This thesis investigates the production and consumption of the independent music sector in South Korea in the digital age. It examines the value of music and how it is created in the digital age. Thus, it suggests the impacts of the Internet for consumers and producers. The investigation is based on the view that there has been a transition to value co-creation by consumers and producers, away from the traditional view of value being produced by firms alone, and that this value can be symbolic, emotional and experiential. The thesis shows that this transition has indeed occurred in the music industry. To investigate value and value creation in popular music in the digital age, an in-depth single case study of the independent music industry in South Korea is conducted. Qualitative data was collected, using semi-structured interviews, from independent music consumers and independent record labels. This research reveals that consumers’ music consumption is made up of both information-processing and experiential behaviours. Their desire to minimize the inappropriateness and maximize the appropriateness of independent music and its culture contributes to its sustainment and expansion. This research also reveals the online practices of consumers, categorized into three themes: acquisition, relationship and engagement. In addition, the examination of music communities in South Korea shows that consumers are resource integrators. It reveals that the consumption communities are organized and maintained through various operant resources of the participants. The data from the independent record labels reveals that they are trying hard to interact with consumers and benefit from the new media. They are found to conduct four value (co)creation strategies: contacting, bonding, spreading and managing. Finally, this research shows that difficulties in utilizing social media can be categorized into the following: adaptability, uncontrollability, representability and applicability. The key contributions of this research are as follows: Firstly, it extends our understanding of the symbolic consumption of music. Secondly, it identifies a form of consumption community, which can be termed a ‘co-creative consumption community’. Lastly, it demonstrates the value (co)creation practices used by consumers and the strategies used by producers. These findings extend the existing knowledge and suggest new evidence that contributes to an increased understanding of the concept of value co-creation, and to consumer research in general. In addition, the findings will benefit marketers and producers, especially in cultural industries such as the music industry.

The purpose of this thesis is to describe, analyze and compare traditional and new marketing tools of music industry, focusing on distribution and promotion, and demonstrate through an example of succes of electronic dance music in recent years that digital era and internet development have significant influence on mujsic marketing. Based on analysis and primary research reveal basic segments of listeners and recommend a mix of tools for a starting artist.

This thesis deals with positive and negative effects of technological progress on the music industry. The first part presents important changes during the evolution of the music industry to its current status. Other chapters are trying to analyze current trends and their specific features in the field of production, distribution and promotion of music in the world and the Czech Republic. Special chapter is devoted to new forms of financing music project. The work also deals with the analysis of the current music consumption habits of music consumers in the Czech Republic and Slovakia. The last chapter deals with the approach of Czech and Slovak musicians to new possibilities in production, distribution, promotion and fundraising for the functioning of their musical projects. Key words:

This master thesis analyzes activities of South Korean companies from music industry in the markets in Europe and this analysis is based on a questionnaire survey. The first part focuses on the theory and describes the Korean popular music, cross its history, major companies in the sector and their activity in foreign markets. In following theoretical chapters there is the definition of basic marketing terms, the theory of marketing research, its methods and evaluation and use of marketing research in culture, a summary of the economic situation in South Korea and differences in business negotiations between Koreans and Europeans. The practical part of the thesis describes in detail the selected companies, their products and activities in Europe. Furthermore there is an introduction to research and information about the survey. The final part deals with the evaluation and interpretation of the findings, conclusions drawn from the information obtained and the proposed solutions.

This thesis explores history and development of music industry including tools of monetization, from the beginning of music publishing, inventions of various sound recording methods and related birth of recording industry, to various forms of internet-based distribution of recorded music. It especially focuses on digital means of music distribution and their influence on artists, recording companies as well as consumers -- listeners. It maps connections and consequences resulting from over one hundred old paradigm shift caused by rapid evolution of mobile technology and Internet. Especially the last chapter attempts to anticipate future of this market segment, based on the examples of particular artists, even though it is still in a process of on-going changes.

No abstract available / Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

The purpose of this study was to identify potential threshold concepts in the music industry as perceived by expert music industry professionals; the data collected may possibly inform postsecondary music industry degree program curriculum design. Threshold concept theory emerged in the early 2000s largely due to the research of Meyer & Land (2003, 2005) as a means to illuminate discipline-specific criteria that irreversibly transform a learner’s positionality within a professional discipline. Through the mastery of a threshold concept, a learner becomes aware of discipline specific norms, and may experience a reconstitution of their own identity as a professional. This is the first study to explore threshold concepts within the music industry. This study is also aimed to contribute to a growing body of research at the intersection of threshold concepts and business education. Utilizing qualitative research informed by phenomenology, semi-structured interviews based on the primary tenets of the threshold concept theory framework were conducted. “Expert” music industry professionals were asked to reflect upon their lived experiences regarding their assimilation into the music industry and maintenance of a sustainable career in the discipline. The data collected were aligned with the threshold concept theory framework in order to illuminate potential threshold concepts specific to the music industry. Results indicate that there exist possible dispositional and disciplinary threshold concepts relative to becoming a music industry professional. The identification, prioritization, and utilization of threshold concepts are applicable to curriculum planning at both the macro- (program creation, execution, and evaluation) and micro- (course creation, planning, instruction, and evaluation) levels for post-secondary music industry education.

No description available.

The advent of music streaming has made it increasingly important for actors in the music industry to understand if tracks are going to succeed or not. This study investigates if it is possible to accurately classify the growth of the listener base of a music track based on multivariate time series with listener behavior data. 18 popular time series classification algorithms were used to build predictive models which were evaluated in a 10-fold cross-validation. We also examined the algorithms’ potential to deliver business value for a record label. Lastly, the possibilities and challenges of applying a data-driven business model in the music industry were investigated by performing a comparative analysis of a modern and traditional record label. Six algorithms were found to significantly outperform the baseline. Two algorithms based on convolutional kernels, RR and AMini, were found to present the biggest business value because of their accuracy and low time complexity. While it may be necessary for record labels to adopt data-driven business models to flourish in the modern market, there are difficulties regarding the competitiveness of digital solutions and complications in moving the focus from networking to developing technology. / Spridningen av musiktjänster har gjort det alltmer viktigt för aktörer i musikbranschen att förstå vilka låtar som kommer att lyckas och inte. Denna studie undersöker om det är möjligt att klassificera tillväxten av en låts lyssnarantal baserat på multivariata tidsserier innehållandes data om lyssnarbeteende. 18 populära algoritmer för tidsserieklassificering användes för att bygga prediktiva modeller som utvärderades med 10-delad korsvalidering. Vi undersökte sedan algoritmernas potential att skapa affärsvärde för ett skivbolag. Slutligen studerades möjligheter och utmaningar som datadrivna affärsmodeller presenterar i denna bransch genom en komparativ analys av ett modernt och traditionellt skivbolag. Sex algoritmer visade sig signifikant överträffa en baslinjeklassificerare. Vi fann att två algoritmer baserade på faltningskärnor, RR och AMini, kunde skapa störst affärsvärde på grund av deras noggrannhet samt låga tidskomplexitet. Det verkar vara nödvändigt för skivbolag att anamma datadrivna affärsmodeller för att frodas i den moderna marknaden, men det finns svårigheter som måste beaktas vad gäller konkurrenskraften för digitala lösningar samt förflyttandet av fokuset från nätverksbyggande till teknologiutveckling.

No / Much recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase. This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guides the reader through issues relating to production, supply, consumption and trends, wider considerations such as the international trade in music, and in particular through divisions of age, race and gender. Providing an engaging overview of this fascinating topic, this book will be of interest and relevance to students and scholars of cultural economics, management, musicology, cultural studies and those with an interest in the music industry more generally.