The Global Jukebox: The International Music Industry

By Robert Burnett | Go to book overview

Chapter 2

Music and the entertainment industry

The world is our audience.

(Time Warner)

Think globally—act locally.

(Sony)

A truly global organization.

(Thorn-EMI)

A European based global recording company.

(Polygram)

Globalize local repertoire.

(BMG)

In recent years the international music companies have begun to stress that they are global organizations. Globalization in their case, and as reflected in company annual reports, means the organization of production, distribution and consumption of cultural goods on a world scale market. The flow of information, ideas and cultural artifacts on a global scale has greatly increased in recent decades, due in part to the many developments of new communication technology. Appadurai (1990:296) suggests five dimensions of cultural flow: ethnoscapes, technoscapes, finanscapes, mediascapes and ideoscapes, which are all interconnected. Ethnoscapes are made up of the landscapes of people representing the world we inhabit. Amongst these we find tourists, immigrants, refugees, and other groups of migrant people who are on the move. Technoscapes refer to the global arrangement and rapid movement of technology. Finanscapes consist of the disposition and transfer of global economic capital. The fourth dimension of global cultural flow, mediascapes, describes both the distribution of information technology and the images of the world that the media create. The final dimension, ideoscapes, are

-8-

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The Global Jukebox: The International Music Industry
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Figures ix
  • Tables xi
  • Acknowledgements xiii
  • Chapter 1 - Introduction 1
  • Chapter 2 - Music and the Entertainment Industry 8
  • Chapter 3 - Music as Popular Culture 29
  • Chapter 4 - The Music Industry in Transition 44
  • Chapter 5 - The Production of Popular Music 64
  • Chapter 6 - The Consumption of Popular Music 81
  • Chapter 7 - The American Example 99
  • Chapter 8 - The Swedish Example 120
  • Chapter 9 - Future Sounds: a Global Jukebox? 138
  • Postscript 149
  • Bibliography 153
  • Index 166
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