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Presented at the 2011 Conference
(In alphabetical order)
Conference11/Papers/thumbs/schrieber.jpgThe recorded music industry is a dynamic and interconnected network of businesses that contribute to the overall end product of music that we listen to. The previous recorded music industry business model, before the recent shift in its market structure, consisted of a rights based model of distribution that relied heavily on “mega” hits to generate its revenue and sustain the major record labels’ dominance.  This model is now moving towards one that focuses more on the ways in which firms need to understand how to best monetize the relationship between content creator (the artist) and consumer (the fan).  As the prominence of mp3 technology took hold in the 1990s and consumers began listening to their recordings through digital means, the value chain shifted and became a much more artist and consumer friendly model – one which enables easy access to music and satisfies consumer needs and wants.  These consumer-centric foci continue to shape the power and market structures in the industry today (Bockstedt et al., 2006).

Current writings about the recorded music industry are typically accessible through secondary sources (Baskerville, Brabec, 2008, Krasilovsky, 2007, Passman, 2009) or commentary on individuals with prior experience in the field (Dannen, 1990, Knopper, 2009).  Much of the relevant academic literature hadn’t shown any measure of prominence prior to the 1970s.  Even then, it was centred less on business practices and more on the influence popular music was having on society.  However, since then researchers have begun investigating phenomenon beyond the social cultural influences.  Those studies include research on talent selection strategies (Papadopoulos and Rolston, 2006, Ordanini, 2006), industry structure and value chain studies, (Bockstedt et al., 2006) (Graham et al., 2004) inquiries related to economics (Hendricks and Sorensen, 2009) and the impact on new technologies like peer 2 peer file sharing (Fox, 2005) (Bhattacharjee et al., 2007).
 
My paper presentation will help to engage those interested in moving the discipline forward by reviewing the body of academic literature that surrounds the processes and models within the recorded music industry. Current threads of research as well as gaps in the research knowledge will be explored. The paper is organized into three parts. First, the body of research focusing on the social-cultural influences on the industry will be examined.  Second, research that has centered on the areas of economic, marketing and management theory will be discussed.  Lastly, the impact and role of technology and its influences will be looked at.  It is also important to note that there will be little to no investigation on those disciplines engaged most directly in recording, audio production and engineering. For their role in the industry’s current strategic and economic challenges is more limited.

This systematic review of current and past research will ultimately pave the way for areas of further inquiry.  It will further assist academics and industry leaders to better understand the underlying causes of concern currently facing the industry. (view session)

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