Abstract
In this last section of the book, I will try and tie all the earlier discussions together. Expanding on the previous sections, I conclude that from the three concepts, the first is of most importance—the internal dynamics of the music industries. The concept has significant explanatory power as a factor on its own, as well as having significant impact on the two other factors. The internal structures and the (dysfunctional) nature of the music industries clearly create internal frustrations and external hostility. And more importantly, it seems to prevent the music industries from acting on the digital potential that appears.
Lastly, in this part, I am briefly questioning whether we are really talking about a crisis in the music industries, or whether we are at all seeing the convergence of fields. In both cases, the ambition is to question two widespread claims relating to digitalization.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsNotes
- 1.
http://www.uia.no/en/centres-and-networks/popular-music-research-unit (last visited 02.12.2016).
References
Anderson, V., & Johnson, L. (1997). Systems thinking basics. Cambridge, MA: Pegasus Communications.
Barnett, B., & Harvey, E. (2015). Recording industries, technologies and cultures in flux. Creative Industries Journal, 8(2), 103–105.
Bower, J. L., & Christensen, C. M. (1995). Disruptive technologies: Catching the wave. Harvard business review on reinventing your business model, 2011, 201–230. Originally in Harvard Business Review 73 (1, January–February 1995), 43–53.
Burnett, R. (1996). The global jukebox: The international music industry. London: Routledge.
Drew, R. (2014). New technologies and the business of music: Lessons from the 1980s home taping hearings. Popular Music and Society, 37(3), 253–272.
Fligstein, N., & McAdam, D. (2012). A theory of fields. New York, NY: Oxford University Press.
Forrester, J. W. (1961). Industrial dynamics. Cambridge, MA: MIT Press.
Hardy, P. (2012). Download! How the internet transformed the recorded business. London: Omnibus.
Hesmondhalgh, D. (2013). The cultural industries. London: Sage.
Johnson, M. W., et al. (2008, December). Reinventing your business model. Harvard Business Review on Reinventing Your Business Model, 2011, 39–65. Originally in Harvard Business Review, 86(12).
Liebowitz, S. J. (2006, April). File-sharing: Creative destruction or just plain destruction. Journal of Law and Economics, 49(1), 1–28.
Moreau, F. (2013). The disruptive nature of digitization: The case of the recorded music industry. International Journal of Arts Management, 15(2), 18–32.
Negus, K. (1992). Producing POP: Culture and conflict in the popular music industry. New York, NY: Routledge.
Negus, K. (1996). Popular music in theory: An introduction. Cambridge, UK: Polity.
Negus, K. (1999). Music genres and corporate cultures. New York, NY: Routledge.
Nordgård, D. (2013). Rapport fra Nordgård-utvalget. The Norwegian Ministry of Culture. Retrieved from http://www.regjeringen.no/en/dep/kud/documents/reports-and-plans/reports/2013/rapport-fra-nordgard-utvalget.html?id=734716
Nordgård, D. (2016). Norwegian festivals and a music economy in transition: The art of balancing ambitions, expectations and limitations. In C. Newbold & J. Jordan (Eds.), Focus on world festivals. Oxford: Goodfellow.
Pedersen, R. R. (2014). Music streaming in Denamrk: An analysis of listening patterns and the concequences of a user settlement model based on streaming data from WiMP. Retrieved February 12, 2015, from http://rucforsk.ruc.dk/site/da/publications/music-streaming-in-denmark%28d553b4dc-4e68-4809-a4ba-67da99a2122a%29.html
Richardson, G. P. (1991). Feedback thought in social science and systems theory. Philadelphia, PA: University of Pennsylvania Press.
Rogers, J., & Preston, P. (2016). Crisis and creative destruction: New modes of appropriation in the twenty-first century music industry. In P. Wikström & R. DeFillippi (Eds.), Business innovation and disruptions in the music industries. Massachusetts: Edward Elgar.
Senge, P. M. (1990). The fifth discipline. London: Century.
Wikström, P. (2005). The enemy of music: Modelling the behaviour of a cultural industry in crisis. The International Journal on Media Management, 7(1 & 2), 65–74.
Wikström, P. (2009). The music industry: Music in the cloud. In Digital media and society series. Cambridge: Polity Press.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2018 Springer Nature Switzerland AG
About this chapter
Cite this chapter
Nordgård, D. (2018). Conclusion: Tying It All Together. In: The Music Business and Digital Impacts. Music Business Research. Springer, Cham. https://doi.org/10.1007/978-3-319-91887-7_3
Download citation
DOI: https://doi.org/10.1007/978-3-319-91887-7_3
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-319-91886-0
Online ISBN: 978-3-319-91887-7
eBook Packages: Economics and FinanceEconomics and Finance (R0)