Abstract-This paper proposes an alternative pricing scheme for the digital music market, where the musician's differentiated characteristics such as fame, popularity, and listener share -in the form of consumer's brand premium multiplier -is incorporated into the pricing decision by the record label. We consider consumers are differentiated by two types of characteristics: the brand premium multiplier towards the musician, and the general preference to music. We argue that in the co-existence of free music streaming, the retail price of a musical product should be allowed to vary in a manner that reflects the differences in market environment and the musician's characteristics. The results of the proposed model provide a toolkit for the recording industry to effectively price its products in a market that is constantly evolving.Index Terms-Brand premium, music streaming, pricing, self-selection.
I. INTRODUCTIONThe music industry has been continuously exploring and creating alternative business models to develop new sources of stable income stream and dedicated global audience. The music streaming business model, lead by global brands like Spotify and Deezer, has gained increasing popularity in recent years, offering huge diversity to the industry's mix of revenue streams. However, even as many reports [1], [2] praising the tremendous potential of the online streaming business model and regard them as the future for the music industry, the study by Generator Research [3] revealed the financial aspect of music streaming is a disastrously unprofitable one; where selling one song on the iTunes Music store can be hundred times more profitable than one streaming play on the Spotify platform.As compelling as the potential size of listener these online music streaming platform could bring to the record labels and musicians, the profitability side of the business model is perhaps less promising or even frightening to the industry. The online music streaming business model can easily be the greatest disruption to the music industry since the rise and fall of Naspter in late 1990s and early 2000s, yet it is evident this new way of discovery and consumption of music is still at its infancy and not fully compatible with the traditional music transaction models the industry is used to have, and such incompatibility is likely to lead to loss of revenue stream to Manuscript received December 24, 2014; revised February 28, 2015. The authors are with the Department of Industrial and Manufacturing Systems Engineering, the University of Hong Kong, Pokfulam, Hong Kong (e-mail: magicfor@hku.hk, hyklau@hku.hk).the producers and investor in the industry. One recent alarming case was Taylor Swift's removal of her entire music catalog from the popular music streaming platform Spotify, stating "valuable things should be paid for. It's my opinion that music should not be free..." [4]. The incident echoed strongly with the on-going debate of the appropriateness of the free-to-listen business model of music streaming, as to how much should ...