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Selection models in the music industry: How a prior independent experience may affect chart success

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  • Andrea Ordanini

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    Abstract

    The is article analyses the two main approaches for artists’ selection in the recording industry: the direct model in which large major companies directly choose new artists from the supply market, and the agency model in which small independent labels realise the first choice and, subsequently, large organisations pick their new artists among those pre-selected by independents. An empirical analysis of chart sales reveals that artists selected through the agency model exhibit a longer presence on the chart due to repeated successes, while they are slower to reach heavy success once they have entered the chart. Conversely, the direct model leads to artists with a faster path to a strong success, but the same artists have a shorter presence on the chart due to the sporadic nature of their success. The profile of artists selected through these two models is also found to be different: big international soloist stars are more frequently selected through the direct model, while national bands are more frequently selected through the agency model. The insights suggest important implications for management in the cultural industries and especially in the recording industry. Copyright Springer Science+Business Media, Inc. 2006

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    File URL: http://hdl.handle.net/10.1007/s10824-006-9013-8
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    Bibliographic Info

    Article provided by Springer in its journal Journal of Cultural Economics.

    Volume (Year): 30 (2006)
    Issue (Month): 3 (December)
    Pages: 183-200

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    Handle: RePEc:kap:jculte:v:30:y:2006:i:3:p:183-200

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    Web page: http://www.springerlink.com/link.asp?id=100284

    Related research

    Keywords: Artist selection; Cultural industries; Music market;

    References

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    1. Rosen, Sherwin, 1981. "The Economics of Superstars," American Economic Review, American Economic Association, vol. 71(5), pages 845-58, December.
    2. Throsby, David, 1994. "The Production and Consumption of the Arts: A View of Cultural Economics," Journal of Economic Literature, American Economic Association, vol. 32(1), pages 1-29, March.
    3. Holbrook, Morris B & Schindler, Robert M, 1989. " Some Exploratory Findings on the Development of Musical Tastes," Journal of Consumer Research, University of Chicago Press, vol. 16(1), pages 119-24, June.
    4. Andrew Burke, 1996. "The dynamics of product differentiation in the British record industry," Journal of Cultural Economics, Springer, vol. 20(2), pages 145-164, June.
    5. W. Crain & Robert Tollison, 2002. "Consumer Choice and the Popular Music Industry: A Test of the Superstar Theory," Empirica, Springer, vol. 29(1), pages 1-9, March.
    6. Eric Strobl & Clive Tucker, 2000. "The Dynamics of Chart Success in the U.K. Pre-Recorded Popular Music Industry," Journal of Cultural Economics, Springer, vol. 24(2), pages 113-134, May.
    7. Fine, Charles H. & Whitney, Daniel E., 1996. "Is the make-buy decision process a core competence?," Working papers #140-96. Working paper (S, Massachusetts Institute of Technology (MIT), Sloan School of Management.
    8. Adler, Moshe, 1985. "Stardom and Talent," American Economic Review, American Economic Association, vol. 75(1), pages 208-12, March.
    9. Hamlen, William A, Jr, 1991. "Superstardom in Popular Music: Empirical Evidence," The Review of Economics and Statistics, MIT Press, vol. 73(4), pages 729-33, November.
    10. Chung, Kee H & Cox, Raymond A K, 1994. "A Stochastic Model of Superstardom: An Application of the Yule Distribution," The Review of Economics and Statistics, MIT Press, vol. 76(4), pages 771-75, November.
    11. Crain, W. Mark & Tollison, Robert D., 1997. "Economics and the architecture of popular music," Journal of Economic Behavior & Organization, Elsevier, vol. 32(2), pages 185-205, February.
    12. Alexander, Peter J., 1997. "Product variety and market structure: A new measure and a simple test," Journal of Economic Behavior & Organization, Elsevier, vol. 32(2), pages 207-214, February.
    13. Franklin Mixon & Rand Ressler, 2000. "A Note on Elasticity and Price Dispersions in the Music Recording Industry," Review of Industrial Organization, Springer, vol. 17(4), pages 465-470, December.
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    Cited by:
    1. Brinja Meiseberg, 2014. "Trust the artist versus trust the tale: performance implications of talent and self-marketing in folk music," Journal of Cultural Economics, Springer, vol. 38(1), pages 9-42, February.
    2. Sébastien Dubois, 2012. "Recognition and renown, the structure of cultural markets: evidence from French poetry," Journal of Cultural Economics, Springer, vol. 36(1), pages 27-48, February.
    3. Bacache-Beauvallet, Maya & Bourreau, Marc & Moreau, François, 2011. "Portrait des musiciens à l'heure du numérique," Opuscules du CEPREMAP, CEPREMAP, number 22, May.

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