DOCSLIB.ORG

Università Di Pisa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Università Di Pisa UNIVERSITÀ DI PISA Facoltà di Economia Dipartimento di Economia Aziendale Scuola di Dottorato “L. Fibonacci” Corso di Dottorato in Economia Aziendale (SECS-P/08) La ricerca di autenticità nel consumo e nel marketing del settore discografico italiano. Analisi teorica ed empirica nel campo della popular music Relatore Candidato Prof. Daniele DALLI dott. Matteo CORCIOLANI Ciclo XXII Alla mia famiglia Welcome my son… welcome to the machine. What did you dream? It’s all right we told you what to dream. You dreamed of a big star, He played a mean guitar, He always ate in the Steak Bar… He loved to drive in his Jaguar... So welcome to the Machine. Roger Waters Where the agent man won’t let you down Sell your soul to the company Who are waiting there to sell plastic ware And in a week or two If you make the charts The girls’ll tear you apart. Jim McGuinn, Chris Hillman Credi davvero Che sia sincero Quando ti parlo di me… Credi davvero Che mi spoglio Di ogni orgoglio davanti a te… Vasco Rossi And if by chance I wake at night and I ask you who I am, O take me to the slaughterhouse, I will wait there with the lamb. Leonard Cohen Sommario Ringraziamenti 1. Introduzione ......................................................................................................................... 13 1.1. Premessa ...................................................................................................................... 13 1.2. Finalità del lavoro........................................................................................................ 17 1.3. Struttura della tesi........................................................................................................ 19 2. La ricerca di autenticità nel consumo di popular music . Rassegna della letteratura ..... 21 2.1. Concetto di autenticità ................................................................................................. 21 2.1.1. L’autenticità dell’individuo ................................................................................ 22 2.1.2. L’autenticità degli oggetti................................................................................... 28 2.2. Il concetto di autenticità nella cultura del consumo e nel marketing management...... 36 2.2.1. La ricerca di autenticità nella cultura del consumo............................................. 37 2.2.2. La ricerca di autenticità nel marketing management .......................................... 50 2.3. La ricerca di autenticità da parte dei consumatori di popular music .......................... 59 2.3.1. Premessa ............................................................................................................. 59 2.3.2. Il concetto di autenticità nella popular music ..................................................... 62 2.3.3. La costruzione sociale dei significati della popular music ................................. 69 2.3.4. Il ruolo degli individui e delle comunità nella costruzione dell’autenticità della popular music ..................................................................................................... 74 2.3.5. Il comportamento delle imprese del settore ........................................................ 78 3. Popular music e settore discografico................................................................................... 83 3.1. Un po’ di storia ............................................................................................................ 83 3.1.1. Dalla nascita alla crisi ......................................................................................... 83 3.1.2. I cicli musicali..................................................................................................... 92 3.2. Il settore discografico e i suoi attori principali............................................................ 96 3.2.1. I musicisti............................................................................................................ 96 3.2.2. Le case discografiche.......................................................................................... 99 3.2.3. I distributori ...................................................................................................... 102 3.2.4. I media .............................................................................................................. 106 3.3. I consumatori di musica ............................................................................................. 109 3.4. Il settore discografico in cifre .................................................................................... 114 3.4.1. Mercato internazionale...................................................................................... 115 7 3.4.2. Mercato nazionale..............................................................................................121 3.5. Il ruolo del marketing nelle imprese discografiche.....................................................130 3.5.1. Il prodotto ..........................................................................................................131 3.5.2. Il prezzo.............................................................................................................133 3.5.3. La comunicazione..............................................................................................134 3.5.4. La distribuzione .................................................................................................136 3.6. Uno sguardo al futuro.................................................................................................138 3.6.1. La nascita del peer-to-peer e la centralità assunta da Internet ...........................138 3.6.2. La distribuzione legale e l’utilizzo della musica come cavallo di Troia ............141 3.6.3. Le potenzialità offerte dalla rete per promuovere la musica..............................143 3.6.4. Il business dell’intermediazione ........................................................................145 3.6.5. Altri utilizzi della musica...................................................................................146 3.6.6. Verso la convergenza.........................................................................................148 4. Domande di ricerca e impostazione dell’analisi empirica ...............................................151 4.1. Domande di ricerca.....................................................................................................151 4.2. Impostazione e protocollo della ricerca......................................................................154 4.2.1. Protocollo della ricerca......................................................................................157 5. Risultati................................................................................................................................163 5.1. Studio 1 .......................................................................................................................163 5.1.1. Premessa ............................................................................................................163 5.1.2. Metodo...............................................................................................................164 5.1.3. Risultati..............................................................................................................167 5.1.4. Discussione........................................................................................................178 5.1.5. Conclusioni e sviluppi futuri della ricerca.........................................................183 5.2. Studio 2 .......................................................................................................................185 5.2.1. Premessa ............................................................................................................185 5.2.2. Metodo...............................................................................................................187 5.2.3. Risultati..............................................................................................................190 5.2.4. Discussione........................................................................................................197 5.2.5. Conclusioni e sviluppi futuri della ricerca.........................................................201 5.3. Studio 3 .......................................................................................................................203 5.3.1. Premessa ............................................................................................................203 5.3.2. Ipotesi di ricerca ................................................................................................206 5.3.3. Metodo...............................................................................................................210 5.3.4. Risultati..............................................................................................................213 5.3.5. Discussione........................................................................................................234 8 5.3.6. Conclusioni e sviluppi futuri della ricerca ........................................................ 239 6. Conclusioni e implicazioni del lavoro............................................................................... 243 6.1. Implicazioni per la ricerca ......................................................................................... 246 6.1.1. L’autenticità è davvero importante
Load more

Recommended publications
  • Decreto Del Direttore Amministrativo N
    Corso di Laurea Magistrale (ordinamento ex D.M. 270/2004) in Sviluppo Interculturale dei Sistemi Turistici Tesi di Laurea Home Festival e la città di Treviso I festival musicali come risorsa economica e turistica Relatore Ch. Prof. Matteo Giannasi Laureando Veronica Bellipanni Matricola 844559 Anno Accademico 2016 / 2017 2 INDICE INTRODUZIONE ........................................................................................................ I Capitolo Primo ......................................................................................................... 1 1. Evoluzione storica degli eventi culturali ................................................................. 1 1.1. Evoluzione storica degli eventi culturali; dall’ antica Grecia al Medioevo ............ 5 1.2. I grandi eventi internazionali nella storia ............................................................. 8 1.3. Festival di musica internazionale ...................................................................... 10 1.4. Festival in Italia ................................................................................................ 17 1.5. Offerta culturale musicale in Veneto ................................................................. 20 1.6. Associazioni e organizzazioni culturali nel mondo ........................................... 22 Capitolo secondo ................................................................................................... 24 2. Organizzazione degli eventi culturali ...................................................................
    [Show full text]
  • 'Tradizione E Contaminazione': an Ethnography of The
    ‘TRADIZIONE E CONTAMINAZIONE’: AN ETHNOGRAPHY OF THE CONTEMPORARY SOUTHERN ITALIAN FOLK REVIVAL Stephen Francis William Bennetts BA (Hons), Australian National University, 1987 MA, Sydney University, 1993 Graduate Diploma (Communication), University of Technology, Sydney, 1999 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia, School of Social Sciences, Discipline of Anthropology and Sociology 2012 ‘Pizzicarello’, Tessa Joy, 2010. 1 2 I have acquired the taste For this astringent knowledge Distilled through the Stringent application of the scientific method, The dry martini of the Intellectual world, Shaken, not stirred. But does this mean I must eschew Other truths? From ‘The Bats of Wombat State Forest’ in Wild Familiars (2006) by Liana Christensen 3 4 ABSTRACT The revival since the early 1990s of Southern Italian folk traditions has seen the ‘rediscovery’ and active recuperation, especially by urban revivalist actors, of le tradizioni popolari, popular traditional practices originating in peasant society which are still practiced by some traditional local actors in remote rural areas of Southern Italy. This thesis draws on interviews, participant observation and historical research carried out mainly during fieldwork in Rome and Southern Italy in 2002-3 to present an ethnography of the urban revivalist subculture which has been the main driving force behind the contemporary Southern Italian folk revival. In the course of my enquiry into why the movement has emerged, I combine both synchronic and diachronic perspectives, as well as a phenomenological analysis of revivalist motivation and agency, to explore the question of why contemporary urban revivalists have begun to take an interest in the archaic and marginalised cultural practices of rural Southern Italy.
    [Show full text]
  • Raccontini Epici
    Raccontini Epici 12 Raccontini +1 di storie epiche successe a concerti INDICE INDICE ........................................................................................................................ 2 COPERTINA ................................................................................................................ 3 CARMEN CONSOLI ...................................................................................................... 5 RADIOHEAD.............................................................................................................. 13 PAN SONIC ............................................................................................................... 17 TWISTED SISTERS ..................................................................................................... 22 DOG EAT DOG .......................................................................................................... 25 RED WORMS’ FARM ................................................................................................. 30 ANDREW W. K. ......................................................................................................... 32 GREEN DAY .............................................................................................................. 37 WOODKID ................................................................................................................ 41 BRAND NEW ............................................................................................................. 46 RIVIERA
    [Show full text]
  • VIPNEWSPREMIUM > VOLUME 176 > FEBRUARY 2015
    3 14 6 13 VIPNEWS PREMIUM > VOLUME 176 > FEBRUARY 2015 16 4 7 14 11 2 VIPNEWS > FEBRUARY 2015 McGowan’s Musings I know I should have been at home in and the answer in this particular case, was, magazines. It’s hard for a print magazine Brighton on Valentine’s day coping with in the well appointed venues of Norrköping, to not be just replicating the news that can the sacks full of cards which the Royal Mail a very attractive city. Considering that the be found so easily on-line, the New Musical struggled to bring to my door (OK – a slight country has an undoubted track record Express to give it it’s full title now sells less exaggeration, but I’m sure you Ladies of the of producing music for the international than 14.000 copies per issue. Old chaps like live music industry meant to send them? markets, from the days of ABBA, to EDM me, particularly ones who have a stab at No? Oh well I can dream!), and arranging super band Swedish House Mafia, and any writing the odd article, will be sad if NME candlelit suppers etc, but I wasn’t, I was in number of highly talented producers and and others do disappear completely, but, Sweden. Actually Peter Briggs and I were writers, it’s surprising that it’s taken this apparently - that’s progress! attending the very first edition of ‘Where’s long for there to be a showcase/conference the Music?’ A good question, you might say, event – everywhere else has one, or in some Whilst talking of Awards, I see that another cases two! It’s also interesting that the of the legendary, yet still working, managers, instigators and producers of ‘Where’s the is to be honoured at this year’s Artist & Music’ are FKP Scorpio, a German based Manager Awards on March 26th, organised company, with a Dutch founder, and now an by The Music Managers Forum.
    [Show full text]
  • Studie Über Die Wichtigsten Auslandsmärkte Für Musikunternehmen Aus Berlin Im Rahmen Der Landesinitiative Projekt Zukunft
    Studie über die wichtigsten Auslandsmärkte für Musikunternehmen aus Berlin im Rahmen der Landesinitiative Projekt Zukunft Projekt Zukunft wird durch den Europäischen Fonds für regionale Entwicklung (EFRE) kofinanziert. Inhalt 1. Executive Summary 2 2. Befragungsprozedere 4 3. Struktur der Berliner Musikwirtschaft 4 3.1 Geschäftsfelder der Musikunternehmen 4 3.2 Repertoiresegmente 5 3.3 Anzahl der Mitarbeiter 5 3.4 Unternehmensalter und Dauer der Auslandsaktivitäten 5 4. Identifikation relevanter Auslandsmärkte im Musikbereich 6 4.1 Tonträgermärkte weltweit 6 4.2 Ergebnisse der Befragung 7 4.3 Schlussfolgerungen 13 5. Infrastrukturmaßnahmen zur Erschließung von Auslandsmärkten 14 5.1 Information und Beratung 14 5.2 Auslandsaktivitäten 15 5.3 Standortmarketing 19 6. Bewertung der Förderungswürdigkeit von Musikunternehmen 20 6.1 Prüfung der Förderungswürdigkeit 20 6.2 Checkliste „Fit für den Export“ 21 7. Länderdossiers 22 8. Quellenhinweise 80 9. Fragebogen 81 1 1. Executive Summary Für Musikunternehmen und Künstler in Deutsch- I USA, Frankreich, Großbritannien und Spanien land ist Musikexport kein Luxus, sondern lebensnot- zählen zu den wichtigsten Auslandsmärkten. In wendig. Ein dramatisch verändertes Konsumverhal- diesen Ländern sehen die Unternehmen neben ten, die zunehmende Konzentration im Einzelhandel Japan und China das größte Wachstumspotential. und der Medienlandschaft sowie zahlreiche auslän- Die Teilnahme an Musikmessen und -festivals zur dische Mitbewerber, die – oft staatlich subventio- Markterschließung oder Netzwerkpflege ist für niert – auf den deutschen Markt drängen, haben die Unternehmen von großem Interesse. dazu geführt, dass im Inlandsmarkt immer geringere Umsätze erzielt werden können. Zuwächse werden I Für die 20 wichtigsten Auslandsmärkte wurden oft nur durch Erschließen von Auslandsmärkten er- neben den Kriterien Umsatz, Marktanteil am Welt- wirtschaftet.
    [Show full text]
  • Supporting Letter
    «Vote For Europe, Vote For Music Moves Europe» A Joint Statement By Yourope In Favour Of Music Moves Europe And Democracy In Europe www.take-a-stand.eu www.yourope.org Open letter to Jean-Claude Juncker, Frans Timmermans & Tibor Navracsics A campaign introduced by Yourope, the Asso- ciation of European Festivals, encouraging the European music community to participate in the EU-Parliament elections in May 2019, dedicated to raise awareness for Music Moves Europe, an initiative by the European Commission support the European music sector, which launches in 2021. The European idea is under pressure. Rising populism is meeting nationalism and fragmentation in politics and society that means the many positive deliveries by the European Union do not currently get their deserved recognition. Why Europe? Across Europe the number of festivals increased, The idea of a common Europe is a historic mission. becoming the counterpart for a more digitally driven It takes time, respect and understanding to pave the way environment for music consumption. Festivals are for a modern society and a democratic citizenship. where people join together and experience the diversity of music and culture. Music is a driving force for popular culture, a cultural phenomenon that is a part of everyone’s life in many Economic and political measures helped stimulate this more areas than just music. The live music sector gener- development. The European music community, includ- ates this force and equally, across events, audiences and ing fans and artists, benefitted from these efforts and artists, contributes towards the contemporary cultural achievements. inventory of Europe. Welcome Music Moves Europe..
    [Show full text]
  • ETEP in the Media P
    2018 WWW.ETEP.NL 1 COVER PHOTO SZIGET FESTIVAL TABLE OF CONTENTS By Allan McGowan Introduction P. 3 ETEP About ETEP P. 6 ETEP in the media P. 12 ETEP 2018 festival map P. 36 SIXTEEN ETEP Partners & co-organisers P. 38 ETEP Results 2017 P. 50 ETEP Results 2016 P. 56 Welcome to the thirty second year of Eurosonic Noorderslag ETEP Results 2015 P. 62 and to the sixteenth edition of the European Talent Exchange ETEP Results 2014 P. 68 Programme – better, and now widely, we might even say ETEP Results 2013 P. 72 universally, known as ETEP. ETEP Results 2012 P. 76 ETEP Results 2011 P. 80 ETEP Results 2010 P. 82 For those few who don’t know, this initiative of Eurosonic Noorderslag, originated ETEP Results 2009 P. 84 by Peter Smidt and Ruud Berends, was introduced to make the “exchange” of ETEP Results 2008 P. 86 European artists across Europe possible on a greater scale than ever before. ETEP Results 2007 P. 88 ETEP then facilitates the bookings of European acts on festivals and generates ETEP Results 2006 P. 90 extensive radio and media exposure for these artists in co-operation with the ETEP Results 2005 P. 92 European Broadcasting Union and local media. The intention was - and still is - to ETEP Results 2004 P. 94 give a boost to the careers of European acts. ETEP Results 2003 P. 96 CEETEP P. 97 There is no doubt that ETEP has been more than successful in achieving its aims, CEETEP Results 2015 P. 98 and the figures speak for themselves: CEETEP Results 2014 P.
    [Show full text]