Understanding the Music Industries

Abstract

In economic theory, quotas have always been considered as a major impediment to trade. A concrete application of this view can be seen in Article XI of the GATT which prohibits any form of quantitative restrictions other than customs duties. Curiously, however, the use of quotas for the specific purpose of protecting domestic content in the film, radio, and television sectors remains largely permitted under existing international trade regulation. In addition, the practice of States since the entry into force of the WTO discloses an obvious reluctance on their part to make commitments in the audiovisual sector, which is easily understandable considering the significant number of States who still deem it necessary to resort to quantitative restrictions in those sectors.More recently, a tendency has developed in bilateral and regional free trade agreements to make room for reservations concerning quotas in the audiovisual sector. Obviously, there must be issues other than commercial but just as important that are at stake behind this special treatment granted to audiovisual products. These issues, as will be seen, are very real and justify resorting to quotas under certain circumstances. However, it does not mean that the question of their use is definitively solved. For many observers in fact, it is not so much the theoretical considerations advanced to justify quotas that explain the tolerance they are accorded in the audiovisual sector, but rather the fact that digital technologies are going to render this type of intervention obsolete by simply making border inspections impossible. Still, it may be a little premature to conclude that local content requirements will soon be a matter of the past, as evidenced by the fact that those who predict such a development are generally the same ones who are asking for new international regulations prohibiting any type of barriers to trade in digital products. To the extent that significant cultural issues are at stake, there is no doubt that means will be found in order to prevent the right to cultural expression, and thereby cultural diversity itself, from being compromised.

The Globalization of Popular Music, 1960-2010: A Multilevel Analysis of Music Flows

“…Celebrity engineering has gone hand in hand with the strengthening of transnational conglomerations and the fluid exchange of products across countries and media platforms (Redmond, 2014;Turner, 2013). In the music industry, this has translated into globally circulating music repertoires backed by major labels (Anderton et al, 2012;Burnett, 1996;Redmond, 2014). The U.S. and U.K markets appear to be leading in establishing reputations in pop music (L. Marshall, 2013;Negus, 1992;Peterson, 2001;Regev, 2013), suggesting that success in these markets is crucial for achieving global success.…”

“…More specifically, this article analyzes the international composition of pop chartsone of the most dominant "market information regimes" (Anand & Peterson, 2000) through which producers and consumers assess what is popular in the music market. Notwithstanding the various ways in which charts have been compiled over time (via sales, airplay, downloads) and methodologies (e.g., store surveys, product scans), they have become institutions featured in most mediatized societies, from the magazine to the iTunes era (Anderton, Dubber, & James, 2012;Burnett, 1996).…”

Managerial cognition and the value chain in the digital music industry

“…This growth in digital music revenue went hand in hand with increased competition among multiple designs [70][71][72] and a proliferation of new digital ventures [2,3]. They emerged organically or as spin-offs from organizations as diverse as telecom handset manufacturers (e.g., Nokia with "Comes With Music"; Sony Ericsson with "Play Now"); telecom network operators (e.g., Orange); generalist and specialist retailers (e.g., iTunes, amazon.com, Tesco, HMV, Play.com); social networks (e.g., MySpace Music), and newcomers (e.g., Deezer and Spotify).…”

“…They have caused a declining industry of reference, the traditional music industry, to evolve to better address the needs of its actors and consumers. The digital music industry is transforming and characterized by an extraordinary entrepreneurial rush, with a proliferation of new ventures credited with substantial headways in audience appeal and online visibility, measured through capitalization, catalogue, media impact, and other such indicators [1][2][3]. According to IFPI (International Federation of the Phonographic Industry) and BPI (British Recorded Music Industry) reference data, peer-to-peer music sharing practices have already led to a 40 to 50% decrease in revenue for the music industry as a whole, and digital music revenue outstripped the sale of physical CDs for the first time in 2011 in the USA with a total of 52% of all music sales [2] and in the first quarter of 2012 in the UK with a total of 55.5% of all music sales [4].…”

Sonic Artefacts: "Record Collecting" in the Digital Age

“…Such piracy is widespread and has been subject to a wide variety of legal and other responses by music industry organisations and state governments seeking to enforce copyright legislation (Anderton et al 2013;Burkart 2010;David 2009;Klein et al 2015;Marshall 2005). This is particularly the case for pre-release piracy where albums or tracks are leaked on to the Internet prior to their official release date.…”