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Reluctantly Virtual Faculty of Economic Sciences, Communication and IT Media and communication studies Patrik Wikström Reluctantly Virtual Modelling Copyright Industry Dynamics DISSERTATION Karlstad University Studies 2006:44 Patrik Wikström Reluctantly Virtual Modelling Copyright Industry Dynamics Karlstad University Studies 2006:44 Patrik Wikström. Reluctantly Virtual: Modelling Copyright Industry Dynamics DISSERTATION Karlstad University Studies 2006:44 ISSN 1403-8099 ISBN 91-7063-075-5 © The author Distribution: Karlstad University Faculty of Economy, Communication and IT Media and communication studies SE-651 88 KARLSTAD SWEDEN +46 54-700 10 00 www.kau.se Printed at: Universitetstryckeriet, Karlstad 2006 Till Pia Abstract During the evolution of the music industry, developments in the media environment have required music firms to adapt in order to survive. Changes in broadcast radio programming during the 1950s; the Compact Cassette during the 1970s; and the deregulation of media ownership during the 1990s are all examples of changes which have heavily affected the music industry. This study explores a similar but contemporary dynamics, examines how decision makers in the music industry perceive and make sense of the developments, and reveals how they revise their business strategies, based on their mental models of the media environment. A qualitative system dynamics model (the Music Industry Feedback Model) is developed in order to support the reasoning brought forward by the study. The model is empirically grounded, but is also based on previous music industry research and a theoretical platform constituted by concepts from evolutionary economics and sociology of culture. The empirical data primarily consist of 36 personal interviews with decision makers in the American, British and Swedish music industrial ecosystems. The study argues that the model which is proposed, more effectively explains contemporary music industry dynamics than music industry models presented by previous research initiatives. Supported by the model, the study is able to show how “new” media outlets make old music business models obsolete and challenge the industry‟s traditional power structures. It is no longer possible to expose music at one outlet (usually broadcast radio) in the hope that it will lead to sales of the same music at another (e.g. a CD). The study shows that many music industry decision makers still have not embraced the new logic, and have not yet challenged their traditional mental models of the media environment. Rather, they remain focused on preserving the pivotal role held by the CD and other physical distribution technologies. Further, the study shows that while many music firms remain attached to the old models, other firms, primarily music publishers, have accepted the transformation, and have reluctantly recognised the realities of a virtualised environment. Keywords: Music industry dynamics; Internet; Media; Production of culture; Qualitative system dynamics modelling; Organisational adaptation; Copyright. Contents 1 Introduction ....................................................................... 14 1.1 Rationale .......................................................................................................... 16 1.2 A note on scope ................................................................................................. 16 Major multinational music firms ................................................................................................................ 17 Geographical limitations ............................................................................................................................. 17 Issues related to genre .................................................................................................................................. 18 An emphasis on certain parts of the industry .............................................................................................. 19 Technological patterns rather than technological ripples ................................................................................ 19 1.3 Preview of the dissertation .................................................................................. 20 2 Explaining copyright industries .......................................... 22 2.1 Production of culture .......................................................................................... 22 2.2 Evolutionary economics ...................................................................................... 26 2.3 Defining industries ............................................................................................ 28 Music ......................................................................................................................................................... 29 Entertainment ............................................................................................................................................ 31 Culture ....................................................................................................................................................... 31 Experiences and creativity........................................................................................................................... 33 Media......................................................................................................................................................... 35 Copyright.................................................................................................................................................... 35 2.4 Characteristics of the copyright industries ............................................................ 36 On the nature of copyright products ............................................................................................................. 37 An industry with a high level of uncertainty and volatility ........................................................................... 39 High production costs, low reproduction costs ............................................................................................... 41 Art and commerce - the hero and the villain? .............................................................................................. 41 2.5 The copyright firm in theory ............................................................................... 43 Profit maximisation and creativity .............................................................................................................. 45 Core business, value chain and business model ............................................................................................ 47 2.6 The microenvironment of the copyright firm ......................................................... 51 Threat of new entrants – barriers to entry and mobility ............................................................................... 52 Substitutability of products or services ......................................................................................................... 52 Bargaining power of buyers and suppliers .................................................................................................... 53 Rivalry among firms already operating in the market .................................................................................. 53 2.7 What is strategy? .............................................................................................. 54 Emergent strategy ....................................................................................................................................... 55 The process of organisational adaptation ..................................................................................................... 56 Strategy development as organisational learning ........................................................................................... 58 3 Music industry models and research .................................... 63 3.1 Linear music industry models ............................................................................. 63 The popular music industry model ............................................................................................................... 63 Copyright and the composer ........................................................................................................................ 67 Virtual distribution .................................................................................................................................... 68 M usical „netw ork ................................ s‟ ..................................................................................................... 70 Loosely coupled systems model ..................................................................................................................... 71 Concluding remarks on the music industry models ....................................................................................... 73 3.2 Previous research on music industry dynamics ..................................................... 74 Research on individuals and roles ................................................................................................................ 75 Research on intra-organisational issues ....................................................................................................... 75 Research on inter-organisational issues .......................................................................................................
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