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The Norwegian Music Industry in the Age of Digitalization

The Norwegian Music Industry in the Age of Digitalization

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Published by P2P Foundation
By Richard Bjerkøe and Anders Sørbo of the BI Norwegian School of Management.
By Richard Bjerkøe and Anders Sørbo of the BI Norwegian School of Management.

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Categories:Types, Business/Law
Published by: P2P Foundation on Sep 16, 2013
Copyright:Attribution Non-commercial


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When the authors first started the initial work with the thesis they were aware
they did not have sufficient knowledge of the industry to research and observe it
in a satisfactory fashion. A natural consequence was that the in-depth interviews
were conducted to initiate the process of understanding the industry, identifying
its key stakeholders and most importantly getting direct input on the situation
from these stakeholders.

A challenge in the initial phase was identifying well-suited interview subjects.
Fortunately, through some acquaintances of the authors, a good mapping of
central figures in the Norwegian music industry was possible before the actual
interviews took place. After the interviews were conducted, a process to verify
that the most important sectors and actors had been covered was performed. A

newspapers, Aftenposten (2009ȌǤ Dz
Musikk- dz ȋ ȏ Ȑ -Norway). This article categorized
the industry into the 3 following sectors; people who control what we listen to,
the most important network builders, and finally the people who control the
money. Cross checking the interview subjects with the people listed in the article
showed the mapping of interview subjects had been more accurate than the
authors had hoped for initially. In sum all three categories have been covered

GRA 19002 - Master Thesis The Norwegian Music Industry in the Age of Digitalization


and several of the people listed as the controlling powers of the industry had
been interviewed directly. In addition to these important controlling powers in
the Norwegian music industry, others also involved in the industry had to be
interviewed; namely the artists themselves and representatives from the media
that followed the industry closely.

A second challenge was to determine what questions should be asked to the
interview subjects. A list of 10 key questions was developed on the basis of the
research questions and insights gained from the preliminary talks with some
industry insiders prior to the actual interviews. The questions themselves are
explained and described in more detail below. The insight gained from these
interviews gave the authors a more comprehensive understanding of how the
Norwegian music industry functioned and had developed during the last decade.
The most essential key stakeholders were identified early through talks with
experienced participants in the industry, others also presented themselves
through the interview process.

One of the most surprising discoveries made during this part of the research was
not the research findings themselves, but how the research process and thesis
topic was welcomed in the industry. The authors experienced an industry with
strong willingness to contribute to the research with both personal opinions as
well as statistical data.

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