What do consumers prefer for music streaming services?: A comparative study between Korea and US

2017 ◽  
Vol 41 (4) ◽  
pp. 263-272 ◽  
Author(s):  
Jiwhan Kim ◽  
Changi Nam ◽  
Min Ho Ryu
Information ◽  
2021 ◽  
Vol 12 (12) ◽  
pp. 506
Author(s):  
Adrián Valera ◽  
Álvaro Lozano Murciego ◽  
María N. Moreno-García

Nowadays, recommender systems are present in multiple application domains, such as e-commerce, digital libraries, music streaming services, etc. In the music domain, these systems are especially useful, since users often like to listen to new songs and discover new bands. At the same time, group music consumption has proliferated in this domain, not just physically, as in the past, but virtually in rooms or messaging groups created for specific purposes, such as studying, training, or meeting friends. Single-user recommender systems are no longer valid in this situation, and group recommender systems are needed to recommend music to groups of users, taking into account their individual preferences and the context of the group (when listening to music). In this paper, a group recommender system in the music domain is proposed, and an extensive comparative study is conducted, involving different collaborative filtering algorithms and aggregation methods.


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


2018 ◽  
Vol 14 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Charlie C. Chen ◽  
Steven Leon ◽  
Makoto Nakayama

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.


2021 ◽  
Vol 29 (6) ◽  
pp. 0-0

This study investigates the causes impacting the consumers' intention of the premium music streaming services' subscription in China. An integrated model called the Theory of Streaming Service Acceptance (TSSA) is proposed to explain and predict premium music streaming service subscription behaviors. The TSSA consists of four constructs: attitude, descriptive norm, injunctive norm and perceived behavioral control. The research data was collected in the form of an online survey in China with 120 respondents. Then, interviews were conducted to collect qualitative data from 20 participants. An explanatory sequential mixed method was implemented and the PLS-SEM technique was used to analyze the survey data. The results showed that all constructs in modified research mode, including attitude, injunctive norm and perceived behavioral control except descriptive norm, are indicative predictors for a person’s intention toward premium music streaming services’ subscription. Significant practical inspirations from the perspective of music streaming services providers are also summarized.


Author(s):  
Minoru Yoshida ◽  
Shogo Kohno ◽  
Kazuyuki Matsumoto ◽  
Kenji Kita

We propose a new music artist recommendation algorithm using Twitter profile texts. Today, music recommendation is provided in many music streaming services. In this paper, we propose a new recommendation algorithm for this music recommendation task. Our idea is to use Twitter profile texts to find appropriate artist names to recommend. We obtained word embedding vectors for each artist name by applying word2vec algorithm to the corpus obtained by collecting such user profile texts, resulting in vectors that reflect artist co-occurrence in the profile texts.


2020 ◽  
Vol 18 (1) ◽  
pp. 29-42
Author(s):  
Elena Razlogova

Focusing on early experiments with algorithms and music streaming at WFMU, the longest-running US freeform radio station, and the Free Music Archive (FMA), a curated open music website, this article shows how commercial streaming services have been indebted to independent, open music infrastructures but have then erased and denied that history. The article ‘provincializes’ music streaming platforms such as Spotify by focusing not on their commercial aims but instead on the ‘convivial’, collaborative practices and spaces that their software engineers and users inhabited. I analyse an experimental national telephone broadcasting service at WFMU in 1989, an algorithmic WFMU radio stream ‘The Flaming Robot of Love’ during the Republican National Convention in 2004 and the ‘Free Music Archive Radio App’ that recommended tracks on the FMA website from 2011 to 2016. The app worked with an application programming interface (API) from Echo Nest. Echo Nests’ algorithmic recommendation engine also powers most commercial streaming services today. When Spotify purchased Echo Nest in 2014 and took the start-up’s open API offline in 2016, it engaged in ‘primitive accumulation’ of open-access knowledge and resources for commercial purposes. The FMA closed in 2019 and now only exists as a static site. As social institutions, however, WFMU and FMA ‘recomposed’ ‐ adapted to a new medium and a new political context ‐ collaborative engineering practices of the early broadcasting era. The article argues that moments of oppositional ‘conviviality’ in media culture such as the FMA should be analysed as elements of a continuous struggle.


2018 ◽  
Vol 280 ◽  
pp. 65-75 ◽  
Author(s):  
F.P. Kalaganis ◽  
D.A. Adamos ◽  
N.A. Laskaris

Sign in / Sign up

Export Citation Format

Share Document