Patryk Galuszka
Biographic Data
| ID | 245156 |
|---|---|
| NAME | Patryk Galuszka |
| GIVEN NAMES | Patryk |
| FAMILY NAME | Galuszka |
| SIGNATURE | GALUSZKA P |
| AFFILIATIONS | University of Lodz |
| ORCID | 0000-0002-1636-6651 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 19 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Showcase Festivals and Music Export Organisations: An Ambivalent Ecosystem of International Access, Networking and Exposure
This article examines the role of showcase festivals and music export organisations (MEOs) in shaping international music careers amid the digital era’s paradox of access and visibility. Drawing on qualitative research conducted in Europe, it explores how these institutions have become central, interdependent actors within a global music export ecosystem that promises opportunity yet often reproduces existing hierarchies. While MEOs provide suppo…
Introduction to the special issue: Popular music and violent conflict
Born in the USA'-despite the song's complex and often misunderstood political message-rather than with the experiences of veterans from other countries.This asymmetry reflects, among other factors, the global reach of the American music industry, which helped turn the song into an international hit.Even antiwar or pro-peace global anthems authored by non-Americans, like Lennon's 'Give Peace a Chance', 'Imagine' or 'Happy Xmas (War Is Over)', were…
Distributed agency in live music programming: Showcase festivals as calculative infrastructures
This paper examines the role of music programmers – the individuals responsible for curating lineups for festivals and venues – in the contemporary live music market. Drawing on empirical data from in-depth interviews and participant observation, it analyzes how programmers select emerging artists under conditions of high uncertainty. While traditional sociological accounts emphasize programmers’ individual taste and cultural capital, this study …
Who pays the piper delivers the data: Audience measurement and programming in the crowdfunded radio
This paper investigates the functioning of Radio 357 – an Internet radio station financed since 2020, primarily by patrons. The empirical analysis based on in-depth interviews with patrons and radio staff shows how crowdfunded radio conceptualizes its activities, specifically how it acquires the knowledge of listeners and prepares its program offerings for them. In doing so, this study touches on the key differences between commercial terrestrial…
Financialization of music: Song management firms and fractionalized copyright
This paper examines the growing interest of financial markets in investing in music rights, arguing that this is a manifestation of the financialization of music. While music rights have been traded for a long time, the vast majority of these transactions have been between entities within the music industry. However, in recent years, we have observed the entrance of pension funds, banks, and private equity firms into the music rights market. This…
The influence of generative AI on popular music: Fan productions and the reimagination of iconic voices
This essay explores the burgeoning phenomenon of fan-generated content that utilizes generative artificial intelligence (AI) to mimic the voices of deceased or retired popular music artists. This practice can be seen as an extension of Digital Audio Workstations’ (DAWs’) capabilities, potentially leading to the creation of musical pieces that resemble traditional covers and mash-ups. The essay analyzes three representative works in this creative …
Building performance capital during hard lockdown: Insights from the ESNS 2021 virtual-only showcase festival
Eastern European Music Industries and Policies after the Fall of Communism: From State Control to Free Market
Crowdfunding and the democratization of the music market
The article analyzes the phenomenon of crowdfunding from the perspective of its democratizing influence on the music market. Crowdfunding enables artists to finance the release of their records, which theoretically allows them to enter the music market without the intermediation of traditional record labels. By using empirical data, the article shows that the democratizing influence of crowdfunding is limited. This results partially from the diff…
Running a record label when records don't sell anymore: Empirical evidence from Poland
From an economic point of view, the business of record labels until recently boiled down to managing a portfolio of artists, with successful stars bringing the label enough money to recoup investments in market flops. The decline in record sales has called this model into question and forced labels to look for new sources of revenue. Employing qualitative data gathered in Poland, this paper demonstrates how labels react to adverse market conditio…
Crowdfunding: Towards a redefinition of the artist’s role – the case of MegaTotal
This article uses empirical research conducted on MegaTotal, a crowdfunding platform operating in Poland, in order to demonstrate the complexity of the relations between project initiators and contributors in equity/royalty-based crowdfunding. The presented research shows how differences among crowdfunding models have an impact on relations between project initiators and contributors as well as the collection process for funding by comparing Mega…
New Economy of Fandom
This article discusses five new roles that fans can play: sponsors, co-creators of value, stakeholders, investors, and filters. These roles are elements of new types of relationship between fans and artists, which are manifestations of the emergence of what can be called a "new economy of fandom." The new economy of fandom is understood here as a condition in which empowered fan communities use the democratizing potential of new social media to c…
Netlabels and democratization of the recording industry
Netlabels are platforms for online distribution and promotion of music released for free under Creative Commons or similar licenses. They are part of the free music scene, which has been developing dynamically since the advent of the Internet and digitalization. The article employs the concept of democratization to analyze the emergence of netlabels and their impact on the dissemination of music. This paper shows that although the democratizing p…
New Economy of Fandom
This article discusses five new roles that fans can play: sponsors, co-creators of value, stakeholders, investors, and filters. These roles are elements of new types of relationship between fans and artists, which are manifestations of the emergence of what can be called a "new economy of fandom." The new economy of fandom is understood here as a condition in which empowered fan communities use the democratizing potential of new social media to c…
The influence of generative AI on popular music: Fan productions and the reimagination of iconic voices
This essay explores the burgeoning phenomenon of fan-generated content that utilizes generative artificial intelligence (AI) to mimic the voices of deceased or retired popular music artists. This practice can be seen as an extension of Digital Audio Workstations’ (DAWs’) capabilities, potentially leading to the creation of musical pieces that resemble traditional covers and mash-ups. The essay analyzes three representative works in this creative …
Building performance capital during hard lockdown: Insights from the ESNS 2021 virtual-only showcase festival
Crowdfunding and the democratization of the music market
The article analyzes the phenomenon of crowdfunding from the perspective of its democratizing influence on the music market. Crowdfunding enables artists to finance the release of their records, which theoretically allows them to enter the music market without the intermediation of traditional record labels. By using empirical data, the article shows that the democratizing influence of crowdfunding is limited. This results partially from the diff…
Running a record label when records don't sell anymore: Empirical evidence from Poland
From an economic point of view, the business of record labels until recently boiled down to managing a portfolio of artists, with successful stars bringing the label enough money to recoup investments in market flops. The decline in record sales has called this model into question and forced labels to look for new sources of revenue. Employing qualitative data gathered in Poland, this paper demonstrates how labels react to adverse market conditio…
Crowdfunding: Towards a redefinition of the artist’s role – the case of MegaTotal
This article uses empirical research conducted on MegaTotal, a crowdfunding platform operating in Poland, in order to demonstrate the complexity of the relations between project initiators and contributors in equity/royalty-based crowdfunding. The presented research shows how differences among crowdfunding models have an impact on relations between project initiators and contributors as well as the collection process for funding by comparing Mega…
Netlabels and democratization of the recording industry
Netlabels are platforms for online distribution and promotion of music released for free under Creative Commons or similar licenses. They are part of the free music scene, which has been developing dynamically since the advent of the Internet and digitalization. The article employs the concept of democratization to analyze the emergence of netlabels and their impact on the dissemination of music. This paper shows that although the democratizing p…
New Economy of Fandom
This article discusses five new roles that fans can play: sponsors, co-creators of value, stakeholders, investors, and filters. These roles are elements of new types of relationship between fans and artists, which are manifestations of the emergence of what can be called a "new economy of fandom." The new economy of fandom is understood here as a condition in which empowered fan communities use the democratizing potential of new social media to c…
Crowdfunding: Towards a redefinition of the artist’s role – the case of MegaTotal
This article uses empirical research conducted on MegaTotal, a crowdfunding platform operating in Poland, in order to demonstrate the complexity of the relations between project initiators and contributors in equity/royalty-based crowdfunding. The presented research shows how differences among crowdfunding models have an impact on relations between project initiators and contributors as well as the collection process for funding by comparing Mega…
Running a record label when records don't sell anymore: Empirical evidence from Poland
From an economic point of view, the business of record labels until recently boiled down to managing a portfolio of artists, with successful stars bringing the label enough money to recoup investments in market flops. The decline in record sales has called this model into question and forced labels to look for new sources of revenue. Employing qualitative data gathered in Poland, this paper demonstrates how labels react to adverse market conditio…
Crowdfunding and the democratization of the music market
The article analyzes the phenomenon of crowdfunding from the perspective of its democratizing influence on the music market. Crowdfunding enables artists to finance the release of their records, which theoretically allows them to enter the music market without the intermediation of traditional record labels. By using empirical data, the article shows that the democratizing influence of crowdfunding is limited. This results partially from the diff…
Eastern European Music Industries and Policies after the Fall of Communism: From State Control to Free Market
Building performance capital during hard lockdown: Insights from the ESNS 2021 virtual-only showcase festival
Financialization of music: Song management firms and fractionalized copyright
This paper examines the growing interest of financial markets in investing in music rights, arguing that this is a manifestation of the financialization of music. While music rights have been traded for a long time, the vast majority of these transactions have been between entities within the music industry. However, in recent years, we have observed the entrance of pension funds, banks, and private equity firms into the music rights market. This…
The influence of generative AI on popular music: Fan productions and the reimagination of iconic voices
This essay explores the burgeoning phenomenon of fan-generated content that utilizes generative artificial intelligence (AI) to mimic the voices of deceased or retired popular music artists. This practice can be seen as an extension of Digital Audio Workstations’ (DAWs’) capabilities, potentially leading to the creation of musical pieces that resemble traditional covers and mash-ups. The essay analyzes three representative works in this creative …
Who pays the piper delivers the data: Audience measurement and programming in the crowdfunded radio
This paper investigates the functioning of Radio 357 – an Internet radio station financed since 2020, primarily by patrons. The empirical analysis based on in-depth interviews with patrons and radio staff shows how crowdfunded radio conceptualizes its activities, specifically how it acquires the knowledge of listeners and prepares its program offerings for them. In doing so, this study touches on the key differences between commercial terrestrial…
Showcase Festivals and Music Export Organisations: An Ambivalent Ecosystem of International Access, Networking and Exposure
This article examines the role of showcase festivals and music export organisations (MEOs) in shaping international music careers amid the digital era’s paradox of access and visibility. Drawing on qualitative research conducted in Europe, it explores how these institutions have become central, interdependent actors within a global music export ecosystem that promises opportunity yet often reproduces existing hierarchies. While MEOs provide suppo…
Introduction to the special issue: Popular music and violent conflict
Born in the USA'-despite the song's complex and often misunderstood political message-rather than with the experiences of veterans from other countries.This asymmetry reflects, among other factors, the global reach of the American music industry, which helped turn the song into an international hit.Even antiwar or pro-peace global anthems authored by non-Americans, like Lennon's 'Give Peace a Chance', 'Imagine' or 'Happy Xmas (War Is Over)', were…
Distributed agency in live music programming: Showcase festivals as calculative infrastructures
This paper examines the role of music programmers – the individuals responsible for curating lineups for festivals and venues – in the contemporary live music market. Drawing on empirical data from in-depth interviews and participant observation, it analyzes how programmers select emerging artists under conditions of high uncertainty. While traditional sociological accounts emphasize programmers’ individual taste and cultural capital, this study …
Business (8 works) · Cultural Industries and Urban Development (7 works) · Advertising (6 works) · Computer Science (6 works) · Music History and Culture (5 works) · Art (4 works) · Finance (4 works) · Music industry (4 works) · Political science (4 works) · Sociology (4 works)