scholarly journals From pirates to subscribers: 20 years of music consumption research

2021 ◽  
Author(s):  
Juan D. Montoro‐Pons ◽  
María Caballer‐Tarazona ◽  
Manuel Cuadrado‐García
Keyword(s):  
Music Consumption

Models of Online Music Consumption: Definition and Implications for Management

2003 ◽  
Author(s):  
Luca Molteni ◽  
Andrea Ordanini
Keyword(s):  
Music Consumption ◽  
Online Music

Leisure-Time Music Activities from the Perspective of Musical Agency

2017 ◽  
Author(s):  
Sidsel Karlsen
Keyword(s):  
Music Education ◽  
Leisure Time ◽  
Learning Trajectories ◽  
Binary Opposition ◽  
Sociology Of Music ◽  
Music Production ◽  
Music Consumption ◽  
Musical Taste ◽  
Specific Concept ◽  
Music Activities

This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.

Digitally Mediated Identity in the Cases of Two Sámi Artists

2017 ◽  
Author(s):  
Ann Werner
Keyword(s):  
Cultural Issues ◽  
Global Media ◽  
Dominant Form ◽  
Industry Studies ◽  
Media System ◽  
Internet Users ◽  
System P ◽  
Music Consumption ◽  
History Of ◽  
Streaming Services

This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.

Musical pantophagy: Is there an effect on changes in preference resulting from repeated exposure?

2021 ◽  
pp. 030573562098729
Author(s):  
Rebecca R Johnston ◽  
Gina M Childers
Keyword(s):  
Undergraduate Students ◽  
Classical Music ◽  
Effective Means ◽  
Affective Response ◽  
Repeated Exposure ◽  
Positive Trend ◽  
Preference Rating ◽  
Significant Difference ◽  
Music Consumption ◽  
Post Test

The purpose of this research was to examine the effects of musical pantophagy, classical music consumption, and initial receptivity to select musical examples on changes in preference rating resulting from a program of repeated exposure. Participants included undergraduate students enrolled in a section of music appreciation at a large Southeastern university ( n = 67). Data were collected using a research designed preference rating measure (PRM) administered during a 5-week period within which there were eight test measures. Participants were divided into quartiles. Pre- to post-test measures resulted in a general positive trend for all participants. Comparisons of Q1 (lowest pantophagy) and Q3 (highest pantophagy) on PRMs 1–8 yielded no differences between groups, and PRM 8 was significantly different from PRM 1 for both groups. The same comparisons for Q1 (non-Classical music consumption) indicated significant difference with large effect size and for Q1 (lowest initial receptivity) indicated significant difference. Results suggest that regardless of musical pantophagy, repetition is an effective means by which to increase affective response to music, and that students who do not currently consume formal art music and who have low initial receptivity may report greater increases in affective response to music over time.

Digitamorphosis of Music Consumption Practices

2009 ◽  
Vol 20 (3) ◽  
pp. 287-314
Author(s):  
Fabien Granjon ◽  
Clément Combes
Keyword(s):  
Music Consumption ◽  
Consumption Practices

scholarly journals Changing Their Tune: How Consumers’ Adoption of Online Streaming Affects Music Consumption and Discovery

2018 ◽  
Vol 37 (1) ◽  
pp. 5-21 ◽  
Author(s):  
Hannes Datta ◽  
George Knox ◽  
Bart J. Bronnenberg
Keyword(s):  
Music Consumption ◽  
Online Streaming

Music Everywhere: Setting a Digital Music Trap

2017 ◽  
Vol 45 (4-5) ◽  
pp. 617-630
Author(s):  
David Arditi
Keyword(s):  
Mobile Technologies ◽  
Digital Music ◽  
Recording Industry ◽  
Digital Capitalism ◽  
Digital Era ◽  
Music Consumption

Before the digital era, music consumption was limited to purchasing LPs, tapes and CDs, or attending concerts. With digitization and mobile technologies in tow, the consumption of music exploded. Music is now literally everywhere—but none of it is actually free. Our consumption of it on television and cable, through games on our computers and our phones, through subscriptions or sites with built-in never-ending streams of advertising always has a price. Music is everywhere, but how did this happen? How has digital distribution and production changed the recording industry? What are the consequences of ubiquitous music? In this article, I argue that the digital music trap is an outgrowth of digital capitalism that commodifies our everyday existence.

Do they Know it’s CSR at all? An Exploration of Socially Responsible Music Consumption

2015 ◽  
Vol 138 (2) ◽  
pp. 231-246 ◽  
Author(s):  
Todd Green ◽  
Gary Sinclair ◽  
Julie Tinson
Keyword(s):  
Socially Responsible ◽  
Music Consumption

scholarly journals New listening in the net? University students’ music consumption and browsing habits

Anàlisi ◽  
2017 ◽  
pp. 115
Author(s):  
Daniel Torras i Segura
Keyword(s):  
University Students ◽  
Music Consumption
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