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Much recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase.
This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guides the reader through issues relating to production, supply, consumption and trends, wider considerations such as the international trade in music, and in particular through divisions of age, race and gender.
Providing an engaging overview of this fascinating topic, this book will be of interest and relevance to students and scholars of cultural economics, management, musicology, cultural studies and those with an interest in the music industry more generally.
Table des matières
1. Introduction 2. Adele-o-nomics 3. The Never Ending Death of Music 4. Does Anyone Know Anything About Anything? 5. The Production and Supply of Music 6. Consumption of Music 7. Age 8. Gender 9. Race and Ethnicity 10. International Trade 11. Conclusion
A propos de l'auteur
Samuel Cameron is Professor of Economics at the University of Bradford, UK
Résumé
Much recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase.
This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guides the reader through issues relating to production, supply, consumption and trends, wider considerations such as the international trade in music, and in particular through divisions of age, race and gender.
Providing an engaging overview of this fascinating topic, this book will be of interest and relevance to students and scholars of cultural economics, management, musicology, cultural studies and those with an interest in the music industry more generally.
