Ola Haampland

• Rackowitz, Leonard & Haampland, Ola (2025). The sound of salience: How platform design impacts consumption. Information Economics and Policy. ISSN 0167-6245. 71, s. 101144–101144. doi: 10.1016/j.infoecopol.2025.101144. Fulltekst i vitenarkiv
• Moreau, François; Wikström, Patrik; Haampland, Ola & Johannessen, Rune (2024). Alternative payment models in the music streaming market: A comparative approach based on stream-level data. Information Economics and Policy. ISSN 0167-6245. 68. doi: 10.1016/j.infoecopol.2024.101103. Fulltekst i vitenarkiv
• Haampland, Ola (2017). Power Laws and Market Shares: Cumulative Advantage and the Billboard Hot 100. Journal of New Music Research. ISSN 0929-8215. 46(4). doi: 10.1080/09298215.2017.1358285. Fulltekst i vitenarkiv Vis sammendrag

  The existence of highly skewed success distributions in the music industry has been repeatedly demonstrated by scholars, but there still is no agreement about how these shapes relate to concepts like ‘talent’, ‘reputation’, and ‘quality’. Starting from the theories of Rosen (1981) and Adler (1985), this article concentrates mainly on the phenomenon referred to as cumulative advantage, as one of the leading candidate mechanisms to explain the formation of the ‘power law-like’ distributions found in e.g. the sales of music recordings. We make the case for the pivotal role of the market share approach in the music industry and demonstrate its efficacy as a ‘success measure’ methodology by providing a descriptive summary with regard to ‘connotations’ of cumulative advantage based on fifty years of Billboard Hot 100 history. Our results indicate that, while records that have sold well will keep on selling, the same might not be true for recording artists. However, a modest ‘star power’ effect may have represented a small but vital edge for the oligopoly of multinational recording companies. The methodology suggested in this article should provide students of ‘hit song science’ and the likes with a more rigorous approach to appraising commercial success, as well as a comprehensive background as to its origin and relevance to popular music studies.

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• Rackowitz, Leonard & Haampland, Ola (2025). The Sound of Salience: Measuring Platform Power in Music Streaming. Proceedings of the European Marketing Academy. 54. doi: http:/proceedings.emac-online.org/pdfs/A2025-125768.pdf. Fulltekst i vitenarkiv
• Rackowitz, Leonard & Haampland, Ola (2024). Platform Power: The Impact of Playlist Salience on Streaming. Fulltekst i vitenarkiv
• Haampland, Ola (2023). The Influence of Digital Platform Remuneration Models on Consumers Decision Making and Market Outcomes. Fulltekst i vitenarkiv
• Haampland, Ola (2022). Fairness and Royalty Payment Systems on Music Streaming Services. Fulltekst i vitenarkiv
• Haampland, Ola (2018). May I Have Your Attention? Demand for Popular Songs in the Age of Endless Choice. Fulltekst i vitenarkiv
• Walker, Lorrie Delk & Haampland, Ola (2018). Celebrating 60 years of the Billboard hot 100. [Journal]. Billboard Music Awards 2018 Program Book. Fulltekst i vitenarkiv
• Haampland, Ola (2015). "You’re only as good as your last hit!” – Star Power in the Hit Song Economy. Fulltekst i vitenarkiv Vis sammendrag

  Both hit songs and pop stars are considered extremely valuable assets to the music industry and can largely be regarded as the sole objective of most commercial record companies (Elberse, 2013), but most attempts at creating such phenomena fail miserably (Caves, 2000). The popular song is one of few unsubsidized populist art forms that could be described as truly market-driven (Bennett, 2011) and after being eclipsed by the album format in the 70s, the single – the individual song – is now again the principal product in advanced music markets like Norway and Sweden (Hammerstrøm, 2014). It now seems likely that success in the hit song market will be a necessary premise for pop stardom in the future. Rosen (1981) and Adler (1985) gave rise to a stream of literature concerned with the success of pop artists (Adler, 2006; Schulze, 2011), but the central issue of whether it is talent or luck that yields stardom have yet to be resolved. Experimental studies suggest that strong social influence among music consumers can create big hits in a seemingly random fashion, but also that the songs’ qualities are not entirely irrelevant (Salganik et al., 2006). Cumulative advantage, in which a favorable relative position in itself becomes a resource that produces further relative gains, might simply explain the emergence of hit songs and pop stars (Watts, 2007) and the influence of past popularity, for instance captured by the number of previous chart hits, have been examined by scholars, e.g. Bradlow & Fader (2001) and Giles (2007). With a novel approach, this empirical study summarizes the presence of such “star power” effects in the U.S. hit song market for the major part of pop music history and tracks the 23,924 individual releases and 6,384 unique artists that entered The Billboard Hot 100 between 1960 and 2010.

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