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Journal articles on the topic 'Music sales'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Koh, Byungwan, B. P. S. Murthi, and Srinivasan Raghunathan. "Shifting Demand: Online Music Piracy, Physical Music Sales, and Digital Music Sales." Journal of Organizational Computing and Electronic Commerce 24, no. 4 (October 2, 2014): 366–87. http://dx.doi.org/10.1080/10919392.2014.956592.

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2

Kretschmer, Tobias, and Christian Peukert. "Video Killed the Radio Star? Online Music Videos and Recorded Music Sales." Information Systems Research 31, no. 3 (September 2020): 776–800. http://dx.doi.org/10.1287/isre.2019.0915.

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We study how online video platforms affect the sales volume and sales distribution of recorded music. To do so, we study two events that removed and then partially restored access to online music videos for consumers in Germany. Because of a legal dispute, virtually all music videos were blocked from YouTube, which led to a decrease in record sales of about 5%–10%. When the dedicated platform Vevo entered a few years later, record sales increased again by a similar amount. This is effect can be attributed to user-generated content (fan videos and cover versions) as much as to official music videos. Record sales of newcomer artists and mainstream music benefit disproportionally. We discuss the implications for debates on the reform of compulsory licensing rules and copyright.

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3

North, Adrian C., Amanda E. Krause, Lorraine P. Sheridan, and David Ritchie. "Energy, Typicality, and Music Sales." Empirical Studies of the Arts 35, no. 2 (January 22, 2017): 214–29. http://dx.doi.org/10.1177/0276237416688063.

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Research on musical preference has been dominated by two approaches emphasizing, respectively, the arousal-evoking qualities of a piece or its typicality of the individual’s overall musical experience. There is a dearth of evidence concerning whether either can explain preference in conditions of high ecological validity. To address this, the present research investigated the association between sales of 143,353 pieces of music, representing all the music that has enjoyed any degree of commercial success in the United Kingdom, and measures of both the energy of each piece (as a proxy for arousal) and the extent to which each piece was typical of the corpus. The relationship concerning popularity and energy was U-shaped, which can be reconciled with earlier findings, and there was a positive relationship between the typicality of the pieces and the amount of time they featured on sales charts. The population-level popularity of an entire corpus of music across several decades can be predicted by existing aesthetic theories, albeit with modifications to account for market conditions.

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Mitchell, David M., C. Patrick Scott, and Keneth H. Brown. "Did the RIAA’s Prosecution of Music Piracy Impact Music Sales?" Atlantic Economic Journal 46, no. 1 (January 30, 2018): 59–71. http://dx.doi.org/10.1007/s11293-017-9567-1.

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5

Koster, Alexis. "The Emerging Music Business Model: Back to the Future?" Journal of Business Case Studies (JBCS) 4, no. 10 (July 5, 2011): 17. http://dx.doi.org/10.19030/jbcs.v4i10.4812.

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For many years, the music industry has consisted of two main components: the concert industry and the recording music industry. Throughout the 80s and 90s, thanks mostly to CD sales, the recording music industry was dominant in terms of revenue and visibility. It reached record US sales in 1999 and 2000 (over $14.3 billion in 2000, $13.2 billion of which for CD albums), and between the years 2000 and 2007, the industry has seen a decline of 44% in its sales of physical records. Reluctantly, the recording industry has joined the digital world by signing agreements with a variety of organizations providing music downloading, in particular with Apple and its iTunes downloading service. It earned 1.4 billion dollars from music downloading in 2007 (with another billion from other digital sales such a cellular phone ringtones). Obviously, digital sales have fallen short of compensating the industry for its losses of physical record sales. The concert industry is re-emerging as the potential dominant component of the music industry. In contrast to the recording industry, its revenues have not been affected by illegal Internet downloading. On the contrary, it is making use of the Internet to increase them. Recording artists are taking advantage of the weakening of the recording labels and of the opportunities offered by the Internet to loosen their dependence on the labels. Finally, the once well-defined separation between the concert industry and the recording industry may be disappearing: concert organizers are getting into the recording business and majors are getting into the concert business.

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Dewan, Sanjeev, and Jui Ramaprasad. "Social Media, Traditional Media, and Music Sales." MIS Quarterly 38, no. 1 (January 1, 2014): 101–21. http://dx.doi.org/10.25300/misq/2014/38.1.05.

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7

Bălan, Oana-Mihaela. "A Synoptic View of Music Sales Management." Studia Universitatis Babeş-Bolyai Musica 62, no. 2 (December 20, 2017): 17–26. http://dx.doi.org/10.24193/subbmusica.2017.2.01.

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8

Asai, Sumiko. "Sales Patterns of Hit Music in Japan." Journal of Media Economics 22, no. 2 (June 8, 2009): 81–101. http://dx.doi.org/10.1080/08997760902900106.

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9

Hendricks, Ken, and Alan Sorensen. "Information and the Skewness of Music Sales." Journal of Political Economy 117, no. 2 (April 2009): 324–69. http://dx.doi.org/10.1086/599283.

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10

Hiller, R. Scott, and Jason M. Walter. "The Rise of Streaming Music and Implications for Music Production." Review of Network Economics 16, no. 4 (December 20, 2017): 351–85. http://dx.doi.org/10.1515/rne-2017-0064.

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Abstract In this paper, we model the potential for streaming music, a non-durable product, to upend and displace durable music sales. As the popularity of streaming music increases producers will adjust their production to focus on the non-durable channel. We identify conditions under which the changes in music delivery will encourage musicians to release fewer songs, but at a higher quality, leading to market deepening and increased engagement. This change will complete the unbundling process in music production making the traditional bundled album of little importance. This tendency toward unbundling for individual musicians depends on a robust bundle from a delivery platform to provide value for consumer subscriptions. Beyond a model of consumer utility and producer profit, we analyze the most played songs of the large streaming music platform, Spotify, and compare those results to traditional album sales using Nielsen data.

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11

Laing, Dave. "World record sales." Popular Music 10, no. 1 (January 1991): 85–86. http://dx.doi.org/10.1017/s0261143000004335.

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12

Laing, Dave. "World record sales." Popular Music 16, no. 3 (October 1997): 311–12. http://dx.doi.org/10.1017/s0261143000008436.

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13

Im, Hyunsuk, Haeyeop Song, and Jaemin Jung. "The effect of streaming services on the concentration of digital music consumption." Information Technology & People 33, no. 1 (June 7, 2019): 160–79. http://dx.doi.org/10.1108/itp-12-2017-0420.

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Purpose The purpose of this paper is to articulate whether consumers’ use of music via streaming service benefits niche products and diversified consumption of music. It examines does winner take all or is long tail achieved in the digital music market. Design/methodology/approach To investigate the degree of concentration in the digital music sales, this study measures multiple concentration metrics using the top 100 songs for 245 weeks listed on the Korean music ranking chart. Findings Conflicting results are found between the analyses based on short-run and long-run data. When sales distributions are compared weekly or monthly, the results show that streaming services have a less concentrated sales distribution than download services. However, the result becomes the opposite in the long-run analysis (i.e. one year). Originality/value This study proposes that the non-technological drivers such as the beneficial addiction of music consumption can be a crucial driver affecting the usage concentration in music industry, coupled with the royalty policy of access-based services.

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14

Parker, Martin. "Reading the charts – making sense with the hit parade." Popular Music 10, no. 2 (May 1991): 205–17. http://dx.doi.org/10.1017/s0261143000004517.

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One of the formations which helps to shape the meaning of modern pop music is the charts. In theory, the charts define the most popular of popular musics, the goal, the pinnacle of success. Both professionals and audience dedicate large amounts of time and money to producing and consuming this series of comparative market histories produced at rapid and regular intervals. Technology is bent to the service of the research in order that the figures be produced more quickly and with the appearance of accuracy. But why should we be interested in the Top 40 itself rather than its music? Writers on pop have provided us with some detailed descriptions of the charts (Frith 1978; Harker 1980; Wallis and Malm 1984; Street 1986), but few have noted that this level of consumer obsession with sales figures is almost unique to the record industry. Consumers of other commodities do not usually consult a specialist book or magazine in order to discover the past sales history of their favourite brand, nor do they listen to particular radio stations in order to ascertain the best selling product of the week. Why then should the sales results of EMI, Polygram, WEA and others be of interest to their consumers when the same data about multi-national corporations in other market sectors are primarily of interest to market insiders and analysts? An important caveat needs to be added in that popular music is now not the only type of cultural production that foregrounds sales figures. More recently popular literature (the ‘Bestsellers List’), video and films have all begun to use this format but in none of these cases is the chart as central as it is with pop music.

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15

Schuster, Mike, David Mitchell, and Kenneth Brown. "Sampling Increases Music Sales: An Empirical Copyright Study." American Business Law Journal 56, no. 1 (February 26, 2019): 177–229. http://dx.doi.org/10.1111/ablj.12137.

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16

Scott Hiller, R. "Sales displacement and streaming music: Evidence from YouTube." Information Economics and Policy 34 (March 2016): 16–26. http://dx.doi.org/10.1016/j.infoecopol.2015.12.002.

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17

Laing, Dave. "World Record Sales 1998." Popular Music 18, no. 3 (October 1999): 415–16. http://dx.doi.org/10.1017/s0261143000008953.

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18

Akhavan Kharazian, Maryam, and Vahed Azadfar. "Modeling of Islamic consumer behavior and background music regarding ambiguity in the Islamic texts." International Journal of Islamic and Middle Eastern Finance and Management 12, no. 4 (September 9, 2019): 553–68. http://dx.doi.org/10.1108/imefm-04-2018-0147.

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Purpose This study aims to develop a model to analyze the effect of background music on Islamic consumer purchase behavior regarding to ambiguity in the Islamic texts. Design/methodology/approach In this experimental design, the population included chain store consumers in Tehran, among whom more than 17,000 consumers were selected during 42 days. ANOVA was used to analyze the collected data. Findings Based on the results, playing music in a store could significantly influence the total sales and average purchase value, while no positive role was observed on the number of purchases. Furthermore, dual impression form Islam viewpoints regarding music was observed in the present study as it failed to affect the number of sales in spite of influencing the amount of sales. Individuals affected by music buy more expensive goods, which may indicate that those who buy more luxury goods are less inclined to Islamic views or are inclined to those views which regards playing music as legitimate. Research limitations/implications Store managers and marketers in Islamic nation are recommended to play pop music in their store to improve total sales. Managers in islamic nation should play some music when they offer more luxury and less ordinary goods. Although the present study attempted to control potential intervening variables to increase validity, controlling intervening variables is a serious limitation for conducting a field study. Uncontrollable intervening variables established by other media are considered as another limitation in this study. Originality/value For the first time, this study sheds some light on how the types of background music influences on the Islamic consumers. The study shows the ambiguity in the islamic texts and the differences in the judgments of religious regarding playing music to muslim consumer.

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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.

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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.

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20

Newman, Joel S. "Sales and Donations of Self-Created Art, Literature, and Music." Pittsburgh Tax Review 12, no. 2 (July 10, 2015): 57–88. http://dx.doi.org/10.5195/taxreview.2015.33.

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21

Laing, Dave. "Record sales in the 1980s." Popular Music 9, no. 2 (May 1990): 235–36. http://dx.doi.org/10.1017/s0261143000003937.

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22

Laing, Dave. "World Record Sales Figures 1992." Popular Music 12, no. 3 (October 1993): 302–3. http://dx.doi.org/10.1017/s0261143000005754.

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23

Wolther, Irving. "‘Die perfekte Welle’: possible solutions to the crisis of the international music industry with the help of national language music." Popular Music 27, no. 2 (May 2008): 289–97. http://dx.doi.org/10.1017/s0261143008004078.

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AbstractIs the proportion of German language music in total record sales in Germany a cause for optimism or for concern? This question is very difficult to answer as the national branch of the IFPI only supplies statistics on ‘national repertoire’ and not specifically on ‘national language repertoire’ – and even that covers music sung in any language, not only in German. Since the call for a music quota for radio stations lacks a precise definition (German or German language) there is some reason to suspect that the real aim behind this discussion is not to support German music culture but rather national economic interests. As a matter of fact, the average proportion of German language songs in the charts is currently the highest it has been in the last thirty years.An analysis of the Top 20 in the national end-of-year charts of various European countries shows that the number of national language songs is generally increasing again after a substantial decline in the 1980s and 1990s. This is the case not only with record sales but also with airplay. This means that the increase cannot only be due to the massive drop in sales of international repertoire caused by file sharing on the Internet.

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24

Litomerický, Juraj. "Hudba ako marketingový nástroj na zvýšenie návštevnosti a tržieb." Marketing Science & Inspirations 17, no. 1 (April 30, 2022): 20–28. http://dx.doi.org/10.46286/msi.2022.17.1.2.

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The author, based on many years of his own experience and through a questionnaire survey, proposes the principles of selecting appropriate music as a marketing tool aimed at increasing footfall and sales in retail and service outlets, taking into account the nature of the outlet, client segments, allocation of operations and other facts. The author points out the frequently occurring mistakes and recommends solutions for selecting appropriate music to make the clients' stay in the outlets more pleasant and thus become a prerequisite for increasing their traffic and sales.

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25

Das, Saini, Arunabha Mukhopadhyay, and Kallol K. Bagchi. "National-Level Determinants of Global Music Piracy and Online Music Sales: An Exploratory Study." Journal of Global Information Technology Management 17, no. 1 (January 2, 2014): 6–25. http://dx.doi.org/10.1080/1097198x.2014.910988.

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Shanahan, Yvonne P., and Morris W. Shanahan. "A Teaching Case Study: Roxy Music Limited." Journal of Business Case Studies (JBCS) 1, no. 2 (April 1, 2005): 15–18. http://dx.doi.org/10.19030/jbcs.v1i2.4918.

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Roxy Music Limited is a wholesale supplier of Compact Discs (CDs), Music Cassettes, Videos and, more recently DVDs, in the New Zealand music and entertainment market. All products are imported from Germany, the United Kingdom, the United States of America or Holland. Product arrives in boxes of 1,000 units. For the purpose of this case, we are focusing on CD sales.

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HITCHNER, EARLE. "No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 509–20. http://dx.doi.org/10.1017/s1752196310000416.

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AbstractThe emergence of the compact disc in 1979 was regarded as the likely sales salvation of recorded music, and for many years the CD reigned supreme, generating steady, often substantial, company profits. More recently, however, the music industry has painfully slipped a disc. The CD has been in sharp decline, propelled mainly by young consumer ire over price and format inflexibility and by Internet technology available to skirt or subvert both. Irish American traditional music has not been impervious to this downward trend in sales and to other challenging trends and paradigm shifts in recording and performing. Amid the tumult, Irish American traditional music has nevertheless shown a new resilience and fresh vitality through a greater do-it-yourself, do-more-with-less spirit of recording, even for established small labels. The five recent albums of Irish American traditional music reviewed here—three of which were released by the artists themselves—exemplify a trend of their own, preserving the best of the past without slavishly replicating it. If the new mantra of music making is adapt or disappear, then Irish American traditional music, in adapting to change free of any impulse to dumb down, is assured of robustly enduring.

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Lee, Jonathan, Peter Boatwright, and Wagner A. Kamakura. "A Bayesian Model for Prelaunch Sales Forecasting of Recorded Music." Management Science 49, no. 2 (February 2003): 179–96. http://dx.doi.org/10.1287/mnsc.49.2.179.12744.

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29

Waldfogel, Joel. "Music file sharing and sales displacement in the iTunes era." Information Economics and Policy 22, no. 4 (December 2010): 306–14. http://dx.doi.org/10.1016/j.infoecopol.2010.02.002.

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Najamudin, Muhammad, and Benny Mahendra. "Pendampingan Wirausaha Pengrajin Musik Panting P.I.X Musik Kota Banjarmasin di Masa Covid 19." Bubungan Tinggi: Jurnal Pengabdian Masyarakat 3, no. 4 (November 12, 2021): 398. http://dx.doi.org/10.20527/btjpm.v3i4.2386.

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Tujuan kegiatan pengabdian kepada mayarakat ini yaitu: untuk memberikan pemahaman mengenai kewirausahaan pengrajin alat tradisional musik panting (P.I.X) musik Kota Banjarmasin tentang wawasan kewirausahaan, cara mempromosikan dimasa pandemi covid 19, yang dimana penurunan omset pengrajin menurun sejak bulan Februari sampai Juni 2020. Hal ini dikarenakan menurunya produktivitas pertunjukan musik. Kegiatan dilakukan melalui pendampingan wirausaha pengrajin musik panting P.I.X musik di Kota Banjarmasin dari produksi, pemasaran hingga pengurusan hak merek dagang Hak Kekayaan Intelektual (HKI). Metode program pengabdian kepada masyarakat berbasis kemitraan. Bentuk kegiatan pendampingan meliputi tahapan-tahan sebagai berikut; memberikan materi konsep wirausaha, melakukan pendampingan pemanfaatan media promosi dalam pemasaran produk, dan terdaftar di Hak Kekayaan Intelektul (HKI) sebagai merek dagang dengan merek P.I.X musik. Simpulan dalam pengabdian kepada masyarakat ialah proses pendampingan kewirausahaan pengrajin musik panting P.I.X musik berjalan dengan lancar dan meningkat omset penjualannya hingga mendapatkan HKI (Hak Kekayaan Intelektual) merek dagang.The purpose of this community service assistance activity is to understand the entrepreneurship of the PIX music craftsmen in Banjarmasin regarding entrepreneurial insight, how to promote during the Covid 19 pandemic, in which the decline in artisans turnover decreased from February to June 2020. This is due to decreased productivity—music show. The activity's objective is to provide entrepreneurship assistance for P.I.X music artisans in Banjarmasin from production, marketing and IPR. Partnership-based community service program methods. Mentoring activities include the following stages; providing material on entrepreneurial concepts, assisting in promotional media in product marketing, and intellectual property rights (IPR). The conclusion in community service is the process of entrepreneurship assistance for P.I.X music artisans to run smoothly, and their sales turnover increases until they get IPR (Intellectual Property Rights).

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Līduma, Diāna, Ārijs Orlovskis, Uldis Drišļuks, and Antra Dreģe. "CONTEMPORARY MUSIC PRODUCT SELLING EXPERIENCE IN LATVIA AND EUROPE." Problems of Management in the 21st Century 13, no. 1 (August 10, 2018): 18–33. http://dx.doi.org/10.33225/10.33225/pmc/18.13.18.

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During the age when outcomes of the creative process develop in a great diversity, the issue about product sales and appropriate marketing implementation becomes topical both in clients’ attraction and in the existing products competition from the side of culture organizations’ management. The aim of the research is on the basis of the analysis outcomes of the international and Latvian leading contemporary music festivals and concert organizers’ work experience determine the currently existing trends in contemporary music product sales, including the most appropriate marketing activities for clients’ attraction. Within the framework of research, the survey of managers and marketing specialists (in total 22, incl.13 foreign and 9 local organizers) of working organizations in the branch on Latvian and European scale and 138 listeners of contemporary music festivals and concerts in Latvia has been carried out. In the research it is discovered that contemporary music from the point of priority takes the second place in European concert organizers’ programmes and the third place from the point of interests among listeners in Latvia. The values included in the concert organizers’ products in Europe and Latvia – high level performers’ performance, an interesting programme and innovative content, coincide with the hearers’ main reasons for the choice of the event. Concert organizers in Latvia also see the significance in the offer of classical values, combining them with education and alternative content, but concert organizers in Europe – educating content in combination with alternative environment. The research outcomes reveal that contemporary music in Latvia is regularly consumed by about 40% of total listeners’ number, in Europe the regular consumers’ proportion reaches 50% listeners. In Latvia, despite the critical demographic situation, the tendency of concert attendance is increasing in comparison with other European countries, where it is assessed as firmly stable. According to the obtained data in the research, in the contemporary music product sales the most essential information channel is the social media, which is used for information acquisition by 43% listeners in Latvia, but for information provision it is used by 47% concert organizers in Latvia and 40% in Europe. In the Latvian concert organizers’ practice outdoor advertising (20%) is also popular and forms the point of listeners – posters (31%). Concert organizers in Europe create additional creative products for interest, apply public relations and the integrated marketing communication. The research outcomes have revealed the need for the concert organizers to focus on marketing communication and society’s education issues both in culture-policy of updates and collegial cooperation promotion among event creators in the branch for the contemporary music product sales. Keywords: culture product, contemporary music festival, concert organizers, marketing activities.

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Coover, James. "Puttick's Auctions: Windows on the Retail Music Trade." Journal of the Royal Musical Association 114, no. 1 (1989): 56–68. http://dx.doi.org/10.1093/jrma/114.1.56.

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At the auction sale of Sterndale Bennett's library in 1875, Thomas Taphouse paid £52 for the autograph manuscript of Fingal's Cave Overture. Two months earlier, at another auction, the publisher John Williams paid £990 for the plates and copyrights of Charles Coote's Prince Imperial Galop, a music-hall favourite (done – it was reported – to the applause of those in attendance). This essay will not attempt to account for such seemingly irreconcilable events and values – the market-place was always alive with such contrasts – but will, instead, focus attention on the auctioneer at both of those sales, the London firm of Puttick & Simpson, sketching its history from 1846 to 1971, describing its music sales, and demonstrating the singular importance, today, of its surviving catalogues. It will, it is hoped, persuade others to consider different and more painstaking studies of those relics than have been undertaken to this point.

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Lu, Chao, and Jialu Chang. "The Innovation of Online Music Business Model From the Perspective of Industrial Value Chain Theory." Journal of Electronic Commerce in Organizations 17, no. 2 (April 2019): 1–15. http://dx.doi.org/10.4018/jeco.2019040101.

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The emergence and development of online music have brought a great update to traditional music industrial value chain. As consumers know, record sales, media dissemination, and peripheral income like concerts are three major sources of income of traditional music industry. Compared with that, the music industry now possesses an extensive consumer group, a new growth point, and a new development direction. Meanwhile, as laws and business rules of online music industry improving, the new online music business model need to be established. Based on value chain theory, this article sets up a brand new online music business model and analyzes the operation strategy, and services mode of the business model applying internet thinking.

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Roza, Yuni, Abduh Maulana Mubarok, and Tri Rama Halim Santoso. "Perancangan Sistem Pendukung Keputusan Penanganan Tren Penjualan Pada PT. Doremi Music Indonesia." Journal Sensi 7, no. 1 (February 15, 2021): 115–26. http://dx.doi.org/10.33050/sensi.v7i1.1440.

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PT. Doremi Music Indonesia di Kota Tangerang adalah merupakan perusahaan manufaktur yang bergerak pada jual beli perlengkapan alat musik dan aksesoris yang berkaitan.Dikarenakan pemanfaatan informasi data tren yang ada belum maksimal pada prosespengelolaan dan pemanfaatannya dimana yang bertujuan untuk meningkatkan performa valueperusahaan pada departemen Sales &Marketing khususnya Wholesale , oleh sebab itu dilakukan perancangan sistem pengelolaan output data tren serta menunjang keputusan dalam pemetaanarea distribusi produk agar lebih maksimal. Penelitian ini menggunakan metode denganmelakukan wawancara dan observasi serta menggunakan metode analisa sistem Critical SuccessFactor (CSF.). Dengan adanya sistem aplikasi penunjang keputusan dalam pengelolaan data trendiharapkan dapat mempermudah pelaksanaan pemetaan dan penentuan langkah prioritas dalamproses penjualan hasil produk dan meningkatkan value perusahaan.

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Sahib Oad, Mujeeb ur Rehman Abro, and Awais H. Gillani. "ET: Statistical study to investigate the descending trend of Live Music Industry in Pakistan." Progressive Research Journal of Arts & Humanities (PRJAH) 2, no. 1 (March 15, 2020): 1–13. http://dx.doi.org/10.51872/prjah.vol2.iss1.74.

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Due to the growing demand for concerts after a decline in recorded music sales, the globally live music industry has become an important income source for music artists and countries’ economies. In Pakistan, neither music artists nor the economy could take advantage of this opportunity due to certain factors. The present study was designed to investigate the influences of factors such as extremism and terrorism (ET) and security issues (SIs) on the live music industry in Pakistan. Data was collected through an online questionnaire from 203 music artists and was statistically analyzed through a regression test using SPSS techniques. The findings of our study depicted that these factors had a negative influence on the live music industry. Besides, the frequency of live music events decreased with the increase in the magnitude of these factors.

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Moe, Wendy W., and Peter S. Fader. "Modeling Hedonic Portfolio Products: A Joint Segmentation Analysis of Music Compact Disc Sales." Journal of Marketing Research 38, no. 3 (August 2001): 376–85. http://dx.doi.org/10.1509/jmkr.38.3.376.18866.

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The authors present a framework that enables researchers to differentiate better among a wide array of hedonic products. Specifically, the authors define and discuss characteristics of hedonic portfolio products and offer a joint segmentation model that is appropriate for understanding the sales dynamics of this class of products. The model offered in this article can accommodate a large degree of product heterogeneity through product clusters and model covariates. The basic premise is that several generic consumer segments exist and remain fixed across all albums, and each album (or each cluster of similar albums) can be viewed as drawing different proportions from each of these underlying segments. The authors also allow explanatory variables to have a differential impact on both components of the model—that is, accelerating purchase rates within a consumer segment and changing the proportions drawn from each consumer segment by each product cluster—thereby expanding or contracting the potential market size. The authors apply this model to music compact disc sales for 20 different albums and discuss the different effects of radio airplay and holiday buying on sales for a sample in the music industry.

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Denk, Janis, Alexa Burmester, Michael Kandziora, and Michel Clement. "The impact of COVID-19 on music consumption and music spending." PLOS ONE 17, no. 5 (May 13, 2022): e0267640. http://dx.doi.org/10.1371/journal.pone.0267640.

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COVID-19 induced restrictions ordered by governments around the world have been an exogenous shock to the music industry, which we divide into two affected groups: 1) live music events and 2) recorded music. While the impact on live music events is rather obvious, it is unclear how the current pandemic is affecting the recorded music market. Hence, we study consumers’ pre- and post-pandemic shifts in consumer spending (in euros) and music consumption (in hours) across live music events, as well as the digital and physical submarkets of recorded music, in the world’s fourth largest music market, Germany. Relying on an online bi-annual panel capturing five waves between winter 2018/19 and winter 2020/21, we find that the COVID-19 pandemic is accelerating the continuous trend towards digitalization of the music landscape with premium streaming being the biggest beneficiary. However, total monthly consumer spending on music decreased by more than 45% compared to pre-pandemic, with live music events and physical sales being the most severely affected. Surprisingly, music consumption in hours also decreased during the lockdown even though consumers spent more time at home.

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Ranti, Kiefer Stefano, Deyanara Tuapattinaya, Calvin Chang, and Abba Suganda Girsang. "Data warehouse for analysing music sales on a digital media store." Journal of Physics: Conference Series 1477 (March 2020): 032013. http://dx.doi.org/10.1088/1742-6596/1477/3/032013.

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Adermon, Adrian, and Che-Yuan Liang. "Piracy and music sales: The effects of an anti-piracy law." Journal of Economic Behavior & Organization 105 (September 2014): 90–106. http://dx.doi.org/10.1016/j.jebo.2014.04.026.

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Leung, Tin Cheuk. "Music piracy: Bad for record sales but good for the iPod?" Information Economics and Policy 31 (June 2015): 1–12. http://dx.doi.org/10.1016/j.infoecopol.2015.04.001.

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Lee, Jonathan F. "Purchase, pirate, publicize: Private-network music sharing and market album sales." Information Economics and Policy 42 (March 2018): 35–55. http://dx.doi.org/10.1016/j.infoecopol.2018.01.001.

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Klein, Christopher C., and Shea W. Slonaker. "Chart Turnover and Sales in the Recorded Music Industry: 1990–2005." Review of Industrial Organization 36, no. 4 (June 2010): 351–72. http://dx.doi.org/10.1007/s11151-010-9250-z.

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Navissi, Farshid, Vic Naiker, and Stewart Upson. "Securities Price Effects of Napster-Related Events." Journal of Accounting, Auditing & Finance 20, no. 2 (April 2005): 167–83. http://dx.doi.org/10.1177/0148558x0502000204.

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Napster released its controversial peer-to-peer music file sharing software to the public in June 1999, and after approximately two years of intense debates and legal battles it was eventually ordered to shut down in February 2001. The opponents of Napster (e.g., the Recording Industry Association of America, RIAA, and Metallica Lars Ulrich) suggested that Napster had collapsed the business structure of the U.S. multibillion-dollar music industry. Napster, on the other hand, argued that its service had increased the music sales. We use Napster as a proxy for diffuse piracy through the Internet since it was the conduit for individual file sharing on a large scale. We examine the effects of 11 prominent Napster-related events on the equity value of firms in the U.S. music industry. If Napster's service stimulated (harmed) music sales, then events that increased (decreased) the effectiveness of Napster would improve (reduce) the stock prices of the music firms. Our evidence suggests that events that increased the effectiveness of Napster as a distribution mechanism improved the stock prices of the music firms. Additionally, the evidence indicates that events that threatened Napster's survival resulted in decreases in the stock prices of the music firms. Music firms in the sample experienced negative excess returns ranging from minus;1.76 percent to minus;10.69 percent in response to anti-Napster events. On the other hand, retreats from anti-Napster events were accompanied by positive excess returns ranging from +0.56 percent to +5.05 percent. The seven anti-Napster events resulted in a total capital loss in excess of $18 billion and the four pro-Napster events created wealth in excess of $9 billion, compared to the total market capitalization of $101 billion for the sample firms.

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CHEN, Xianli, Jingzhi GE, Sanqin HU, and Fanglin MENG. "Research on Business Model Innovation of Chinese Music Industry in the Era of Digital Economy 2.0 ——Take Netease Cloud Music as an Example." Theory and Practice of Social Science 2, no. 2 (June 30, 2020): 21–34. http://dx.doi.org/10.6914/tpss.202006_2(2).0003.

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As the most active field of technological innovation, service innovation and business innovation, digital economy has entered the 2.0 era of rapid penetration of digital technology, deep concentration of industry and comprehensive integration of platforms driven by mobile Internet, big data, cloud computing, Internet of things and artificial intelligence. Digital economy has reshaped the music industry in terms of R & D, production and sales. From the perspective of digital economy, combined with the case of Netease Cloud Music, using the thinking mode of business model canvas, this paper analyzes the innovation of business model of Chinese music industry, and puts forward suggestions for the development of music industry.

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WATSON, MARY R., and N. ANAND. "Award ceremony as an arbiter of commerce and canon in the popular music industry." Popular Music 25, no. 1 (January 2006): 41–56. http://dx.doi.org/10.1017/s0261143005000747.

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We show how the Grammy award ceremony played a central role in influencing the US popular music industry through two important inter-organisational processes. The ceremony served as the vehicle through which the National Academy of Recording Arts and Sciences (NARAS) interlinked with commercial interests in the field: the distributors, wholesalers and retailers who are represented by the National Association of Record Merchandisers (NARM). As music became a more visual medium and television coverage of the ceremony became prominent, merchandisers came to rely on the Grammy awards as their sales cue, and began to aggressively promote nominees and winners. As a result of the retailers' selective attention, Grammy award-winners began enjoying greater popular appeal through increased album sales. Second, attempts made by various constituents of NARAS to influence award decisions resulted in the surfacing of, challenges to and, finally, the resolution of occupational conflicts and normative concerns about the legitimacy of genres in the popular music industry. In the process, NARAS succeeded in championing the Grammy awards as the hallmark of peer recognition. We contend that the unique ability of the Grammy awards to mingle both peer and popular recognition makes them a significant arbiter of canon formation in the popular music industry.

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Sulaiman Effendi and Edy Firmansyah. "Distribution & Sales Control in Music Companies in the Industrial Era 4.0: A Case Study in the Indonesian Music Industry." Konfrontasi: Jurnal Kultural, Ekonomi dan Perubahan Sosial 9, no. 1 (April 18, 2022): 160–67. http://dx.doi.org/10.33258/konfrontasi2.v9i1.203.

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On April 4, 2018 the Government of the Republic of Indonesia through the Ministry of Industry & Trade launched the 'Making Indonesia 4.0' program as a road map towards industrial competitiveness and industrial transformation. In a step to implementing Making Indonesia 4.0, the Ministry of Industry & Trade of the Republic of Indonesia also launched the Indonesia Industry 4.0 Readiness Index (INDI 4.0). Namely the Index to measure the industry's readiness to transform and a reference to access the industry's readiness to transform itself. In Indonesia, the music industry has also developed towards 4.0, which is still intended for users of music products in Indonesia, namely Karaoke Companies. Namely a company in the tourism and entertainment industry that provides space services, musical instruments and catalogs of various songs. The problem is, the quantity of playback of each song A, B and or C still cannot be controlled properly by the Government, where and only hand over control to music publishers who have licenses and permits from the Government as an institution that controls the circulation of products and works of artists, as a result there is no clear transparency regarding reporting so that the control provided is not optimal. This results in an unequal distribution of profits, so that the profits obtained are still mostly owned by some collectors who are under the auspices of music publishers and often harm the creators of works, as well as musicians, so that they do not get the royalties or remuneration that they receive. and can also harm the Government, where the Government should derive income from taxes in the music industry. However, in reality the Government does not earn significant income from taxes in the music industry because the games from several music publishers tend to play a hidden role in generating profits in the music industry, so that the supporting infrastructure in the recording process and the process of monitoring the distribution and circulation of music products is still not yet available. exist, so that the necessary control is still weak, and provides opportunities for unequal distribution of results to creators, musicians and also the Government by Collectors due to the sale of all performance rights and mechanical rights through entertainment venues and channels.Digital Music Distribution (Music Aggregator) is not transparent and tends to harm the creators of works, musicians and also the Government regarding acceptance.

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Habibi, Cahya Berto, and Irwansyah Irwansyah. "KONSUMSI DAN PRODUKSI MUSIK DIGITAL PADA ERA INDUSTRI KREATIF." Metacommunication: Journal of Communication Studies 5, no. 1 (March 25, 2020): 23. http://dx.doi.org/10.20527/mc.v5i1.7449.

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The development of technology makes new practices in consuming music in the digital age. Music fans and connoisseurs are facilitated in accessing music every day, this is not spared from the large role of digitalization, so that music lovers can access their music anywhere. Consumption of digital music has made music producers look for new ways of producing music, which used to be done analogously to digital, where the direction of sales changed from what is usually done by retail stores changed to digital markets. With changing production and consumption patterns, several companies have provided a medium for publication and consuming music to appreciate these musicians and avoid piracy. Medium (Platform) that is used in the same way as digital music stores, by subscribing to listen to all the music in the company's database. The ease of production and consumption of music can be accessed on several platforms such as Spotify, Joox, and Apple Music. The method used in this paper is a desk review by collecting secondary data from various scientific sources, such as: journal articles, websites, and a collection of reports on music in the digital age.

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SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (January 19, 2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.

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For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis

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McKENZIE, JORDI. "ILLEGAL MUSIC DOWNLOADING AND ITS IMPACT ON LEGITIMATE SALES: AUSTRALIAN EMPIRICAL EVIDENCE." Australian Economic Papers 48, no. 4 (December 2009): 296–307. http://dx.doi.org/10.1111/j.1467-8454.2009.00377.x.

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Lambiotte, R., and M. Ausloos. "Endo- vs. exogenous shocks and relaxation rates in book and music “sales”." Physica A: Statistical Mechanics and its Applications 362, no. 2 (April 2006): 485–94. http://dx.doi.org/10.1016/j.physa.2005.08.047.

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