Music industry

the term music industry marks the branch of industry, which produces music.

Table of contents

term history original

what one could call pro ton of “music industry”, existed 5 literature 6 out Publishing houses, which bought the rights at their compositions from authors and as note sheets driven out. With the invention of Phonograph and Grammophon clay/tone carriers at meaning won into the 1890er years. Establish on basis of patents on the hard and softwareVictor (late RCA record) and Columbia (late CBS record) a duo pole on the US music market. Starting from 1915 innumerable small labels are established.

Music industry became original as pure technical term for for the 1890er years by the introduction of the note roleitself developing industrielle mass production coined/shaped by carrier media. The term at that time only referred to the economic procedures for production and the sales of music. In the course of the time the term was increasingly watered and by synonymous terms such as music economy or“Phonographi industry” partly replaces. To this watering in strong measure the English wrong friend music contributed industry , that correctly translates music industry reads (English. industry = industry).

Thus the term covers today the talent search and the production of CDs (Label, press works and Studios), the advertisement and graduation (television, film, music video, broadcast, printed media, Internet and concerts), the selling and sales (retail trade, Webshops), the music publishing houses, copyright companies (BMI) and exploitation corporations (GEMA) up to the syndicates (IFPI).

criticism

already 1948 criticized the first scientific publication (Adorno/Horkheimer: „Dialectic of the clearing-up “) the commercialization of the culture industry („industrializedProduction of culture “) and concomitantly the music industry: The art was squeezed into a stereotyped and standardized stand and robbed of so its creativity.

The development of the disk companies, also for labels mentioned, which represent a central position within the music industry, standagain and again in the criticism. This aims at the oligopoly of companies acting world-wide. If the overall economic structure of the labels is characterized in, the 50's and 60's 40's by a multiplicity of small labels, end of the 60's however already beginsa concentration of the market shares on less and less labels (z. B.Virgin Group, Warner Bros. Record, Ariola). In such a way gained profits flow into a Merger &Aquisitionswelle. , Also labels the called developed from it major labels win ever larger influence upExpirations of the branch of industry and beyond that.

A problem during the collection of the term „music industry “exists suspended firm's structures in the opacity of the accessible statistics and the complex, constant changes. Thus information deviates often from each other or the composition of statistics andNumbers are not to be opened. In addition it comes that one is dependent on the public data of the music industry, which act however out of economically tactical calculation.

current discussion

after a constant economic growth in the 1980er and 1990er years,caused v. A. also by the new format that CD and sinking production costs, came the music industry after the thousands of years change into sales resistance.

Additionally to the generally bad economic situation critics of the music industry throw as explanation and. A. strategic misalignments and innovation strength lackingforwards. On the part of the music industry however v. becomes. A. the increasing popularity of music exchange stock exchanges so mentioned responsible made.

The argument around the value of the music exchange stock exchanges is the present quintessential point of the discussion.

The music industry must leave itself fallen the reproach, in theirFixingness on the medium CD the upswing of the Internets to have overslept. The possibility of new selling ways for the own products was not used. After futile attempts to complain the exchange stock exchanges from the market to one tries to correct meanwhile the misguided policy, byown liable to pay the costs offers in the Internet to be platziert. Another new channel of distribution of the music industry are liable to pay the costs telephone bell tones.

Additionally the music industry provides CDs with copy protection; since these clay/tone carriers mentioned (by critic side “Un-CDs”) are not standard conformal, they do not function on allDevices: above all portable devices, CD players for the car and PC drive assemblies often refuse the service. Many potenzielle buyers seem to feel deterred from the purchase by such mechanisms.

Also the adjustment on with ever larger budget equipped “gecastete “musiciansdid not redeem strategic expectations of the music industry.

As the further reason for the crisis of the music industry in Germany it is stated that the private radios repeat and increasingly also the Popwellen of the pool of broadcasting corporations too many music titles on day (format radio). Those leadsto a fast supersaturation of the listeners with current hits, so that they are held from the purchase of the clay/tone carriers. By the narrowing of the rotations many fewer well-known titles are played at the same time not or and thus not at all admit only rarely, what alsoon the sales figures off the Charts presses.

An inquiry of the computer journal c't to the topic digitally Rights management resulted in that straight those, which download music illegaly from the Internet spend also more money for the legal acquisition of clay/tone carriers (source: [1]). The thesis supports that free offers could energize customers to the purchase.

see also:

literature

  • Norman living right, When the music stop: Manager, Maestros and the Corporate Murder OF Classical music, Simon & shoemaker, 1996

Web left

left to the MuBiz.de knowledge portal of the Musikbusiness

 

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