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“Musik & Empowerment” – A book presentation

On 19th October we held a panel discussion on our new GMM yearbook “Musik & Empowerment”, edited by Michael Ahlers, Lorenz Grünewald-Schukalla, Anita Jóri and Holger Schwetter. The event was hosted in the backyard of Echo Bücher, a book store with a special focus on electronic music and sonic arts. The store used to be in Wedding (Berlin), but this year it was relocated to the legendary record store Hard Wax in Kreuzberg.

From left to right: The authors Mine Welzel, Desirée Blank, Laurene Frey, Katja Brunkhorst and host/editor Anita Jóri.

Four authors of the book accepted our invitation to the panel discussion: Désirée Blank, Katja Brunkhorst, Laurena Frey and Mine Wenzel were the panelists and the discussion was moderated by Anita Jóri. 

The volume “Musik & Empowerment” deals with the connection between music, business and empowerment. Empowerment is understood as the possibility of becoming visible for marginalized or relatively powerless groups. The book discusses different questions of power and exclusion in music cultures and business. How do these power relations look currently? How were they historically? Can it still be assumed that participation in group processes alone is already an essential motor for the emergence of a sense of empowerment? Or, from an individual perspective, is it more about giving individuals more control over their lives? Both aspects are highlighted by different contributions in this book and we also discussed them at this event.

The discussion started with short presentations by the panelists on their chapters in the book.  

Katja Brunkhorst asked how and what women in (punk)rock write (about) themselves and their experiences in such a traditionally male-dominated scene. Being a 40+ woman “still” singing in a rock band herself she also addresses the invisibility of older women in popular culture. She focused on the question of what needs to be done today to challenge and change that status quo towards true empowerment.

Désirée Blank and Laurena Frey demonstrated their survey that examines the perception of gender equality of employees, musicians and other members of the music industry in Mannheim. Their analysis is the first step in acquiring a broader picture of gender (in-)equality in the industry. They also delivered new approaches that can be reviewed in future examinations.

Mine Wenzel digged into the potentials of techno and club cultural scenes for queer, especially trans*identification and life realities. Mine, a trans*nonbinary person themselves, understands her*self as part of the research and offered an inside perspective as musician* and consumer*, by including their own records of recollection as well as interviews with fellow queer participants of the researched scene. Their presentation prevented a breakdown of contemporary, anti-diagnostic, self-determined definitions of gender, sex and gender identity and looks for points of resonance for these lived realities within techno-based music scenes.

After these short presentations, the panel discussed two possible levels of empowerment: community-based empowerment and the individually created empowerment as such. All participants expressed their opinion on the importance of networks and communities that can be empowering for their participants. They all agreed on the power of these organizations that also create safe spaces for marginalized groups. As soon as individuals are empowered by such communities, they are able to bring that collected knowledge and experience into their individual lives and adapt them in their own ways.

It was a very lively and sometimes passionate discussion about highly important topics that are oftentimes excluded from research on music business and culture.

Hereby, we would like to thank the active participation of the panelists and the audience of this event. Also, big thanks to David Armengou from Echo Bücher who kindly hosted us on this warm late summer evening. We hope to continue this fruitful collaboration.

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Tagung: Tipping Points – Zum Verhältnis von Freiheit und Restriktion im Urheberrecht

Interdisziplinäre Fachtagung des Weizenbaum-Instituts für die vernetzte Gesellschaft und des Fachausschusses Urheberrecht der Gesellschaft für Musikwirtschafts- und Musikkulturforschung (GMM) am 20. | 21. Februar 2020 in Berlin.

Proteste auf der Straße, auf YouTube oder Twitter, Warnungen vor dem Niedergang der Kreativindustrie, Angst vor Eingriffen in die Meinungsfreiheit, Diskussionen um value gap und upload filter: Nach der Verabschiedung der europäischen Urheberrechtsrichtlinie im März 2019 geht eines der umstrittensten Vorhaben in der Geschichte des Immaterialgüterrechts mit der Umsetzung in den Mitgliedstaaten in die nächste Runde. 

Diese Kontroverse ist Symptom einer tiefgreifenden Veränderung: Das Urheberrecht und seine verwandten Schutzrechte betrafen früher nur wenige Akteur*innen in einer überschaubaren Anzahl von Branchen. Heute sind diese Rechte zu einer alltagsrelevanten Größe geworden. Wir haben es mit einer Situation zu tun, in der die Grenze zwischen Nutzenden und Schöpfenden verschwimmt und urheberrechtlich relevante Formen des Ausdrucks alltäglich werden. Digitale Kommunikationskanäle und Darstellungsformen sowie neue Formen der Auseinandersetzung mit Bestehendem stellen einen tipping point, einen Wende- bzw. Kipppunkt dar, an dem das Recht vor neuen Herausforderungen steht und dadurch auch die Prozesse der Normsetzung und Normenreform beeinflusst werden.

Das Ziel der Tagung besteht darin, verschiedene solcher tipping points zu identifizieren, ihre aktuelle und zukünftige Relevanz sowie ihre gegenseitigen Verbindungen zu diskutieren. Damit möchten wir der interdisziplinären Debatte um das Urheberrecht neue Impulse verleihen. 

Das Tagungsprogramm finden Sie hier

Aufgrund der großen Nachfrage ist die Tagung bereits ausgebucht. Gerne nehmen wir Sie auf die Warteliste und bitten um Kontaktaufnahme per E-Mail: filip.stiglmayer(at)wzb.eu. 

Dieser Beitrag ist ein Crossposting des Beitrags auf der Webseite des Weizenbaum Instituts.

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Wer verdient wieviel an einem online verkauften Konzertticket?

(Anm.: Dies ist ein Crossposting von Holger Schwetter´s Blog.)

Das fragt sich vermutlich mancher Ticketkäufer. Und mit dieser Frage kam Anfang Januar über die Webseite der GMM ein Redakteur des Radiosenders Deutschlandfunk Nova auf mich zu. Um sie beantworten zu können, startete ich kleine Recherche. Ich wollte mein Wissen auf den neuesten Stand bringen und musste feststellen: Zur Preiszusammensetzung von Online-Tickets gibt es kaum etwas im Netz und auch nicht in der Musikforschung. Also habe ich mich entschlossen, bei Praktiker*innen nachzufragen und einige vorläufige Erkenntnisse für die werten Leser*innen zusammenzustellen. Mein Blogeintrag stellt keine empirische Studie dar, sondern ist das Ergebnis einer Sichtung der Forschungsliteratur, einer Netz-Recherche und einer kleinen informellen Anfrage bei einem Konzertveranstalter und einem Musiker, der sich selbst vermarktet. Die Angaben dieser beiden Personen, die miteinander geschäftlich nicht verbunden sind, decken sich weitestgehend und werden hier als ein kleiner, hoffentlich aufschlussreicher Einblick in die mögliche Preisgestaltung von Konzerttickets präsentiert. Für wissenschaftlich belastbare Zahlen müsste eine größere Stichprobe hinzugezogen werden.

Der Beitrag folgt der Logik der Preiszusammensetzung und wird sich daher zuerst mit den Musiker*innen und Konzertveranstaltern, und danach mit den Onlinehändlern beschäftigen. Anschließend mache ich eine Modellrechnung und errechne idealtypisch die prozentuale Aufteilung eines online für ca. 30,- € gekauften Konzerttickets.

Wer verdient wieviel an einem online verkauften Konzertticket? weiterlesen

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Call for Papers: Music & Empowerment (English version)

For the fourth yearbook of the German Association for Music Business and Music Culture Research (GMM),published in 2020, edited by Prof. Dr. Michael Ahlers, Lorenz Grünewald-Schukalla M.A., Dr. Anita Jóri, Dr. Holger Schwetter.

The German Association for Music Business and Music Culture Research publishes a yearbook which, in addition to its main topic, provides information on the actual state of research on music business and music culture. Music business and music culture research is not conceived as disciplinary research, but rather as a field of research that reacts to problems and new questions in a situational and transdisciplinary manner and at the same time raises them. The focus is on actual problems and questions, as in this case the question of the possibilities and limits of empowerment in popular music.

Since the 1960s popular music has been highly associated with emancipatory movements and social change. We are particularly interested in the connection between music, economics and empowerment, understood as the possibility of becoming visible and empowering marginalized groups or groups with almost no power. More generally, we would like to examine the different questions of power and exclusion in music cultures and music markets. This touches e.g. (but not exclusively) the topics of gender and diversity, which are currently the subject of intense debate. How do these phenomena currently (and historically) look like?

Second, if one attests that empowerment can be associated with music, then it must also be stated that music economies and music cultures often reproduce social inequalities or produce their own mechanisms of exclusion. Therefore, we would like to know how discussions about empowerment and exclusion are currently conducted in music companies and music scenes.

Third, music research in academia may also replicate power structures and mechanisms of exclusion that have barely been researched.

Possible questions are:

  • How is empowerment in popular music negotiated and discussed?
  • How does popular music contribute to the empowerment of marginalized social groups? How can processes of empowerment be institutionally or jointly supported?
  • How are power relations carried out in music scenes and music cultures? Who decides about the line-up of an event? Who are the gatekeepers and how can you become one of them? A concrete example can be the door policy of clubs: How is it decided to let the people in or not?
  • How do networks replicate themselves in music economies and music cultures and how can they be disrupted, subverted or transformed? How is the subject of empowerment and diversity negotiated in small and big music companies? What are the actual discussions about leadership in the music industry? What are the experiences of those people who do not start their careers from traditionally privileged positions?
  • What are the connections between music-related research and academic power structures in economical or cultural contexts?

The call is addressed to scholars of all disciplines who work on music and empowerment or who want to reflect on their own situation in academia, as well as to practitioners who – as independent actors or employees of music companies – have their own experiences and want to reflect on current trends and problems. The article proposals (max. 1500 words, Word file) should be sent by 17 December 2018 to Jahrbuch@musikwirtschaftsforschung.de. The acceptance of papers will be announced until December 22, 2018. Submission of contributions is expected until 31 March 2019. The volume will be published in early 2020 and the style guide will be provided in a separate email.

If you have further questions, please do not hesitate to contact us via  Jahrbuch@musikwirtschaftsforschung.de