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This research analyzes the performance of 467 record labels in eight European countries over a period of 13 years (2003–2015). The main goal is to explain a relative measure of profitability in terms of observed variables, although the nature of the dataset also allows us to include non-observed firm and country effects. To this end alternative models are estimated and three main research questions are tested, namely: (1) the effect of the dual structure of the recorded music market, in which a competitive segment and an oligopoly coexist; (2) the extent and source of the volatility of profits in record labels; and (3) the nonlinear impact of size on performance.

In a review essay, the author focuses on current structural conditions of the \"Aboriginal recording industry,\" and the specific historical, cultural, social, and economic conditions under which commercial recordings come into being. Scales examines the particular economic institutions - record labels - responsible for the creation and distribution of these products. He surveys the history of indigenous music and the mainstream, indigenous independent labels, major-independent labels, boutique-independent labels, \"powwow\" labels, and the future of the industry.

The way in which internet distribution of music is challenging the major record labels is examined. This article places into historical context the 1990s compact disc boom and the subsequent rise of digital distribution. The consumer-led file-sharing explosion has opened the doors for small labels and independent artist-entrepreneurs to use these relatively inexpensive technologies to disseminate their music and circumvent the clogged, payola-drenched playlists of corporate radio.

Diversity has become a key discourse of international cultural policy-making following the neoliberal turn. This article traces how diversity discourses were put into practice by the city government of Buenos Aires, Argentina, following the devastating 2001 Argentine economic crisis, taking the first Buenos Aires International Music Fair (BAFIM) as a case study. A key event within broader policies aimed at developing the local music industry as both an economic and a cultural resource, BAFIM was designed to use diversity as a means of reconfiguring the economic, social, and cultural domains of the city. While the fair opened fields of action in which subjects could make newly productive moves, a critical examination of the fair also demonstrates that diversity, in and of itself, is not a democratising paradigm.

Wong discusses the efforts of the Los Angeles Jazz Institute based at California State University Long Beach, including a jazz festival it held in May 2004 with the theme \"Celebrating the Birth of the Cool ... and Beyond.\" Jazz recordings on the independent Sea Breeze Records label are also highlighted.

Why do some music styles gain mass popularity while others thrive in small niches?Banding Togetherexplores this question and reveals the attributes that together explain the growth of twentieth-century American popular music. Drawing on a vast array of examples from sixty musical styles--ranging from rap and bluegrass to death metal and South Texas polka, and including several created outside the United States--Jennifer Lena uncovers the shared grammar that allows us to understand the cultural language and evolution of popular music. What are the common economic, organizational, ideological, and aesthetic traits among contemporary genres? Do genres follow patterns in their development? Lena discovers four dominant forms--Avant-garde, Scene-based, Industry-based, and Traditionalist--and two dominant trajectories that describe how American pop music genres develop. Outside the United States there exists a fifth form: the Government-purposed genre, which she examines in the music of China, Serbia, Nigeria, and Chile. Offering a rare analysis of how music communities operate, she looks at the shared obstacles and opportunities creative people face and reveals the ways in which people collaborate around ideas, artworks, individuals, and organizations that support their work.

Historic Masters, which specializes in opera and vocal reissues from 78 recordings, is profiled. The company continues to be successful in unearthing original metal masters from both commercial and private sources of previously unpublished, unknown, or forgotten material.

The essay investigates the effects of diasporic movement on the aesthetics, politics, and economics of reggae. Focusing on the involvement of Chinese Jamaicans in the development of reggae, the essay advances the argument that the social and historical factors that condition Chinese Jamaican migration also determine the nature of their impact on reggae. The significant numbers of Chinese Jamaicans who have served as producers, sound system owners, band managers, and distributors reflect the roles that Chinese Jamaicans play as merchants and middlemen in Jamaican society as well the high degree of transnational mobility and effective familial networks they have developed. A series of videotaped interviews with the Chinese Jamaican family that started and currently runs VP Records, a major international distributor of reggae music, serves as the case study from which the main conclusions of the essay are extrapolated. El ensayo investiga los efectos del movimiento diásporo en la estética, política y economía del reggae. Enfocándose en la participación de chinos-jamaiquinos en el desarrollo del reggae, el ensayo propone el argumento de que los factores sociales e históricos que condicionan la migración chino-jamaiquina, también determinan la naturaleza de su impacto en el reggae. El número significativo de chino-jamaiquinos que han servido como productores, dueños de sistemas de sonidos, directores de bandas y distribuidores, refleja los papeles que los chino-jamaiquinos desempeñan como comerciantes e intermediarios en la sociedad jamaiquina, así como el alto nivel de movilidad transnacional y de organizaciones familiares efectivas que ellos han desarrollado. Una serie de entrevistas en cintas de video con la familia chino-jamaiquina que creó y actualmente dirige VP Records, un distribuidor mayor internacional de música reggae, sirve como el caso de estudio del cual se extrapolan las conclusiones de este ensayo. L'auteur étudie les effets du mouvement diasporique sur des aspects esthétiques, la politique et l'économie qui sont liés au reggae. Dans cet article, il se concentre sur l'apport des Jamaïcains d'extraction chinoise au développement du reggae et postule que les facteurs sociaux et historiques qui sous-tendent la migration de ces Jamaïcains déterminent également la nature de leur influence sur le reggae. Le nombre important de Sino-Jamaïcains comme producteurs, propriétaires de systémes de musique, gestionnaires d'orchestre et distributeurs témoigne de l'importance de ces derniers à titre de commerçants et d'intermédiaires dans la société jamaïcaine, témoigne aussi que du taux élevé de mouvement transfrontière intense et des réseaux familiaux qu'ils ont tissés. Une série d'interviews vidéographiés avec la famille jamaïcano-chinoise qui a créé VP Records et qui l'exploite actuellement sert d'étude de cas.

Seibert edits interviews with Overtone Records founder Richard Burns prior to Burns's death in November 2002. In the article, Burns comments on his love of classical music, which was developed as a teen while listening to Metropolitan Opera broadcasts. He goes on to describe his experiences with Overtone Records, during which he issued 17 recordings, most of which had some connection to the music scene in his hometown of New Haven, Connecticut. A discography of recordings he produced is included.

Jazz musician Branford Marsalis has founded Marsalis Music, a new jazz record label that is affiliated with Rounder Records. A familiar name in the label's catalog is Marsalis' old friend Harry Connick, Jr. The first two new artists to be signed by Marsalis Music are Doug Wamble, who released \"Country Libations,\" and Miguel Zenon, who released \"Ceremonial.\" One of the most intriguing aspects of Marsalis' plans for the label involves the Marsalis Jams program. The idea is to bring leading jazz ensembles, student musicians, and young audiences together on college and university campuses in two-part concerts that allow the featured bands to present their own music before jamming with the school's music students.