Titlebook: Creativity and Innovation in the Music Industry; Peter Tschmuck Book 2012Latest edition Springer-Verlag Berlin Heidelberg 2012 Creativity.

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The Music Industry as Radio Industry, phonographs became the first prominent victim. On November 1, 1929, the company announced that it would stop the production of phonograms and phonographs. Since 1925, they had desperately tried to find a way back into the market, but Edison’s refusal to make electrical recordings prevented successf

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The Era of Music Conglomerates,ion. This concentration had the effect that the majors of the early 1970s differed fundamentally from those of the early 1950s, even though some company names of that earlier era continued to exist. Chapple and Garofalo (1977, pp. 82–87) distinguish three types of mergers that could be observed in t

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The Digital Music Revolution, increase of 6%, which was followed by a more significant increase of 15% in the following year. Sales remained more or less constant at this level for the next 2?years. In 1987, however, another jump in sales occurred (+20%). Subsequent years witnessed additional increases of 12% (1988), 3% (1989),

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vy metal, punk rock and hiphop find their way from sub-cultures to the established music industry? What are the effects of new communication technologies and the Internet on the creation of music in the early 21st century? These and other questions are answered by Peter Tschmuck through an integrate

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Kritische Anmerkungen zur Schulmedizin, analysis. Nevertheless, I hope the reader will not discard the book out of disappointment and instead accompanies me on a journey through the history of the music industry during the twentieth and the early twenty-first century in order to eventually obtain ., though not ., answer to the question of how novelty is created in the music industry.

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