Breaking up is hard to do: the resilience of the rock group as an organizational form for creating music

Phillips, Ronnie J.; Strachan, Ian C.

doi:10.1007/s10824-014-9226-1

Cited by 9 publications

(8 citation statements)

References 19 publications

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“…Let us now turn to the second special issue paper by Phillips and Strachan (2016). Until the publication by Cameron and Collins (1997), there does not seem to have been any economic work on the collective creative production unit used to generate musical output.…”

Section: The Special Issue Papers In Contextmentioning

confidence: 99%

“…Electronic dance music continues to generally be made by one or two people in collaboration without an explicit 'band' or 'group' mode of production. Phillips and Strachan (2016) begin by applying, to the musical group, the questions in the classic 1937 article by Coase which asked why should firms exist at all in the first place. The firm can achieve economies that the individual would not have access to if they executed each contract, necessary to their operations, themselves.…”

Section: The Special Issue Papers In Contextmentioning

confidence: 99%

“…The special issue paper by Phillips and Strachan (2016) continues the use of chart data, (Billboard again), but in this instance, the chart data are used to illustrate the potential efficiency of the musical group format rather then being the topic of interest in itself. More recently, the resurgence of talent competitions has raised concerns about the possible extent of market failure due to short-termism in the management of talent and over-focusing on non-musical aspects of performers (Amegashie 2009;Zwaan and ter Bogt 2010).…”

Section: Introductionmentioning

confidence: 99%

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Past, present and future: music economics at the crossroads

Cameron

2016

J Cult Econ

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This paper contextualises research on the economics of music. The papers considered represent a crossroad in economics music research. One branch is the most heavily explored area of the impact of digital technology on consumption of music. The others comprise one entirely new topic which is crowd-sourced funding of new music recordings. The other topics are extremely old in terms of relevance but very new in terms of there being little prior economic analysis. These are environmental damages from musical activity and the efficiency of belonging to a pop-rock musical ensemble versus being a solo artist.

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Section: The Special Issue Papers In Contextmentioning

confidence: 99%

Section: The Special Issue Papers In Contextmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Past, present and future: music economics at the crossroads

Cameron

2016

J Cult Econ

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“…Singles have far fewer tracks than albums, perhaps only one or two. Songs available on singles serve a promotional purpose and come out later on albums (Phillips & Strachan, 2014). The Whitburn book has chart data compiled from Billboard's Top Pop Singles Charts from the years 1955-2011.…”

Section: Data and Analysismentioning

confidence: 99%

“…The data in Table 1 is sourced from Whitburn 2011 (see Phillips & Strachan, 2014). It is a separate data set from the one utilized here.…”

Section: Notesmentioning

confidence: 99%

Female Artists and the Digitization of Labor in the Music Industry

Strachan¹

2014

BMR

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The digital revolution brought about by new technology and the eroding of intellectual property rights has simultaneously brought about increased opportunity as well as increased competition among content creators in the music industry -artists and bands as well as record labels. This change is evident in the "long tail" and "superstar effects" hollowing out the middle class of artists as well as lowering barriers to entry. It is well documented that women are still under-represented in many fields of the modern economy. Given this background, how do female pop artists fare in the music industry over time? This research utilizes a sample of the Billboard Hot 100 charts from the 1990s and 2000s and finds that female artists are dramatically and consistently under-represented on the pop charts. Though the percentage of female solo artists is nearly 50%, female artists still account for less than a quarter of the total artists who make the charts. At the same time female solo artists and groups with at least one female artist are remarkably more productive at producing pop hits than male solo artists and groups with no female artist involvement. This, perhaps, represents an opportunity for entrepreneurial female artists in the future as production and consumption bottlenecks are dismantled in a superstar-dominated culture.

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The next wave of digital technological change and the cultural industries

Peukert

2018

J Cult Econ

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Breaking up is hard to do: the resilience of the rock group as an organizational form for creating music

Cited by 9 publications

References 19 publications

Past, present and future: music economics at the crossroads

Past, present and future: music economics at the crossroads

Female Artists and the Digitization of Labor in the Music Industry

The next wave of digital technological change and the cultural industries

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