Convergence, Crisis and the Digital Music Economy

Abstract

In this chapter we consider the concept of convergence in the context of the complex relationships unfolding between technology, socio-economic factors and the contemporary music industry—the ‘canary down the mine’ of the digital media industries. We observe that when it comes to the music industry, technology convergence trends have generally been defined in rather negative terms. In essence, they are generally represented in terms of a fundamental ‘crisis’ especially for the recorded music sub-sector. Here, we move on to critically interrogate the conventional wisdom that implies technological trends and convergences are leading to some sort of fundamental decay or decline in the power and role of the music industry. Instead, we propose that whilst the initial disruptive effects of the radical new digital technologies may have induced a certain ‘crisis’ for the prevailing models and practices of the recorded music industry, these have also prompted and been accompanied by new opportunities for restructuring and reshaping of the sector’s scope and operations.

We draw upon the concept of convergence to guide our study of a music industry that is widely perceived as a leading site for new media developments. We question the extent to which the music industry is experiencing transformations or significant disruptions resulting from technological innovations, or whether it is actually much more a case of ‘business as usual’ in the commercial music industry. Thus this chapter proposes to interrogate and challenge the dominant framing of current debates around the notion of ‘crisis’ in the music industry.

Appendices

Exercise Questions

• 1. How is convergence most usually conceived in the context of the music industry?

• 2. What makes the music industry such as useful site for examining the concept of convergence in the contemporary digital environment?

• 3. How realistic are more ‘conventional’ conceptions of convergence given recent developments across the broader music industry?

• 4. What are the limitations associated with adopting a ‘technology-centred’ approach to analysing the evolution of the music industry in the internet age?

• 5. Discuss the various opportunities and threats experienced by the music industry as a result of digital technological innovations.

• 6. In what ‘new’ ways do music companies exploit the ownership of copyrights in the internet age?

• 7. Beyond the digital media platforms addressed in the article, can you relate music to other (new or traditional) forms of media (e.g. TV, radio, film)?

• 8. Try to draw up an exhaustive list of potential sources of income for the managers of major music copyright catalogues (i.e. music and songs).

Reflexive Questions

• 1. Consider the story of the music industry that is ultimately depicted in this chapter. Does this account suggest that music possesses a unique set of features or characteristics as an element of the broader media industries? If so, what are they?

• 2. As individuals, how does our use of music illustrate processes of convergence?

• 3. To what extent, if any, do you see developments in the music industry resonating with developments in other media industry sectors? Do developments in the music industry contradict developments in other media industry sectors?

• 4. The article stresses the role of copyright in shaping the evolution of the music industry. To what extent can we see copyright (or other forms of intellectual property such as trademarks and patents) shaping our personal and professional lives? Do we conceive of intellectual property as a liberating or constraining force?

• 5. Do you think that the internet has shifted the balance of power in the music industry? And to what extent, if any, has it altered power relations across other media industries?