Do People Value Recorded Music?

Marshall, Lee K R

doi:10.1177/1749975519839524

Cited by 37 publications

(13 citation statements)

References 24 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Or we can think of the whole range of research over the years that considers the economic, social and cultural value of popular music, employing related terms such as use value, exchange value, symbolic value, and so on (e.g. Taylor 2017; Marshall 2019). However, it is far less frequent that we discuss popular music in terms of the related concept of cost .…”

Section: Resultsmentioning

confidence: 99%

“…(We realize this is an artificially imposed metric, but the same could be said of any metric used to compare the changing price of recorded music over time.) Similar to the deployment of 'wallet share' as a tool for understanding the changing price of recorded music (Page 2011), we regard percentage of average weekly salary to be an imperfect but nevertheless useful concept to contribute to debates about the changing economic cost of recorded music consumption (for more on the challenges of researching the economics of recorded music at all, see Marshall 2019). We also chose to narrow our focus to commercial playback formats that were dominant in the market during the peak of their popularity.…”

Section: Economic Costmentioning

confidence: 99%

“…After discussions with Devine, who was completing a book about the political ecology of music with a focus on the recording industry, the two authors embarked on a joint project called The Cost Of Music. We deliberately chose to frame our collaborative work in terms of cost as a response to existing work on culture being often framed in terms of its value (see Ahlhadeff 2006;Behr et al 2016a and2016b;Frith 1996;O'Brien 2010;Taylor 2007 andMarshall 2019). By framing recorded music in terms of cost as opposed to value, we can ask a different sort of question: what are we willing to miss out oneconomically, socially, environmentallyto enjoy the luxury of listening to our choice of records?…”

mentioning

confidence: 99%

“…We deliberately chose to frame our collaborative work in terms of cost as a response to existing work on culture being often framed in terms of its value (see Ahlhadeff 2006; Behr et al . 2016a, b; Frith 1996; O'Brien 2010; Taylor 2007, 2017; Marshall 2019). By framing recorded music in terms of cost as opposed to value, we can ask a different sort of question: what are we willing to miss out on – economically, socially, environmentally – to enjoy the luxury of listening to our choice of records?…”

mentioning

confidence: 99%

See 3 more Smart Citations

The cost of music

Brennan

Devine

2020

Pop. Mus.

View full text Add to dashboard Cite

What is the cost of music in the so-called Anthropocene? We approach this question by focusing on the case of sound-recording formats. We consider the cost of recorded music through two overlapping lenses: economic cost, on the one hand, and environmental cost, on the other. The article begins by discussing how the price of records has changed from the late 19th to the 21st century and across the seven most economically significant playback formats: phonograph cylinder, gramophone disc, vinyl LP, cassette tape, compact disc, digital audio files on hard drive, and streaming from the cloud. Our case study territory is the United States, and we chart the gradual decline in the price of recorded music up to the present. We then examine the environmental and human costs of music by looking at what recordings are made out of, where those materials come from, and what happens to them when they are disposed of. Despite what rhetorics of digital dematerialisation tell us, we show that the labour conditions in the digital electronics and IT industries are as inhumane as ever, while the amount of greenhouse gases released by the US recording industry could actually be higher today than at the height of any previous format. We conclude by asking the obvious (but by no means straightforward) question: what are musicians and fans to do?

show abstract

Section: Resultsmentioning

confidence: 99%

Section: Economic Costmentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

See 2 more Smart Citations

The cost of music

Brennan

Devine

2020

Pop. Mus.

View full text Add to dashboard Cite

show abstract

“…(Singer-songwriter, Australia) However, many other interviewees who had participated in online collaboration and performance spoke about its negative side in comparison to physically co-present music-making, in terms of financial cost-benefit as well as immaterial rewards. Also for the Portuguese case, there is a critical and attentive look at the possible impacts of the proliferation of livestreams in live concerts, namely at the level of a possible devaluation/contestation of the payment of tickets to consume music (Marshall, 2019). This concern stems from the fact that many artists have performed free livestreams, and few have been able to get any kind of financial return from their online performances.…”

Section: Moving Online: a Mixed Blessingmentioning

confidence: 99%

‘It’s Turned Me from a Professional to a “Bedroom DJ” Once Again’: COVID-19 and New Forms of Inequality for Young Music-Makers

Howard

Bennett

Green

et al. 2021

YOUNG

View full text Add to dashboard Cite

Given the unprecedented circumstances of the COVID-19 pandemic and increasingly uncertain socio-economic conditions, cultural practice remains a stable canvas upon which young people draw the most agency and exercise a sense of freedom. This article reports on an international research collaboration, drawing on the voices of 77 young musicians from three countries—Australia, England and Portugal—who were interviewed about their music-making practices during lockdown. Despite reporting loss of jobs and income and the social distancing restrictions placed upon the ability to make music, most young music-makers were positive about the value of having more time, to be both producers and consumers of music. At the same time, however, our data also highlight increasing forms of inequality among young music-makers. This article argues that despite short-term gains in relation to developing musical practice, the longer-term impacts of COVID-19 on the music industry will affect the sector for years to come.

show abstract

The broken record: How the music industry is making sense of uncertainty and change

Green

Sinclair

2022

Can J Adm Sci

View full text Add to dashboard Cite

As the recording music industry entered the digital era, significant turmoil emerged due to piracy and illegal downloading, and royalty payments to artists via streaming platforms. To date, the previous research examining the industry shift focused on consumer‐based decisions such as whether to download music illegally, and, more recently, experiences with streaming services. Using sensemaking as our lens, we examine changes and challenges through in‐depth interviews with music industry practitioners. The participants have been directly impacted by the digital shift in general and by specific issues such as piracy and poor compensation from streaming platforms. We develop a typology of industry members based on their development of sensemaking capabilities as they navigate the ever‐changing industry and the resulting influence on market practices.

show abstract

Do People Value Recorded Music?

Cited by 37 publications

References 24 publications

The cost of music

The cost of music

‘It’s Turned Me from a Professional to a “Bedroom DJ” Once Again’: COVID-19 and New Forms of Inequality for Young Music-Makers

The broken record: How the music industry is making sense of uncertainty and change

Contact Info

Product

Resources

About