual property ownership rights for a digitized industry. \ud
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The context for this volume is the publishing industries, understood as the industries for the publishing of fiction and non-fiction books, academic literature, consumer as well as trade magazines, and daily newspapers. This volume includes chapters by an internationally diverse array of media scholars whose chapters provide insights into these phenomena in Eastern Europe, Finland, France, Germany, Norway, Portugal, Russia, and the United States, using different methodological frameworks including, but not limited to, surveys, in-depth interviews and multiple-case studies.\ud
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One gap that this book series seeks to fill is that between the study of business innovation and disruption by innovation scholars largely based in business school settings and similar studies by scholarly experts from non-business school disciplines, including the broader social sciences (e.g. sociology, political science, economic geography) and creative industry based professional school disciplines (e.g. architecture, communications, design, film making, journalism, media studies, performing arts, photography and television). Future volumes of this book series will examine disruption and business innovation in the film, video and photography sectors (volume two), the music sector (volume three) and interactive entertainment (volume four), with subsequent volumes focusing on the most relevant developments in creative industry business innovation and disruption that emerge
The Music Industry : Music in the Cloud, 1st edition
No full text"The music industry is going through a period of immense change brought about in part by the digital revolution. What is the role of music in the age of computers and the internet? How has the music industry been transformed by the economic and technological upheavals of recent years, and how is it likely to change in the future?\ud
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This is the first major study of the music industry in the new millennium. Wikström provides an international overview of the music industry and its future prospects in the world of global entertainment. He illuminates the workings of the music industry, and captures the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public." -- back cover\ud
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Table of Contents\ud
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Introduction: Music in the Cloud\ud
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Chapter 1: A Copyright Industry. \ud
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Chapter 2: Inside the Music Industry\ud
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Chapter 3: Music and the Media\ud
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Chapter 4: Making Music - An Industrial or Creative Process\ud
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Chapter 5: The Social and Creative Music Fan\ud
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Chapter 6: Future Sound
Diversity in Creative Teams: a Theoretical Framework and a Research Methodology for the Analysis of the Music Industry
No full textThe success of many creative projects depends on how people are able to work uniformly in
teams that are composed just for a limited time and without any expectations for further
collaborations. In addition, each team member is different from the others because of their
own experience, technical background and beliefs. Even though diversity has been
recognized to be a source of creativity, various studies show contrasting results of its effect
on teams’ performances: positive, negative and nonsignificant. For this reason, this research
aims at contributing to this field through the proposition of a theoretical framework and a
research methodology that might be used in future studies to analyze the effects of team
diversity on an unexplored setting: the music industry
A typology of music distribution models
No full textA typology of music distribution models is proposed consisting of the ownership model, the access model, and the context model. These models are not substitutes for each other and may co‐exist serving different market niches. The paper argues that increasingly the economic value created from recorded music is based on con‐text rather than on ownership. During this process, access‐based services temporarily generate economic value, but such services are destined to eventually become commoditised
The Music Industry : Music in the Cloud, 2nd edition
No full textThe music industry is going through a period of immense change brought about in part by the digital revolution. What is the role of music in the age of computers and the Internet? How has the music industry been transformed by the economic and technological upheavals of recent years, and how is it likely to change in the future? This thoroughly revised and updated new edition provides an international overview of the music industry and its future prospects in the world of global entertainment.\ud
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Patrik Wikström illuminates the workings of the music industry, and captures the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public.\ud
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New to this second edition are expanded sections on the structure of the music industry, online business models and the links between social media and music. Engaging and comprehensive, The Music Industry will be a must-read for students and scholars of media and communication studies, cultural studies, popular music, sociology and economics
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