Correction to: Life cycle efects of technology on revenue in the music recording industry 1973–2017

This research focused on production process in the music recording industry independently by musician, Andien Aisyah. Previously Andien Aisyah worked with Major Label. The concept used in this research is concept of production, and associated with the production process on the recorded music by Andien. The research method used in this research is descriptive qualitative research. The results of the analysis of the production process recording music album by Andien independently has several similar stages to the production process previously with Major Label. In the production process between Major Label and Indie Label there is a difference that is in the pre-production stage, the difference is from the freedom of creativity to create music that will be produced. The freedom is a reason for Andien to move from Major Label to Indie Label. The freedom of creativity on the music recording independently is a form musician resistance against the Major Label which restrict the creativity of their musical works.

Download Full-text

From Edison to MP3

Cases on Information Technology Series - Cases on Electronic Commerce Technologies and Applications ◽

10.4018/978-1-59904-402-6.ch013 ◽

2011 ◽

pp. 203-225

Author(s):

Conrad Shayo ◽

Ruth Guthrie

Keyword(s):

Value Chain ◽

Business Models ◽

Music Industry ◽

Recording Industry ◽

Trade Associations ◽

Peer To Peer Networks ◽

Industry Value Chain ◽

New Business ◽

History Of ◽

Music Recording

This case discusses the challenges facing the music recording industry through the eyes of two of its most influential trade associations: the RIAA and the IFPI. First, readers of the case will learn about (a) the history of the music recording industry and how new emerging and innovative technologies can impact individual organizations or entire industries and (b) the music industry value chain and its various stakeholders, for example, record labels, artists, composers, distributors, and retailers. Second, they will learn about (a) the strategic opportunities and business models being unleashed by the new emerging technologies, for example, MP3 and peer-to-peer networks, and (b)the challenges facing music industry trade associations, such as the RIAA and the IFPI in protecting copyright in a digital age, reconciling conflicting goals of its members, and implementing new business models.

Download Full-text

The The skillset of professional studio musicians in the German popular music recording industry

Etnomusikologian vuosikirja ◽

10.23985/evk.69085 ◽

2018 ◽

Vol 30 ◽

Author(s):

Jan-Peter Herbst ◽

Tim Albrecht

Keyword(s):

Popular Music ◽

Business Models ◽

Recording Industry ◽

Music Production ◽

Public Media ◽

New Business ◽

Long Time ◽

Technological Developments ◽

Studio Musicians ◽

Music Recording

Among the professional roles in the recording industry, studio musicians have received relatively little academic attention. Who has played on a record and who has developed the rhythms, melodies and fills are secrets that remain hidden behind closed studio doors. Since the little public media available mainly recollects memories of past stars or musical developments from more than twenty years ago, little is known about more recent biographies, individual skills and working practices of average studio musicians from different parts of the world. Against this backdrop, the present study explored the skillset of studio musicians in Germany’s popular music recording industry. The interviewees provided rare insights into their careers, expressed their views on technological developments and depicted their economic realities. With increasing power and affordability of music production resources, new business models for studio musicians were developing along with a change of skills. For a long time, the successful studio musician had incredible playing skills, stylistic flexibility and was an excellent sight-reader. These requirements seem to have shifted; today’s musicians must have a broader skillset and be experts beyond their instruments. A repertoire of ideas and sounds to be offered spontaneously in a recording session are highly valuable next to empathy, social skills and a likeable and humble personality. The musicians must be both unique and flexible to serve a project and compete with the many fellow musicians and programmers of computer instruments.

Download Full-text