Abstract
Original language | English |
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Title of host publication | The Oxford Handbook of Music and Virtuality |
Editors | Sheila Whiteley, Shara Rambarran |
Place of Publication | Oxford |
Publisher | Oxford University Press |
Chapter | 29 |
Pages | 557-572 |
Number of pages | 16 |
ISBN (Print) | 9780199321285 |
Publication status | Published - 2015 |
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Keywords
- Music producers
- Authorship
- Creativity
- Music consumers
- Crowdfunding
- Fanfunding
- Crowdsourcing
- Cultural intermediaries
- Identity
ASJC Scopus subject areas
- Music
- Management of Technology and Innovation
- Cultural Studies
Cite this
Virtual music, virtual money: the impact of fan-funding models on creativity, authorship and identity. / Thorley, Mark.
The Oxford Handbook of Music and Virtuality. ed. / Sheila Whiteley; Shara Rambarran. Oxford : Oxford University Press, 2015. p. 557-572.Research output: Chapter in Book/Report/Conference proceeding › Chapter
}
TY - CHAP
T1 - Virtual music, virtual money: the impact of fan-funding models on creativity, authorship and identity
AU - Thorley, Mark
PY - 2015
Y1 - 2015
N2 - The traditional path between music creator and audience has been seen to be complex, managed by a series of cultural intermediaries. The focus of criticism from both music producers and consumers decide on what is funded and what the consumers will hear. Emergent models of crowdfunding, born in the virtual environment, are, however, changing this situation by allowing music creators to connect directly with their audience in order to gain support for potential creations. A project is pitched, fans coalesce around it, it is funded, and it is then sold, all virtually. As such a new phenomenon, though, the reality is unlikely to be as simple as the utopia suggested. This chapter therefore examines how crowdfunding affects creativity, authorship, and identity in relation to producer, product, and fan.
AB - The traditional path between music creator and audience has been seen to be complex, managed by a series of cultural intermediaries. The focus of criticism from both music producers and consumers decide on what is funded and what the consumers will hear. Emergent models of crowdfunding, born in the virtual environment, are, however, changing this situation by allowing music creators to connect directly with their audience in order to gain support for potential creations. A project is pitched, fans coalesce around it, it is funded, and it is then sold, all virtually. As such a new phenomenon, though, the reality is unlikely to be as simple as the utopia suggested. This chapter therefore examines how crowdfunding affects creativity, authorship, and identity in relation to producer, product, and fan.
KW - Music producers
KW - Authorship
KW - Creativity
KW - Music consumers
KW - Crowdfunding
KW - Fanfunding
KW - Crowdsourcing
KW - Cultural intermediaries
KW - Identity
M3 - Chapter
SN - 9780199321285
SP - 557
EP - 572
BT - The Oxford Handbook of Music and Virtuality
A2 - Whiteley, Sheila
A2 - Rambarran, Shara
PB - Oxford University Press
CY - Oxford
ER -