A Typology of Music Distribution Models 7 A Typology of Music Distribution Models Patrik Wikström 1 Abstract A typology of music distribution models is proposed consisting of the ownership model, the access model, and the context model. These models are not substitutes for each other and may co‐exist serving different market niches. The paper argues that increasingly the economic value created from recorded music is based on con‐ text rather than on ownership. During this process, access‐based services temporar‐ ily generate economic value, but such services are destined to eventually become commoditised. Keywords: music distribution, value creation, co‐creation, ownership, context 1 Introduction In this conceptual paper I propose a typology of music distribution mod‐ els to give a new perspective on the on‐going transformation of the mu‐ sic industry. Much of the current debate (e.g. eMusic, 2011; Mangalin‐ dan, 2011; Robertson, 2011b) on the transformation is focused on the viability and impact of online subscription music services (such as Spo‐ tify, Rdio, Deezer, etc.) that provide access to music, without providing ownership of that music. At the core of the debate lies the question whether such services will make traditional music distribution models obsolete. In this paper I attempt to look beyond this debate and argue that even though access‐based models to some extent are replacing ownership‐based models, the access‐based models are unable to serve as a long‐term solution for the industry. I suggest that "context‐based" services which allow people to "do things" with music have greater po‐ 1 Patrik Wikström is an associate professor at the department of Journalism, Media and Communi‐ cation at the University of Gothenburg, Sweden. His research is focused on innovation and learning in music and publishing organisations. He is the author of "The Music Industry: Music in the Cloud" (Polity Press, 2009).