Dr Alexandros Baltzis, sociologist Assistant Professor, School of Journalism & Mass Media Studies, Aristotle University of Thessaloniki – Greece baltzis@jour.auth.gr , http://users.auth.gr/baltzis/en/ Cultural production and creative destruction Paper presented after invitation at the conference: Quelles formes de valorisation pour la musique aujourd'hui? Organized by the Universities: Paris 8, Bordeaux 3, Stendhal- Grenoble 3 and Université de Poitier. Supported by the Maison des Sciences de l’Homme Paris Nord. Paris, January 18, 2010. The music industry does not exist This paper starts with some thoughts about words and terms. The rather provocative title of this section of the paper will be explained shortly, but first, it would be useful to remind that most usually, most people – even specialists – associate the term “music industry” with making, manufacturing, distributing and selling recordings. In other words, the term is usually associated with the recording industry. This may not seem paradoxical or problematic, unless perhaps we take into account the rhetoric of the recording industry about itself and the ways it has been reacting to technological, legal and other types of change that occurred during the twentieth century. For example, let us consider a short self-description by the Greek branch of the IFPI, published on the front page of their website: Today, the music industry is classified among the largest global industries. It offers joy to people regardless of age, culture or religion. It is included in the core “creative” industries that support the development of modern economies and are innovators in developing and implementing new technologies and e-commerce… …The livelihood of many working people in various sectors depends on the music indus- try: composers, songwriters, singers, musicians, sound engineers, studios, manufacturing plants, record companies, retailers, journalists, radio producers, Djs, advertising compa- nies etc. As a total, the music industry in Greece offers more than 10,000 jobs. Any initia- tive by IFPI to protect the musical products benefits not only its member record compa- nies, but any associated industry as well… (http://www.ifpi.gr/ – 15/1/2009). This quotation is very enlightening about some of the achievements of the recording in- dustry during the last century: it establishes itself as the most legitimate and trustworthy rep-