Pengaruh Streaming Musik Terhadap Industri Musik di Indonesia

2020 ◽  
Vol 29 (1) ◽  
pp. 14-25
Author(s):  
Dini Noviani ◽  
Raenita Pratiwi ◽  
Silvia Silvianadewi ◽  
Mohammad Benny Alexandri ◽  
Marsha Aulia Hakim
Keyword(s):  
Intellectual Property ◽  
Qualitative Method ◽  
Music Industry ◽  
Influential Factors ◽  
Consumption Patterns ◽  
Digital Music ◽  
Music Consumption ◽  
Streaming Service ◽  
Music Streaming

Music streaming service has become one of the most influential factors in Indonesian music consumption patterns where the music industry can no longer depend on physical products and consumers are now more selective in enjoying music. This study discusses how the development of the use of steaming music platforms has an impact on consumption patterns and music marketing. The method used in this study is a qualitative method by means of descriptions in the form of words and language. The results of this study indicate that the movement of Z as the main connoisseurs of digital music in Indonesia has shown that the music industry players are very supportive of digitalization to facilitate marketing their music and help protect their intellectual property by reducing piracy.

scholarly journals An ecosystem lens: Putting China’s digital music industry into focus

2016 ◽  
Vol 1 (4) ◽  
pp. 350-371 ◽  
Author(s):  
Diming Tang ◽  
Robert Lyons
Keyword(s):  
Value Chain ◽  
Service Providers ◽  
Music Industry ◽  
Ecosystem Model ◽  
Digital Music ◽  
Digital Service ◽  
Chinese Music ◽  
Recent Developments ◽  
User Data ◽  
Music Streaming

The digital disruption of the global music industry hits the value chain for recorded music hard. In China, new digital service providers began to amass large user bases, offering a variety of services based on e-commerce and social messaging applications. In a low-intellectual property environment, these services have become the primary sources of digital music streaming via the Internet and increasingly through mobile telephony. This article reviews the literature on the value chains within the Chinese music industry, compares a classic business ecosystem model with a more recent model, and examines available user data on current Chinese music streaming services. We then suggest an ecosystem framework toward understanding the digital music industry in China and discuss how this framework maps to recent developments in China’s digital music industry.

scholarly journals AN INTERPRETING ANALYSIS OF IU’S HIT SONGS THAT ACHIEVE PERFECT ALL-KILL

2021 ◽  
Vol 4 (3) ◽  
pp. 360
Author(s):  
Gita Tiara Putri Quraisyma Pramudita
Keyword(s):  
Real Time ◽  
Qualitative Method ◽  
Music Industry ◽  
Digital Music ◽  
Academic Environments ◽  
The World ◽  
Singing Style ◽  
Song Lyric

Nowadays, all about K-Pop (Korean Pop) widely known in the world, South Korea’s music industry is known to have a music chart system that is very influential on the career and achievement of a singer. The system is to measure the success of a group or solo singer when they release a song. Some of the terms that are known by most K-Pop fans are real-time all-kill (RAK) certificates, certified all-kill (CAK), and perfect all-kill (PAK). Songs that receive RAK, CAK, or PAK certificates, can be interpreted as best-selling songs played on digital music services in Korea. This is an interpreting analysis of IU’s hit songs taken from 2011 until 2020, aimed to see what linguistic factors that makes them hit and achieve PAK. This research used a qualitative method. This research concluded 8 from 15 of IU songs make it achieve PAK because of numerous factors such as: the music, the instrument, the singing style, and the lyric with figurative languages. In academic environments, teacher may teach the students how to analyze song lyric because it is useful to teach vocabulary, idiom, and also elements of poetry. Keywords:  Analysis, Interpreting, Music, IU

scholarly journals An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry

2018 ◽  
Vol 6 (3a) ◽  
pp. 78
Author(s):  
Pannawit Sanitnarathorn
Keyword(s):  
Purchase Intention ◽  
Structural Equation ◽  
Quantitative Research ◽  
Music Industry ◽  
Partial Least Square ◽  
Model Verification ◽  
Least Square ◽  
Digital Music ◽  
Music Piracy ◽  
Music Streaming

Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.

The effect of streaming services on the concentration of digital music consumption

2019 ◽  
Vol 33 (1) ◽  
pp. 160-179 ◽  
Author(s):  
Hyunsuk Im ◽  
Haeyeop Song ◽  
Jaemin Jung
Keyword(s):  
Digital Music ◽  
Content Type ◽  
Korean Music ◽  
Long Run ◽  
Music Consumption ◽  
Short Run ◽  
Streaming Services ◽  
Streaming Service ◽  
One Year ◽  
Winner Take All

Purpose The purpose of this paper is to articulate whether consumers’ use of music via streaming service benefits niche products and diversified consumption of music. It examines does winner take all or is long tail achieved in the digital music market. Design/methodology/approach To investigate the degree of concentration in the digital music sales, this study measures multiple concentration metrics using the top 100 songs for 245 weeks listed on the Korean music ranking chart. Findings Conflicting results are found between the analyses based on short-run and long-run data. When sales distributions are compared weekly or monthly, the results show that streaming services have a less concentrated sales distribution than download services. However, the result becomes the opposite in the long-run analysis (i.e. one year). Originality/value This study proposes that the non-technological drivers such as the beneficial addiction of music consumption can be a crucial driver affecting the usage concentration in music industry, coupled with the royalty policy of access-based services.

scholarly journals How Incumbents Manage Waves of Disruptive Innovations: An Exploratory Analysis of the Global Music Industry

2019 ◽  
Vol 16 (01) ◽  
pp. 1950006 ◽  
Author(s):  
Andrea Urbinati ◽  
Davide Chiaroni ◽  
Vittorio Chiesa ◽  
Simone Franzò ◽  
Federico Frattini
Keyword(s):  
Open Innovation ◽  
Music Industry ◽  
Historical Analysis ◽  
Disruptive Innovation ◽  
Digital Music ◽  
Technological Changes ◽  
Disruptive Innovations ◽  
Music Distribution ◽  
Music Streaming ◽  
Over Time

Innovation scholars have paid special attention on the managerial approaches that incumbents should adopt to promptly respond to the emergence of disruptive innovations. These approaches include, among the others, the use of open innovation or the establishment of ambidextrous organizations. However, this body of research has not analyzed how incumbents use these approaches over time, although they are very often confronted with waves of disruptive innovations that cyclically take place along the lifecycle of an industry. This paper looks into this issue through a historical analysis of the global music industry. For each of the three waves of disruptive innovations that have hit this industry over the last 15 years (i.e. digital music distribution, permanent digital download and music streaming), we analyze the reactions of incumbents in terms of managerial approaches they adopted to respond to the emergence of the disruptive innovation. Therefore, we develop a model suggesting how incumbents evolve over time their responses to cycles of disruptive technological changes.

scholarly journals The mediated festival: Live music as trigger of streaming and social media engagement

2017 ◽  
Vol 25 (4) ◽  
pp. 714-734 ◽  
Author(s):  
Anne Danielsen ◽  
Yngvar Kjus
Keyword(s):  
Social Media ◽  
Statistical Analysis ◽  
Social Interactions ◽  
Mobile Devices ◽  
Media Use ◽  
Digital Music ◽  
Live Music ◽  
Streaming Service ◽  
The Impact ◽  
Music Streaming

Live music events are increasingly saturated with and mediated via the online and mobile devices of the audience. This article explores patterns in this media use surrounding the Øya festival in Norway and focuses, in particular, on music streaming and social media activity. It presents statistical analysis of listening sessions via the streaming service Wimp and social interactions via the micro-blogging platform Twitter. The juxtaposition of these unique access points allows the analysis to explore the impact of physical live concerts on the digital music experience. It also enables a nuanced examination of how the festival audience responds to different artist segments, from international headliners to local acts. One key finding is that local artists that are positively evaluated via Twitter have the greatest boost in subsequent music streaming. The article argues that in-depth studies of the intersection of live and mediated music are essential to understanding the encounter between artists and audiences that is facilitated by contemporary live music events.

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Ranti - Rachmawanti
Keyword(s):  
Popular Culture ◽  
Qualitative Method ◽  
Music Industry ◽  
Main Idea ◽  
String Orchestra ◽  
Characteristic Func ◽  
Orchestra Music ◽  
Research Show ◽  
Func Tion

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture. 

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

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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