scholarly journals Digital Technologies and Music Digitisation: Challenges and Opportunities for the Nepalese Music Industry

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Subash Giri
Keyword(s):  
Business Model ◽  
Music Industry ◽  
Digital Technologies ◽  
Digital Music ◽  
Structured Interviews ◽  
Music Business ◽  
Challenges And Opportunities ◽  
Market Trends ◽  
Music Market ◽  
Major Medium

Abstract This paper investigates the current legitimate digital music business trends and models created by the innovation of new digital technologies and examines their pertinence in the Nepalese music industry. Further, it scrutinises neighbouring music markets and juxtaposes the Nepalese music market against their current market trends. Based on eight in-depth semi-structured interviews with executives and stakeholders of different major, medium and independent Nepalese record labels, the paper examines two questions: what is preventing Nepalese recorded music from being found digitally and accessible legally; and what are the opportunities, gaps and requirements that confront the search for a commercially viable route for the optimal digital music business model to make Nepalese music digitally and legally accessible, both locally and globally?

Contractual Relationships among Artists, Record Labels, and Artist Management Companies in Japan

2020 ◽  
Author(s):  
Kazuhiro Ando
Keyword(s):  
Music Industry ◽  
Music Business ◽  
Know How ◽  
Contractual Relationships ◽  
The World ◽  
Employee Relationship ◽  
International Audience ◽  
Music Market ◽  
Japanese Music ◽  
The Relationship

Although Japan is the second largest music market in the world, the structure and practices of the music industry are little understood internationally. People overseas need to know how the music business works in Japan so that they can conduct business comfortably. The Japanese music industry has unique features in some respects. First, Japanese record labels remain heavily dependent on traditional physically packaged music although its profitability is much lower than that of digital distribution. Second, full-scale competition in the music copyright management business has just begun. While JASRAC monopolized this market for more than sixty years, the new entrant, NexTone has gradually increased the market share thanks to the frustration experienced by many music publishers and songwriters in their dealings with JASRAC. Third, the relationship between artists and artist management companies is more like an employer-employee relationship than a client-agent relationship. Artist management companies are fully invested in discovering, nurturing, and marketing young artists just the way big businesses handle their recruits. This chapter illuminates practices of the Japanese music industry for an international audience.

The Innovation of Online Music Business Model From the Perspective of Industrial Value Chain Theory

2019 ◽  
Vol 17 (2) ◽  
pp. 1-15
Author(s):  
Chao Lu ◽  
Jialu Chang
Keyword(s):  
Business Model ◽  
Value Chain ◽  
Music Industry ◽  
Traditional Music ◽  
Music Business ◽  
New Development ◽  
Online Music ◽  
Group A ◽  
Chain Theory ◽  
Industrial Value Chain

The emergence and development of online music have brought a great update to traditional music industrial value chain. As consumers know, record sales, media dissemination, and peripheral income like concerts are three major sources of income of traditional music industry. Compared with that, the music industry now possesses an extensive consumer group, a new growth point, and a new development direction. Meanwhile, as laws and business rules of online music industry improving, the new online music business model need to be established. Based on value chain theory, this article sets up a brand new online music business model and analyzes the operation strategy, and services mode of the business model applying internet thinking.

Shaping Forces

2013 ◽  
Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki
Keyword(s):  
Cultural Policy ◽  
Contemporary Music ◽  
Music Industry ◽  
Music Business ◽  
Commercial Music ◽  
Social Activists ◽  
Restructuring Process ◽  
Music Market ◽  
And Performance ◽  
The Many

As an ‘industry’, the music business can be analysed in terms of its micro-economic structure, conduct and performance (Anand and Peterson, 2000; Power and Hallencreutz, 2007; Asai, 2008), infrastructure (Burkart and McCourt, 2004) and restructuring process (Hardy, 1999). This kind of approach tends to lead us to focus fairly narrowly on the dominant players in the production side of the industry, such as the ‘big three’ record labels in the commercial music market (Universal Music Group, Sony Music Entertainment and Warner Music Group). However, it does not deal so clearly with non-mainstream and publicly funded music (Hesmondhalgh, 1997; Fonarow, 2006), and therefore blinkers our view of the many and various actors and actions that comprise the music market. In addition to the record labels and the management they provide, other actors include regulators, copyright owners, publishers, policy makers, sponsors, promoters, musicians, media, critics, audiences, social activists and researchers. A multitude of different and important relationships exist between these actors, most of which are not yet well understood in the marketing literature. The purpose of this chapter is to briefly introduce the key shaping forces behind the contemporary music industry. It first outlines the economic system of music activities, and then explores the role of cultural policy in the music business. It concludes with a review of technology as a significant driving force behind the change in the music industry.

Managing business model innovation: an innovative approach towards designing a digital ecosystem and multi-sided platform

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Nino Bernd Hoch ◽  
Stelian Brad
Keyword(s):  
Business Model ◽  
Business Models ◽  
Design Science ◽  
Digital Technologies ◽  
Business Model Innovation ◽  
Added Value ◽  
Structured Interviews ◽  
Behavioural Science ◽  
Content Type ◽  
Digital Ecosystem

PurposeThis study aims to increase understanding regarding the transformation of traditional business models, integrating digital technologies. The significance of digitisation within business models has increased dramatically in recent years. Because of this, new knowledge on how to transform traditional business models into digital business models in a systematic way is needed. Digital technologies, embedded in previously non-digital goods, force companies to rethink their business models.Design/methodology/approachA design science research methodology was chosen for this study. A literature review and semi-structured interviews served as the theoretical foundation to integrate behavioural science into the design science process. From the design science perspective, an artefact is introduced to provide an architectural framework to manage business model innovation in a systematic way. The artefact's application is demonstrated through a case study conducted at a real company and evaluated afterwards by means of structured interviews with experts.FindingsThe authors propose a highly useable and valuable conceptual framework for systematic business model innovation. However, one limitation of the research is that it was conducted among construction professionals in Germany, and so the result might not hold true for other firms or industry branches.Research limitations/implicationsThe research was conducted among construction professionals in Germany, and this acts as a limitation, as the result might not hold true for other firms or industry branches.Originality/valueThe purpose of this study is to provide managers with a framework for business model innovation, helping them systematically integrate digital technologies to create customer-added value. The proposed framework presents an innovative conceptual analysis of systematic business model innovation, which has not been addressed in prior studies.

The Dynamic Interplay between Recorded Music and Live Concerts: The Role of Piracy, Unbundling, and Artist Characteristics

2017 ◽  
Vol 81 (4) ◽  
pp. 67-87 ◽  
Author(s):  
Dominik Papies ◽  
Harald J. van Heerde
Keyword(s):  
Business Model ◽  
Music Industry ◽  
The Other ◽  
Set Covering ◽  
Data Set ◽  
Unique Data ◽  
Recorded Music ◽  
Music Market ◽  
Dynamic Interplay

The business model for musicians relies on selling recorded music and selling concert tickets. Traditionally, demand for one format (e.g., concerts) would stimulate demand for the other format (e.g., recorded music) and vice versa, leading to an upward demand spiral. However, the market for recorded music is under pressure due to piracy and the unbundling of albums, which also entail threats for the traditional demand spiral. Despite the fundamental importance of recorded music and live concerts for the multibillion-dollar music industry, no prior research has studied their dynamic interplay. This study fills this void by developing new theory on how piracy, unbundling, artist fame, and music quality affect dynamic cross-format elasticities between record demand and concert demand. The theory is tested with a unique data set covering weekly concert and recorded music revenues for close to 400 artists across more than six years in the world's third-largest music market, Germany. The cross-format elasticity of record on concert revenue is much stronger than the reverse elasticity of concert on record revenue. The results show the key role of piracy, unbundling, and artist characteristics on these cross-format elasticities, which have implications for the business model of the music industry.

Marketing and Music

2013 ◽  
Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Point Of View ◽  
Practical Approach ◽  
Digital Music ◽  
Cultural Industries ◽  
Economic Aspects ◽  
Music Business ◽  
Popular Music Studies ◽  
Consumer Studies

The purpose of this book is to contribute to discussions about the music business from a marketing point of view. Arts marketers have long argued that marketing thinking needs to be substantially adapted to deal with the complexities and particularities of the creative and cultural industries. There are a number of books which take a practical approach to the marketing of music (e.g. Baker’s (2012) Guerilla Music Marketing Online), or provide an overview of the music industry (e.g. Kusek and Leonhard’s (2005) The Future of Music: A Manifesto for the Digital Music Revolution and Wikstrom’s (2009) The Music Industry: Music in the Cloud), or comment on economic aspects of the business from the point of view of popular music studies. This book, in contrast, deals with the application of marketing and consumer studies theory to the business. As far as the authors can establish, this has not been attempted before.

scholarly journals Türkiye’de Dijital Müzikteki Yeni Ekonomik Modellerin Sosyolojik ve Kültürel Yönleri

2021 ◽  
Vol 7 (13) ◽  
pp. 295-332
Author(s):  
Tuğba Aydın Öztürk ◽  
Nick Crossley
Keyword(s):  
Music Industry ◽  
Economic Models ◽  
Music Technology ◽  
Digital Music ◽  
Global Markets ◽  
The Past ◽  
Digital Era ◽  
Telecommunication Companies ◽  
Recent Developments ◽  
Music Market

This research explained new economic models in the digital music industry in view of cultural, technological, and sociological aspects. The importance of local entrepreneurship, as well as global markets, were accessed. There have been many developments in digital music in the past two decades. These developments have affected relations between the digital economy and music technology. The study is mainly focused on the Turkish music market. Why the subscription and bundling models are on the rise? How does an economic merger between telecommunication companies and digital music services work? What are the effects of the recent developments in technology, in particular smartphones on music industry? The partnership of Turkcell, the largest GSM operator in Turkey, and one of the top 5 in Europe and Turkish digital music service Fizy was exemplified. Thus, the significance of local markets in the digital era, expectations of the audiences, the applicability of streaming, and bundling economic models in Turkey have been examined.

scholarly journals The continuum of simulator-based maritime training and education

2021 ◽  
Author(s):  
Tae-eun Kim ◽  
Amit Sharma ◽  
Morten Bustgaard ◽  
William C. Gyldensten ◽  
Ole Kristian Nymoen ◽  
...  
Keyword(s):  
Digital Technologies ◽  
Competency Development ◽  
Training And Education ◽  
Maritime Education ◽  
Training Interventions ◽  
The Future ◽  
Challenges And Opportunities ◽  
Maritime Operations ◽  
Maritime Education And Training

AbstractThe COVID-19 pandemic has brought unprecedented challenges to the maritime supply chain and called for accelerated adoption of digital technologies in various aspects of maritime operations, including the area of maritime education and training (MET). This paper aims to discuss the current maritime simulator-based training and educational practices that forms an integral part in seafarer training and competency development. The study provides a review of the existing simulators in use in MET, and discusses upon the technological and pedagogical advancement of maritime simulator-based training interventions with predictions regarding the future MET practices with use of virtual reality and cloud-based simulators. This study—by focusing on ship’s bridge operations—highlights the characteristics of various types of simulators and also discusses the role of instructors, challenges, and opportunities involving future simulator-based MET due to accelerated adoption of digital technologies and the need to comply with pandemic-related restrictions for MET institutes. The analysis generated in the paper may contribute to the ongoing discussion regarding the future of simulator-based MET and the fulfillment of the UN Sustainable Development Goal (SDG) 4 in the maritime sector.

scholarly journals Literature review on business prototypes for digital platform

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
Shrutika Mishra ◽  
A. R. Tripathi
Keyword(s):  
Literature Review ◽  
Business Model ◽  
Business Models ◽  
Digital Technologies ◽  
Digital Platform ◽  
New Business ◽  
Start Ups ◽  
The Way

Abstract In today’s world, many digitally enabled start-ups are budding all over the globe because of the fast enhancement in digital technologies. For the establishment of new business, it is necessary to adopt a proper business model which needs to define the way in which the company will provide values and the ways in which the customers can pay for their services. This paper aims to study the various business models being used in today’s marketplace and to provide a better understanding for these business models by having an insight on the attributes.

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