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Past, present and future: music economics at the crossroads

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  • Samuel Cameron

Abstract

This paper contextualises research on the economics of music. The papers considered represent a crossroad in economics music research. One branch is the most heavily explored area of the impact of digital technology on consumption of music. The others comprise one entirely new topic which is crowd-sourced funding of new music recordings. The other topics are extremely old in terms of relevance but very new in terms of there being little prior economic analysis. These are environmental damages from musical activity and the efficiency of belonging to a pop–rock musical ensemble versus being a solo artist. Copyright The Author(s) 2016

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  • Samuel Cameron, 2016. "Past, present and future: music economics at the crossroads," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 40(1), pages 1-12, February.
    • Handle: RePEc:kap:jculte:v:40:y:2016:i:1:p:1-12
    DOI: 10.1007/s10824-015-9263-4
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    20. Stan Liebowitz, 2016. "How much of the decline in sound recording sales is due to file-sharing?," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 40(1), pages 13-28, February.
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    Cited by:

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    2. Steininger, Dennis M. & Gatzemeier, Simon, 2019. "Digitally forecasting new music product success via active crowdsourcing," Technological Forecasting and Social Change, Elsevier, vol. 146(C), pages 167-180.
    3. Jonathan Daniel Gómez-Zapata & Luis César Herrero-Prieto & Beatriz Rodríguez-Prado, 2021. "Does music soothe the soul? Evaluating the impact of a music education programme in Medellin, Colombia," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 45(1), pages 63-104, March.
    4. Andréa Jean Baker, 2017. "Algorithms to Assess Music Cities," SAGE Open, , vol. 7(1), pages 21582440176, March.
    5. Ivan Boal-San Miguel & Luis Cesar Herrero-Prieto, 2016. "Where Are the Artists? Analyzing Economies of Agglomeration in Spain," ACEI Working Paper Series AWP-11-2016, Association for Cultural Economics International, revised Oct 2016.
    6. Hayakawa, Kazunobu & Mukunoki, Hiroshi, 2022. "How does additive manufacturing change trade?: evidence from trade in sound recordings," IDE Discussion Papers 848, Institute of Developing Economies, Japan External Trade Organization(JETRO).
    7. Ivan L. Pitt, 2021. "Life cycle effects of technology on revenue in the music recording industry 1973–2017," SN Business & Economics, Springer, vol. 1(1), pages 1-29, January.
    8. Juan Lucio & Marco Palomeque, 2023. "Music preferences as an instrument of emotional self-regulation along the business cycle," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 47(2), pages 181-204, June.
    9. Weber, Cameron & Zhen, Ying & Arias, JJ, 2022. "Practice, Entrepreneurship and Subjectivity in Artist Identification with Applications to the Covid-Era," MPRA Paper 116216, University Library of Munich, Germany.
    10. Antonella Francesca Cicchiello & Serena Gallo & Stefano Monferrà, 2023. "Financing the cultural and creative industries through crowdfunding: the role of national cultural dimensions and policies," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 47(1), pages 133-175, March.
    11. Juan D. Montoro-Pons & Manuel Cuadrado-García, 2018. "“Let’s make lots of money”: the determinants of performance in the recorded music sector," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 42(2), pages 287-307, May.
    12. Christian Handke & Carolina Dalla Chiesa, 2022. "The art of crowdfunding arts and innovation: the cultural economic perspective," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 46(2), pages 249-284, June.

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