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Why producers of music use discourses of consumption (and why we shouldn’t think that makes them prosumers)

Why producers of music use discourses of consumption (and why we shouldn’t think that makes them... Purpose – The purpose of this paper is to demonstrate how people making music represent their production activities using images of consumption. Design/methodology/approach – Supporting evidence is based on in‐depth interviews with musicians and support personnel. The data are structured through a thematic analysis. Findings – The paper argues that consumption serves as a discursive resource that allows cultural producers to make sense of production activities which do not conform to an image of production as an alienated form of labour. Originality/value – Relating the analysis to the ongoing attempts to conceptualise cultural producers through the concept of prosumption, the paper concludes that there are limits to cultural producers’ abilities to represent their production activities as production rather than a structural change in social or economic organisation, as suggested by some consumer researchers. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Arts Marketing An International Journal Emerald Publishing

Why producers of music use discourses of consumption (and why we shouldn’t think that makes them prosumers)

Robert Cluley
Arts Marketing An International Journal , Volume 3 (2): 14 – Oct 18, 2013
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References (79)

Publisher
Emerald Publishing
Copyright
Copyright © 2013 Emerald Group Publishing Limited. All rights reserved.
ISSN
2044-2084
DOI
10.1108/AM-09-2012-0016
Publisher site
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Abstract

Purpose – The purpose of this paper is to demonstrate how people making music represent their production activities using images of consumption. Design/methodology/approach – Supporting evidence is based on in‐depth interviews with musicians and support personnel. The data are structured through a thematic analysis. Findings – The paper argues that consumption serves as a discursive resource that allows cultural producers to make sense of production activities which do not conform to an image of production as an alienated form of labour. Originality/value – Relating the analysis to the ongoing attempts to conceptualise cultural producers through the concept of prosumption, the paper concludes that there are limits to cultural producers’ abilities to represent their production activities as production rather than a structural change in social or economic organisation, as suggested by some consumer researchers.

Journal

Arts Marketing An International Journal – Emerald Publishing

Published: Oct 18, 2013

Keywords: Discourse analysis; Prosumption; The consumption of music; The production of music

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