The Political Economy of the Music Industry
Technological Change, Consumer Disorientation and Market Disorganisation in Popular Music
(Sprache: Englisch)
Major firms currently control over 80% of global sound carrier and publishingrevenue in the popular music industry. The aim is to explain the disorganisingeffects currently being experienced. The central question guiding thisinvestigation asks: what will be...
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Major firms currently control over 80% of global sound carrier and publishing
revenue in the popular music industry. The aim is to explain the disorganising
effects currently being experienced. The central question guiding this
investigation asks: what will be the effect of new technologies on the future
organisation of the music industry? Focus is broadly on recent universally
accessible digital technologies which have raised questions about the future of
the industry's current organisational structure and processes both in terms of
input (creation of music products in their commodified form) and output
(access and consumption of music products). The industry's processes are
complex because they centre around sophisticated management, and
aggressive appropriation of intellectual property (namely copyright) for repeated
exploitation for decades after its initial acquisition. The purpose of this
book, therefore, is to examine not only the tangible aspects of the manner in
which the industry organises its products, but also the intangible dimension.
Significant recent changes experienced by the industry are identified. The
literature is not conclusive in terms of explaining these developments. This
book remedies this deficiency by proposing four separate but interconnected
factors are affecting the highly concentrated status quo. Empirically grounded,
the current work has implications for understanding the industry's methods.
The book is written as a text about the political economy of the music industry
specifically and popular culture generally. It is intended to appeal to students
and other persons interested in the music industry, political economies in late
capitalism, popular culture and mass communication, organisational studies,
the politico-economic structure of corporations in advanced capitalist societies,
and legal issues concerning popular culture in the market place. At a more
general level, this book would appeal to any persons interested in a topic
concerning the music business. The book takes a multidisciplinary approach to
a widely debated topic in various fields including political science, communications,
sociology, law and economics.
Klappentext zu „The Political Economy of the Music Industry “
Major firms currently control over 80% of global sound carrier and publishingrevenue in the popular music industry. The aim is to explain the disorganising
effects currently being experienced. The central question guiding this
investigation asks: what will be the effect of new technologies on the future
organisation of the music industry? Focus is broadly on recent universally
accessible digital technologies which have raised questions about the future of
the industry s current organisational structure and processes both in terms of
input (creation of music products in their commodified form) and output
(access and consumption of music products). The industry s processes are
complex because they centre around sophisticated management, and
aggressive appropriation of intellectual property (namely copyright) for repeated
exploitation for decades after its initial acquisition. The purpose of this
book, therefore, is to examine not only the tangible aspects of the manner in
which theindustry organises its products, but also the intangible dimension.
Significant recent changes experienced by the industry are identified. The
literature is not conclusive in terms of explaining these developments. This
book remedies this deficiency by proposing four separate but interconnected
factors are affecting the highly concentrated status quo. Empirically grounded,
the current work has implications for understanding the industry s methods.
The book is written as a text about the political economy of the music industry
specifically and popular culture generally. It is intended to appeal to students
and other persons interested in the music industry, political economies in late
capitalism, popular culture and mass communication, organisational studies,
the politico-economic structure of corporations in advanced capitalist societies,
and legal issues concerning popular culture in the market place. At a more
general level, this book would appeal to any persons
... mehr
interested in atopic
concerning the music business. The book takes a multidisciplinary approach to
a widely debated topic in various fields including political science, communications,
sociology, law and economics.
concerning the music business. The book takes a multidisciplinary approach to
a widely debated topic in various fields including political science, communications,
sociology, law and economics.
... weniger
Autoren-Porträt von Trajce Cvetkovski
Trajce Cvetkovskiis a legal practitioner in Australia (Barrister-at-Law)and England (Solicitor). He has practised in bothjurisdictions in the fields of commercial, industrial,intellectual property and entertainment law. He isalso a lecturer in public policy at the University ofQueensland. Trajce also produces electronic musicand has issued records both for a major label andindependent labels.
Bibliographische Angaben
- Autor: Trajce Cvetkovski
- 2007, 240 Seiten, Maße: 17 x 24 cm, Kartoniert (TB), Englisch
- Verlag: VDM Verlag Dr. Müller
- ISBN-10: 3836428547
- ISBN-13: 9783836428545
Sprache:
Englisch
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