Relevant bibliographies by topics / Music Streaming

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music Streaming'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Music Streaming"

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Netti, S. Yollis Michdon, and Irwansyah Irwansyah. "Spotify: Aplikasi Music Streaming untuk Generasi Milenial." Jurnal Komunikasi 10, no. 1 (July 31, 2018): 1. http://dx.doi.org/10.24912/jk.v10i1.1102.

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The large population in Indonesia has become a huge market for many products, including streaming music-based technology products, to reach the target audience of young people. One of the applications that is becoming a trend at the moment is Spotify. A streaming music platform that has many interesting features, and is widely used by millenial generation around the world, including in Indonesia to listen to music. This paper aims to explain clearly and detail about Spotify as the world's largest streaming music platform, how the business model used by Spotify, how Spotify helps musicians to maximize their earnings, how Spotify can change the trend of listening to music from millennials and connoisseurs music around the world, what is the millennial reference for listening to music online, how millennial generation consumes music, history and streaming music technology trends, how Spotify prepares its technology to remain number one, how does music streaming in Spotify, what Just about the online advertising services from Spotify For Brands, how to implement Spotify ads for the brand and ad format used, what brand success stories have used Spotify's advertising services, and how Spotify helps the brand to reach millennials in effective, and how Spotify utilizes technology to be at the forefront of the moment. Jumlah penduduk yang besar di Indonesia menjadi pasar yang sangat besar bagi berbagai produk, termasuk di dalamnya produk teknologi berbasis musik streaming, untuk menjangkau target audience anak muda. Salah satu aplikasi yang sedang menjadi tren pada saat ini adalah Spotify. Sebuah platform musik streaming yang memiliki banyak fitur menarik, serta banyak digunakan oleh generasi milenial di seluruh dunia, termasuk di Indonesia untuk mendengarkan musik. Tulisan ini bertujuan untuk memaparkan secara jelas dan detail tentang Spotify sebagai sebuah platform musik streaming terbesar di dunia, bagaimana model bisnis yang digunakan oleh Spotify, bagaimana Spotify membantu para musisi di dalam memaksimalkan pendapatannya, bagaimana Spotify dapat mengubah trend mendengar musik dari para milenial maupun penikmat musik di seluruh dunia, apa yang menjadi acuan dari generasi milenial untuk mendengarkan musik secara online, bagaimana generasi milenial mengkonsumsi musik, sejarah dan tren teknologi musik streaming, bagaimana Spotify mempersiapkan teknologinya untuk tetap menjadi nomor satu, bagaimana cara kerja music streaming di Spotify, apa saja layanan-layanan periklanan online dari Spotify For Brands, bagaimana implementasi iklan Spotify untuk brand dan format iklan yang digunakan, apa saja kisah sukses brand yang telah menggunakan layanan iklan dari Spotify, dan bagaimana Spotify membantu brand untuk dapat menjangkau generasi milenial secara efektif, dan bagaimana Spotify memanfaatkan teknologi untuk menjadi yang terdepan pada saat ini.
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Way, Samuel F., Jean Garcia-Gathright, and Henriette Cramer. "Local Trends in Global Music Streaming." Proceedings of the International AAAI Conference on Web and Social Media 14 (May 26, 2020): 705–14. http://dx.doi.org/10.1609/icwsm.v14i1.7336.

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Audio streaming services have made it easier for countries around the world to listen to each other's music. This expansion in listeners' access to global content, however, has raised questions about streaming's impact on the import and export flows of music between countries and their preferences for local or global content. Here, we analyze five and a half years of all streaming data from Spotify, a global music streaming service, and find that preferences for local content have increased from 2014 through 2019, reversing previously noted trends. Perhaps correspondingly, both common official language and geographic proximity between countries increasingly shape listener consumption during this period, particularly for younger audiences. Further, we show that these trends persist across different genres, listener age groups, and early- and late-adopters of streaming, providing new insights into this newest phase in the continued evolution of music and its impact on listeners around the world.
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DROTT, ERIC A. "Music as a Technology of Surveillance." Journal of the Society for American Music 12, no. 3 (July 10, 2018): 233–67. http://dx.doi.org/10.1017/s1752196318000196.

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AbstractThis article explores surveillance in cloud-based music streaming. Key catalysts in the transition from ownership- to access-based models of music distribution, services like Spotify, Pandora, or Deezer have positioned themselves as a means of reintegrating listeners into “digital enclosures” over which rights holders exercise greater control. Yet streaming's promise of remonetizing musical commodities demonetized by filesharing has been called into doubt by difficulties in converting users of advertising-based “freemium” services into paying subscribers. In need of alternative means of extracting value from users, streaming platforms have increasingly refashioned themselves as enterprises whose business extends beyond music-related services to encompass the collection, aggregation, and exchange of user data. In pursuing this strategy, streaming platforms place themselves in direct competition with other new media companies trading in user data. In order to distinguish themselves from such competitors, streaming platforms cast music as a particularly valuable source of data, offering privileged access to listeners’ innermost selves. But they also cast music as an ideal tracking device, accompanying individuals across a variety of social, physical and geographical spaces. In this way, the very attributes that make music so powerful a “technology of the self” facilitate its transformation into an equally powerful technology of surveillance.
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Amanda, Rissa. "Music streaming dalam industri musik era industri 4.0." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 6, no. 1 (March 20, 2022): 358–82. http://dx.doi.org/10.25139/jsk.v6i1.3772.

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Industrial era 4.0 shows that all human activities will be connected and dominated by digital media. Creativity and new ideas to innovate technology are the keys of this era. For example in the music industry 4.0, which develops music streaming technology products, trying to attract a lot of millennials generation. In the context of Indonesia, Langit Musik as a local product competes with Spotify as an international product. Therefore, through this literature review-based research and interview with some of the participants in Whatsapp phone call, researchers want to see what kind of music streaming platform in the industrial era 4.0 make many peoples interested, especially the millennials generation in Indonesia. The results show that the use of Spotify in Indonesia is still more popular than Langit Musik, because for most of the Indonesian millennial generation Spotify is already suitable for the music streaming criteria they want. These include a diverse and global selection of songs, from old songs to the latest songs that are always up-to-date, have a simple and eye-catching display, easy to use, clear sound quality, have lyrics for karaoke, integrated with social media for status updates, have playlist personalisation feature, and no need to use large mobile data internet quota. However, Spotify and Langit Musik are still not able to attract their customers to switch from free to premium services, due to different needs and there are people who are still comfortable downloading songs illegally even though they already had music streaming. Spotify has become more popular than Langit Musik because of consumer trust in its quality, besides that personal promotion by word-of-mouth from the closest people and status updates on social media, which also support the expansion of Spotify's popularity.
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B., Killa,, and Upadhyay, A.K. "Business Models in the Music Streaming Industry: A Critical Review of Literature on the Role of Audio Advertising." CARDIOMETRY, no. 24 (November 30, 2022): 887–95. http://dx.doi.org/10.18137/cardiometry.2022.24.887895.

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This paper aims to explore advertising on music streaming platforms as an opportunity for brands to advertise in India by studying users’ attitudes towards advertisements while listening to music on these platforms. The paper is an outcome of reviewing several published journals and articles referring to music streaming services, their revenue models, and their impact on consumer listening behaviors. The paper presents an overview of the music industry’s evolution, the piracy issues involved, and revenue models of music streaming platforms; free streaming and paid/premium models. It discusses the music consumption behavior of users and the effect of audio advertising on the platform. Finally, the paper emphasizes the targeting and personalization of ads. The research only concentrates on the Indian consumer of music streaming platforms and is limited to advertising on India’s streaming platforms. The paper critically examines India’s potentially growing industry – the audio streaming industry, which has not been previously reviewed. It studies the users of music streaming platforms in India to conclude their listening patterns and behavior towards ads on the platform and further research.
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Borja, Karla, and Suzanne Dieringer. "Streaming or stealing? The complementary features between music streaming and music piracy." Journal of Retailing and Consumer Services 32 (September 2016): 86–95. http://dx.doi.org/10.1016/j.jretconser.2016.06.007.

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Angela, Angela, Fandi Halim, Tri Agung Pramana, and Andolin Simanjuntak. "USER EXPERIENCE EVALUATION ON MUSIC STREAMING APPLICATIONS WITH UEQ METHOD." JURTEKSI (Jurnal Teknologi dan Sistem Informasi) 8, no. 2 (April 16, 2022): 209–18. http://dx.doi.org/10.33330/jurteksi.v8i2.1323.

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Abstract: Along with the development of information technology, the way people listen to music also changed with the emergence of many music streaming applications. The user experience of an application plays an important role in attracting and retaining application users. Therefore, this study has goal to compare the music steaming applications’ user experience of the Joox and Spotify by using User Experience Questionnaire (UEQ) method. There are 6 scales assessed by UEQ, including attractiveness, perspicuity, efficiency, dependability, stimulation, and novelty. Data was collected by distributing online questionnaires and obtained as many as 104 responses that could be processed. The results show that both applications have positive impressions which are indicated by the average value of each scale greater than 0.8. This indicates that these two applications are considered quite fun, effective, easy to understand, and innovative. However, the comparison’ results show that between Spotify and Joox is not significantly different, with Spotify scores slightly better than Joox. Keywords: music streaming application; user experience; user experience questionnaire Abstrak: Seiring dengan perkembangan teknologi informasi, cara masyarakat mendengarkan musik juga mengalami perubahan dengan munculnya banyak aplikasi streaming musik. User experience suatu aplikasi berperan penting untuk menarik dan mempertahankan pengguna aplikasi. Oleh karena itu, penelitian ini memiliki tujuan untuk membandingkan user experience dari aplikasi streaming musik Joox dan Spotify dengan metode User Experience Questionnaire (UEQ). Terdapat 6 skala yang dinilai oleh UEQ yaitu daya tarik, kejelasan, efisiensi, ketepatan, stimulasi, dan kebaruan. Data dikumpulkan melalui penyebaran kuesioner secara daring dan diperoleh sebanyak 104 jawaban yang bisa diolah. Hasil penelitian menunjukkan bahwa kedua aplikasi memiliki impresi positif yang ditandai dengan nilai rata-rata setiap skala lebih besar dari 0.8. Artinya kedua aplikasi ini dinilai cukup menyenangkan, efektif, mudah dipahami, dan inovatif. Meskipun demikian, hasil perbandingan menunjukkan bahwa perbedaan antara Spotify dan Joox tidak terlalu signifikan, dengan nilai Spotify sedikit lebih unggul daripada Joox. Kata kunci: aplikasi streaming musik; pengalaman pengguna; user experience questionnaire
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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.

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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.
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DROTT, ERIC. "Why the Next Song Matters: Streaming, Recommendation, Scarcity." Twentieth-Century Music 15, no. 3 (October 2018): 325–57. http://dx.doi.org/10.1017/s1478572218000245.

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AbstractThis article explores how human curation and algorithmic recommendation are figured in cloud-based streaming platforms. In promoting their services as alternatives to illicit file-sharing, platforms such as Spotify, Deezer, and Apple Music have long touted the access they provide to a massive database of music. Yet the effectiveness of appeals to musical plenitude have been thrown into doubt, as high rates of user turnover threaten streaming's economic viability. Curation and recommendation have thus been posited as solutions to this problem, as means of producing and reproducing consumer desire. By attending to the fantasies woven around streaming and music recommendation more specifically, this article highlights the peculiar form of subjectivation at work in the way recommendation hails listeners. The normative listener constructed through such modes of hyper-personalized address is ideally one that is as dynamic and adaptive as the algorithmic systems that adjust to their fluctuating needs, dispositions, and desires.
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Lüders, Marika, Vilde Schanke Sundet, and Terje Colbjørnsen. "Towards streaming as a dominant mode of media use?" Nordicom Review 42, no. 1 (January 1, 2021): 35–57. http://dx.doi.org/10.2478/nor-2021-0011.

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Abstract Music and television streaming services present users with abundant catalogues of content available on demand. We investigate whether users respond by narrowing or widening the diversity of content they consume. Further, we examine how the different logics characterising music and television streaming are mirrored in the number of streaming services people use. To do so, we compare non-, sporadic, regular, and frequent users of television and music streaming services. Findings from a cross-sectional survey in Norway show that frequent streamers consume a wider variety of genres and rely on more services. Our results also indicate that streaming has gone from a first-mover activity to a standard consumer mode. This study indicates that we can expect continued growth in television streamers, whereas the music streaming industry seems more consolidated.
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Dissertations / Theses on the topic "Music Streaming"

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Penkrot, Brian. "Anisotropic streaming." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4715.

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My work Anisotropic Streaming is written for the University of Iowa Symphonic Orchestra. It is approximately 16 minutes in length. The inspiration of the piece was the cosmic background radiation remaining from the Big Bang. In 1964, it was discovered that space was filled with a faint amount of radiation; a relic from the time when slight temperature variance allowed for the coalescence of particles. These particle collections soon had varying masses and therefore varying gravitational pulls, which in turn created the stars and galaxies. Since the universe expanded while the temperature variances allowed for this particle accumulation, the background radiation is patterned in a manner that is anisotropic: a nearly uniform arrangement of the radiation that appears different depending on the observer's orientation. As a formal tool, this phenomenon has suggested a compositional process focused on transition and contextualization. The concept of anisotropy manifests itself in my composition in a number of ways. The first of three sections "collects" individual pitches until those frequencies are no longer perceptible - the listener's mind fuses the pitches into a single yet complex sonority. This fusion is encouraged further by the arrangement of pitches mimicking the overtone series. The second section features a very active and thick texture combining to make a single mass of sound. The texture gradually removes layers to reveal the individual short melodies that make up the mass. The third section rearranges these short melodies, making the high melodies low and the low melodies high. Each melody grows one note longer on each iteration, until each are so long they begin to fuse into a single, complex sonority. In these ways, I attempt to create the same kind of sound but through a shifting perspective, exposing sound's anisotropic construction. Formally, the piece divides into three sections, each a composite sound at different levels of synchronicity and perspective. The sections are further subdivided into two parts, the first being transitional and the second being a more static exhibition of the section's conceptual purpose. The pitch material in expositional areas is based on the mathematical overtone series (rounded to the nearest semitone). Pitch material in transitional phrases collects into aggregates, generally derived from a frequency modulation, amplitude modulation, or distortion by common fate. These pitches are not necessarily relegated to their registral frequencies, allowing for some octave equivalence. The first section, an exposition of separate elements creating a whole sonority, begins with the accumulation of material in the middle, high, then low register. As events become more synchronized, these three disparate elements become parts of an Eb1 sonority through additive synthesis. After a brief transitional section of aggregate sonorities in a symmetrical rhythm, the fundamental switches to G1 as a pizzicato cloud texture replaces the higher overtones. The additive G1 sonority occurs repeatedly, getting more frequent towards the end of the section. Using common overtones, overtones of the G1 sonority are sustained and the harmony is displaced by Eb1. The second section is a discovery of separate elements that exist within a sound complex, and subsequently, the germinal existences of those elements. The effect of parsing the lower pitches into imagined component pitches is the destabilization of a steady fundamental. The implied fundamentals instead fade in and out of perceivable space, creating a sonic environment of quasi-periodic harmonicity. The section begins by changing the Eb1 to a virtual Bb0 fundamental through a series of common overtones. The sustained Bb0 overtones are rhythmicized, becoming melodic fragments of varying lengths. After the surface texture of the Bb0 climaxes, the orchestration is reduced three times to solos and duets, revealing the melodies that exist in each registral area (high, middle, low). A brief transitional section of aggregate sonorities in a rhythm similar to the transitional area in section one, the implied fundamental becomes a D-1. The melodic fragments are extended through sparer orchestration, with soloists and small chamber combinations developing the ideas. The section ends with an implied C1 fundamental. The final section is the destabilization of the quasi-periodic harmonicity of the second section. The section begins in the highest register on string harmonics that do not imply any particular fundamental. The overtones are textured, and interjections of shepherd tones and noise elements add to an active surface with an unmoored harmonic space. When the surface reaches a maximally undefined pitch space, the gesture of the completed added sonority from the first section returns, implying fundamentals of five different sonorities, moving progressively away from harmonicity. A superimposition of the solo and chamber melodies against segments of previous aggregate transitions leads the harmonic space to a C2 fundamental, played in the gesture of the completed added sonority from the first section. By holding shared common tones, the harmonic space changes to an E1 fundamental, and pitches get higher and quieter until the piece ends.
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Jones, Richard Earl. "Keep it Local: Music Streaming & Local Music Communities." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1512137210213619.

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Roychowdhury, Amrita. "NON-USE OF STREAMING MUSIC TECHNOLOGIES." Thesis, Uppsala universitet, Informationssystem, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-341750.

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Technology non-use or active resistance towards technology is a pertinent issue in Human Computer Interaction, especially when we contemplate the ongoing changes regarding the concept of usability. By combining Theory of Practice and Theory of Materiality with Theory of Affect this thesis explores the resistance towards online streaming music technology among music enthusiasts devoted to vintage Vinyl music culture and also takes an effort to understand any possible effect of this voluntary non-use on the digital music industry. Qualitative research analysis is employed on ten in-depth semi structured interviews showing that material aspects and nostalgia, create an individualistic image and passion for record collection; furthermore, these aspects play a role behind the choice of non-use of online music technology.
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Nilsson, Billy. "Music Streaming : Services, functions and users." Thesis, Högskolan i Halmstad, Akademin för ekonomi, teknik och naturvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-29297.

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Utterström, Frans. "Musikfrämjande folkbiblioteksarbete i en tid av streaming och upplevelseorientering." Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354739.

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The purpose of this master’s thesis is to find out how free music can be promoted in a meaningful manner towards young people living in an age of streaming and experience-orientation. This is achieved by investigating what music library work consists of, and how music streaming is perceived in relation to this. The investigation consists of qualitative interviews with library personnel working with music at public libraries in Sweden. The results show that there is a democratic reason to keep physical media such as CDs, although they are currently borrowed by a limited audience. This indicates a vacuum in terms of offering music free of charge to the entire population. While licencing commercial streaming services could prove too costly and might be regarded as somewhat superfluous, the interviewees in general seem positive towards libraries offering their own service. A library-specific service would ideally promote local musicians and could according to the author put public libraries on the map in a national as well as international sense. In conclusion suggestions are made to consider the value in keeping physical media by putting them in experience-oriented contexts, for example in involving adolescents in active listening and music discovery; regenerate Demoteket by working with it in a digital context; and focus on reaching adolescents by offering musical instruments and putting music in a context where the adolescents are rather than viewing the music department as exclusively an adult section. There is also reason for putting music in historical, lingual and geographical contexts, something that current streaming services lack. Both the physical space and the web can play important parts in exposing the music collection, which should be used as a means for experiences rather than as a goal in itself.
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Ahmed, Kachkach. "Analyzing user behavior and sentiment in music streaming services." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-186527.

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These last years, streaming services (for music, podcasts, TV shows and movies) have been under the spotlight by disrupting traditional media consumption platforms. If the technical implications of streaming huge amounts of data are well researched, much remains to be done to analyze the wealth of data collected by these services and exploit it to its full potential in order to improve them. Using raw data about users’ interactions with the music streaming service Spotify, this thesis focuses on three main concepts: streaming context, user attention and the sequential analysis of user actions. We discuss the importance of each of these aspects and propose different statistical and machine learning techniques to model them. We show how these models can be used to improve streaming services by inferring user sentiment and improving recommender systems, characterizing user sessions, extracting behavioral patterns and providing useful business metrics.
De senaste åren har strömningtjänster (för musik, podcasts, TV-serier och filmer) varit i strålkastarljuset genom att förändra synen på hur vi konsumerar media. Om det tekniska impikationerna av att strömma stora mängder data är väl utforskat finns det mycket kvar i att analysera de stora datamängderna som samlas in för att förstå och förbättra tjänsterna. Genom att använda rådata om hur användarna interagerar med musiktjänsten Spotify, fokuserar den här uppsatsen på tre huvudkoncept: strömmandets kontext, användares uppmäksamhet samt sekvensiell analys av användares handlingar. Vi diskuterar betydelsen av varje koncept och föreslår en olika statistiska och maskininlärningstekniker för att modellera dem. Vi visar hur dessa modeller kan användas för att förbättra strömmningstjänster genom att antyda användares sentiment, förbättra rekommendationer, karaktärisera användarsessioner, extrahera betendemönster och ta fram användbar affärsdata.
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Delikan, Mehmet Deniz. "Changing Consumption Behavior of Net Generation and the Adoption of Streaming Music Services : Extending the Technology Acceptance Model to Account for Streaming Music Services." Thesis, Jönköping University, JIBS, Business Administration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12519.

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The rise of the streaming music services and the decreasing importance of physical distribution is an inevitable change that the industry has been facing, which is resulting from the so-called internet revolution over the past few years. Through years, the music business has already shifted to online platform with the birth of file sharing. Today, a generation who had grown up digital came to age. Members of this generation have different consumption habits than before, and have different motives toward consumption.

The consumer behavior of this group was examined at different stages of the digital revolution during last decade. However, although there is a wide number of researches have examined online consumer behavior and the adoption file-sharing technologies, no study investigated the use of streaming music services. Therefore, in order to understand the changing consumption behavior of the net generation music consumers, and to under-stand the use of streaming music services, this study extends the Technology Acceptance Model (TAM) to account the streaming music services. A questionnaire based empirical study was administrated among the users of Sweden based streaming music service Spotify. Results confirm that there is a significant relationship between users‟ perceived usefulness of service use, and their attitude toward using and their behavioral intention to use. In addition, it is also confirmed by the results that advertisement/charge, flow, and social influence are effective in explaining the motives of users‟, and the use of streaming music services. Furthermore, according to the findings of the study streaming music services have a positive effect on decreasing the music piracy.

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Barrett, Brandon T. "Modernizing Copyright for Equitable Treatment in the Streaming Age." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096023.

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Society’s progression through the digital streaming age has created a music licensing landscape of grave concern to all stakeholders in the industry. These drastic changes have occurred under an outdated legal framework. This paper will recommend a comprehensive reform to our copyright law to uphold the intentions of copyright in the modern, digital age of today. By looking at the history of copyright and its evolution, one can assess how Congress has been tasked with establishing a fair market value for music by promoting the public interest and fairly compensating copyright owners. This will lead to an evaluation and comparison of those methods used to determine fair market value for creative works that will be the basis of the recommendation used to modernize copyright law. This recommendation will comprehensively provide for equitable treatment for all parties in the streaming age through its totality, additional reforms, and alternative ideas.

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Liljeqvist, Fredrik. "Live-streaming as a marketing channel in the Swedish music industry." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-188961.

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The music business is one of the industries most affected by digitalization of content and distribution channels. As industry revenue shifted from principally physical to digital channels in 2015, while being the business with the largest presence and most popular accounts in virtually all social media platforms - the current state of the music industry is change. This has led industry professionals into searching for new and innovating ways of reimagining the business model of music distribution. Thus, the purpose of this study is to investigate the potential of video live-streaming as an addition to the current social media channels used to market artists. This was done through looking into what industry professionals think of the subject in terms of strategic reasoning and potential, observing an interactive live-stream with a Swedish boy band, and a questionnaire directed towards end-users and listeners of Swedish popular artists to define what their stance is towards music-related social media in general, and live-streaming in particular. The findings show that live-streaming certainly has a gap to fill in the social media tool-box at music companies through facilitating the defining process of superfans based on data analysis gathered from live-stream consumers, and that the channel has potential to create engagement beyond that of other social media platforms. Furthermore, end-users want to consume more live-stream content from Swedish artists. They want content that feels more personal and revealing, while utilizing the abstract feeling of “here and now” in order for it to be more interesting than other content on social media - something that the music industry professionals agree is important in live-streamed music content.
Musikbranschen är en av de branscher där digitaliseringen av innehålls- och distributionskanaler haft störst påverkan. Industrins inkomst skiftar från att huvudsakligen komma från fysiska till digitala kanaler samtidigt som musikbranschen har den största närvaron och de mest populära kontona i praktiskt taget alla sociala medier - musikindustrins nuvarande tillstånd är förändring. Detta har lett branschfolk in i letandet efter nya och innovativa sätt att återuppfinna affärsmodellen för musikdistribution. Således är syftet med denna studie att undersöka potentialen för video live-streaming som ett tillägg till de nuvarande sociala media-plattformar som används för att marknadsföra artister. Detta gjordes genom att titta på vad branschfolk tycker om ämnet vad gäller strategiska resonemang och potential, observera en interaktiv live-stream med ett svenskt pojkband, samt en enkät riktad till användare och lyssnare av svenska populära artister för att definiera vad deras inställning är till musikrelaterat innehåll i sociala medier i allmänhet, och live-streaming i synnerhet. Resultaten visar att live-streaming har en lucka att fylla i musikföretagens sociala medier-verktygslåda genom att underlätta definitionsprocessen av superfans baserat på dataanalys som samlats in från lives-streams, och att kanalen har potential att skapa engagemang utöver det som genereras av andra sociala medierna. Dessutom vill användare konsumera mer live-stream-innehåll från svenska artister. De vill ha innehåll som känns mer personligt och avslöjande, samtidigt som man utnyttjar den abstrakta känsla av "här och nu" för att det ska vara mer intressant än annat innehåll på sociala medier - något som musikindustrins yrkesverksamma också tycker är viktigt i live-streamat musikinnehåll.
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Chaliane, Junior Guilherme Dinis. "Churn Analysis in a Music Streaming Service : Predicting and understanding retention." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215709.

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Churn analysis can be understood as a problem of predicting and understanding abandonment of use of a product or service. Different industries ranging from entertainment to financial investment, and cloud providers make use of digital platforms where their users access their product offerings. Usage often leads to behavioural trails being left behind. These trails can then be mined to understand them better, improve the product or service, and to predict churn. In this thesis, we perform churn analysis on a reallife data set from a music streaming service, Spotify AB, with different signals, ranging from activity, to financial, temporal, and performance indicators. We compare logistic regression, random forest, along with neural networks for the task of churn prediction, and in addition to that, a fourth approach combining random forests with neural networks is proposed and evaluated. Then, a meta-heuristic technique is applied over the data set to extract Association Rules that describe quantified relationships between predictors and churn. We relate these findings to observed patterns in aggregate level data, finding probable explanations to how specific product features and user behaviours lead to churn or activation. For churn prediction, we found that all three non-linear methods performed better than logistic regression, suggesting the limitation of linear models for our use case. Our proposed enhanced random forest model performed mildly better than conventional random forest.
Churn analys kan förstås som ett tillvägagångssätt för att prediktera och förstå avslutad användning av en produkt eller tjänst. Olika industrier, som kan sträcka sig från underhållning till finansiell investering och molntjänsteleverantörer, använder digitala plattformar där deras användare har tillgång till deras produkter. Användning leder ofta till efterlämnande av beteendemönster. Dessa beteendemönster kan därefter utvinnas för att bättre förstå användarna, förbättra produkterna eller tjänsterna och för att prediktera churn. I detta arbete utför vi churn analys på ett dataset från en musikstreamingtjänst, Spotify AB, med olika signaler, som sträcker sig från aktivitet, till finansiella och temporala samt indikationer på prestanda. Vi jämför logistisk regression, random forest och neurala nätverk med uppgiften att utföra churn prediktering. Ytterligare ett tillvägagångssätt som kombinerar random forests med med neurala nätverk föreslås och utvärderas. Sedan, för att ta fram regler som är begripliga för beslutstagare, används en metaheuristisk teknik för datasetet, som beskriver kvantifierade relationer mellan prediktorer och churn. Vi sätter resultaten i relation till observerade mönster hos aggregerad data, vilket gör att vi hittar troliga förklaringar till hur specifika karaktärer hos produkten och användarmönster leder till churn. För prediktering av churn gav samtliga icke-linjära metoder bättre prestanda än logistisk regression, vilket tyder på begränsningarna hos linjära modeller för vårt användningsfall, och vår föreslagna förbättrade random forest modell hade svagt bättre prestanda än den konventionella random forest.
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Books on the topic "Music Streaming"

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Music and video streaming. New York: Rosen PublishinG, 2015.

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Wiebe, Andreas, and Leonhard Reis. Rights clearance for online music: Legal and practical problems from the perspective of a content provider and alternative models. Edited by ISPA (Internet Service Providers Austria) and European Parliament. Vienna, Austria: Medien und Recht Publishing, 2014.

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United States. Congress. Senate. Committee on the Judiciary. Music and radio in the 21st century: Assuring fair rates and rules across platforms : hearing before the Committee on the Judiciary, United States Senate, One Hundred Tenth Congress, second session, July 29, 2008. Washington: U.S. G.P.O., 2008.

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United States. Congress. Senate. Committee on the Judiciary. Music and radio in the 21st century: Assuring fair rates and rules across platforms : hearing before the Committee on the Judiciary, United States Senate, One Hundred Tenth Congress, second session, July 29, 2008. Washington: U.S. G.P.O., 2008.

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Bell, Samantha S. Before Streaming Music. North Star Editions, 2020.

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Bell, Samantha S. Before Streaming Music. North Star Editions, 2020.

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Bell, Samantha S. Before Streaming Music. North Star Editions, 2020.

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Colby, Jennifer. Phonograph to Streaming Music. Cherry Lake Publishing, 2019.

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Colby, Jennifer. Phonograph to Streaming Music. Cherry Lake Publishing, 2019.

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Colby, Jennifer. Phonograph to Streaming Music. Cherry Lake Publishing, 2019.

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Book chapters on the topic "Music Streaming"

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Donham, Tammy, Amy Sue Macy, and Clyde Philip Rolston. "Streaming." In Marketing Recorded Music, 187–203. 4th ed. New York: Focal Press, 2022. http://dx.doi.org/10.4324/9781003153511-10.

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Harker, Scott. "Mastering for streaming." In Mastering in Music, 77–103. [1.] | New York : Taylor and Francis, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429276590-6.

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Hagen, Anja Nylund. "Music Streaming the Everyday Life." In Networked Music Cultures, 227–45. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58290-4_14.

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Nowak, Raphaël, and Benjamin A. Morgan. "New Model, Same Old Stories?" In Music and Democracy, 61–84. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-003.

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At the turn of the 2020s, music is largely distributed and consumed via streaming services. This new »moment« in recorded music has attracted a lot of attention from scholars, with the aim of identifying the nature of transformations that are occurring at an economic and/or cultural level. This chapter critically assesses scholarly analyses of music production, distribution, and consumption in the age of streaming services. We note that accounts tend to work with specific assumptions underpinning the association between culture and technology, in particular in relation to the democratization of access. We argue in this chapter that music streaming services become a leitmotiv to anchor discourses about what music should ideally be, thus reproducing narratives that predate the emergence of music streaming.
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Werner, Ann. "Gendering and music streaming: Discourse and algorithms on a music streaming service." In Jahrbuch für Musikwirtschafts- und Musikkulturforschung, 9–24. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29706-0_2.

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Sinclair, Gary, and Grace Fox. "Music Streaming and Surveillance Capital." In Marketing the Arts, 113–25. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003021766-8.

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Cvetkovski, Trajce. "Streaming for Success." In The Pop Music Idol and the Spirit of Charisma, 157–85. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137494467_5.

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Nordgård, Daniel. "Assessing Music Streaming and Industry Disruptions." In Policy Implications of Virtual Work, 139–63. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52057-5_6.

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Ithurbide, Christine. "Telecom and Technology Actors Repositioning Music Streaming." In Platform Capitalism in India, 107–28. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44563-8_6.

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Manabe, Noriko. "Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice." In Networked Music Cultures, 67–76. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58290-4_5.

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Conference papers on the topic "Music Streaming"

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Chai, Jian Yong, Ken Kit Khen Lee, Kah Him Chan, Shao Xuan Wan, and Tin Tin Ting. "Digital Music: A Study of Factors in Influencing Online Music Streaming Service Purchase." In International Conference on Digital Transformation and Applications (ICDXA 2021). Tunku Abdul Rahman University College, 2021. http://dx.doi.org/10.56453/icdxa.2021.1018.

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Digitalization have caused the online subscription service industry to be one of the fastest growing industries in recent years especially the online music streaming service. To cope with the changes of the market demand transitioning from physical to digital, many companies from the music industry have been focusing on the digitalization of music streaming service as it is the most profitable subscription-based service. Therefore, it is crucial to examine the factors that may influence the adoption of online music streaming service, the Purchase Intention in the fee-based subscription. The objective of this study is to identify the factors that will affect the willingness of the consumers to subscribe to online music streaming service (Purchase Intention). Online questionnaire is conducted and the result is analysed by Pearson Correlation and Cohen’s f2, effect size. The findings show that Perceived Value (r=0.513, f2=0.36), Tangibility Preference (r=-0.349, f2=0.14), Music Affinity (r=0.229, f2=0.06) and Music Piracy Awareness (r=-0.380, f2=0.17) are the factors that will significantly influence the consumers’ Purchase Intention in online music streaming service. Keywords: Online Music Streaming Service, Perceived Value, Tangibility Preference, Music Affinity, Online Music Piracy
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Upham, Finn, and Julie Cumming. "Streaming complexity in the Renaissance Mass Ordinary cycle." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0013.

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Brost, Brian, Rishabh Mehrotra, and Tristan Jehan. "The Music Streaming Sessions Dataset." In The World Wide Web Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3308558.3313641.

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Araujo, Carlos Soares, Marco Cristo, and Rafael Giusti. "Predicting Music Popularity on Streaming Platforms." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10436.

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Online streaming platforms have become one of the most important forms of music consumption. Most streaming platforms provide tools to assess the popularity of a song in the forms of scores and rankings. In this paper, we address two issues related to song popularity. First, we predict whether an already popular song may attract higher-than-average public interest and become “viral”. Second, we predict whether sudden spikes in public interest will translate into long-term popularity growth. We base our findings in data from the streaming platform Spotify and consider appearances in its “Most-Popular” list as indicative of popularity, and appearances in its “Virals” list as indicative of interest growth. We approach the problem as a classification task and employ a Support Vector Machine model built on popularity information to predict interest, and vice versa. We also verify if acoustic information can provide useful features for both tasks. Our results show that the popularity information alone is sufficient to predict future interest growth, achieving a F1-score above 90% at predicting whether a song will be featured in the “Virals” list after being observed in the “Most-Popular”.
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"Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]." In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.
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REN, Jing, Robert Kauffman, and Dave King. "Two-Sided Value-Based Music Artist Recommendation in Streaming Music Services." In Hawaii International Conference on System Sciences. Hawaii International Conference on System Sciences, 2019. http://dx.doi.org/10.24251/hicss.2019.323.

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Weinberger, Maor, and Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]." In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
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Jihyun Park, Yongseok Seo, Wonyoung Yoo, and Youngho Suh. "Audio forensic marking for music streaming service." In 2013 International Conference on ICT Convergence (ICTC). IEEE, 2013. http://dx.doi.org/10.1109/ictc.2013.6675487.

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Weinberger, Maor, and Dan Bouhnik. "Personal music management: Usage habits in streaming." In iConference 2019. iSchools, 2019. http://dx.doi.org/10.21900/iconf.2019.103365.

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Pichl, Martin, Eva Zangerle, and Gunther Specht. "Understanding Playlist Creation on Music Streaming Platforms." In 2016 IEEE International Symposium on Multimedia (ISM). IEEE, 2016. http://dx.doi.org/10.1109/ism.2016.0107.

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Reports on the topic "Music Streaming"

1

Aguiar, Luis, and Joel Waldfogel. Streaming Reaches Flood Stage: Does Spotify Stimulate or Depress Music Sales? Cambridge, MA: National Bureau of Economic Research, October 2015. http://dx.doi.org/10.3386/w21653.

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