The Role of Competition in the Rise of Baroque and Renaissance Music

Section 1 introduces the hypothesis that competition among neighboring states may favor cultural innovation, and it surveys the available quantitative evidence. Section 2 starts from the assumption that European instrumental music had its breakthrough during the Baroque era and that the most famous composers came from the two countries characterized by the highest degree of political fragmentation: Italy and Germany. It suggests that political fragmentation has promoted musical composition and performance in several ways. The average duration of employment is proposed as a proxy for competition on the demand side. Section 3 shows that the most famous Italian and German composers of the Baroque period changed their employers significantly more often than their French and British counterparts did. Moreover, the Reformation led to musical competition between the Catholic and Protestant churches. Section 4 argues that competition for composers has also been important in other periods of European history – including competition between the Church and the courts. It shows that composers moved no less in the Renaissance than in the Baroque. Section 5 raises the question whether European music may also be said to express a competitive spirit. JEL classification: Z11     

Two Worlds of Academic Publishing: Chemistry and German Sociology in Comparison

The communication infrastructure of modern science is provided by profit-oriented business firms: the publishing houses which print and distribute academic books and journals. Surprisingly, beyond some rather superficial impressions, in science studies little is known about how academic publishers work—in particular, how markets for books and journals look like, how publication decisions are taken, and how the interplay with the scientific community is arranged. We address these questions with a focus on the relation between economic considerations of publishers, on the one hand, and the requirements of scientific communication, on the other. Our contrasting case studies are a very large worldwide operating publisher with regard to chemistry publications and a national publishing house of German sociology. At first, we show how the rather different business approaches of the two types of academic publishing houses look like. Both approaches could reach stability for some time which means not only that publishers earned money according to their profit aspirations but also that the communication requirements of science were sufficiently met. Afterwards, we point out the instabilities that have begun to arise in both fields and may sooner or later erode the former fit of profit-making and scientific communication.     

Journal Peer Review and Editorial Evaluation: Cautious Innovator or Sleepy Giant?

Minerva - Peer review of journal submissions has become one of the most important pillars of quality management in academic publishing. Because of growing concerns with the quality and...     

A good hustle: the moral economy of market competition in adult webcam modeling

In this article, we examine how models working on Chaturbate, one of the world’s most popular adult webcam platforms, negotiate and make sense of the dynamic ways in which this platform configures their competitive environment. By combining different perspectives from the field of economic sociology, we demonstrate how competition on Chaturbate is shaped by various market devices whose strategic negotiation informs – and is informed by – the moral economy articulated on web forums where models gather to discuss their work experiences and market strategies. We first introduce Chaturbate and the ways in which it organizes market competition, surveying the environment models have to negotiate. We then zoom in on two controversial strategies for beating the competition, each of which upset the moral economy of Chaturbate’s model community. Subsequently, we turn to what models term ‘the hustle,’ which encompasses a number of competitive strategies and criteria judged to be fair and thus legitimate. The final part of our analysis considers the limitations of the hustle, as well as the meritocratic and entrepreneurial discourse that surround it, in light of what we identify as Chaturbate’s ‘manufactured uncertainty.’     

A Model of the Danish Book Market

Traditionally, books have been a majorfactor in the cultural life of a nation, although littleattention has been paid to the book market. In anattempt to redress this situation, a simple macromodel of the (Danish) book market is presented wheredemand, conventions in the publishing industry, andtechnology interact. The results are dramatic as thebook market has changed decisively in the past twodecades, in effect forcing us to reconsider what itmeans to publish and to be an author.     

让童年跟随“汉克”去历险

（一）2011年12月24日,畅销美国20多年的系列童书——《警犬汉克历险记》,由浙江工商大学出版社在北京西单图书大厦举行新书首发仪式。在新书发布会现场,除了出版社邀请的各大媒体记者之外,同时还能看见很多小朋友拉着父母在座位上倾听,他们是被书店大厅广播吸引过来的小读者。首发仪式上,嘉宾之一     

Situated Knowledge Production,International Impact: Changing Publishing Practices in a German Engineering Department

In this paper, I analyze how recent calls to internationalize publication behavior affect research practices at an automotive engineering department in Germany. Automotive engineering is a field with traditionally rather scarce publication activity and strong connections to industry. Substantial authority to define suitable research problems and ways of organizing knowledge production on a daily basis was therefore reserved for local academic elites as well as corporate partners. However, as engineers are increasingly expected to prove their performance through publishing in international peer-reviewed journals, the judgment as to what should be considered “interesting” or “robust” research is partly relegated to a gradually globalizing community of academic peers. This generates a variety of tensions with established ways of coordinating epistemic work at the department studied here. For example, the thematic interests of journals tend to exert a disruptive centrifugal pull in the context of an otherwise highly modular research culture, and possibilities to publish in international venues are unequally distributed across individual research projects. But while department members agree that there is a lack of fit between current practices and new expectations towards their publishing behavior, their opinions about the conclusions that should be drawn differ significantly. Some researchers argue that profound organizational changes are necessary to foster the academic rigor of German engineering research. Others believe that evaluation criteria should simply be adapted. This situation is arguably characteristic for research areas with a traditionally strong orientation to local stakeholders, and it suggests a need for more deliberative, participatory approaches to research evaluation in such fields.     

Economics of music publishing: copyright and the market

The paper argues that the paradigmatic shift from the sale of printed music to exploiting and managing musical rights that took place in music publishing during the early years of the twentieth century was due to the changing market rather than to changes in copyright law. On the one hand, copyright law was ineffectual in controlling piracy throughout the nineteenth century, and on the other hand, performing rights were ignored by music publishers for over 70 years; these points suggest that copyright was not the main reason behind the success of the industry. Rather than leading entrepreneurially (the current view of dynamism in the creative industries), publishers ‘followed the money’ and adapted their business models only when new streams of income from new forms of exploitation through sound recording, broadcasting and film became available as a result of exogenous technical progress. Publishers were locked-in to sales revenue as their business model, though when switching to the new business model of rights management took place, the costs seem not to have been greatly significant. The paper takes an historical approach to the development of music publishing viewed through the lens of present-day issues. The research has resonance for the transition from sales to licensing digital works that is taking place in the creative industries today and puts into perspective the relative significance of market forces and copyright law in the process.     

How should cultural diversity be measured? An application using the French publishing industry

Despite the lack of a clear definition of the concept, “cultural diversity” has remained a core issue for more than a decade (WTO, UNESCO, etc.). The aim of this paper is to begin to fill this gap. We argue that cultural diversity is a multi-dimensional concept and that accurate metrics must rely on three criteria: variety, balance and disparity. We also stress that supplied and consumed diversity have to be distinguished. We apply this set of multiple measures of diversity to publishing data for France over the period 1990–2003. Our main result is that the situation of the publishing industry in terms of cultural diversity is highly dependent on the dimension considered. Hence, diversity increases when variety is the sole consideration, whereas taking balance or disparity into account leads to the opposite conclusion. This issue raises a series of questions about the use of diversity measures in a policy debate concerned with furthering cultural diversity.

Making architecture compete: open-ended accumulation meets objectification and singularisation in the UK construction industry

Sociologists over the last two decades have taken inspiration from actor-network theory to suggest that competition, like ‘the market’, takes place through a dynamic of detaching objects from one set of relations and reattaching them within another: objectification and singularisation. Yet there has been little theorisation of how competition differs between situations. To approach this question, we can ask how competition, as a process of objectification and singularisation, interacts with other patterns of movement. Ethnographers have described one such pattern in the everyday work of architects. Here a building emerges from an ever-increasing number of ‘versions’, images and models, in an open-ended accumulation. This study considers the interaction between, first, the objectification and singularisation of competition and, second, the open-ended accumulation of architectural work. To do so, I examine architectural competitions in the UK. I draw from document analysis of one competition for a school in northern England, as well as interviews with architects about their work on competitions. This study concludes that architectural competitions repeat the multiplicity of architectural work but in a more delimited form. Multiplicity is not ‘cut-off’ so much as winnowed down through an explicit process of selecting images and blocks of text.     

Economizing Habitus

Pierre Bourdieu's classical sociology and the actor network-based ‘economization’ literature are often considered contradictory, despite some agreement on the constructed nature of economic man. Through an examination of the publishing industry, we argue that Bourdieu's concept of habitus may offer a useful contribution to the literature on economization. We examine how those new to a field come to understand their position and the role of material devices in structuring this. We argue that Bourdieu's theory, appropriately stated, sheds light on the tacit assessments made by market agents alongside their involvement in network-based calculative mechanisms and allows studies of markets to deal with some persistent criticisms of the economization programme.     

Competition,Concentration and Diversity in European Television Markets

This study investigates how competition, concentration and public broadcasters influence diversity of programme supply in European television markets. It focuses on free, national generalist channels; studies programmes as provided throughout the day; and tests hypotheses with data on Finland, France, Germany, Greece, Italy, the Netherlands, Spain and the U.K. for the late 1980s and 1990s. It concludes that competition is moderate in most markets. Under these conditions, competition and concentration contribute to a diverse supply of programmes that mirrors audience demand, while public broadcasters increase diversity of supply above competitive market levels.     

Recognition and renown, the structure of cultural markets: evidence from French poetry

This article explores the organization of cultural markets through the case of French contemporary poetry, distinguishing the market for recognition and the wider market for renown. The market of poetry is made of large-scale and reputed publishers and a wide range of smaller firms, which serve as testing grounds for new authors and innovation. How can the movement of an a priori narrow-appeal literary genre from small publishing houses to large-scale firms be explained? It is argued that if the status of firms is remarkably stable, artists may move from small publishers to large-scale ones. Statistical evidence is used to illustrate this passage, shedding a new light on the structure of cultural markets and the role of reputation in organizing commercial circuits. Future directions for research are offered.     

Strategic timing of entry: evidence from video games

This paper investigates how video game publishers’ choice of game release date is affected by the expected level of competition within the game’s product niche. We identify game niches by genre, age-appropriateness, console system, a release cohort, and publisher. First, we show that games are more likely to be released so as to avoid weeks when their niche already faces competition. Next, we show that consumer substitution across games is stronger within most of the dimensions describing product niches. Sales volumes decay quickly after the opening weekend, so at any point in time, a niche will typically be served by few current titles. From this, we calculate that delaying game release 1 week yields substantial increase in revenue for a video game facing higher-than-average competition.     

The Law's Markets

Recent research has suggested that one of the key ways in which economics and cognate calculative discourses and practices ‘perform’ the economy is through the drawing of conceptual boundaries between economic activities and entities of various sorts. One such boundary is the boundary between markets. This article shows that a critical contemporary arena for the differentiation of one product or service market from another is competition (or antitrust) law, which, through its work of market definition, seeks to identify the boundaries of competition: the location of the borders between meaningful economic spaces within which buyers and sellers encounter one another and establish prices. The article argues that in envisioning markets (‘the law's markets’), competition law simultaneously constitutes markets, and it demonstrates this through an empirical examination of the exercise of such law in three economic sectors: insurance, grocery retailing, and pay-television. It also shows, however, that competition law is perennially dogged by conflict – both over the placement of such conceptual boundaries, and over the very process of placement and the status of the market boundary itself – and that its application and effects can only be understood in this light.     

The business of film music in mainstream Nollywood: competing without advantage

This article addresses the business of film music in mainstream Nollywood. It does so by focusing on the materiality of the industry as an institution: its social organisation and systems of film music production; markets; networks; and power relations. Specifically, the arguments rely on social organisational theories, and economic concepts such as vertical integration and market competition alongside inferences from interviews with insider-practitioners. Findings reveal that the Nollywood film music industry is characterised by non-institutionalised vertical integration within a perfectly competitive market in which its film music composers are, essentially, competing without advantage.     

Spatial competition and market share: an application to motion pictures

This paper presents an empirical assessment of movie-theatre attendance in two major metropolitan markets and provides strong support for the importance of spatial characteristics in determining attendance. We consider the hypothesis that attendance at a particular movie theatre reflects a tension between two effects: a negative competition effect and a positive agglomeration effect. We find evidence that the competition effect dominates. Further, we identify a pattern of systematic spatial decay in the impact of this effect on demand.     

Are workers in the cultural industries paid differently?

This article aims to explore wage differentials between employees in three sub-industries of the cultural industries compared with the main (1-digit level) industry to which they belong. We use data from the Wage Indicator Questionnaire 2001/2002, which includes information on 12,757 employees in the Netherlands. We find that workers in these particular sub-industries of the cultural industries are paid differently compared with their respective main industries. Workers in entertainment and publishing and printing (P&P) are less endowed with standard labour market characteristics. However, whereas workers in entertainment face negative price or evaluation-related effects, the opposite holds for workers in P&P. Workers in IT are more endowed with standard labour market characteristics, but they receive lower rewards for their labour market characteristics.     

Does the long tail really favor small publishers?

A growing body of literature is devoted to testing the reality of the “long-tail” phenomenon. This literature is mostly, if not exclusively, focused on the impact of Internet on the distribution of sales by product. However, the long tail also raises the issue of a possible change in the usual market structure of cultural industries: an oligopoly with a competitive fringe. To our knowledge, no paper addresses the following question: If the long-tail effect does exist, is it of more benefit to small or dominant publishers? The aim of this paper was to address this issue in the context of the French publishing industry. Our main findings are as follows: (1) the market concentration of the French book industry is lower online than offline and (2) the difference in concentration between the two channels of distribution tended to widen over the period 2004–2010. Strategies adopted by leading publishers on the Web do not allow them to maintain the market share obtained with bricks-and-mortar retailers. Furthermore, we show that the market share lost by dominant firms is captured by small publishers online and by medium-sized publishers in conventional stores.