摘要
最近十年来,随着人们消费习惯的改变,流行音乐市场也发生了很大变化,现场音乐的市场份额不断增加。本文从现场音乐和录制音乐两个方面分析了流行音乐市场需求,采用的数据来自2006—2007年度西班牙"习惯与文化行为调查",通过双变量profit模型来分析现场音乐会的上座率和录制音乐的销售情况。通过分析,我们可以大致描述出两个市场中一般消费者和消费频率较高的消费者大致情况。分析结果显示,两种消费者存在一些相似的方面,这主要表现在性别和文化素养对音乐消费的作用;但同时也存在一些十分显著的差别,这主要表现在时间限制、与经济活动的关系和技术利用这三个方面。最后,我们发现,录制音乐消费和现场音乐消费具有一定的互补性,具有直接的因果关系,这可以解释近年来音乐市场组织制度上发生的一些变化。
Changing consumption habits have rearranged the popular music market in the last decade, and a pattern in which live music attendance gets an increasing share of the market has emerged. This work analyzes the demand for the popular music sector considering its double dimension as supplier of live concerts and prerecorded music. We use the 2006/2007 wave of Spain＇ s Survey on Habits and Cultural Practices, and estimate a bivariate pmbit model for attendance to live concerts and the ourehase of orere- corded music. Results allow us to describe the profile of the average and frequent consumer in both mar- kets, which shows some similarities-gender effects and the role of cultural capital - but also striking dif- ferences-time restrictions and relation to economic activity, and the use of technology. Finally, we find evidence of demand complementarities, with a direct causal link from prerecorded music to live atten- dance that helps explain recent institutional changes.
出处
《文化艺术研究》
2012年第3期138-157,共20页
Studies in Culture and Art
