L'avenir de la musique après la révolution numérique : opportunités et contraintes pour l'industrie du disque

Abstract

musique après la révolution numérique : opportunités et contraintes pour l'industrie du disque Résumé : La révolution numérique est un phénomène assez récent, elle a cependant influencé très fort les industries créatives, parmi lesquelles l'industrie du disque. Assimilée souvent au piratage et donc considérée comme nocive aux productions musicales, elle a pourtant apporté des solutions positives aux auteurs, producteurs et distributeurs de la musique enregistrée. Dans le texte, à part le piratage, nous allons présenter quelques opportunités qui ont vu le jour sous la révolution numérique et qui se sont offertes aux acteurs de l'industrie du disque, devenant la source de profonds changements dans ce secteur du marché.

Music Entrepreneurs in a Linguistic Minority Context: Effectuation as Adaptation to the Paradoxes of Digital Technologies

“…In the literature on music entrepreneurship, several authors point to the fact that smaller companies are more creative and poised to reap the benefits offered by digital technologies. The decrease in revenues in the recording industry has been accompanied by a reduction of some costs related to the production and marketing of music (Janowska, 2011). Therefore, while the decrease in revenue has had an impact on small independent companies, the fact that they are already accustomed to accomplishing their work with few resources means that they have developed the _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ Artivate 7 (1) 6…”

“…However, there is a lack of research on these activities in this context. Some practices implemented to deal with the challenges and possibilities of digital technologies have been studied in different cultural industries (Janowska, 2011;Wade Morris, 2014;Benner and Waldfogel, 2016), but they have not considered the specificities of the social and linguistic environment, especially in a minority context. The article addresses the issue by highlighting specific practices in order to gain a deeper understanding of what it is that cultural entrepreneurs do to survive in a digital era in minority contexts.…”