The impact of online music services on the demand for stars in the music industry

Author(s):  
Ian Pascal Volz
2021 ◽  
Vol 13 (2-3) ◽  
pp. 163-179 ◽  
Author(s):  
Adam Martin ◽  
Morten Büchert

Online collaboration between musicians in 2020 is a rapidly developing practice due to a range of environmental, epidemiological and creative motivations. The technical facility to collaborate in a variety of different formats exists via file-sharing services, video conferencing suites and specialist music services such as Splice and Auddly. Yet, given this proliferation of technologies, little attention has been paid into how creative musicians can most meaningfully utilize these new collaborative opportunities within their working practice. In this article, we wish to share some reflections from a case study of online music collaboration gained through our experience of facilitating three online songwriting camps with students from Leeds Conservatoire in the United Kingdom and Rhythmic Music Conservatory in Denmark. This article will particularly focus on the importance of managing roles, the impact of communication tools and the requirement for time management when collaborating online before proposing a set of guidelines derived from this study to help enable productive online creative collaboration.


2014 ◽  
Vol 5 (1) ◽  
pp. 37-44
Author(s):  
Kobra Elahifar

Peer-to-peer (P2P) file-sharing technologies have impacted the music industry, including its strategies for the distribution of the musical products, for more than a decade now. As a result, music labels have delayed full digitization of their industry in fear of “online music piracy”. The present paper reviews the historical context of the evolution of the music industry from 1999 to 2012. Using Actor-Network theory, the paper examines the strategies that helped the music industry to translate new actors’ effect in order to sustain music labels’ business on their path to digitize music distribution. I will discuss the impact of new digital policies and methods of governing online behavior including the business concept of “entrepreneurship” as they may potentially affect the future of public domain within the framework of consumer rights.


PEDIATRICS ◽  
1989 ◽  
Vol 83 (2) ◽  
pp. 314-315 ◽  
Author(s):  

Rock music has undergone dramatic changes since its introduction 30 years ago and is an issue of vital interest and concern for parents and pediatricians. Rock music lyrics have become increasingly explicit during the last two decades—particularly with reference to sex and drugs. Some lyrics communicate potentially harmful health messages. These lyrics are of special concern in today's environment, which poses unprecedented threats to the health and well-being of adolescents, including pregnancy, drug use, acquired immunodeficiency syndrome (and other sexually transmitted diseases), accidents, and suicide. The American Academy of Pediatrics (AAP) strongly opposes censorship. According to the Federal Communications Commission, the public owns the airways, which are leased back to radio and television stations that are obligated to produce programming in the public's best interest. Good taste and self-regulation by consumers, media, and the music industry would be appropriate and effective solutions. The AAP, therefore, recommends that: 1. The public, and parents in particular, be made aware of sexually explicit, drug-oriented, or violent lyrics on records and tapes. 2. Broadcasters and the music industry be encouraged to demonstrate good taste and self-restraint in decisions regarding what is produced and allowed to be broadcast. 3. Rock performers be reminded that they can serve as positive role models for children and teenagers. 4. The AAP and other concerned organizations encourage parents to take a more active role in monitoring music to which their children are exposed. 5. Local coalitions of pediatricians, educators, and parents discuss the effects of the media on children and teenagers. 6. Research concerning the impact rock music has on the behavior of adolescents and preadolescents be developed and supported.


2014 ◽  
Vol 5 (1) ◽  
pp. 50-63 ◽  
Author(s):  
Hanne Russ ◽  
Jean-Pierre Kuilboer ◽  
Noushin Ashrafi

The arrival of the internet and the availability of music in digital formats have altered the landscape of the music industry. This paper examines the impact of the Internet on the music industry and argues that the adverse impact of technology disruption can be offset by the proper use of business intelligence technology throughout the value chain. A careful analysis of the value chain of music industry helps determine where and how Business Intelligence can be effectively implemented towards the best outcome. While there have been a number of studies about the implementation of BI in other industries such as finance, healthcare, and education, there has never been an insightful study of BI in the music industry. Scholars of business intelligence and music industry managers should benefit from this study as we explore yet another context for the application of BI technology and opportunities for adding value through Business Intelligence.


2006 ◽  
Vol 49 (1) ◽  
pp. 91-114 ◽  
Author(s):  
Sudip Bhattacharjee ◽  
Ram D. Gopal ◽  
Kaveepan Lertwachara ◽  
James R. Marsden
Keyword(s):  

2020 ◽  
Author(s):  
Kyle J. Messick

In March of 2020 the world began to take widespread preventative measures against the spread of a novel coronavirus through travel restrictions, quarantines, and limitations on group gatherings. These restrictions resulted in the immediate closing of many businesses, including concerts venues, and also put an abrupt end to live music performances across Europe and the United States. This had immediate implications for touring bands, as bands earn most of their income touring, and many found themselves in a situation where they experienced substantial financial losses alongside negative affective ramifications. This article utilized evidence from qualitative interviews and public statements to draw inferences about the impact of COVID-19 on the music industry, with a particular focus on touring musicians and their respective managers, promoters, booking agencies, and record labels. Musicians reported negative affective and financial ramifications as a result of COVID-19, but they also reported overwhelming support from metal music fans that made the fallout from the pandemic less severe.


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