scholarly journals From creator to data: the post-record music industry and the digital conglomerates

2018 ◽  
Vol 41 (3) ◽  
pp. 367-384 ◽  
Author(s):  
Keith Negus
Keyword(s):  
Economic Value ◽  
Music Industry ◽  
Moral Worth ◽  
Historical Change ◽  
Artistic Expression ◽  
Recorded Music ◽  
Commercial Form ◽  
Emergent Dynamics ◽  
Digital Recordings

This article contributes to research on the changing music industries by identifying three dynamics that underpin the shift towards a post-record music industry. First, it examines how musicians have found themselves redefined as content providers rather than creative producers; a historical change from recorded music as product to content. Second, it focuses on tensions between YouTube and recording artists as symptomatic of disputes about the changing artistic and economic value of recorded music. Third, it extends this debate about the market and moral worth of music by exploring how digital recordings have acquired value as data, rather than as a commercial form of artistic expression. The article explores how digital conglomerates have become ever-more significant in shaping the circulation of recordings and profiting from the work of musicians, and highlights emergent dynamics, structures and patterns of conflict shaping the recording sector specifically, and music industries more generally.

scholarly journals Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece

2021 ◽  
Vol 12 ◽  
Author(s):  
Amy M. Belfi ◽  
David W. Samson ◽  
Jonathan Crane ◽  
Nicholas L. Schmidt
Keyword(s):  
United States ◽  
United States Army ◽  
Music Industry ◽  
Recorded Music ◽  
Live Music ◽  
The University ◽  
Music Effects ◽  
Aesthetic Judgments

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants (N = 32) made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece (congruent with the army band) and a non-patriotic piece (congruent with the university band). Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible.

E-commerce and the market structure of the recorded music industry

2016 ◽  
Vol 24 (9) ◽  
pp. 598-601 ◽  
Author(s):  
Marc Bourreau ◽  
Romain Lestage ◽  
François Moreau
Keyword(s):  
Market Structure ◽  
Music Industry ◽  
Recorded Music ◽  
Recorded Music Industry

scholarly journals The Relationship between Music Property and Degree of its Popularity in Spotify

2021 ◽  
Vol 13 ◽  
pp. 386-390
Author(s):  
Han Chen
Keyword(s):  
Music Industry ◽  
Global Scale ◽  
Economic Potential ◽  
Recorded Music ◽  
Music Market ◽  
Recorded Music Industry ◽  
The Relationship

The global recorded music market grew by 7.4% in 2020, the sixth consecutive year of growth, according to IFPI, the organization that represents the recorded music industry worldwide. Figures released today in IFPI’s Global Music Report show total revenues for 2020 were US$21.6 billion. Growth was driven by streaming, especially by paid subscription streaming revenues, which increased by 18.5%. There were 443 million users of paid subscription accounts at the end of 2020. Total streaming (including both paid subscription and advertising-supported) grew 19.9% and reached $13.4 billion, or 62.1% of total global recorded music revenues. The growth in streaming revenues more than offset the decline in other formats’ revenues, including physical revenues which declined 4.7%; and revenues from performance rights which declined 10.1% – largely as a result of the COVID-19 pandemic. As we have seen, the music market has a huge economic potential on a global scale, then I want to use 40,000 of data in Spotify to analysis people’s average hobbies and build a simple persona.

scholarly journals Do People Value Recorded Music?

2019 ◽  
Vol 13 (2) ◽  
pp. 141-158 ◽  
Author(s):  
Lee Marshall
Keyword(s):  
Popular Music ◽  
Social Values ◽  
Economic Value ◽  
Digital Music ◽  
Economic Decline ◽  
Recorded Music ◽  
Dramatic Decline ◽  
The Social ◽  
Consumption Practices ◽  
The Way

How much do the majority of people value music, and can or should that level of value be reflected in music’s economic value? The dramatic decline in the economic value of recorded popular music in the 21st century has prompted much debate about music being ‘devalued’ and the perceived ‘value gap’ between music’s socio-cultural and economic values. Using the economic decline of recorded music as a springboard, this article takes a different approach, however. It offers a theoretical analysis of popular music consumption practices organised thematically in terms of ‘music as object’ (focusing on the social values generated and perceived by recorded music artefacts) and ‘music as sound’ (focusing on the way that most contemporary musical experiences are characterised by music being background sound or accompaniment). Overall, the argument is that ‘music’ may not be as culturally valued by people as is commonly assumed. The way that music operates as a low-value entity to many people is perhaps reflected in the cultural and economic contours of the digital music industry, though they are not caused by digitisation per se.

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