Inter–organisational Relationships in the Worldwide Popular Recorded Music Industry

Abstract

This paper analyses the worldwide popular recorded music industry and examines how product, firm and industry features result in key resources coagulating around the two firm types; the major and independent. We argue that these firm specific resources are complementary and participating firms would benefit from their union. However though complementary, they are inimical and close association risks damaging their value. Collaboration between the two firm types that hold these resources therefore needs to be designed not along traditional concerns of protection from opportunism, or the requirement to control key resources. Instead competitive advantage may be gained by designing and managing structural relationships that protect each partner's resource set from the hostile elements of the others; a contamination rather than an appropriation focus.

Rethinking the music industry

“…For example, Leyshon's (2001) model of 'the musical economy as a networked economy' and his subsequent work (Leyshon et al 2005) attributes the domination of the record companies to 'per-unit pricing and the enforcement of copyright law' (ibid., p. 186). As well as cultural/ economic geography, there is a growing body of work on the music industries in the field of business and management studies (Gander and Rieple 2002;Graham and Burnes 2004) which, along with the existing approaches, can contribute to a more complex and accurate description of the music industries.…”

Untitled

“…As Marcus Garvey's analysis of the term shows, the primary presumption is that black cultural expressions need to conform to the values of the larger white system in order to become legitimate. 23 Though we are interested in demonstrating the corrupt nature of such assumptions and their place in 1950s America, the theory of racial assimilation by way of popular music is problematic on multiple accounts. 24 On the other hand, "blanching" refers to any whitening process as exemplified by various processes (medical, cooking, horticulture).…”

“…A representative for ASCAP 22 argued that recordings were not copyrightable under the constitution and that the provision "will result in a duplication of remedy, a multiplicity of suits, and possible bankruptcy of even an innocent infringer." 23 The Daily Bill (1936) included performers as authors for the first time, defining copyrightable works as "…all the writings of an author, whatever the mode or form of their expression, and all renditions and interpretations of a performer and/or interpreter of any musical, literary, dramatic work, or other compositions, whatever the mode or form of such renditions, performances, or interpretations." 24 Contending that new technology (radio) was unfairly exploiting them, performers with support from the American Federation of Musicians and others argued that only copyright could protect their creative expressions.…”

“…22 Finally Jonathan Gander, Adrian Haberberg, and Alison Rieple have written extensively on organizational linkages and alliances in the recorded music industry. 23,24 Pre-Recording Business Models…”

Productoras cinematográficas en México ante la convergencia digital

“…En este caso, los distribuidores imponen acciones y mecanismos de control que en ocasiones no benefician a la productora cinematográfica independiente en un mercado hostil (Gander & Rieple, 2002), como continúa describiendo Herranz:…”