Relevant bibliographies by topics / Music streaming services

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

Academic literature on the topic 'Music streaming services'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Music streaming services"

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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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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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Sesigür, Onur. "How to approach collecting music on streaming services." Interactions: Studies in Communication & Culture 11, no. 1 (April 1, 2020): 65–74. http://dx.doi.org/10.1386/iscc_00006_1.

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Consumption, collection and curation activities on streaming music services are a relatively new phenomenon that has not yet been offered an abundance of ways to be approached. This article addresses the information nature of a song and the collection and curation practices on a streaming platform to propose a methodological approach at the intersection of personal information management (PIM) and collection studies. By discussing the state of ownership and experience on streaming, this methodological approach uses the concept of mediality to redefine the collectible as information and decentralizes it by putting the emphasis on the act of collecting. By viewing streaming songs as collectable information objects and focusing on the interaction and experience a listener has with the songs and the environment of the songs, an outline of how a streaming music collection can be studied is provided. The concepts of bookmark for the streaming song and address book for the personal streaming playlist are proposed to study streaming music consumption, collection and curation at the intersection of PIM and collection studies.
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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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Noor, Muhammad Usman, and Wihdah Askariyyah. "Improving Music Streaming Services Through Metadata: Case Study from JOOX Indonesia." Record and Library Journal 7, no. 1 (June 29, 2021): 125–33. http://dx.doi.org/10.20473/rlj.v7i1.116.

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Background of this Study: This article examines how digital music handled on music streaming services, JOOX Indonesia in particular. Purposes: The aims was to bring insight that metadata management skill could help an enhancement over music streaming services through metadata and to improve the user experience when using music streaming services. Method:A single case study is chosen as the research method for this paper. The researcher did three months internship to see how the music file handled on the back end of JOOX. Semi-structured qualitative interviews and documentary analysis were used to collect and triangulate the qualitative data. Findings: The result shows JOOX using its operational self-possession procedures to handle its digital music file and using its own metadata standard with adaptation from music metadata standard. JOOX has a feature that utilizes music lyric. We found that lyric metadata embedded as a distinct entity on their backend system. Since lyric frequently used by the user as an access point when they do the retrieval, we propose to embed lyric as a field on music metadata to improve search result. Conclusion: These research shows are lyric as the essential part when users enjoy the music in music streaming services. By embed lyric on music metadata, lyric could be able as an access point for retrieval. Moreover, lyric as metadata could be part of music digital file handling.
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Chang, Victor, Yifan Yang, Qianwen Ariel Xu, and Chang Xiong. "Factors Influencing Consumer Intention to Subscribe to the Premium Music Streaming Services in China." Journal of Global Information Management 29, no. 6 (November 2021): 1–25. http://dx.doi.org/10.4018/jgim.20211101.oa17.

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This study investigates the causes impacting the consumers' intention of the premium music streaming services' subscription in China. An integrated model called the Theory of Streaming Service Acceptance (TSSA) is proposed to explain and predict premium music streaming service subscription behaviors. The TSSA consists of four constructs: attitude, descriptive norm, injunctive norm and perceived behavioral control. The research data was collected in the form of an online survey in China with 120 respondents. Then, interviews were conducted to collect qualitative data from 20 participants. An explanatory sequential mixed method was implemented and the PLS-SEM technique was used to analyze the survey data. The results showed that all constructs in modified research mode, including attitude, injunctive norm and perceived behavioral control except descriptive norm, are indicative predictors for a person’s intention toward premium music streaming services’ subscription. Significant practical inspirations from the perspective of music streaming services providers are also summarized.
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Masdaner, Reynanta, and Poppy Ruliana. "Electronic Word Of Mouth Dan Brand Image Dalam Minat Beli Layanan Aplikasi Musik Spotify." Ganaya : Jurnal Ilmu Sosial dan Humaniora 4, no. 2 (September 10, 2021): 356–73. http://dx.doi.org/10.37329/ganaya.v4i2.1323.

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Currently the trend of listening to music using music application is gaining popularity. One of the most popular streaming music applications is Spotify. Spotify’s strong brand image makes it easy for the public to remember. Spotify’s brand image was formed through electronic word of mouth (eWOM). eWOM is marketing communication strategy that influences and generates buying interest when users see interesting and positive comments on the internet regarding the Spotify streaming music application product. This study aimsto determine the effect of eWOM and brand image on interest in purchasing Spotify premium services. What is meant by premium service is a paid feature to get full and ad free access. This study uses a quantitative approach using a survey method which conducted on 100 students of STIKOM Interstudi who are users of the Spotify streaming music application. The results show that eWOM and brand image have a positive influence on the interest in buying premium services for the Spotify streaming music application
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Chen, Charlie C., Steven Leon, and Makoto Nakayama. "Are You Hooked on Paid Music Streaming?" International Journal of E-Business Research 14, no. 1 (January 2018): 1–20. http://dx.doi.org/10.4018/ijebr.2018010101.

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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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Thomes, Tim Paul. "An economic analysis of online streaming music services." Information Economics and Policy 25, no. 2 (June 2013): 81–91. http://dx.doi.org/10.1016/j.infoecopol.2013.04.001.

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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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Dissertations / Theses on the topic "Music streaming services"

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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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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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Sporrong, Klara. "Optimizing Accessibility in Music Streaming Services : Research on how to provide access to music for the visually impaired." Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-136019.

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Accessibility is important in the development of digital products as well as in physical products. An accessible product enables all people to use it, whether they have a disability or not. This thesis focuses on accessibility for visually impaired people in a music streaming service on desktop. Many music streaming services for desktop are built with web technologies, including Spotify. The aim of this thesis was to evaluate the accessibility status of the Spo- tify desktop application as well as develop accessibility guidelines fo- cused on a music streaming service. A user test was performed to in- vestigate the accessibility status of the desktop application. Existing accessibility guidelines was studied and used together with the results of the user test to develop accessibility guidelines applicable to a music streaming service. It was found that the Spotify desktop application had many accessibility issues and these were considered when developing accessibility guide- lines. The existing guidelines studied was the WCAG 2.0 guidelines developed by W3C. These were read through completely and compiled in Chapter 4 of this report. The result of the thesis was accessibility guidelines suitable for a music streaming service on desktop. Since music streaming applications can be developed using different techniques and frameworks these guide- lines should be used as a guide on how to implement accessibility and needs to be customized for each use case. Though the fundamentals of the guidelines should be applicable to most music streaming desktop applications.
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Niu, Dandan. "La consommation de musique dans un écosystème." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEM008/document.

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Pendant des décennies, la France a imposé des quotas pour la musique francophone. Les stations de radio doivent réserver un pourcentage minimal de pièces musicales pour les chansons de langue française depuis 1996. Le développement des services de diffusion en continu, sans quotas, a changé notre façon d'écouter de la musique et pose un nouveau défi aux organismes de réglementation. L'applicabilité des quotas est de plus en plus difficile dans l'industrie de la radiodiffusion et pose la question du désavantage concurrentiel. Dans cette thèse, j'essaie de répondre à trois questions principales sur le thème de la consommation de musique dans cet écosystème en mutation. Dans un premier temps, j'examine empiriquement les réponses stratégiques des radios françaises aux quotas de musique francophone. Les stations respectent-elles les quotas? L'audience réalisée pour la musique francophone est-elle inférieure à ce qu'elle serait en l'absence de ces réponses stratégiques? Pour répondre à ces questions, j'utilise des données détaillées sur les listes de lecture des principales stations de radio en France pour montrer que les stations ont une certaine latitude pour ajuster leurs playlists soumises aux contraintes de quotas. Deuxièmement, je construis un ensemble de données pour fournir des preuves descriptives sur les services de radio et de streaming. Ce sont des modèles économiques entièrement différents et ils ne sont pas comparables sans ajuster l'ensemble de données pour refléter les différences. Afin de comparer le nombre de titres musicaux sur les stations de radio avec le nombre de flux sur les services de streaming, je développe une méthodologie pour combiner les données radio avec les données en streaming en France en 2016. Troisièmement, en utilisant cette nouvelle base de données, la variété des motifs et de la musique sur les services de streaming se compare à celle de la radio. Je fournis également des preuves empiriques sur les ex ternalités de consommation des deux marchés
For decades, France has imposed quotas for Francophone music. Radio stations need to reserve a minimum percentage of total song plays for French-language songs since 1996. The development of streaming services, which faces no quotas, has changed how we listen to music and poses a new challenge to regulators. The applicability of quotas is increasingly difficult in the radio broadcasting industry and raises the question of competitive disadvantage. In this thesis, I try to answer three main issues on the topic of music consumption in this changing ecosystem. First, I empirically examine the strategic responses of French radio stations to quotas for Francophone music. Do stations comply with the quotas? Is the realized audience for Francophone music lower than it would be in the absence of these strategic responses? To answer these questions, I use detailed data on the playlists of major radio stations in France to show that stations have some scope for adjusting their playlists subject to the quota constraints. Second, I build a dataset to provide some descriptive evidence on radio and streaming services. These are entirely different economic models, and are not comparable without adjusting the dataset to reflect the differences. In order to compare the audience number of music titles on radio stations with the number of streams on streaming services, I develop a methodology to combine radio data with streaming data in France in 2016. Third, using this novel dataset, I look at music consumption pattern and music variety on streaming services compares to that of radio. I also provide empirical evidence on the consumption externalities of both markets
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Furrer, Riccardo, Matilda Johansson, and My Larsson. "Att inte följa strömmen : En studie om differentiering bland musikstreamingtjänster." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-38754.

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Titel: Att inte följa strömmen – en studie om differentiering bland musikstreamingtjänsterFörfattare: Riccardo Furrer, Matilda Johansson och My LarssonHandledare: Kaisa LundKurs: Kandidatuppsats 15hp i Företagsekonomi inriktning Marknadsföring, Music & Event Managementprogrammet, Linnéuniversitetet, Höstterminen 2013SyfteSyftet med denna uppsats är att analysera de sätt digitala prenumerationstjänster inom musiksektorn kan differentiera sig på marknaden. Vi vill även undersöka vad det är konsumenten anser vara viktigt i valet av en digital musiktjänst.Vi har också arbetat kring en forskningsfråga: Hur kan företag bakom digitala prenumerationstjänster inom musiksektorn positionera sig på den svenska marknaden? Metod Vi har valt att göra en kvalitativ studie som tillslut antog en abduktiv ansats. Kvalitativ metod passade oss bäst då vårt mål var att gå in på djupet i vårt ämne och inte gå på kvantitet i våra empiriska undersökningar. Den empiriska studien består av tre personliga intervjuer med personer som är aktivt involverade och kunniga inom den digitala musikbranschen. Dessutom består empirin även av två fokusgrupper med personer som använder sig av musikstreamingtjänster samt två konsumentintervjuer då uppslutningen till sista fokusgruppen blev mycket dålig. Slutsatser Vi har genom den analys vi gjort hittat band mellan verklighet och teori som sedan kopplats till den digitala musikmarknaden. Främst blev det tydligt att kundens behov är av största vikt för att tjänsten skall kunna uppfylla sitt syfte.För att detta skall kunna göras i så stor utsträckning som möjligt bör företaget rikta sig mot segment för att få så homogena behov som möjligt. Dessa segment bör urskiljas genom analys av kunder och sedan separerade av aspekter baserat på exempelvis livsstil, ålder eller konsumtionsbeteende. Vi har genom analys av kunders önskemål och tankar kring digitala musiktjänster kunna skapa en bild av hur en differentiering på den digitala musikmarknaden bör se ut.
The purpose of this study is to analyze in which ways digital music subscription services may differentiate themselves from one another on the Swedish digital music market. We also want to examine how the companies providing these services can position themselves on the Swedish market by looking at what consumers of these kinds of services look for in a digital music service. To find answers we have decided to try to answer one question: How can companies behind digital music subscription services position themselves on the Swedish music market? For this study we have used a qualitative approach where we have conducted three personal interviews with people who are involved daily, in one way or another, with digital music streaming services. We also had focus groups with music service users and a few interviews with consumers. We chose this approach to get a deeper look into what customers want out of a service that offers music.By analyzing the empirical and theoretical data we could find a bond between reality and theory, which could be connected to the digital music market. It became particularly clear that customer need is the biggest importance for the service to fulfill its purpose. For this to be in the most way possible, the company must aim towards similar customer needs by creating segments in the market. These segments should be constructed trough an analysis of the customersand then separated by aspects based on lifestyle, age or consumer behavior. We have been analyzing customer needs and assumptions of music services. The results helped us create a picture of an ideal differentiation strategy of the Swedish digital music market.
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Häkkä, Max, and Ah Zau Marang. "Gränssnittsanalys av två olika musiktjänster." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-189148.

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Musikmarknaden har förändrats mycket de senaste åren. Många nya streamingtjänster har dykt upp på senare år och tiotals miljoner använder dessa tjänster idag (Borja et al., 2015). Användbarheten är en viktig aspekt för att användarna ska kunna använda dessa tjänster på ett tillfredsställande sätt. Denna studie undersöker två olika musiktjänsters gränssnitt ur ett användbarhetsperspektiv. 20 studenter från KTH besvarade en enkät om deras tidigare användning av musiktjänster. Sedan deltog studenterna i en ”Think Aloud”-undersökning där de fick utföra ett antal uppgifter på tjänsterna och där vi dessutom mätte effektivitet genom att ta tid samt beräkna antalet klick för varje uppgift. Slutligen fick studenterna besvara ett antal frågor i en kort intervju. Studien visade att båda tjänsterna visserligen hade funktioner som fungerade bättre än hos den andra tjänsten, men i slutändan var de mycket lika avseende användbarhet.
The music market has changed considerably in recent years and streaming has become one of the most popular ways to listen to music today. Many new streaming services have appeared and tens of millions of people use these today (Borja et al., 2015). Usability is important in order for users to be able to use these services in a satisfactory manner. This study examines two different music service interfaces from a usability perspective. 20 students from KTH answered a questionnaire about their prior use of music services. Afterwards the students participated in a Think Aloud study where they performed a number of tasks on services and where we additionally measured the efficiency by taking the time, in addition to calculating the number of clicks for each task. Finally, students were asked to answer a number of questions in a brief interview. The study shows that while both services had features that fared better in the study than for the other service, they were very similar when it came to usability.
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Štěpánková, Lucie. "Možnosti využití nástrojů digitálního marketingu v hudebním průmyslu." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-192808.

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The thesis titled "Use of digital marketing tools in the music industry" focuses on digital marketing and digital music and their mutual relationship. The aim is to describe the possibilities of digital marketing in today's music industry and explore the hypothesis that the Internet and digital music fundamentally affect modern music industry and thus the marketing of music artists and their work. The first part describes the transformation of the Internet into its present form. It also describes digital marketing, its history, tools and significant trends. The second defines the music industry and explain its structure and the change, which it is currently undergoing, due to the advent of digital music. The third part presents the analysis of individual digital music distribution and marketing tools.
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Daly, James. "Brand management vybrané značky." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2015. http://www.nusl.cz/ntk/nusl-234354.

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Cilem teto diplomove prace je zamerit se na predmet ktery se tyka rizeni znacky (branding). Primarnim cilem je shrnout problematiku rizeni znacky a nasledne aplikovat dosazene poznatky o vybrane znacce pusobici na ceskem trhu v prumyslu onlinovych hudebnich prehravacu. To znamena vyhodnoceni analyticke casti, ktera popisuje stavajici strategii rizene znacky a jeji soucasnou situaci na trhu. Zminene vyhodnoceni znacky vychazelo z prehledu teoretickych ramcu a jejich strategickych moznosti obsazenych v teoreticke casti. Nasledne jsou navrzeny pripadna doporuceni, ktera nabizi strategicke moznosti rizeni znacky, jez jsou navrzeny k tomu, aby znacce pomohli vylepsit svou pozici na ceskem trhu.
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Bennett, James. "Strategies for Achieving Profitability in the Music Streaming Service Business Model." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/6170.

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Although the rapid growth of the music streaming industry has led to record levels of global music consumption, many leaders in the music streaming industry have not developed a financially sustainable business model for music streaming. This descriptive single case study focused on strategies that some global music streaming service leaders used to generate sustainable profits through their business models. Christensen's theory of disruptive innovation served as the conceptual framework for this study. Semistructured interviews with the chief executive officer and 4 senior managers of a leading music streaming service in southeastern Asia were analyzed to identify themes. Secondary data collected for this research included practitioner reports, government reports, company documentation, and peer-reviewed journal articles. During data analysis, I used method triangulation to generate insights regarding the key themes identified in the literature review. Analysis of the data revealed strategies that global music streaming leaders used to generate profits: (a) optimization of the firm's dynamic capabilities, (b) optimization of the subscription and freemium business models, and (c) a deliberate focus on the niche of local music. The findings of this study could be useful to music streaming service leaders who need to generate sustainable revenues and lack the strategies to do so on their own as well as to music streaming leaders who want their service to implement a disruptive innovation strategy. Additionally, the findings of this study might promote social change by generating awareness of proven strategies leading to sustainable profits for music streaming services and job security for artists who contribute to sustaining or increasing local economies cash flows and taxable incomes.
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Books on the topic "Music streaming services"

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Werner, Ann. Digitally Mediated Identity in the Cases of Two Sámi Artists. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.21.

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This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.
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Book chapters on the topic "Music streaming services"

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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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Chang, Ying-Han, and Muh-Chyun Tang. "Serendipity with Music Streaming Services: The Mediating Role of User and Task Characteristics." In Transforming Digital Worlds, 435–41. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78105-1_48.

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Sánchez-Moreno, Diego, María N. Moreno-García, Nasim Sonboli, Bamshad Mobasher, and Robin Burke. "Inferring User Expertise from Social Tagging in Music Recommender Systems for Streaming Services." In Lecture Notes in Computer Science, 39–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92639-1_4.

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Kim, Changkeun, Byungjoon Yoo, and Jaehwan Lee. "Who Picks Cherries? Understanding Consumers’ Cherry Picking Behavior in Online Music Streaming Services." In Lecture Notes in Business Information Processing, 115–22. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-67781-7_11.

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Knees, Peter. "Scaling Up Broken Systems? Considerations from the Area of Music Streaming." In Perspectives on Digital Humanism, 165–71. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86144-5_23.

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AbstractWe discuss the effects and characteristics of disruptive business models driven by technology, exemplified by the developments in music distribution and consumption over the last 20 years. Starting from a historical perspective, we offer insights into the current situation in music streaming, where technology has not only changed the way we access music but also has important implications on the broader ecosystem, which includes the consumers, the authors, the record industry, and the platforms themselves. The discussion points to potential benefits, as well as to the risks involved in the currently deployed systems. We conclude that the increased profitability of the disruptive business models in the music domain and beyond is largely generated at the expense of the providers of the goods or services being brokered. Using the platforms as a consumer further subsidizes their value and might lead to mono- and oligopolies. While technology allows companies to effectively scale up business, the resulting systems more often amplify existing injustices than mitigate them.
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Sánchez-Moreno, Diego, Ana B. Gil González, M. Dolores Muñoz Vicente, Vivian López Batista, and María N. Moreno-García. "Recommendation of Songs in Music Streaming Services: Dealing with Sparsity and Gray Sheep Problems." In Advances in Intelligent Systems and Computing, 206–13. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61578-3_21.

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Hu, Xiao, Ira Keung Kit Tam, Meijun Liu, and J. Stephen Downie. "Music Artist Similarity: An Exploratory Study on a Large-Scale Dataset of Online Streaming Services." In Transforming Digital Worlds, 378–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78105-1_41.

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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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Jovanovska, Lidija, Bojan Evkoski, Miroslav Mirchev, and Igor Mishkovski. "Demographic Analysis of Music Preferences in Streaming Service Networks." In Complex Networks XI, 233–42. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40943-2_20.

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Danckwerts, Sebastian, Helena Maria Lischka, and Peter Kenning. "Freemium Service Business Models – Eine empirische Analyse der Akzeptanz von kostenpflichtigen Musik-Streaming-Diensten." In Service Business Development, 235–60. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-22424-0_11.

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Conference papers on the topic "Music streaming services"

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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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Hung, Chih-Cheih, Chun-Yu Kuo, Hui-Huang Hsu, and Yian Chen. "Identifying Niche Singers in Online Music Streaming Services." In 2018 IEEE 16th Intl Conf on Dependable, Autonomic and Secure Computing, 16th Intl Conf on Pervasive Intelligence and Computing, 4th Intl Conf on Big Data Intelligence and Computing and Cyber Science and Technology Congress(DASC/PiCom/DataCom/CyberSciTech). IEEE, 2018. http://dx.doi.org/10.1109/dasc/picom/datacom/cyberscitec.2018.00065.

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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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"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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Raff, Andreas, Andreas Mladenow, and Christine Strauss. "Music Discovery as Differentiation Strategy for Streaming Providers." In iiWAS '20: The 22nd International Conference on Information Integration and Web-based Applications & Services. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3428757.3429151.

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Cheng, Zhiyong, Jialie Shen, Lei Zhu, Mohan Kankanhalli, and Liqiang Nie. "Exploiting Music Play Sequence for Music Recommendation." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/511.

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Users leave digital footprints when interacting with various music streaming services. Music play sequence, which contains rich information about personal music preference and song similarity, has been largely ignored in previous music recommender systems. In this paper, we explore the effects of music play sequence on developing effective personalized music recommender systems. Towards the goal, we propose to use word embedding techniques in music play sequences to estimate the similarity between songs. The learned similarity is then embedded into matrix factorization to boost the latent feature learning and discovery. Furthermore, the proposed method only considers the k-nearest songs (e.g., k = 5) in the learning process and thus avoids the increase of time complexity. Experimental results on two public datasets demonstrate that our methods could significantly improve the performance of both rating prediction and top-n recommendation tasks.
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Mogale, Hope, and M. B. Esiefarienrhe. "Optimizing Recommendation Algorithms Using Self-Similarity Matrices for Music Streaming Services." In 2021 International Conference on Artificial Intelligence, Big Data, Computing and Data Communication Systems (icABCD). IEEE, 2021. http://dx.doi.org/10.1109/icabcd51485.2021.9519370.

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Jain, Goonjan, Manish Wadhwani, Sohang Lal, and Tarun Verma. "Expert based Recommendation system using Community detection in Online Music Streaming services." In 2021 5th International Conference on Computing Methodologies and Communication (ICCMC). IEEE, 2021. http://dx.doi.org/10.1109/iccmc51019.2021.9418374.

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"INDIVIDUAL'S INTENTION TO SUBSCRIBE TO FREEMIUM MUSIC STREAMING SERVICES: A CONCEPTUAL FRAMEWORK." In International Conferences on ICT, Society and Human Beings (ICT 2020), Connected Smart Cities (CSC 2020) and Web Based Communities and Social Media (WBC 2020). IADIS Press, 2020. http://dx.doi.org/10.33965/ict_csc_wbc_2020_202008c029.

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Sretenovic, Miodrag, Bozidar Kovacic, and Aleksandar Skendzic. "The platform for the content exchange between Internet music streaming services and discographers." In 2017 40th International Convention on Information and Communication Technology, Electronics and Microelectronics (MIPRO). IEEE, 2017. http://dx.doi.org/10.23919/mipro.2017.7973644.

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