The Political Economy of the Recorded Music Industry: Redefinitions and New Trajectories in the Digital Age

Sirois, André; Wasko, Janet

doi:10.1002/9781444395402.ch15

Cited by 5 publications

(6 citation statements)

References 27 publications

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“…By 2009, the global music industries were in complete disarray, but at the same time were also beginning to capitalize on digital distribution. Sirois and Wasko (2011) identify this as yet another example of the Music Industry following rather than leading trends. In our current day, music industries actively exploit "new music through digital sales, including satellite radio and webcasting, ringtones, iTunes sales and subscription services" (Sirois & Wasko, 2011, p. 350).…”

Section: Act 3: the Value Gapmentioning

confidence: 93%

“…The history of music industries reveals battles over playback formats and tensions between recording companies and consumers who demand cheap or free music (Sirois & Wasko, 2011). These battles tend to disrupt the status quo, receiving an exorbitant amount of media attention and are regularly framed as moments of crisis.…”

Section: Music Industries Crisis and Piracymentioning

confidence: 99%

“…Digitization therefore demands a sea change in the modes of selling music and compensating artists, as well as the policies and regulations for managing sound recordings. A key issue that repeatedly inspires panic among the music industries, but one that has come to a head in the digital era, is their ability to maintain a monopoly over the means of distribution (Jones, 2002;Sirois & Wasko, 2011). Because music industries profit greatly by intervening in the exchange of music commodities-while at the same time investing little into the creation of those commodities-they have amended their approaches in the digital era to ensure they maintain their rent-seeking 3 returns.…”

Section: Music Industries Crisis and Piracymentioning

confidence: 99%

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Kribs

2020

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In this paper, I outline how the “piracy panic narrative” (Arditi, 2015) has repositioned the fan/musician dynamic in the digital era, from one between maker and listener to one between labourer and thief. The paper questions if the press has fairly assessed the fan/musician dynamic in the digital era and examines who has directly benefited from the reorganization of the relations between producer and consumer. The article provides a contemporary history of the American and Canadian music industries’ response to file sharing, crisis and piracy. Drawing on data from the 2017 Music Canada report on the Value Gap, the essay ultimately concludes that those most affected by the repositioning of the producer/consumer dynamic are not the various stakeholders whose voices are most frequently heard, but actually the musicians. The piracy panic narrative is thus nothing but an exercise in creating smoke and mirrors; music industries depict themselves as victims, all the while quietly rearranging their business practices to maintain a long-held position as gatekeeper.

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Section: Act 3: the Value Gapmentioning

confidence: 93%

Section: Music Industries Crisis and Piracymentioning

confidence: 99%

Section: Music Industries Crisis and Piracymentioning

confidence: 99%

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Kribs

2020

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“…We seek to identify who has the power to take decisions related to DTT and who are winners and losers. Moreover, the study of the Political Economy of Communication is based on a structural historical analysis (Sánchez Ruiz 1992) of media assets and services, its industries and the institutions involved, as well as its corporations (Sirois and Wasko 2011), emphasizing the process of structuration of the social communications system in Mexico (Mosco 2009). Moreover, this research is also interested in understanding the various roles that economic agents and the public power are playing (Golding and Murdock 2000) in the organization and design in the digitization of the spectrum in this Latin American country, paying particular attention to the DTT sub-sector. This will be analysed using a normative perspective, which understands the spectrum democratization as the access by the different social actors to licences needed to broadcast and offer telecommunications services (McQuail 1992).…”

Section: Theory and Methodological Considerationsmentioning

confidence: 99%

Digital terrestrial television policies in Mexico: The telecom wars

García

Plata

2013

International Journal of Digital Television

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Keywords digital terrestrial television communications policy digital switchover convergence telecommunications spectrum rodrigo gómez garcía and gabriel sosa Plata Metropolitan Autonomous University, Mexico digital terrestrial television policies in mexico: the telecom wars abstract This article analyses and discusses Mexican public policies regarding the transition from analogue to digital terrestrial television (DTT). We aim to show how digitization, in the Mexican context, can be thought of as an opportunity to change the duopolistic structure in television in order to obtain higher quality and greater content diversity. The methodology used here consists of a structural historical analysis of communication policies with an emphasis on digital switchover, paying special attention to the social power relations that have led to the current structural conditions of the concentrated Mexican communications system. Overall, preliminary results obtained in this research show a lack of clarity in DTT policies of the last two administrations (Vicente Fox 2000-2006 and Felipe Calderón 2006 and a reinforced hegemony of the economically dominant broadcast and telecommunications actors: Televisa, TV Azteca and Telmex, in detriment to public service, competition, local TV stations, independent production, content quality and audiences in a broader sense.

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“…But the music industry is an industry, recorded music is a commodity (Negus, 1999;Sirois and Wasko, 2011), and the industry's goal is increasing market share (Negus, 1998). This is done by creating consistent and predictable cultural products; strategic choices are made through resource allocation surrounding which genres and artists to nurture (Negus, 1998(Negus, , 1999.…”

Section: Latin American Popular Music In the United Statesmentioning

confidence: 99%

Receiving and resisting: Toward a market-driven cultural hybridity

Guldin

2021

International Journal of Cultural Studies

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This study proposes an approach to cultural hybridity that centers the market, not geopolitical borders or regions, as the driving force of cultural hybridization. In this model, cultural hybridity manifests on a continuum between market-receptive hybridity, which incorporates cultural characteristics of the dominant market, and market-resistant hybridity, which limits the influence of cultural characteristics of the dominant market. To illustrate, this study identifies market strategies and examines how Colombian musician Shakira and Mexican musician Lila Downs employ various practices to create market-receptive and market-resistant cultural hybridity across their careers. This market-driven approach to hybridity decenters the countries of the Global North, contributes to ongoing efforts to undo the historical homogenization of the Global South, and works to explain cultural hybridity as the result of markets, not countries, allowing the framework to be applied within or across regions.

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The Political Economy of the Recorded Music Industry: Redefinitions and New Trajectories in the Digital Age

Cited by 5 publications

References 27 publications

Same as it ever was

Same as it ever was

Digital terrestrial television policies in Mexico: The telecom wars

Receiving and resisting: Toward a market-driven cultural hybridity

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