The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Services Can Save the Music Industry

2014 ◽  
Author(s):  
James Harold Richardson
Keyword(s):  
Music Industry ◽  
Compulsory License ◽  
On Demand ◽  
The Creation

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.

3D On-Demand Bioprinting for the Creation of Engineered Tissues

2010 ◽  
pp. 3-19 ◽  
Author(s):  
Seung-Schik Yoo ◽  
Samuel Polio
Keyword(s):  
On Demand ◽  
Engineered Tissues ◽  
The Creation

The Business of Multi-Platform Public Service: Online and at a Profit

2013 ◽  
Vol 146 (1) ◽  
pp. 103-113 ◽  
Author(s):  
James Bennett ◽  
Andrea Medrado
Keyword(s):  
United Kingdom ◽  
Public Service ◽  
Business Models ◽  
Video On Demand ◽  
Content Creation ◽  
Television Production ◽  
On Demand ◽  
The United Kingdom ◽  
The Creation ◽  
Privately Owned

In this article, we explore the notion of hybrid public service media (PSM) in relation to two interconnected issues: economic and platform hybridity. We examine the creation of PSM content by privately owned, commercially driven independent production companies in the United Kingdom as a hybrid economic arrangement. In so doing, we ask not only whether public service can act as a motivation beyond profit for production cultures and business models, but also whether PSM can be created at a profit without compromising the fulfilment of public service values. In relation to platform hybridity, we study examples of interlinking public service content created, delivered and distributed across multiple platforms (as opposed to merely video-on-demand services). In particular, we are interested in how such multi-platform texts might fulfil public service, but also the way in which multi-platform content creation brings together digital and television production cultures to produce hybrid PSM business models and cultures.

Copyright and the music business

Popular Music ◽  
1988 ◽  
Vol 7 (1) ◽  
pp. 57-75 ◽  
Author(s):  
Simon Frith
Keyword(s):  
Historical Perspective ◽  
Music Industry ◽  
Copyright Law ◽  
Music Business ◽  
The Public ◽  
The Creation ◽  
The Law

For the music industry the age of manufacture is now over. Companies (and company profits) are no longer organised around making things but depend on the creation of rights. In the industry's own jargon, each piece of music represents ‘a basket of rights’; the company task is to exploit as many of these rights as possible, not just those realised when it is sold in recorded form to the public, but also those realised when it is broadcast on radio or television, used on a film, commercial or video soundtrack, and so on. Musical rights (copyrights, performing rights) are the basic pop commodity and to understand the music business in the 1980s we have to understand how these rights work. In this article, then, I begin and end with record companies' uses of copyright law and ideology to defend themselves against current technological and political threats to income, but I also want to ask questions about how the law itself defines music and determines the possibilities of musical ‘exploitation’. And this means putting contemporary arguments (for and against the blank tape levy, for example) in historical perspective.

Drop-on-Demand Printing of Protein Biochip Arrays

MRS Bulletin ◽  
2003 ◽  
Vol 28 (11) ◽  
pp. 837-842 ◽  
Author(s):  
Frank G. Zaugg ◽  
Peter Wagner
Keyword(s):  
Protein Engineering ◽  
Life Sciences ◽  
Interface Chemistry ◽  
On Demand ◽  
Drop On Demand ◽  
The Creation ◽  
Technical Challenges ◽  
Current Drop

AbstractProtein biochips have recently gained a lot of attention as bioanalytical tools in the life sciences. The creation of such biochips has been made possible by the integration of scientific approaches and methodologies in microfabrication, organic interface chemistry, protein engineering, detection physics, and—last but not least—advances in microarrays and microfluidic dispensing technologies. This article reviews some of the current drop-on-demand technologies developed for printing biomolecular arrays, with an emphasis on proteins and the technical challenges associated with them.

On-demand streaming services and music industry revenues — Insights from Spotify's market entry

2016 ◽  
Vol 33 (2) ◽  
pp. 314-327 ◽  
Author(s):  
Nils Wlömert ◽  
Dominik Papies
Keyword(s):  
Market Entry ◽  
Music Industry ◽  
On Demand ◽  
Streaming Services

Bigger, Better, Louder: The Prosperity Gospel's Impact on Contemporary Christian Worship

2014 ◽  
Vol 24 (2) ◽  
pp. 186-230 ◽  
Author(s):  
Kate Bowler ◽  
Wen Reagan
Keyword(s):  
Music Industry ◽  
New Music ◽  
Prosperity Gospel ◽  
Worship Music ◽  
Contemporary Worship ◽  
Contemporary Christian ◽  
Christian Worship ◽  
The Creation ◽  
And Performance ◽  
The Relationship

AbstractThis article makes several claims about the relationship between praise and worship music and prosperity megachurches. First, it argues that the prosperity gospel has had a significant impact on contemporary worship music in America owing to its leadership in the twin rise of the megachurch and televangelism. Second, beginning in the 1990s, prosperity megachurches pioneered forms of worship music mimicking “arena rock” that capitalized on both the scale of their sanctuaries and the sophistication of their audio/visual production. The result was a progression toward music that would be a liturgy of timing, lighting, volume and performance designed for large venues. Finally, prosperity megachurches were ideally situated to benefit from this new music, both in the music industry and in their theology. Prosperity megachurches partnered with the expanding worship industry in the creation of new worship music, while the prosperity gospel theologically undergirded the affective power and performative pageantry of Christian arena rock, narrating worship music as a tool for releasing spiritual forces of prosperity. The result was a Sunday experience for the blessed that reinforced the celebration of God’s abundant blessings through music that was bigger, better, and louder.

"There's no Yellow in the Red, White, and Blue": The Creation of Anti-Japanese Music during World War II

2003 ◽  
Vol 72 (3) ◽  
pp. 333-352 ◽  
Author(s):  
Krystyn R. Moon
Keyword(s):  
Popular Culture ◽  
World War Ii ◽  
White Male ◽  
Music Industry ◽  
World War ◽  
Sheet Music ◽  
The Creation ◽  
Japanese Music ◽  
Culture Consumption ◽  
Male Superiority

This article focuses on the production of anti-Japanese music during World War II through the frameworks of popular culture, consumption, and propaganda and by analyzing the music itself, as well as lyrics and sheet music covers. Anti-Japanese music codified certain racial beliefs while distinguishing among Asian nationalities. Portraying Japan in racialized and gendered terms told Americans something about themselves and white male superiority. These musical images also demonstrated the dialogue between the music industry and its consuming audience. Publishers and composers tried to describe the nation's emotions toward the enemy. Although their early efforts were somewhat successful, overall, anti-Japanese songs were not. Consumers looked to other musical forms and lyrics to embody the war, not necessarily voting against racism, but for more innovative music.

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