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International audience; The network literature reveals some trouble to reconciliate the ambivalence between individual and collective goals inside a network. The purpose of this research is to develop a tool to identify key insights of a network and associated organizations. In particular, following the Resource-Competencies Organization Value (RCOV) framework, this study identifies the contributions of each organization inside a network. Knowing the responsibility of each organization in their network’s strength and tensions could help to solve those ambivalences. Applied to a network, the Demil and Lecocq‘s (2010) RCOV Business Model, could reveal key inputs of a network that each organization is in charge of. The adaptation of this RCOV’s framework emerged from three mini-case studies involving 3 organizations each. Studied organizations were record labels producing vinyls and organizing concerts together. Group interviews were analyzed with Alceste, a textual analysis software. Results confirm that the RCOV framework could help to identify the core competencies of a network so each organization could know their responsibility, strengthen their network which may result in reducing ambivalence tension.

Record labels are organizations in charge of phonographic production at the interface between musicians and the audience. Since the arrival of digital technologies such as the mp3 and the Internet, record labels have had to adapt to several changes: wider distribution channels, dematerialized competitors, customers’ demands for free music, more ephemeral cooperation. Specifically, streaming platforms like Spotify brought a major change known as a strategic innovation. A strategic innovation is a strong change that overturns all previously established values in the sector (renewal of values attached to the product, values attached to the customer relationship and power relations). However, facing this upheaval showed various reactions. If most incumbents adopted this strategic innovation while facilitating its implementation, some record labels responded to this change in a more ambiguous way. Specifically, some refused to distribute their bands on streaming platforms and digital aggregators. This decision is in great contrasts with the inner scheme of a strategic innovation. This research therefore aims to describe these behaviors and their associated justifications. We thus ask: How do some organizations justify their strategic responses going against a powerful change? By adopting a theoretical framework that brings together the concepts of strategic responses and justifications, this study adopts a dyadic view on this situation. The strategic responses’ approach makes it possible to observe sectoral changes and their influencing factors in a longitudinal approach, while the justification mechanisms derived from the Pragmatic Sociology of Critique make it possible to characterize the decisions of individuals at the heart of these organizations. This last theory is even more relevant as the non-streaming record labels we met were mostly managed by single individuals. The research field allowed us to collect a rich and varied material: qualitative semi-structured interviews with managers and members of non-streaming record labels as well as a quantitative library analysis of music fanzines. The transcripts of the interviews were analyzed through a content analysis with Alceste to identify situations and decisions common to all respondents. Then a manual analysis allowed us to refine the individual justifications for these recurring behaviors. The results confirm the existence of streaming refusal behaviors, i.e. negative responses to strategic innovation. Negative motivation for implementation seems to be the primary reason of this refusal. Some respondents have a negative capability on top of this negative motivation, indicating the impossibility of adopting this innovation. Regarding the justifications and their associated principles, they appear to be particularly varied. However, it is important to note that most of the respondents showed some indifference to banality., Les labels de musique sont des organisations à l’interface entre le musicien et le public, généralement en charge de la production phonographique. Depuis l’arrivée des technologies numériques telles que le format mp3 et le réseau de partage Internet, ils ont dû s’adapter à plusieurs éléments : canaux de distribution plus variés, concurrents dématérialisés, clients demandeurs de gratuité, coopérations plus éphémères. En particulier, les plateformes de streaming comme Spotify amènent un changement qui peut être qualifié d’innovation stratégique. Une innovation stratégique est un changement si fort qu’elle bouscule toutes les valeurs précédemment établies dans le secteur (renouvellement des valeurs attachées au produit, des valeurs attachées à la relation client et des relations de pouvoir). Toutefois, face à ce bouleversement, les réactions sont variées. Si la plupart des acteurs adoptent et diffusent cette innovation stratégique en facilitant son implémentation, on constate qu’il existe des labels de musique qui répondent à ce changement de manière plus ambigüe. On constate notamment que certains refusent de diffuser leurs groupes sur les plateformes de streaming et les agrégateurs digitaux, décision qui contraste avec la puissance théorique d’une innovation stratégique. Cette recherche vise donc à décrire ces comportements et leurs justifications associées. On s’interroge ainsi : Comment certaines organisations justifient-elles leur réponse stratégique allant à l’encontre d’un changement sectoriel puissant ? En adoptant un cadre théorique réunissant les concepts de réponse stratégique et de justification, il en résulte une double lecture organisationnelle et sociologique des changements. L’analyse des réponses stratégiques à une innovation stratégique permet d’observer les changements sectoriels et leurs facteurs d’influence de manière longitudinale tandis que les mécanismes de justification issus de la sociologie de la critique permettent de caractériser les décisions des individus au cœur de ces organisations. Cette dernière théorie est d’autant plus pertinente que les labels de musique sans streaming rencontrés sont majoritairement gérés par des personnes seules. La recherche de terrain a permis de récolter un matériau riche et varié : des entretiens qualitatifs semi-directifs auprès de gérants et de membres de labels n’ayant pas de lien avec les plateformes de streaming ainsi qu’une analyse bibliothécaire quantitative sur des fanzines de musique. Les retranscriptions des discours ont fait l’objet d’une analyse automatisée avec Alceste permettant d’identifier les situations, valeurs, actions et décisions les plus significatives et fréquentes chez les répondants. Puis une analyse manuelle a permis d’affiner les justifications individuelles à ces comportements récurrents.Les résultats confirment l’existence de comportements de refus d’adoption du streaming, c’est-à-dire de réponses négatives à l’innovation stratégique. La motivation négative à l’adoption semble être la source première de ce refus. On constate chez certains répondants que cette motivation négative est assortie d’une capacité négative, indiquant l’impossibilité d’adopter cette innovation. Concernant les justifications et leurs principes associés, elles apparaissent particulièrement variées. Il faut cependant noter le trait commun à la majorité des répondants d’indifférence de la banalité.

International audience; This paper shows a failed case study of the impact of streaming on labels’ life through the exploitation of three quantitative databases. Streaming is a major external change for the music consumption and music producers. As labels are dealing with both producers and consumers, they may have been hardly impacted by this change. Yet there was a need to identify the changes that streaming brought and its impact for the organizations that decided not to adopt it. The ecology of population framework and the death vs dynamism dyad was supposed to give a clear reading of this phenomenon. In order to identify labels that did not adopt streaming, three databases were tested, and two interviews of databases’ companies were conducted. None of them appeared to be relevant. This failed case study could reveal the low digital capabilities from phonographic organizations or the will no to invest into federative organizations.