Hur fungerar ett musikförlag? Hur bygger man upp ett musikförlag från grunden? Vad utgör grunden för ett musikförlags val av musik? Målet med vårt arbete är att du som läsare ska få en inblick i hur ett musikförlag arbetar och fungerar.

<p>Hur fungerar ett musikförlag? Hur bygger man upp ett musikförlag från grunden? Vad utgör grunden för ett musikförlags val av musik? Målet med vårt arbete är att du som läsare ska få en inblick i hur ett musikförlag arbetar och fungerar.</p>

Ett examensarbete vars frågeställning "Hur går man som okänt förlag tillväga för att få leads av skivbolag", besvaras dels genom en fallstudie där författarna genomför låtproduktion samt kontaktande av skivbolag, och dels genom intervjuer med branschfolk.

<p>Ett examensarbete vars frågeställning "Hur går man som okänt förlag tillväga för att få leads av skivbolag", besvaras dels genom en fallstudie där författarna genomför låtproduktion samt kontaktande av skivbolag, och dels genom intervjuer med branschfolk.</p>

This thesis will guide you through the haunting Business marketing woods of snaring networks and ravel business relations in the dark landscapes of the mighty music publishing creatures. The task at hand (of this thesis) will be to present the secrets that lie beyond with the hopes that you, the daring reader, will gain knowledge and understanding of what these entities do, lurking in the shadows of the woods of business marketing (and of your unknowing mind). How they go head on with their partners in business to thrive on intangible properties and how they find their path through these woods. Explore and discover, if any, commonly found ways in the management of business marketing within the domain of the music publisher. We wish you a pleasant reading!

We have been able to draw some conclusions based on our research. First we haveconsidered that the publisher is dependent on a large network and to work closelywith their customers. We can see that the competition in the music industry hasgenerally increased, the technological progress has created new opportunities, and asa result of this, new players have joined the music industry. We have been able todraw conclusions in the fact that more companies and songwriters start up their ownpublishing company, resulting in an increased competition for the individualpublisher.We can also see as a final result that music is used in lots of different contexts andthat the publishers thereby are offered a wide range of business opportunities, but thatthe solvency of the customers has become lower. With this knowledge, we canconclude that the publisher’s power and revenues will increase, and that the publisheras an actor has been given a more important role in the industry. Furthermore, we canalso see patterns that publishers do not work with communicating their brands to anygreat extent, but that they instead let their music profile them. We can also see thatthey are not engaged in marketing and strategy planning in a traditional manner, butthat they instead work with creating value for the customer and with developing theirnetworks.5

Music catalog trading has become something of a trend in recent years, with global stars selling their catalogs for millions of dollars. Industry players such as record labels and music publishers have traded catalogs and their underlying intellectual property rights between themselves for a long time but now resourceful venture capitalists have seen opportunities for returns, and have thus entered the market. This raises questions about the relative power of industry players and their functions as industry institutions, and how these may change as venture capital firms that are not fundamentally anchored in the music industry begin to trade in the music industry's most important resource, the music itself. Previous research has focused on catalog trading from an artist's perspective and how artists can leverage their catalogs and market positions to generate revenue, and what this means for individual artists' cultural autonomy. Furthermore, previous research has also focused on the development of economic models for the valuation of music catalogs. Based on theories of substantive and institutional dimensions of power, this study aims to discuss and analyze how the ongoing catalog trade may lead to a restructuring of current power dynamics in the music industry and the underlying factors behind the emergence of the ongoing catalog trade. We have conducted qualitative semi-structured interviews with stakeholders connected to the music and finance industries, thus shedding light on the catalog trade from different perspectives. The results show that it is not possible to point to any single factor as a catalyst for the currently prevalent catalog trade. Rather, it is an ongoing process in which actors both inside and outside the music industry are navigating a rapidly changing environment and working to maintain their positions of power and industrial relevance.