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2024 | OriginalPaper | Buchkapitel

3. Producing Music

verfasst von : Christie Byun

Erschienen in: The Economics of the Popular Music Industry

Verlag: Springer Nature Switzerland

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Abstract

This section covers basic producer theory, including cost curves and the firm’s profit maximizing decision rule for production. The types of market structures that will be discussed are perfect competition, monopoly, and oligopoly. The music industry is an oligopoly in that there are a handful of large firms that control a majority of the market. There are several barriers to entry that enable these firms to maintain persistent economic profits, namely ownership of intellectual property, high startup costs, and economies of scale. There are also game theoretic implications for the firms in the oligopoly market structure and basic games of strategy (Prisoner’s Dilemma and the Cournot Model) will be discussed. A thorough grounding in producer theory is necessary to understand the production of music in physical formats like CDs or LPs, and digital formats like digital files or streaming.

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Fußnoten
1
This is a technical point that is not particularly relevant to our analysis here, but interested readers should consult Perloff (2022), Varian (2014), or Nicholson and Snyder (2009) for further explanation.
 
2
Note that technically, there are 2 points where MR = MC, i.e. where the slopes of the TR and TC functions are the same. One of these is for a quantity of output where profit is maximized (where TR is above TC) and the other is the point where profit is minimized (where TR is below TC). Of course the firm prefers to choose a quantity Q where TR is above TC and profit is at a maximum.
 
3
ASCAP and BMI are the biggest PROs in existence today. A third organization, SESAC, the second oldest PRO, is the smallest of the three, and has a business philosophy that emphasizes the benefits of its small size and individual relationships with songwriters.
 
4
See Katz (2004).
 
5
Karl Marx, quoted in Katz (2004).
 
6
ASCAP-BMI Consent Degrees, Future of Music Coalition Fact Sheet, 2014.
 
7
Lunden, (2014).
 
8
See Pollock (2014).
 
9
“Artist Revenue Streams”, The Future of Music Coalition.
 
10
Rosen (2014).
 
11
See Dixit et al. (2014) for this and other examples of strategic games.
 
12
See Zaretsky (1999).
 
13
Ziemba (1992).
 
14
Technically speaking, the licenses are very similar between each PRO nowadays. The licensing fees are set by the Copyright Royalty Board. But in its early days, BMI offered an alternative to broadcast radio, with a lower licensing fee than ASCAP, as a means of price competition.
 
15
Collusion on price or quantity is illegal in the United States under federal anti-trust laws.
 
16
“Recording Contracts Explained: A Guide to Contract Terms (Written by an Entertainment Lawyer)”, by Richard Salmon, Sound on Sound, April 2007.
 
17
Much of this information on recording contracts can be found in Salmon (2007), AWAL (2022), and Passman (2019).
 
18
“The Ins and Outs of Signing a Record Deal” by AWAL, April 1, 2022, https://​www.​awal.​com/​blog/​signing-a-record-deal-decoded/​.
 
19
“Recording Contracts Explained: A Guide to Contract Terms (Written by an Entertainment Lawyer)”, by Richard Salmon, Sound on Sound, April 2007.
 
20
“From Good to Great” Beginner to Mastery”, Robert Fripp with Patricia Fripp, Spoken Live at NSA Rocks, September 1, 2008.
 
21
15% of $66.67 is $10. “The Ins and Outs of Signing A Record Deal” by AWAL, April 1, 2022, https://​www.​awal.​com/​blog/​signing-a-record-deal-decoded/​.
 
22
Passman (2019).
 
23
Kjus (2022).
 
24
Pierson (2010).
 
25
Musically (2020), “Spotify CEO Talks Covid-19, Artist Incomes, and Podcasting (interview), https://​musically.​com/​2020/​07/​30/​spotify-ceo-talks-covid-19-artist-incomes-and-podcasting-interview/​.
 
26
Slichter (2005).
 
27
For further discussion of contracts in the music industry, see Caves (2000).
 
29
Salmon (2007).
 
30
“Prince Re-Signs with ‘Slave’ Label Warner Bros Records”, BBC News (2015).
 
31
Hunter-Tilney (2012).
 
33
Ibid.
 
34
This party can use the additional information to their advantage to exploit the other party. The asymmetry can lead to market failure, moral hazard, or adverse selection. See “Asymmetric Information Explained” by Andrew Bloomenthal, https://​www.​investopedia.​com/​terms/​a/​asymmetricinform​ation.​asp.
 
35
Notable examples are the Beatles, Prince, Dr. Dre, Courtney Love, Kanye West, Tom Petty, the Dixie Chicks, and Trent Reznor, to name a few.
 
36
Albini (1993).
 
37
Caves (2000).
 
38
Caves (2000).
 
39
Albini (1993).
 
40
Love (2000).
 
41
Jefferson (2010).
 
42
“Fact Sheet: Computing Hourly Rates of Pay Using the 2,087-Hour Divisor”, U.S. Office of Personnel Management, https://​www.​opm.​gov/​policy-data-oversight/​pay-leave/​pay-administration/​fact-sheets/​computing-hourly-rates-of-pay-using-the-2087-hour-divisor/​, Retrieved August 24, 2015.
 
43
From Peitz and Waelbroeck (2006), quoted from IFPI (2003).
 
44
www.​riaa.​org, quoted in Peitz and Waelbroeck (2006).
 
45
Chace (2011).
 
46
Phillips (2001)
 
47
Philips (2001).
 
48
Hilary Rosen, quoted in Peitz (2006).
 
49
Philips (2001).
 
50
Spice (2020).
 
51
Trang (2022).
 
52
Ibid
 
53
Blistein (2020).
 
54
Spice (2020).
 
55
Fremer (2012).
 
57
Sisario (2021d).
 
58
Ahmed (2022).
 
59
Sisario (2020).
 
60
Bloom (2022).
 
62
IFPI Digital Music Report 2014, “Lighting Up New Markets”.
 
63
IFPI Digital Music Report 2014, “Lighting Up New Markets”.
 
64
IFPI Digital Music Report 2014, “Lighting Up New Markets”.
 
65
Swift (2014).
 
67
Sisario (2013).
 
68
“Best Music Streaming Services in 2022”, CNN Underscored, October 17, 2022.
 
69
Sisario (2013).
 
70
An artist is paid based on the number of streams of their songs, provided that a subscriber listens to at least 30 seconds of the song.
 
71
Krueger (2019).
 
72
Aguiar and Waldfogel (2018).
 
73
Sim et al (2022).
 
74
Krueger (2019).
 
75
Dredge (2013a).
 
76
The following information on sales is from the graphic “Selling Out: How Much Do Music Artists Earn Online?”, Information is Beautiful, http://​www.​informationisbea​utiful.​net/​visualizations/​how-much-do-music-artists-earn-online-2015-remix/​.
 
77
Keating (2013).
 
78
Dredge (2013b).
 
79
Resnikoff (2011).
 
80
Byrne (2015).
 
81
Ibid.
 
82
“How is Spotify Contributing to the Music Business?” http://​www.​spotifyartists.​com/​spotify-explained/​#how-we-pay-royalties-overview, Accessed August 18, 2015.
 
83
Byrne (2015).
 
84
“This Was Sony Music’s Contract with Spotify”, by Micah Singleton, The Verge, May 19, 2015, https://​www.​theverge.​com/​2015/​5/​19/​8621581/​sony-music-spotify-contract.
 
85
Ibid.
 
86
Byrne (2011).
 
87
Deggans (2015).
 
88
Lunden (2015).
 
90
“The Economics of Streaming is Changing Pop Songs”, The Economist, October 5, 2019.
 
91
The Economics of Streaming is Changing Pop Songs”, The Economist, October 5, 2019.
 
92
See Waldfogel (2011) for more details.
 
93
Caves (2000).
 
94
Ibid
 
95
Reuters/Billboard (2008), “Lyle Lovett Sells Millions, Earns Nothing”.
 
96
Pareles (2002).
 
97
Now there are three major music companies: Universal Music Group, Sony Music Entertainment, and Warner Music Group, which control about 90% of the world music market.
 
98
Labaton (2000).
 
99
McDuling (2014).
 
100
Ibid.
 
101
Slichter (2005).
 
102
Nielsen Entertainment & Billboard’s 2013 Mid-Year Music Industry Report. Note that the EMI Group is now part of Universal Music Group for recording and Sony/ATV Music for publishing.
 
103
See Akerlof (1970).
 
104
See Bandcamp.com Pricing, http://​bandcamp.​com/​pricing, Retrieved August 27, 2015. Bandcamp charges transaction fees for digital and merchandise sales.
 
105
Diamond (2010).
 
106
Keating (2013b).
 
107
“Is Streaming Good for Music?” BBC News (2015).
 
108
Ingham (2015).
 
109
Greenburg (2015).
 
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Metadaten
Titel
Producing Music
verfasst von
Christie Byun
Copyright-Jahr
2024
DOI
https://doi.org/10.1007/978-3-031-49899-2_3