Journal articles: '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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Hagen, Anja N., and Marika Lüders. "Social streaming? Navigating music as personal and social." Convergence: The International Journal of Research into New Media Technologies 23, no. 6 (October 18, 2016): 643–59. http://dx.doi.org/10.1177/1354856516673298.

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Music-streaming services embed social features that enable users to connect to one another and use music as social objects. This article examines how these features are experienced within negotiations of music as personal and social through the acts of sharing music and of following others. The analysis relies on 23 focus-group interviews with 124 Spotify and/or Tidal users and a mixed-method study including music-diary self-reports, online observation and interviews with 12 heavy users. Our findings suggest that users incorporate social awareness in non-sharing, selective-sharing and all-sharing approaches with strong, weak and absent ties. These ties are characterized by different configurations of social and music homophily. Negotiations of music as personal and social shape how music-streaming services are experienced.

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Tang, Diming, and Robert Lyons. "An ecosystem lens: Putting China’s digital music industry into focus." Global Media and China 1, no. 4 (December 2016): 350–71. http://dx.doi.org/10.1177/2059436416685101.

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

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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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Tabata, Tomohiro, and Tse Yu Wang. "Life Cycle Assessment of CO2 Emissions of Online Music and Videos Streaming in Japan." Applied Sciences 11, no. 9 (April 28, 2021): 3992. http://dx.doi.org/10.3390/app11093992.

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In this study, we analyzed the CO2 emissions of online music and video streaming services, as one of the digital contents, in Japan using life cycle assessment. As a system boundary of online music and video streaming, processes such as data center construction and server manufacturing, usage of communication networks and internet communication technology devices (personal computers (PCs) and smartphones), and disposal of data centers and servers were considered. Data were collected using statistical and online surveys, and CO2 emissions per 1 MB of communication volume were calculated. One of the results revealed that the lifecycle CO2 emissions of listening to online music using PCs and smartphones were 5.88 × 10−4 and 1.43 × 10−4 kg-CO2/MB, respectively. The overall CO2 emissions for domestic music and video streaming services in 2019 was 921 thousand t-CO2. Online video streaming accounted for 87.7% of the total emissions, which corresponded to approximately 0.23% of domestic CO2 emissions derived from electric power generation.

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Chan-Olmsted, Sylvia, Rang Wang, and Kyung-Ho Hwang. "Substitutability and complementarity of broadcast radio and music streaming services: The millennial perspective." Mobile Media & Communication 8, no. 2 (September 9, 2019): 209–28. http://dx.doi.org/10.1177/2050157919856647.

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Digital technologies have redefined how people use audio media, especially for the millennial audience segment. Faced with the challenge from streaming music, many broadcast radio stations have launched their own mobile apps to compete with the new audio services such as Spotify. Guided by the uses and gratifications conceptual framework, this study employed a national survey to investigate millennials’ perceptions of the substitutability and complementarity of broadcast radio, its apps, and music streaming services. The results showed that while radio listeners perceived broadcast radio and its apps as similar products, they regarded music streaming services as distinct from the two. In addition, this study examined motivators behind the diverse perceptions and identified information, escapism, entertainment, and socialization as important. The results suggest that radio stations should take advantage of the mobile technology and offer unique values through their apps, rather than duplicate the offline consumption experience.

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Pongnumkul, Suchit, and Kazuyuki Motohashi. "A bipartite fitness model for online music streaming services." Physica A: Statistical Mechanics and its Applications 490 (January 2018): 1125–37. http://dx.doi.org/10.1016/j.physa.2017.08.108.

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Hagen, Anja Nylund. "The Playlist Experience: Personal Playlists in Music Streaming Services." Popular Music and Society 38, no. 5 (March 10, 2015): 625–45. http://dx.doi.org/10.1080/03007766.2015.1021174.

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Fernandes, Teresa, N. A. Jo�ã, and o. Guerra. "Drivers and deterrents of music streaming services purchase intention." International Journal of Electronic Business 15, no. 1 (2019): 21. http://dx.doi.org/10.1504/ijeb.2019.099061.

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Guerra, Jo�ão, and Teresa Fernandes. "Drivers and deterrents of music streaming services purchase intention." International Journal of Electronic Business 15, no. 1 (2019): 21. http://dx.doi.org/10.1504/ijeb.2019.10020273.

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Morris, Jeremy Wade, and Devon Powers. "Control, curation and musical experience in streaming music services." Creative Industries Journal 8, no. 2 (July 3, 2015): 106–22. http://dx.doi.org/10.1080/17510694.2015.1090222.

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Talarico, Donna. "Music to a marketer's ears: Streaming services and recruitment." Recruiting & Retaining Adult Learners 23, no. 10 (June 10, 2021): 3–11. http://dx.doi.org/10.1002/nsr.30750.

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Borja, Karla, Suzanne Dieringer, and Jesse Daw. "The effect of music streaming services on music piracy among college students." Computers in Human Behavior 45 (April 2015): 69–76. http://dx.doi.org/10.1016/j.chb.2014.11.088.

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Im, Hyunsuk, Haeyeop Song, and Jaemin Jung. "The effect of streaming services on the concentration of digital music consumption." Information Technology & People 33, no. 1 (June 7, 2019): 160–79. http://dx.doi.org/10.1108/itp-12-2017-0420.

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

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Hsu, Chiehwen, Yeshwant Raj, and Bob Sandy. "Music Streaming Characteristics and Consumption Emotion as Determinants of Consumer Satisfaction and Purchase Intention." Contemporary Management Research 17, no. 3 (September 1, 2021): 157–88. http://dx.doi.org/10.7903/cmr.20647.

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The present study analyzes consumers perceptions of music streaming and how such perceptions might influence customers brand loyalty and purchase intent. The competitive advantages of music streaming, widely known for its cost-saving measures, ease of use, and worldwide accessibility, are carefully reviewed herein. The S-O-R Theory commonly employed in psychology studies is applied in this study to explain the relationship between the product characteristics of streaming music (e.g., price, content quality, functionality, convenience, and design) and consumer behavior as seen by consumption emotions. This relationship is viewed as either positive or negative in consumer satisfaction and purchase intention. The data were collected through an online web-based survey questionnaire. One thousand seven (1007) subjects from Indonesia completed the survey. The Structured Equation Modeling (SEM) was used to examine the relationship among product attributes, consumer satisfaction, and purchase intention. Our study findings revealed a strong association between emotion and particular product characteristics, whereby a positive emotion exists across all product characteristics in music streaming services. The design variable is the most popular function of all music streaming services product attributes. Our findings suggest that either positive or negative emotions may predict the functionality constructions in comparison with previous research results. On the other hand, the findings of the present study suggest that only positive emotions can influence the satisfaction level of consumers and, in turn, affect the consumers purchasing intent

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Razlogova, Elena. "Provincializing Spotify: Radio, algorithms and conviviality." Radio Journal:International Studies in Broadcast & Audio Media 18, no. 1 (April 1, 2020): 29–42. http://dx.doi.org/10.1386/rjao_00014_1.

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Focusing on early experiments with algorithms and music streaming at WFMU, the longest-running US freeform radio station, and the Free Music Archive (FMA), a curated open music website, this article shows how commercial streaming services have been indebted to independent, open music infrastructures but have then erased and denied that history. The article ‘provincializes’ music streaming platforms such as Spotify by focusing not on their commercial aims but instead on the ‘convivial’, collaborative practices and spaces that their software engineers and users inhabited. I analyse an experimental national telephone broadcasting service at WFMU in 1989, an algorithmic WFMU radio stream ‘The Flaming Robot of Love’ during the Republican National Convention in 2004 and the ‘Free Music Archive Radio App’ that recommended tracks on the FMA website from 2011 to 2016. The app worked with an application programming interface (API) from Echo Nest. Echo Nests’ algorithmic recommendation engine also powers most commercial streaming services today. When Spotify purchased Echo Nest in 2014 and took the start-up’s open API offline in 2016, it engaged in ‘primitive accumulation’ of open-access knowledge and resources for commercial purposes. The FMA closed in 2019 and now only exists as a static site. As social institutions, however, WFMU and FMA ‘recomposed’ ‐ adapted to a new medium and a new political context ‐ collaborative engineering practices of the early broadcasting era. The article argues that moments of oppositional ‘conviviality’ in media culture such as the FMA should be analysed as elements of a continuous struggle.

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Mason, James, and Jared Wiercinski. "Streaming Audio Services in Canadian Academic Libraries." Music Reference Services Quarterly 12, no. 3-4 (November 30, 2009): 69–91. http://dx.doi.org/10.1080/10588161003776266.

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Wulandari, Diyah, Usep Suhud, and Unggul Purwohedi. "The Influence Factors of Continuance Intention to Use a Music Streaming Application." International Journal on Advanced Science, Education, and Religion 2, no. 2 (June 28, 2019): 17–25. http://dx.doi.org/10.33648/ijoaser.v2i2.32.

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Currently, streaming music applications have a high demand by smartphone users in Indonesia. Streaming music applications is new trend and can’t be separated from the people daily life, because of the need for full access, easy and inexpensive music services. This study aimed to find out the factors that influence continuance intention to use a music streaming application. This study uses variable perceived ease of use, perceived enjoyment, entertainment, habit, social influence, satisfaction and continuance intention. The data used in research is primary data obtained from online questionnaires. Sample in this study were 200 respondents streaming music application users from Spotify in the Greater Jakarta area. The sampling technique of this study was non-probability sampling with purposive sampling method. This study uses a quantitative approach through statistical analysis. Tests conducted using Structural Equation Modeling (SEM) with the help of analysis of moment structures (AMOS 24). This result shows that perceived ease of use, perceived enjoyment, and entertainment have a positive and significant effect toward satisfaction. Satisfaction and habit have a positive and significant effect toward continuance intention. Meanwhile social influence has a negative and significant effect toward continuance intention.

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Prey, Robert. "Nothing personal: algorithmic individuation on music streaming platforms." Media, Culture & Society 40, no. 7 (November 30, 2017): 1086–100. http://dx.doi.org/10.1177/0163443717745147.

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Raymond Williams once wrote, ‘… there are in fact no masses, but only ways of seeing people as masses’. In an age of personalized media, the word ‘masses’ seems like an anachronism. Nevertheless, if Williams were to study contemporary online platforms, he would no doubt conclude that there are in fact no individuals, but only ways of seeing people as individuals. This article explores this idea by taking a closer look at online music streaming services. It first conducts a comparison of how two leading streaming platforms conceive of the individual music listener. Then, drawing from Gilbert Simondon’s theory of individuation, it demonstrates how ways of seeing the individual work to enact the individual on these platforms. In particular, ways of seeing are heavily influenced by the consumer categories that are defined and demanded by advertisers. This article concludes with an examination of how commercial imperatives shape ‘ways of seeing’ and ‘algorithmic individuation’ on music streaming platforms.

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Gutarova, S. L., Ye A. Maksakova, Ye A. Mosina, Ye V. Nekrasova, and S. P. Rassadina. "THE DESIGN OF THE PROTOTYPE MOBILE MUSIC APPLICATION." Technologies & Quality 50, no. 4 (December 23, 2020): 27–32. http://dx.doi.org/10.34216/2587-6147-2020-4-50-27-32.

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The article analyses the UI and UX concepts of popular music platforms and streaming services in terms of usability and functionality. Popular analogues of music apps are analysed – Apple music, YouTube music, Yandex music, Boom. The results of a design study devoted to the problem of promoting young performers to the music market are presented. Topicality of the problem is confirmed by the growing popularity of music services and applications among users. The stages of developing a prototype of a music application using the Figma programme are presented. The process of team work on a prototype of a mobile application with planning of project stages and distribution of tasks between team members, using scrum technology is shown.

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Chung, Jaemin, Jiho Lee, and Janghyeok Yoon. "Understanding music streaming services via text mining of online customer reviews." Electronic Commerce Research and Applications 53 (May 2022): 101145. http://dx.doi.org/10.1016/j.elerap.2022.101145.

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Towse, Ruth. "Dealing with digital: the economic organisation of streamed music." Media, Culture & Society 42, no. 7-8 (June 10, 2020): 1461–78. http://dx.doi.org/10.1177/0163443720919376.

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The intervention of digital service providers (DSPs) or platforms, such as Spotify Apple Music and Tidal, that supply streamed music has fundamentally altered the operation of copyright management organisations (CMOs) and the way song-writers and recording artists are paid. Platform economics has emerged from the economic analysis of two- and multi-sided markets, offering new insights into the way business is conducted in the digital sphere and is applied here to music streaming services. The business model for music streaming differs from previous arrangements by which the royalty paid to song-writers and performers was a percentage of sales. In the case of streamed music, payment is based on revenues from both subscriptions and ad-based free services. The DSP agrees a rate per stream with the various rights holders that varies according to the deal made with each of the major record labels, with CMOs, with representatives of independent labels and with unsigned artists and song-writers with consequences for artists’ earnings. The article discusses these various strands with a view to understanding royalty payments for streamed music in terms of platform economics, offering some data and information from the Norwegian music industry to give empirical support to the analysis.

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Vaz de Melo, Gabriel Borges, Ana Flávia Machado, and Lucas Resende de Carvalho. "Music consumption in Brazil: an analysis of streaming reproductions." PragMATIZES - Revista Latino-Americana de Estudos em Cultura 10, no. 19 (September 1, 2020): 141. http://dx.doi.org/10.22409/pragmatizes.v10i19.40565.

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Music is one of the cultural segments that most adapts and innovates, as observed in the recent rise of streaming services. The consumption of digital music has altered the dynamics of the market and the way people enjoy it. The aim of this article is to show trends and tastes of Brazilian individuals, taking into account musical genres. For this purpose, it uses data of playlists collected from the Spotify streaming platform through its API. The results show that genres such as sertanejo universitário and international pop have great national reach. However, other national genres and artists with less popularity have a relevant and distinct demand in some Brazilian cities. Our analysis indicates both the maintenance of the traditional consumption as the rise of the mass-replacement model. Therefore, a regionalization of the musical taste in Brazil is evidenced,which suggests a potential of musical niches in the context of the streaming market.

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Budiman, Muhammad Arief, and Gst Ayu Vida Mastrika Giri. "Song Recommendations Based on Artists with Cosine Similarity Algorithms and K-Nearest Neighbor." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 4 (February 4, 2020): 367. http://dx.doi.org/10.24843/jlk.2020.v08.i04.p01.

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The development of the music industry is currently growing rapidly, millions of music works continue to be issued by various music artists. As for the technologies also follows these developments, examples are mobile phones applications that have music subscription services, namely Spotify, Joox, GrooveShark, and others. Application-based services are increasingly in demand by users for streaming music, free or paid. In this paper, a music recommendation system is proposed, which the system itself can recommend songs based on the similarity of the artist that the user likes or has heard. This research uses Collaborative Filtering method with Cosine Similarity and K-Nearest Neighbor algorithm. From this research, a system that can recommend songs based on artists who are related to one another is generated.

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Soares Araujo, Carlos Vicente, Marco Antônio Pinheiro de Cristo, and Rafael Giusti. "A Model for Predicting Music Popularity on Streaming Platforms." Revista de Informática Teórica e Aplicada 27, no. 4 (December 23, 2020): 108–17. http://dx.doi.org/10.22456/2175-2745.107021.

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The global music market moves billions of dollars every year, most of which comes from streamingplatforms. In this paper, we present a model for predicting whether or not a song will appear in Spotify’s Top 50, a ranking of the 50 most popular songs in Spotify, which is one of today’s biggest streaming services. To make this prediction, we trained different classifiers with information from audio features from songs that appeared in this ranking between November 2018 and January 2019. When tested with data from June and July 2019, an SVM classifier with RBF kernel obtained accuracy, precision, and AUC above 80%.

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Ham, Minjeong, and Sang Woo Lee. "Factors Affecting the Popularity of Video Content on Live-Streaming Services: Focusing on V Live, the South Korean Live-Streaming Service." Sustainability 12, no. 5 (February 27, 2020): 1784. http://dx.doi.org/10.3390/su12051784.

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Naver V Live, a South Korean live-streaming service, showcases video contents specific to the entertainment industry, such as K-pop and music. On V Live, K-pop stars and their fans can interact directly in a natural way, and V Live provides high-quality video content with novel topics. This study has identified key characteristics of video content that affect its popularity. A total of 620 video contents of five leading Star channels were classified on the basis of production company, type of video content, and whether it was live-streamed or not. The popularity of video content was measured by the number of comments, hearts, and views. To control potential bias, additional variables were set as control variables—such as the number of channel subscribers, mini-album sales, if the video content was previewed, and cumulative number of days since the video content was uploaded. For analysis, a hierarchical linear regression was conducted. The findings suggest future directions in video content planning.

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Kalaganis, F. P., D. A. Adamos, and N. A. Laskaris. "Musical NeuroPicks: A consumer-grade BCI for on-demand music streaming services." Neurocomputing 280 (March 2018): 65–75. http://dx.doi.org/10.1016/j.neucom.2017.08.073.

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Almqvist, Cecilia Ferm. "Thinking, being, teaching and learning with Spotify: Aspects of existential and essential musical bildung through listening in the classroom." Journal of Music, Technology and Education 12, no. 3 (December 1, 2019): 279–96. http://dx.doi.org/10.1386/jmte_00011_1.

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Streaming media seems to have become a natural part in teachers’ professional life. Streamed music, primarily distributed by the company Spotify, sounds in most music and dance classrooms, not least in Swedish schools. Hence, the concepts of digitalization and listening are accentuated within the area of music education. Within the frames of a larger border-crossing research project financed by Wallenbergstiftelsen ‐ ‘Evolving bildung in the nexus of streaming services, art and users: Spotify as a case’, which aims to explore the meaning and function of streaming media as a facilitator of bildung, using Spotify as a case ‐ this presentation takes two interviews regarding Spotify use as a starting point. One music teacher and one dance teacher, among sixteen participants, were interviewed about their use of Spotify. The aim with the specific analysis was to describe the phenomenon of bildung regionalized to relational school settings, where streamed music, teachers and students come together in intended learning situations. The interviews were stimulated by the teachers’ own Spotify interfaces, and documented by the virtual communication tool Zoom. They were transcribed and analysed in a phenomenological narrative manner. The narrative is shaped as a dialogue between the two teachers, to make similarities and differences regarding relations with Spotify in the classroom setting visible. The result shows aspects of existential and essential bildung through listening taking place as being, thinking and acting with Spotify in the spirit of Heidegger.

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Lee, Minhyung, HanByeol Choi, Daegon Cho, and Heeseok Lee. "Cannibalizing or Complementing?. The Impact of Online Streaming Services on Music Record Sales." Procedia Computer Science 91 (2016): 662–71. http://dx.doi.org/10.1016/j.procs.2016.07.166.

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Matsumoto, Yui, Ryosuke Harakawa, Takahiro Ogawa, and Miki Haseyama. "Context-Aware Network Analysis of Music Streaming Services for Popularity Estimation of Artists." IEEE Access 8 (2020): 48673–85. http://dx.doi.org/10.1109/access.2020.2978281.

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Sanitnarathorn, Pannawit, and Pornpun Prajaknate. "An Analysis of Factors Affecting Thai Consumers’ Intention to Use Music Streaming Services." Asian International Journal of Social Sciences 18, no. 1 (January 3, 2018): 1–19. http://dx.doi.org/10.29139/aijss.20180101.

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Glantz, Mark. "Internet Radio Adopts a Human Touch: A Study of 12 Streaming Music Services." Journal of Radio & Audio Media 23, no. 1 (January 2, 2016): 36–49. http://dx.doi.org/10.1080/19376529.2016.1155124.

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Wlömert, Nils, and Dominik Papies. "On-demand streaming services and music industry revenues — Insights from Spotify's market entry." International Journal of Research in Marketing 33, no. 2 (June 2016): 314–27. http://dx.doi.org/10.1016/j.ijresmar.2015.11.002.

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Barata, Mariana Lopes, and Pedro Simões Coelho. "Music streaming services: understanding the drivers of customer purchase and intention to recommend." Heliyon 7, no. 8 (August 2021): e07783. http://dx.doi.org/10.1016/j.heliyon.2021.e07783.

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Suharyono, Suharyono, and Ajeng Suasti Astuti. "The Impact of Brand Image, Product Quality, Price, and Promotion on Premium Plan Purchase Decisions on the Spotify Music Streaming App." FOCUS 1, no. 1 (February 15, 2020): 1–11. http://dx.doi.org/10.37010/fcs.v1i1.265.

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Digitalization in every industry continues to develop, which is also happened to the music industry. Music streaming applications are a technology that is in great demand today. Spotify is an on-demand music service application that is popular among music lovers. Spotify offers a free package and paid (premium) package services. The difference between the two service models lies in the quality and different service features. The purpose of this thesis is to analyze the influence of brand image, product quality, price, and promotion on premium package purchase decisions on the Spotify music streaming application. Research data obtained by survey method using a questionnaire. With a sample of 100 respondents. The analysis technique used is Structural Equation Modeling (SEM) using the AMOS 22 program. The results of this study showed that brand image, product quality, price, and promotion simultaneously have a positive effect on purchasing decision. Then brand image and product quality variables partially have a positive and significant effect on purchasing decisions, evidenced by the value of each CR is greater than 1.96 (CR> 1.96) and the significance value is smaller than 0.05 (P <0.05).

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Hamilton, Craig. "Popular music, digital technologies and data analysis: New methods and questions." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (March 4, 2019): 225–40. http://dx.doi.org/10.1177/1354856519831127.

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This article explores how respondents to The Harkive Project ( www.harkive.org ) are enfolding streaming services and automated recommendation systems into their everyday music reception practices. Harkive is an online project running annually on a single day in July that invites people to provide detail and reflection on their experiences with music. Since the project first ran in 2013, it has gathered over 10,000 individual entries. It is conceived as an ongoing experiment in research methodology that attempts to produce an online social space that encourages reflection from respondents about the detail of their music reception practice, while simultaneously acting as a place able to replicate commercial practices around data collection and analysis. This article will demonstrate how such a research process can produce rich descriptive data from respondents who provide a useful snapshot of contemporary music reception practice. The article begins with an overview of how streaming services, data collection from numerous online channels and automated recommendation systems interrelate, and how together they raise questions around how people engage in acts of music reception. It then describes how Harkive is based on similar types of computational/algorithmic processing to those used by key players in the digital music space. The analysis that follows shows that although respondents are engaging in everyday use of streaming services and dynamic recommendations, this engagement tends to be spread across a variety of online channels used in differing combinations, and that it is often recommendations from ‘traditional’ routes, such as media outlets (newspapers, radio stations) and users’ own social groups, that feature prominently in respondent descriptions. Indeed, what Nowak (2016) calls the ‘affective’ element of recommendation appears to be rooted in existing practices that are still in the process of being transposed to the relatively recently emerged digital platforms, rather than – and sometimes in spite of – the rhetorical framing of those platforms as key sites for recommendation and discovery by the companies who operate them. Through a discussion of those findings, and based on an update of Michael Bull’s concept of ‘auditory nostalgia’ (2009), it is then suggested that examining how listeners are enfolding the new technologies of music reception into their everyday routines and routes to meaning-making may be a useful direction for future research. The article then suggests that a mode of working where scholars attempt to reflexively harness data-derived processes may be useful in producing that work, and that experimental and practice-led approaches could enable popular music scholars and listeners alike to develop better epistemic responses to the data-related technologies that have recently helped bring about such huge changes in our everyday music reception practice.

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Menkin, A. V. "Development of a Music Recommender System Based on Content Metadata Processing." Vestnik NSU. Series: Information Technologies 17, no. 3 (2019): 43–60. http://dx.doi.org/10.25205/1818-7900-2019-17-3-43-60.

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Music recommender systems (MRS) help users of music streaming services to find interesting music in the music catalogs. The sparsity problem is an essential problem of MRS research. It refers to the fact that user usually rates only a tiny part of items. As a result, MRS often has not enough data to make a recommendation. To solve the sparsity problem, in this paper, a new approach that uses related items’ ratings is proposed. Hybrid MRS based on this approach is described. It uses tracks, albums, artists, genres normalized ratings along with information about relations between items of different types in the music catalog. The proposed MRS is evaluated and compared to collaborative method for users’ preferences prediction.

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Sindu Prawito, Ponsen, and Afdan Fachrurrizal. "PERANCANGAN LAYANAN INTERNET RADIO UNTUK RADIO KONVENSIONAL (Studi Kasus Radio Konvensional di Kota Bandung)." Jurnal E-Komtek (Elektro-Komputer-Teknik) 3, no. 2 (November 12, 2019): 102–10. http://dx.doi.org/10.37339/e-komtek.v3i2.135.

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The design of internet radio services for conventional radio, especially in the city of Bandung was made, because at this time many new services have sprung up with various innovations that can create new markets and can also "disrupt" or damage existing markets. This happens in various industries, including the conventional radio industry. The presence of new services such as internet radio, audio streaming, or music streaming can disrupt the services provided by conventional radio, especially in the city of Bandung. This can reduce customers and conventional radio revenue. Radio internet services can be a radio solution to stay afloat. Therefore, the radio industry needs a radio internet service plan that can describe internet radio services ranging from business to information technology. This study aims to make the design of internet radio services that are expected to be a solution to increase the potential for conventional radio revenue. Internet Radio is designed not only as a live broadcast service as it is today, but must be able to provide services that remain in accordance with the expertise of the radio industry and also with additional capabilities that are more in line with customer needs today.

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Hamilton, Robert, Jeffrey Smith, and Ge Wang. "Social Composition: Musical Data Systems for Expressive Mobile Music." Leonardo Music Journal 21 (December 2011): 57–64. http://dx.doi.org/10.1162/lmj_a_00062.

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This article explores the role of symbolic score data in the authors' mobile music-making applications, as well as the social sharing and community-based content creation workflows currently in use on their on-line musical network. Web-based notation systems are discussed alongside in-app visual scoring methodologies for the display of pitch, timing and duration data for instrumental and vocal performance. User-generated content and community-driven ecosystems are considered alongside the role of cloud-based services for audio rendering and streaming of performance data.

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Pinochet, Luis Hernan Contreras, Guilherme Neves Nunes, and Eliane Herrero. "Applicability of the unified theory of acceptance and use of technology in music streaming services for young users." Revista Brasileira de Marketing 18, no. 1 (May 28, 2019): 147–62. http://dx.doi.org/10.5585/remark.v18i1.4031.

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Objetivo: O objetivo deste estudo é analisar a aplicabilidade do modelo Unified Theory of Acceptance and use of Technology 2 (UTAUT2), desenvolvido por Venkatesh, Thong e Xu (2012), sobre aceitação e utilização de serviço de streaming musical por estudantes universitários.Método: Assim, este estudo não se propõe a realizar uma replicação de pesquisa, mas sim a utilização de um modelo teórico consagrado. A pesquisa, do tipo survey, contemplou uma amostra final de 419 indivíduos, cujos dados foram analisados por meio da Modelagem de Equações Estruturais (MEE), com estimação por Partial Least Square (PLS), para verificar as relações diretas e indiretas do modelo original.Resultados: A variável latente Condições Facilitadoras não se sustentou no modelo na fase de ajustamento, pois o perfil analisado demonstra facilidade e uso intuitivo no acesso a esse tipo de infraestrutura. Ademais, os resultados demonstraram que a maior parte do modelo é válida para o serviço de streaming musical, com exceção da Expectativa de Esforço para Intenção de Uso e Motivação Hedônica para Intenção de Uso.Contribuições teóricas: Verificou-se que o construto Hábito é altamente relevante para o consumo desses serviços, possibilitando que as empresas busquem alternativas para a geração de maior motivação e engajamento com os aplicativos e sites que estimulem o consumidor.Originalidade/Relevância: O uso do modelo UTAUT 2, para analisar o fenômeno da tecnologia streaming, é relevante para a compreensão dos seus efeitos.

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Webster, Jack. "Taste in the platform age: music streaming services and new forms of class distinction." Information, Communication & Society 23, no. 13 (May 28, 2019): 1909–24. http://dx.doi.org/10.1080/1369118x.2019.1622763.

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Journal articles on the topic 'Music streaming services'

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