Concentration, diversity, and consequences
Privileging independent over major record labels
Bibliographic Data
| ID | 5116984 |
|---|---|
| Authors | Andrew Mall (corresponding author) |
| Year | 2018 |
| Volume | 37 |
| Issue | 3 |
| Pages | 444-465 |
| Publication date | 2018-10-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Popular Music (JOURNAL) |
| Journal identifiers | ISSN: 0261-1430 • E-ISSN: 1474-0095 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0261143018000375 |
| OpenAlex | W2890146709 |
| Language | EN |
| Citations received | 5 |
| References cited | 54 |
The field of popular music studies has long been interested in the relationships between record labels and the music they make available to consumers. At the micro level, research on record labels provides insight into the tensions between art and commerce and those between individuals and institutions. At the macro level, this research illuminates changes in socio-economic trends, music industry structures and structural inequalities. A meta-analysis of this literature reveals an 'indie prejudice': a preference for (and even a bias in favour of) independent labels coupled with a dismissive approach to the study of major labels and musical mainstreams that impacts our ability, as a scholarly field, to speak with authority about the largest segments of the commercial record industries. What larger implications for our scholarship might confronting this prejudice reveal? What master narratives have structured popular music studies' preference of independent over major record labels? In this article, I argue that the art/commerce dichotomy has remained influential, although it can have unintended and dangerous side effects if it becomes a guiding assumption
Art · Diversity (politics · Economics · Field (mathematics · Indie film · Literature · Media studies · Music education · Music industry · Musical · Narrative · Political science · Preference · Prejudice (legal term · Scholarship · Sociology · Visual arts · Cultural Industries and Urban Development · Law · Music History and Culture · Psychology · Social and Cultural Dynamics · Social Psychology
Exploring the (un)changing nature of cultural intermediaries in digitalised markets
The Recording Industry as the Enemy? A Case Study of Early West German Metal Music
Disqueras intermedias, categorías de mercado y cultura institucional de las disqueras en Colombia
Bowing to five pecks of rice
Independent Canadian Music in the Streaming Age
Pretty in punk
Solid gold
Sound effects
Music Genres and Corporate Cultures
When Market Information Constitutes Fields
Club cultures
Between Montmartre and the Mudd Club
The International Recording Industries
The Implications of Ownership Changes on Concentration and Diversity in the Phonogram Industry
“If It Ain't Cheap, It Ain't Punk”: Walter Benjamin's Progressive Cultural Production and DIY Punk Record Labels
Imagining an Interdisciplinary Canon
The Historical Consciousness of Sunshine Pop
The Original Sound of the City : How Charlie Gillett Named This Conference
Subculture
Sexing the Groove
Hit Record Trends, 1940–1977
Popular Music
“Riot Grrrl Is . . .”
Resistance Through Rituals
Indie
How the Beatles destroyed rock 'n' roll
Subcultures, Scenes or Tribes? None of the Above
Micro-independent record labels in the UK
The 360 deal and the ‘new’ music industry
Cycles in Symbol Production Research
Long Play
Market Structure of the Domestic Music Recording Industry, 1890–1988
Concentration and Diversity Revisited
Punk Record Labels and the Struggle for Autonomy
Empire of Dirt
Peterson and Berger revisited
Post-Punk's attempt to democratise the music industry
How autonomous is relative
Innovation and Diversity in the Popular Music Industry, 1969 to 1990
Measuring Industry Concentration, Diversity, and Innovation in Popular Music
Cycles in Symbol Production
Entropy and Popular Culture
Changing Highbrow Taste
Cycles in symbol production? A new model to explain concentration, diversity and innovation in the music industry
Re-examining the concept of the 'independent' record company
Why 1955? Explaining the advent of rock music
Listening to Popular Music
The Professional Dance Musician and His Audience
| Unique citing works | 5 |
|---|---|
| Citations per year | 1,25 |
| Citation span | 2022 - 2023 (2) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 5 |