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Competitiveness, Local Production Systems and Global Commodity Chains in the Music Industry: Entering the US Market

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  • Dominic Power
  • Daniel Hallencreutz

Abstract

Power D. and Hallencreutz D. (2007) Competitiveness, local production systems and global commodity chains in the music industry: entering the US market, Regional Studies 41, -. This paper traces the principal channels and barriers that determine the conditions of access for musical products entering the US music market. It is shown that music distribution channels and retail environments exist in a networked commodity chain dominated by a limited set of oligopolistic global firms. The journey of a foreign musical product to market in the USA is a difficult one through a set of globally interlinked but highly fractured and localized commodity pools and channels. It is suggested that to understand success or failure in music sales and better develop regional production milieus, one must first understand those who control the distribution channels and retail environments through which sales are made. Power D. et Hallencreutz D. (2007) La competitivite, les systemes de production locaux et les chaines d'approvisionnement mondiales dans l'industrie de la musique: prendre pied sur le marche americain, Regional Studies 41, -. Cet article cherche a localiser les principaux circuits et barrieres qui determinent les conditions prealables a l'entree des produits de musique sur le marche de la musique americain. On demontre que les circuits de distribution de la musique et les surfaces de vente existent sous forme d'une chaine d'approvisionnement en reseau dominee par un nombre limite d'oligopoles mondiaux. Pour un produit de musique etranger, prendre pied sur le marche americain s'avere difficile, en passant par un nombre de bassins et de chaines d'approvisionnement relies sur le plan mondial mais a la fois hautement fissures et localises. L'article laisse supposer que, dans un premier temps, il faut comprendre ceux qui controlent les circuits de distribution et les surfaces de vente par lesquels les produits se vendent pour comprendre la reussite ou l'echec des ventes de musique et mieux developper l'espace de production regional. Industrie de la musique Geographie economique Marche de la musique americain Chaine d'approvisionnement Competitivite Systemes de production locaux Power D. und Hallencreutz D. (2007) Konkurrenzfahigkeit, lokale Produktionssysteme und globale Warenketten in der Musikindustrie: der Zugang zum Markt der USA, Regional Studies 41, -. In diesem Artikel werden die wichtigsten Kanale und Hindernisse beschrieben, die die Bedingungen festlegen, unter denen Musikprodukte auf den US-amerikanischen Musikmarkt gelangen. Es wird gezeigt, dass die Vertriebskanale und die Einzelhandelsumgebungen fur Musik in einer vernetzten Warenkette angesiedelt sind, die von einer kleinen Gruppe oligopolistischer globaler Konzerne beherrscht wird. Der Weg eines auslandischen Musikprodukts auf den Markt der USA steckt voller Schwierigkeiten und verlauft uber eine Reihe global verknupfter, aber hochgradig frakturierter und lokalisierter Warenpools und Kanale. Der Artikel legt den Schluss nahe, dass wir zunachst verstehen mussen, wer die Vertriebskanale und Einzelhandelsumgebungen kontrolliert, uber die der Absatz erzielt wird, wenn wir den Erfolg oder das Scheitern des Musikabsatzes verstehen und bessere lokale Produktionsmilieus entwickeln mochten. Musikindustrie Wirtschaftsgeografie Musikmarkt der USA Warenkette Konkurrenzfahigkeit Lokale Produktionssysteme Power D. y Hallencreutz D. (2007) Competitividad, sistemas de produccion local y cadenas globales de mercancias en la industria discografica: como entrar en el mercado estadounidense, Regional Studies 41, -. En este ensayo exploramos los principales canales y obstaculos que determinan cuales son las condiciones necesarias para que los productos musicales puedan llegar al mercado musical en los Estados Unidos. Demostramos que los canales de distribucion de las discograficas y los minoristas funcionan como una cadena de mercancias conectada y dominada por una serie limitada de empresas internacionales oligopolicas. El viaje que hace un producto musical extranjero hasta llegar al mercado estadounidense es un proceso dificil que tiene que pasar por una serie de consorcios y canales globalmente interconectados pero altamente fracturados y localizados. En este articulo sugerimos que para entender el exito o el fracaso de las ventas musicales y desarrollar mejor los medios de produccion regionales primero debemos conocer mejor quienes son los que controlan los canales de distribucion y los minoristas donde se hacen las ventas. Industria discografica Geografia economica Mercado discografico en Estados Unidos Cadena de mercancias Competitividad Sistemas locales de produccion

Suggested Citation

  • Dominic Power & Daniel Hallencreutz, 2007. "Competitiveness, Local Production Systems and Global Commodity Chains in the Music Industry: Entering the US Market," Regional Studies, Taylor & Francis Journals, vol. 41(3), pages 377-389.
    • Handle: RePEc:taf:regstd:v:41:y:2007:i:3:p:377-389
    DOI: 10.1080/00343400701282095
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    References listed on IDEAS

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    1. Dominc Power & (ed.), "undated". "Behind The Music Profiting from Sound: A Systems Approach to the Dynamics of the Nordic Music Industry," STEP Report series 200304, The STEP Group, Studies in technology, innovation and economic policy.
    2. B. Andersen, & Z. Kozul-Wright & R. Kozul-Wright, 2000. "Copyrights, Competition And Development: The Case Of The Music Industry," UNCTAD Discussion Papers 145, United Nations Conference on Trade and Development.
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    Cited by:

    1. Aspers, Patrik & Kohl, Sebastian & Power, Dominic, 2008. "Economic sociology discovering economic geography," economic sociology. perspectives and conversations, Max Planck Institute for the Study of Societies, vol. 9(3), pages 3-16.
    2. Buda, Andrzej & Kwapień, Jarosław, 2022. "Agent-based modelling of the global phonographic market," Physica A: Statistical Mechanics and its Applications, Elsevier, vol. 598(C).
    3. Johan Jansson & Brian J Hracs, 2018. "Conceptualizing curation in the age of abundance: The case of recorded music," Environment and Planning A, , vol. 50(8), pages 1602-1625, November.
    4. Brian J Hracs & Doreen Jakob & Atle Hauge, 2013. "Standing out in the Crowd: The Rise of Exclusivity-Based Strategies to Compete in the Contemporary Marketplace for Music and Fashion," Environment and Planning A, , vol. 45(5), pages 1144-1161, May.
    5. Beatriz Plaza & Pilar Gonzalez-Casimiro & Paz Moral-Zuazo & Courtney Waldron, 2013. "Culture-led City Brands as Economic Engines: Theory and Empirics," ACEI Working Paper Series AWP-05-2013, Association for Cultural Economics International, revised Oct 2013.
    6. Teemu Makkonen, 2014. "Tales from the Thousand Lakes: Placing the Creative Network of Metal Music in Finland," Environment and Planning A, , vol. 46(7), pages 1586-1600, July.
    7. Cheng-Yi Lin, 2014. "The Evolution of Taipei’s Music Industry: Cluster and Network Dynamics in the Innovation Practices of the Music Industry," Urban Studies, Urban Studies Journal Limited, vol. 51(2), pages 335-354, February.
    8. Gamble, Jordan Robert & Brennan, Michael & McAdam, Rodney, 2017. "A rewarding experience? Exploring how crowdfunding is affecting music industry business models," Journal of Business Research, Elsevier, vol. 70(C), pages 25-36.
    9. Beatriz Plaza & Pilar González-Casimiro & Paz Moral-Zuazo & Courtney Waldron, 2015. "Culture-led city brands as economic engines: theory and empirics," The Annals of Regional Science, Springer;Western Regional Science Association, vol. 54(1), pages 179-196, January.
    10. Pierre Poinsignon & Thomas Paris, 2020. "« A diachronic view of the role of collaborative spaces in the creative industries: The singular case of the French « atelier Nawak » »," Post-Print hal-03097441, HAL.

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