3,142
Views
5
CrossRef citations to date
0
Altmetric
Articles

Digital disruption in the music industry: The case of the compact disc

ORCID Icon
Pages 159-166 | Received 27 Nov 2018, Accepted 03 Jan 2019, Published online: 31 Jan 2019

References

  • Adner, R., and D. Snow. 2010. “Old Technology Responses to New Technology Threats: demand Heterogeneity and Technology Retreats.” Industrial and Corporate Change 19 (5): 1655–1675. doi: 10.1093/icc/dtq046.
  • Arditi, D. 2014. iTake-Over: The Recording Industry in the Digital Era. Lanham, Maryland: Rowman & Littlefield.
  • Barnett, K., and E. Harvey. 2015. “Recording Industries, Technologies and Cultures in Flux.” Creative Industries Journal 8 (2):103–105. doi: 10.1080/17510694.2015.1090221.
  • Bottomley, A. J. 2015. “Home Taping Is Killing Music’: the Recording Industries' 1980s anti-home Taping Campaigns and Struggles Over Production, Labor and Creativity.” Creative Industries Journal 8 (2):123–145. doi: 10.1080/17510694.2015.1090223.
  • Chivers Yochim, E., and M. Biddinger. 2008. “It Kind of Gives You That Vintage Feel': vinyl Records and the Trope of Death.” Media, Culture & Society 30 (2):183–195. doi: 10.1177/0163443707086860.
  • Christensen, C. 1997. The Innovator’s Dilemma. Boston, MA: Harvard Business School Press.
  • Cull, F. 2015. “Dead Music in Live Music Culture.” In The Digital Evolution of Live Music edited by A. C. Jones & R. J. Bennett,109–121. Waltham, MA: Chandos.
  • Danneels, E. 2004. “Disruptive Technology Reconsidered: A Critique and Research Agenda.” Journal of Product Innovation Management 21 (4):246–258. doi: 10.1111/j.0737-6782.2004.00076.x.
  • Dolata, U. 2011. The music industry and the internet: a decade of disruptive and uncontrolled sectoral change. Stuttgarter Beiträge zur Organisations-und Innovationsforschung, SOI Discussion Paper.
  • Downes, K. 2010. “Perfect Sound Forever: Innovation, Aesthetics, and the Re-making of Compact Disc Playback.” Technology and Culture 51 (2):305–331. doi: 10.1353/tech.0.0442
  • Du Gay, P., S. Hall, L. Janes, A. K. Madsen, H. Mackay, and K. Negus. 2013. Doing Cultural Studies: The Story of the Sony Walkman. London: Sage.
  • Haase, L. M., F. Gertsen, S. S. Johansen, and C. A. F. Rosenstand (2017). Characterizing Digital Disruption in the General Theory of Disruptive Innovation. In ISPIM Innovations Conferencen inWienna, Austria 2017.(Accessed 29 July 2018). http://vbn.aau.dk/ws/files/261533809/Characterizing_digital_disruption_in_the_general_theory.pdf
  • Hoegh-Guldberg, H. 2013. “Technology and the Recorded Music Industry.” The Music Trust. (Accessed 29 July 2018). http://musicinaustralia.org.au/index.php?title=Technology_and_the_Recorded_Music_Industry#Author.
  • Iordanova, D., and S. Cunningham. 2012. Digital Disruption: Cinema Moves On-Line. St. Andrews: St Andrews film studies.
  • Jackson, M., and M. Shelly. 2005. “Black Hats and White Hats: Authorisation of Copyright Infringement in Australia and the United States.” International Journal of Law and Information Technology 14 (1):28–46. doi: 10.1093/ijlit/eai022.
  • Jordan, T., and P. Taylor. 2004. Hacktivism and Cyberwars: Rebels with a Cause? London: Routledge.
  • Kenney, M., P. Rouvinen, and J. Zysman. 2015. “The Digital Disruption and Its Societal Impacts.” Journal of Industry, Competition and Trade 15 (1):1–4. doi: 10.1007/s10842-014-0187-z.
  • Koster, A. 2011. “The Emerging Music Business Model: back to the Future?” Journal of Business Case Studies (Jbcs) 4 (10):17–22. doi: 10.19030/jbcs.v4i10.4812.
  • Laing, D. 1992. “A Farewell to Vinyl?” Popular Music 11 (1):109–110. doi: 10.1017/S0261143000004876.
  • Laing, D. 1993. “World Record Sales Figures 1992.” Popular Music 12 (3):302–303. doi: 10.1017/S0261143000005754.
  • Lindgren, S. 2017. Digital Media and Society. London: Sage.
  • Markides, C. 2006. “Disruptive Innovation: In Need of Better Theory.” Journal of Product Innovation Management 23 (1):19–25. doi: 10.1111/j.1540-5885.2005.00177.x.
  • McLeod, K. 2005. “MP3s Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly.” Popular Music and Society 28 (4):521–531. doi: 10.1080/03007760500159062.
  • Mnookin, S. 2007. “The Angry Mogul: Universal CEO Doug Morris Called iPod Owners Music Thieves. Now He's Giving Songs Away. Don't Buy It.” WIRED-SAN FRANCISCO 15 (12):202–2010.
  • Peek, H. B. 2010. “The Emergence of the Compact Disc.” IEEE Communications Magazine 48 (1):10–17. doi: 10.1109/MCOM.2010.5394021.
  • Plasketes, G. 1992. “Romancing the Record: The Vinyl De‐Evolution and Subcultural Evolution.” The Journal of Popular Culture 26 (1):109–122. doi: 10.1111/j.0022-3840.1992.00109.x.
  • Pohlmann, K. C. 1989. The Compact Disc: A Handbook of Theory and Use. Vol. 5. Madison, Wisconsin: AR Editions.
  • Raynor, M. E. 2011. “Disruption Theory as a Predictor of Innovation Success/Failure.” Strategy & Leadership 39 (4):27–30. doi: 10.1108/10878571111147378.
  • Ruppel, M. 2009. “You Are Then, this Is Now: nostalgia, technology and Consumer Identity at CES 2007.” Social Identities 15 (4):537–555. doi: 10.1080/13504630903043899.
  • Skog, D. A., H. Wimelius, and J. Sandberg. 2018. “Digital Disruption.” Business & Information Systems Engineering 60 (5): 431–437.
  • Sood, A., and G. J. Tellis. 2011. “Demystifying Disruption: A New Model for Understanding and Predicting Disruptive Technologies.” Marketing Science 30 (2):339–354. doi: 10.1287/mksc.1100.0617.
  • Straebel, V. 2009. “From Reproduction to Performance: Media-Specific Music for Compact Disc.” Leonardo Music Journal 19:23–30. doi: 10.1162/lmj.2009.19.23.
  • Straw, W. 2009. “The Music CD and Its Ends.” Design and Culture 1 (1):79–91. doi: 10.2752/175470709787375751.
  • Stuhl, A. K. 2014. “Reactions to Analog Fetishism in Sound = recording Cultures.” The Velvet Light Trap 74:42–53. (Fall):doi: 10.7560/VLT7405.
  • Tschmuck, P. 2006. “Creativity and Innovation in the Music Industry's Value-added Chain.” In Creativity and Innovation in the Music Industry edited by P. Tschmuck, 231–249. Dordrecht: Springer.
  • Willis, P. 2015. “Digital Disruption: Our Life-changing Experience.” Access 29 (3):22.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.