My PhD thesis ‘Artist-Entrepreneurship In The Digital Music Industry’


You can purchase my full thesis here for $29.00 USD, pdf format, 332 pages.

Abstract
For decades, the record deal has been the main goal for artists aspiring to enter the recording industry. In the wake of the digital revolution, entry barriers into the recorded music market decreased and this has enabled artists to produce, distribute and promote music on a large scale without the help of record labels. Celebrated by the press as the democratisation of art production, belittled by the established recording industry as amateurism, hailed by artists as long-awaited independence, and neglected by the academic community, artist-entrepreneurship warrants a critical in-depth examination.

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Defining Artist-Entrepreneurship – Chapter 2 of my thesis ‘Artist-Entrepreneurship In The Music Industry’

The chapter introduces the term artist-entrepreneurship and develops the framework of the thesis. First, it identifies the recording industry and its underlying business model in order to contextualise artist-entrepreneurship. This part is kept short as the rationale of the recording industry has been well researched (Burke, 2003; Caves, 2000; Frith, 2004; Hull, 2004; Negus, 1997; Tschmuck, 2012; Wikström, 2010; Williamson & Cloonan, 2007). The author then introduces and defines artist-entrepreneurship in the digital recording industry in a Western cultural context with the help of entrepreneurship scholars. 

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Bibliography (of my thesis)

Ackerman-Haywood, J. (2010). Artist follows inner drive toward full-time art career. The Grand Rapids Press.  Retrieved January 3, 2012, from http://blog.mlive.com/runningwithneedles/2010/10/artist_follows_inner_drive_tow.html

Adler, M. (2006). Stardom and talent. Handbook on the Economics of Art and Culture, 1, 895-906.

Adler, N. E., Epel, E. S., Castellazzo, G., & Ickovics, J. R. (2000). Relationship of subjective and objective social status with psychological and physiological functioning: Preliminary data in healthy, White women. Health Psychology, 19(6), 586.

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From Payola to Blogola to Pandola?

Montgomery and Moe showed that it would be efficient for labels to pay for airplay (Montgomery & Moe, 2002). This is not surprising given the impact airplay can have on sales, at least in the old music industry (Dertouzos, 2008). However, direct undisclosed payments to influence radio programming (called Payola, a combination of pay and Victrola) are prohibited by law. Hence, labels developed strategies to circumvent the law by using independent promoters or naming payments “consultant fees”.

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Why Theodore W. Adorno would follow Chris Anderson on Twitter (essay)

Introduction
At first glance, the reader may wonder what Theodore W. Adorno and Chris Anderson have in common and what that has to do with researching the music industry. On the one hand, a sophisticated German philosopher; a critical theorist of the 20th century; a member of the renowned Frankfurt School and a follower of Karl Marx’s thoughts on capitalism and society. On the other, Chris Anderson, a child of the digital economy, a blog writer, a journalist, a business entrepreneur and, according to The Time 100 , one of the most influential thinkers of the new millennium.

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“Creative Industries” in Wien (Book Publication)

Dynamik, Arbeitsplätze, Akteure

Die “Creative Industries” (CI) gelten als bedeutender Wachstumsbereich großstädtischer Wirtschaftsentwicklung. Im vorliegenden Band geht Andreas Resch der Frage nach, wie sich die Beschäftigung in den Wiener CI tatsächlich im letzten Jahrhundert entwickelt hat. Peter Mayerhofer und Peter Huber analysieren, inwiefern die CI in Wien seit den 1990er Jahren als “Beschäftigungsmotor” fungieren und welche Jobs sie bieten. Abschließend zeigt Philipp Peltz am Beispiel der österreichischen Musikwirtschaft Ansätze zu neuen Formen von “Artist-Entrepreneurship” auf, die sich im Zusammenhang mit aktuellen technologischen und wirtschaftlichen Umbrüchen herausbilden.

Mayerhofer, P., Peltz, P., & Resch, A. (2008). ” Creative industries” in Wien: Dynamik, Arbeitsplätze, Akteure (Vol. 1). LIT Verlag Münster.

https://www.lit-verlag.de/publikationen/wirtschaftswissenschaft/61178/creative-industries-in-wien

Digital Distribution Models Reviewed (Book Chapter)

Abstract: Digital distribution has surpassed physical distribution in key markets and will soon be the dominant music distribution model in Australia. Four different business models (free, ad-funded, pay-per-use and subscription-based) and two different music delivery methods (downloading and streaming) currently compete in the market place. The author analyses each distribution model available in Australia and evaluates advantages and disadvantages from the content provider’s perspective. The most striking development is the blurring line between promotion and distribution. Content providers can either lower the barriers to access music in order to facilitate rapid music circulation and create a strong promotional effect to support various revenue streams; or heighten the barriers to access music in order to install an artificial scarcity through excludability, which is essential to implement a business model based on selling musical recordings. In this regard, the variety of different digital distribution models provides a flexible toolbox for content providers to coordinate their overall marketing strategy.

Citation (APA): Peltz, P. (2013). Digital Distribution Models Reviewed: The Content Provider’s Perspective. In Music Business and the Experience Economy (pp. 99-117). Springer Berlin Heidelberg.

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