| Course | BMB 630 The Business of Music Marketing |
|---|---|
| Module | Module 7 |
| Paper type | graduate discussion post on dynamic ticket pricing and fairness |
| Length | About 400 words, 3 pages |
| Format | APA 7 student paper |
| School | Southern New Hampshire University |
| Program | MBA in Music Business |
| Updated | October 2026 |
Free sample paper for BMB 630 Module 7
Module Seven Discussion
Eighty-Nine Dollars for the Same Floor
Last spring the venue tested dynamic pricing on three main-room shows that its booking team expected to sell out. General admission started at $35, the price it would normally have charged. The ticketing system then raised prices in steps as tickets sold, and the last tickets for the most popular show sold at $89. All three shows sold out.
The numbers looked good at first. Compared with a fixed $35 price, ticket revenue for the three shows rose about $41,000, of which the artists received their agreed share. Resale listings for the three shows fell by more than half compared with similar sold-out shows the year before, and resale prices were lower. But complaints rose from about four per thousand tickets to about thirteen, and the messages were angry. Several regulars wrote that they had paid twice what a friend paid because they waited a day to check their schedule.
The economic case for dynamic pricing is real. Courty (2003) explains that when tickets are priced below what fans will pay, the difference does not disappear; someone captures it, often a reseller with fast software. Leslie and Sorensen (2014) estimated that resale moves tickets to buyers who value them more but that much of the gain is absorbed by the effort and cost of the scramble to buy and resell. On that view, our extra $41,000 was money that would otherwise have gone to resellers.
The relationship case is just as real. Haws and Bearden (2006) found that buyers judge prices as unfair when they learn others paid less, especially when the difference depends on timing rather than on anything the buyer chose. That describes our regulars exactly. They are a small slice of buyers who supply close to a third of ticket income, and losing even a few of them would cost more than one season's dynamic pricing gain.
My proposal is a middle path. Members of the venue's club get a presale at face value, with a limit of four tickets, before any price movement. Demand pricing applies only to the final 25 percent of tickets, and the price range is shown openly on the show page from the first day.
For classmates: would protecting members at face value be enough to keep regulars on side, or would the price difference still cause resentment once the last tickets reach $89?
References
Courty, P. (2003). Some economics of ticket resale. Journal of Economic Perspectives, 17(2), 85-97. https://doi.org/10.1257/089533003765888449
Haws, K. L., & Bearden, W. O. (2006). Dynamic pricing and consumer fairness perceptions. Journal of Consumer Research, 33(3), 304-311. https://doi.org/10.1086/508435
Leslie, P., & Sorensen, A. (2014). Resale and rent-seeking: An application to ticket markets. The Review of Economic Studies, 81(1), 266-300. https://doi.org/10.1093/restud/rdt033
What the BMB 630 Module 7 instructions ask for
The Module Seven discussion in BMB 630 often addresses pricing in the music business, especially dynamic or demand-based ticket pricing, resale and fees. You might be asked whether dynamic pricing is good for artists, venues and fans, how it affects resale or how a business should communicate prices. A strong post uses a concrete case with numbers and considers both the economic logic, that tickets priced below what fans will pay leave money for resellers, and the relationship cost, since fans judge prices by what others paid and by what feels fair. Research on resale and fairness gives the argument structure. Replies can propose a different design or test the conclusion for a different kind of show.
How this BMB 630 Module 7 discussion example is built
The post describes the venue's test on three shows. Prices started at $35 and rose with demand, reaching $89 for the final tickets of one show. Ticket revenue for the three shows rose about $41,000 compared with fixed pricing, and resale listings fell by more than half. But complaints rose from about 4 to about 13 per thousand tickets, and several regulars wrote that they had paid twice their friends' price because they waited a day. The post cites research on how underpricing feeds resale and on how buyers react to prices they see as unfair, then proposes member presales at face value with demand pricing only for the last tickets.
Where the BMB 630 Module 7 rubric puts the points
On the pricing thread, marks tend to follow four things: whether you explain why tickets sit below market in the first place, whether your case carries real before-and-after figures, whether you count both the revenue gained and the goodwill risked, and whether your replies move the argument forward. The strongest posts name who wins and who loses under each approach, including the artist and the reseller, and finish with a workable design rather than a slogan. Simply calling dynamic pricing greedy, or defending it on revenue alone, tends to land lower. A reply that brings in the artist's view, or tests the proposal on a show that will struggle to sell, usually adds the most.
BMB 630 Module 7 help: the mistakes that cost points
Many pricing posts take a side without numbers. Use a specific case: what prices were, what changed and what happened to revenue, resale and complaints. Explain the economic argument fairly: when tickets are priced well below what fans will pay, someone captures the difference, often a reseller. Then explain the fairness argument with research, since fans judge prices relative to what others paid. The most useful posts end with a design, such as protecting a group of loyal fans, rather than a verdict, and ask classmates to improve it. Be clear about who keeps the extra money, since fans react differently when they know a share goes to the artist.
Get BMB 630 Module 7 written to your instructions
Send the BMB 630 Module 7 prompt. The post will test a pricing decision with real figures, use the economics and fairness research honestly and leave classmates a choice to defend. Two days is typical; your first post is free. The paper above is an original model document written by our desk, not a submitted student paper and not an official Southern New Hampshire University document.
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BMB 630 Module 7 questions, answered
Where can I find a free BMB 630 Module 7 Discussion sample?
This page includes the full BMB 630 Module 7 post on a Richmond venue's dynamic pricing test and fan fairness.
What is dynamic ticket pricing?
Pricing that changes with demand, rising as tickets sell quickly or as the event approaches, rather than staying fixed at the original face value.
Why are concert tickets often underpriced?
Artists and venues often keep prices below what fans would pay to protect their relationship with fans, which leaves room for resellers to buy and resell at higher prices.
Does dynamic pricing reduce ticket resale?
It can, because when prices rise toward what buyers will pay, there is less profit left for resellers, though it shifts that money to the seller rather than to fans.
How do fans judge whether a ticket price is fair?
By comparing it with what others paid and with past prices, and by whether the reason for a higher price seems legitimate; seeing others pay less for the same thing feels unfair.