Bestseller lists and product discovery in the subscription-based market: Evidence from music streaming

2022 ◽  
Vol 194 ◽  
pp. 550-567
Author(s):  
Jaeung Sim ◽  
Jea Gon Park ◽  
Daegon Cho ◽  
Michael D. Smith ◽  
Jaemin Jung
Keyword(s):  
Music Streaming

Analysis of Music Streaming Service's Price Types

2018 ◽  
Vol 11 (1) ◽  
pp. 81-100
Author(s):  
Joo Hee Lee ◽  
◽  
Young Doc Seo
Keyword(s):  
Music Streaming

Market Capture of Music Streaming Services in India

2020 ◽  
pp. 65-67
Keyword(s):  
Country Music ◽  
Internet Services ◽  
Indian Market ◽  
Internet Users ◽  
Streaming Services ◽  
Market Capture ◽  
Streaming Service ◽  
Music Streaming ◽  
Day By Day

India is a very vast market for internet services as it has over 480 million active internet users in the country. Music streaming services in India is emerging day by day. The competition in the market is so high that even two giants Jio Music and Saavn join their hand in 2018 to provide a combine service all across the globe. In, 2019 a global giant Spotify entered into music streaming market in India and affected the each music service in India. Gaana owned by Times Internet have over 150 million active monthly users in the country while JioSaavn reported 100 million active monthly users as per a website. This research is going to study the market capture of various music streaming services in India. Currently, as per the research, Spotify is the most popular streaming service. As per the literature available on various platforms other streaming services were holding the major proportion of the Indian market but after the launch of Spotify, it became most loved streaming service. The research is being done to find out the existing music streaming services are affected by the entrance of Spotify or not

The Effect of Music Streaming Websites to the Academic Performance of College Students in Panabo City

2019 ◽  
Author(s):  
Mark Van Buladaco ◽  
Garri Mikhail Aguirre ◽  
Joshua Manito ◽  
Alexis Soliman ◽  
El Christian Villareal
Keyword(s):  
College Students ◽  
Academic Performance ◽  
Music Streaming

scholarly journals Locating Power in Platformization: Music Streaming Playlists and Curatorial Power

2020 ◽  
Vol 6 (2) ◽  
pp. 205630512093329
Author(s):  
Robert Prey
Keyword(s):  
Structural Dynamics ◽  
Power Dynamics ◽  
Music Market ◽  
Music Streaming ◽  
Platform Economy

Where does the “power” of platformization reside? As is widely recognized, platforms are matchmakers which interface between different markets or “sides.” This article analyzes platform power dynamics through three of the most important markets that Spotify—the leading audio streaming platform—is embedded within: the music market; the advertising market; and the finance market. It does so through the lens of the playlist. Playlists can be seen as a central example of how platforms like Spotify employ curation or “curatorial power” to mediate markets in the attempt to advance their own interests. At the same time, playlists are an outcome of the conflicting pressures and tensions between these markets. As such, they provide a lens through which to view broader structural dynamics within the platform economy. As this case study of Spotify demonstrates, platform “power” is an always unstable and shifting outcome of the ongoing attempt to coordinate between various markets and actors.

Shifting Consumption towards Diverse Content on Music Streaming Platforms

2021 ◽  
Author(s):  
Christian Hansen ◽  
Rishabh Mehrotra ◽  
Casper Hansen ◽  
Brian Brost ◽  
Lucas Maystre ◽  
...  
Keyword(s):  
Music Streaming

scholarly journals The promise of personalisation: Exploring how music streaming platforms are shaping the performance of class identities and distinction

2021 ◽  
pp. 146144482110278
Author(s):  
Jack Webster
Keyword(s):  
Cultural Capital ◽  
Structured Interviews ◽  
Key Informants ◽  
Social Distinction ◽  
On Demand ◽  
Music Streaming

Not only do music streaming platforms offer on-demand access to vast catalogues of licensed music, they are actively shaping what and how it finds us through personalisation. While existing literature has highlighted how personalisation has the potential to transform the part that music taste and consumption play in the performance of class identities and distinction, little is empirically known about its sociological consequences. Drawing on 42 semi-structured interviews with a combination of key informants and Spotify users, this article demonstrates that personalisation is undermining opportunities to achieve social distinction by taking over the labour of music curation and compressing the time needed to appreciate music for its own sake. It demonstrates that those with cultural capital at stake – in the case of this study, young, (primarily) male cultural omnivores – experience personalisation as a threat, highlighting how particular claims to social distinction are being contested in the platform age.

Are You Hooked on Paid Music Streaming?

2018 ◽  
Vol 14 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Charlie C. Chen ◽  
Steven Leon ◽  
Makoto Nakayama
Keyword(s):  
Data Analysis ◽  
Music Industry ◽  
Clear Understanding ◽  
On Demand ◽  
Behavioral Dynamics ◽  
Revenue Sources ◽  
Streaming Services ◽  
Facilitating Conditions ◽  
Communication Control ◽  
Music Streaming

The proliferation of free on-demand music streaming services (e.g., Spotify) is offsetting the traditional revenue sources (e.g., purchases of downloads or CDs) of the music industry. In order to increase revenue and sustain business, the music industry is directing its efforts toward increasing paid subscriptions by converting free listeners into paying subscribers. However, most companies are struggling with these attempts because they lack a clear understanding of the psychological and social purchase motivations of consumers. This study compares and contrasts the two different phases of Millennial generation consumer behaviors: the alluring phase and the hooking phase. A survey was conducted with 73 paying users and 163 non-paying users of on-demand music streaming services. The authors' data analysis shows two separate behavioral dynamics seen between these groups of users. While social influence and attitude are primary drivers for the non-paying users in the alluring phase, facilitating conditions and communication control capacity play critical roles for the paying users in the hooking phase. These results imply that the music industry should apply different approaches to prospective and current customers of music streaming services.

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