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Time–Space (and Digital) Compression: Software Formats, Musical Networks, and the Reorganisation of the Music Industry

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  • Andrew Leyshon

    (School of Geography, University of Nottingham, University Park, Nottingham NG7 2RD, England)

Abstract

In this paper I examine the geographical and organisational consequences of the emergence of a new technological assemblage within the music industry. This technological assemblage is organised around software formats and Internet distribution systems. The paper is concerned with the relationship between technological innovation, economic competition, and the contestability of markets for goods and services within an era of digital content. I begin by setting out two opposing discourses currently circulating within the music industry: one that denigrates the emergence of software formats, and another that celebrates it. Both discourses concur that this new technological assemblage will fundamentally reorganise the music industry as it is currently configured, with some doubt being cast over the long-term viability of the industry owing to the problems of protecting the intellectual property rights of music contained within open software formats. I provide a critical analysis of electronic markets and their impact upon economic organisation, and examine the impacts of digital content and electronic markets within the music industry through the concept of the musical network. Four networks with distinctive organisational and spatial characteristics are identified within the musical economy: networks of creativity, of reproduction, of distribution, and of consumption. I argue that all four networks are being reshaped as a result of the impact of software formats and Internet distribution systems. These developments are found to threaten the short-term profitability of some established firms within the industry, but I argue that the industry is already beginning to restabilise around a new technological and regulatory regime designed to protect copyrights in music in software formats.

Suggested Citation

  • Andrew Leyshon, 2001. "Time–Space (and Digital) Compression: Software Formats, Musical Networks, and the Reorganisation of the Music Industry," Environment and Planning A, , vol. 33(1), pages 49-77, January.
    • Handle: RePEc:sae:envira:v:33:y:2001:i:1:p:49-77
    DOI: 10.1068/a3360
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    References listed on IDEAS

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    1. Sivadas, Eugene & Grewal, Rajdeep & Kellaris, James, 1998. "The Internet as a Micro Marketing Tool: Targeting Consumers through Preferences Revealed in Music Newsgroup Usage," Journal of Business Research, Elsevier, vol. 41(3), pages 179-186, March.
    2. A C Pratt, 1997. "Production Values: From Cultural Industries to the Governance of Culture," Environment and Planning A, , vol. 29(11), pages 1911-1917, November.
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    Cited by:

    1. Chilese Erica & Russo Antonio Paolo, 2009. "Urban fashion policies: lessons from the Barcelona catwalks," EBLA Working Papers 200803, University of Turin.
    2. Andrew J Murphy, 2003. "(Re)Solving Space and Time: Fulfilment Issues in Online Grocery Retailing," Environment and Planning A, , vol. 35(7), pages 1173-1200, July.
    3. Jennifer Johns, 2010. "Manchester’s Film and Television Industry: Project Ecologies and Network Hierarchies," Urban Studies, Urban Studies Journal Limited, vol. 47(5), pages 1059-1077, May.
    4. Teemu Makkonen, 2014. "Tales from the Thousand Lakes: Placing the Creative Network of Metal Music in Finland," Environment and Planning A, , vol. 46(7), pages 1586-1600, July.
    5. Ya-Feng Zhang, 2022. "Cultural and Creative Industries and Copyright at the Regional Level: The Cases of Shenzhen and Hangzhou in China," Sustainability, MDPI, vol. 14(9), pages 1-17, April.
    6. Cheng-Yi Lin, 2014. "The Evolution of Taipei’s Music Industry: Cluster and Network Dynamics in the Innovation Practices of the Music Industry," Urban Studies, Urban Studies Journal Limited, vol. 51(2), pages 335-354, February.
    7. Matthew A Zook, 2003. "Underground Globalization: Mapping the Space of Flows of the Internet Adult Industry," Environment and Planning A, , vol. 35(7), pages 1261-1286, July.
    8. Allen J Scott, 2005. "Cultural-Products Industries And Urban Economic Development: Prospects For Growth And Market Contestation In Global Context," Urban/Regional 0511005, University Library of Munich, Germany.
    9. Grazia Cecere & Nicoletta Corrocher & Fabio Scarica, 2012. "Why do pirates buy music online? An empirical analysis on a sample of college students," Economics Bulletin, AccessEcon, vol. 32(4), pages 2955-2968.
    10. A. N. Pilyasov & R. V. Goncharov, 2023. "Location of Productive Forces in Russia in an Innovation Economy," Regional Research of Russia, Springer, vol. 13(1), pages 129-141, March.
    11. Andrew Currah, 2002. "Behind the Web Store: The Organisational and Spatial Evolution of Multichannel Retailing in Toronto," Environment and Planning A, , vol. 34(8), pages 1411-1441, August.
    12. Marco Mundelius & Wencke Hertzsch, 2005. "Networks in Berlin’s Music Industry – A Spatial Analysis," ERSA conference papers ersa05p534, European Regional Science Association.
    13. Erik Hitters, 2011. "Back to Hilversum: Consolidation of the Dutch Broadcast Cluster," Chapters, in: Charlie Karlsson & Robert G. Picard (ed.), Media Clusters, chapter 5, Edward Elgar Publishing.
    14. Dominic Power & Daniel Hallencreutz, 2002. "Profiting from Creativity? The Music Industry in Stockholm, Sweden and Kingston, Jamaica," Environment and Planning A, , vol. 34(10), pages 1833-1854, October.
    15. Ingo Bader & Albert Scharenberg, 2010. "The Sound of Berlin: Subculture and the Global Music Industry," International Journal of Urban and Regional Research, Wiley Blackwell, vol. 34(1), pages 76-91, March.
    16. Arthur Price, 2016. "Leveraging Technology to Bridge the Gap between Independent Artists and Reaching the Right Consumer," Journal of Entrepreneurship and Innovation in Emerging Economies, Entrepreneurship Development Institute of India, vol. 2(2), pages 136-160, July.

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