Description This study investigates the organization of the music industry in the United States and its effect on innovation and diversity in American popular music during the 1970s and 1980s. I revise and update Peterson and Berger's (1975) analysis of the popular music industry and observe that, contrary to their assumption that high market concentration leads to homogeneity and standardization in popular music, innovation and diversity in popular music in high market concentration depends on the system of development and production used by major record companies. Major record companies employ an open system of development and production that incorporates innovation and diversity as an effective strategy in maintaining the viability and control of the market. As examples, I discuss new styles of music appearing in the 1980s, radio and music video exposure, and distribution and retailing. I show that the level of innovation and diversity in large culture industries depends more directly on the specific organization of each industry and the structure of its market than on the degree of market concentration. (Abstract from: http://www.jstor.org/discover/10.2307/2096144?uid=3739776&uid=2129&uid=2&uid=70&uid=4&uid=3739256&sid=21101117936957)
Similar Citations
Article
Maronttate, Jan;
(2005)
Digital recording and the reconfiguration of music as performance
(/isis/citation/CBB001181291/)
Article
Manning, Peter;
(2003)
The influence of recording technologies on the early development of electroacoustic music
(/isis/citation/CBB001181289/)
Book
Zak, Albin, III;
(2001)
The poetics of rock: Cutting tracks, making records
(/isis/citation/CBB001181404/)
Article
Sterne, Jonathan;
(2006)
The MP3 as cultural artifact
(/isis/citation/CBB001181381/)
Article
Mauceri, Frank X.;
(1997)
From experimental music to musical experiment
(/isis/citation/CBB001181293/)
Book
Kenney, William Howland;
(1999)
Recorded music in American life: The phonograph and popular memory, 1890--1945
(/isis/citation/CBB001181270/)
Book
O'Hara, Kenton;
Brown, Barry;
(2006)
Consuming music together: Social and collaborative aspects of music consumption technologies
(/isis/citation/CBB001181311/)
Book
Morris, Adalaide Kirby;
(1997)
Sound states: Innovative poetics and acoustical technologies
(/isis/citation/CBB001181302/)
Article
Pennycook, Bruce;
(1997)
Live electroacoustic music: Old problems, new solutions
(/isis/citation/CBB001181319/)
Book
Waksman, Steve;
(1999)
Instruments of desire: The electric guitar and the shaping of musical experience
(/isis/citation/CBB001181395/)
Book
Théberge, Paul;
(1997)
Any sound you can imagine: Making music/consuming technology
(/isis/citation/CBB001181388/)
Book
Prendergast, Mark J.;
(2003)
The ambient century: From Mahler to Moby: The evolution of sound in the electronic age
(/isis/citation/CBB001181333/)
Book
Rose, Tricia;
(1994)
Black noise: Rap music and black culture in contemporary America
(/isis/citation/CBB001181345/)
Article
Risset, Jean-Claude;
(2004)
The liberation of sound, art-science and the digital domain: Contacts with Egard Varèse
(/isis/citation/CBB001181341/)
Book
Manning, Peter;
(2004)
Electronic and computer music
(/isis/citation/CBB001181290/)
Book
Engel, Friedrich;
Kuper, Gerhard;
Bell, Frank;
Polzer, Joachim;
(2007)
Zeitschichten: Magnetbandtechnik als Kulturträger, Erfinder-Biographien und Erfindungen; Chronologie der Magnetbandtechnik und ihr Einsatz in der Hörfunk-, Musik-, Film- und Videoproduktion
(/isis/citation/CBB001181229/)
Book
Collins, Karen;
(2008)
Game sound: An introduction to the history, theory, and practice of video game music and sound design
(/isis/citation/CBB001181205/)
Article
Goodwin, Andrew;
(1988)
Sample and hold: Pop music in the digital age of reproduction
(/isis/citation/CBB001181244/)
Article
Jordan, Matthew F.;
(2005)
Discophilie or Discomanie: The cultural politics of living-room listening
(/isis/citation/CBB001181257/)
Article
Hennion, Antoine;
(1989)
An intermediary between production and consumption: The producer of popular music
(/isis/citation/CBB001181247/)
Be the first to comment!