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Books on the topic 'Music Streaming'

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

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Mooney, Carla. Music and Video Streaming. Rosen Publishing Group, 2015.

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12

Phonograph to Streaming Music. Cherry Lake Publishing, 2019.

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13

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

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14

Kelly, Tracey. Music Technology: From Gramophones to Music Streaming. Brown Bear Books, 2019.

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15

Kelly, Tracey. Music Technology: From Gramophones to Music Streaming. Brown Bear Books, 2019.

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16

Tomlinson, Gary, and Joseph Kerman. Listen 7th Ed + Streaming Music. Bedford/st Martins, 2011.

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17

Werner, Ann, Sofia Johansson, Patrik Åker, and Greg Goldenzwaig. Streaming Music: Practices, Media, Cultures. Taylor & Francis Group, 2017.

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18

Werner, Ann, Sofia Johansson, Patrik Åker, and Greg Goldenzwaig. Streaming Music: Practices, Media, Cultures. Taylor & Francis Group, 2019.

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19

Streaming Music: Practices, Media, Cultures. Taylor & Francis Group, 2017.

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20

Werner, Ann, Sofia Johansson, Patrik Åker, and Greg Goldenzwaig. Streaming Music: Practices, Media, Cultures. Taylor & Francis Group, 2017.

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21

Steinhardt, Joe. How to Resist Streaming Music & Why. Microcosm Publishing, 2021.

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22

Tomlinson, Gary, and Joseph Kerman. Listen 7th Ed + E-Book + Streaming Music. Bedford/st Martins, 2011.

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23

Martin, Emmett. Everything Is Streaming: Music, Movies, and More. Stevens Publishing LLLP, Gareth, 2023.

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24

Tomlinson, Gary, and Joseph Kerman. Listen 7th Ed + E-Book + Streaming Music. Bedford/st Martins, 2011.

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25

Martin, Emmett. Everything Is Streaming: Music, Movies, and More. Stevens Publishing LLLP, Gareth, 2023.

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26

Streaming in Heaven's Flow: Worship, Prayer, Music. CreateSpace Independent Publishing Platform, 2013.

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27

Vonderau, Patrick, Pelle Snickars, Maria Eriksson, Rasmus Fleischer, and Anna Johansson. Spotify Teardown: Inside the Black Box of Streaming Music. MIT Press, 2019.

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28

Spotify Teardown: Inside the Black Box of Streaming Music. MIT Press, 2019.

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29

Loose-Leaf Version of Listen 7e and Streaming Music. Bedford/Saint Martin's, 2011.

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30

Vonderau, Patrick, Pelle Snickars, Maria Eriksson, Rasmus Fleischer, and Anna Johansson. Spotify Teardown: Inside the Black Box of Streaming Music. MIT Press, 2019.

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31

Vonderau, Patrick, Pelle Snickars, Maria Eriksson, Rasmus Fleischer, and Anna Johansson. Spotify Teardown: Inside the Black Box of Streaming Music. MIT Press, 2019.

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32

Arditi, David. ITake-Over: The Recording Industry in the Streaming Era. Lexington Books/Fortress Academic, 2021.

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33

Harrison, Ann. Music - The Business: Fully Revised and Updated, Including the Latest Developments in Music Streaming. Penguin Random House, 2017.

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34

Harrison, Ann. Music : the Business: Fully Revised and Updated, Including the Latest Developments in Music Streaming. Ebury Publishing, 2017.

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35

Ferriere, Thomas. Streaming Machine: The System to Grow Your Music Business with Spotify. Independently Published, 2020.

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36

Tomlinson, Gary, and Joseph Kerman. Loose-Leaf Version of Listen 7e and e-Book with Streaming Music. Bedford/Saint Martin's, 2011.

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37

Dissecting The Digital Dollar - Second Edition: The streaming music business explained and discussed. CreateSpace Independent Publishing Platform, 2018.

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38

Hyatt, Ariel, Mike Warner, Spectator Jonze, Andee Connors, and Bree Noble. Work Hard Playlist Hard: Actionable Advice to Help Artists Grow Their Audience on Music Streaming Platforms. Mike Warner, 2021.

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39

Warner, Mike, and Spectator Jonze. Work Hard Playlist Hard: Actionable Advice to Help Artists Grow Their Audience on Music Streaming Platforms. Mike Warner, 2021.

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40

Warner, Mike. Work Hard Playlist Hard - Second Edition: Actionable Advice to Help Artists Grow Their Audience on Music Streaming Platforms. Mike Warner, 2021.

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41

Born, Georgina, ed. Music and Digital Media: A planetary anthology. UCL Press, 2022. http://dx.doi.org/10.14324/111.9781800082434.

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Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of an extra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory.
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42

Townsend, Peter. The Evolution of Music through Culture and Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.001.0001.

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Music is an international key aspect of humanity which impacts life, from love songs to religion, politics, and warfare. Changes in culture and developments in science drove musical progress from printing and distribution to instrumental improvements, innovation, and the acoustics of buildings and concert halls. Every aspect increased public demand and changed compositional styles, plus heightened the need for virtuosic star performers. Conversely, the attempts to record and distribute music inspired the growth of recording systems, microphones, and electronic amplifiers, which has resulted in the electronically dominated world as we now know it. The book maps these continuous changes and how they have influenced musical evolution, and it not only explores the past, but attempts to predict the near future in terms of the potential for new electronic instruments and the ongoing shifts between recording and broadcasting techniques (tapes, vinyl, CDs, streaming, etc.), together with their impact on, and the survival of, the music industry. Examples of changes for keyboard, string, and brass instruments, current understanding of voice production, hearing, and brain processing of music are all discussed. This book is for those interested in all aspects of music, from classical to jazz and pop. It does not require either scientific or musical backgrounds, but it will enhance enjoyment of music, and reveal the probable future of musical trends.
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43

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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44

Elkins, Evan. Locked Out. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479830572.001.0001.

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“This content is not available in your country.” Media consumers around the world regularly run into this reminder of geography’s imprint on digital culture. Despite utopian hopes of a borderless digital society in an era of globalization, DVDs, video games, and streaming platforms include digital rights management mechanisms like region codes and IP address detection systems that block media access within certain territories. Although propped up by national and transnational intellectual property regulation, these technologies of “regional lockout” are designed primarily to keep the entertainment industries’ global markets distinct. Beyond this, they frustrate consumers around the world and place certain territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout in DVDs, console video games, and streaming video and music platforms. The book argues that regional lockout has shaped global media culture over the past few decades in three interrelated ways: as technological regulation, media distribution, and geocultural discrimination. As a form of digital rights management, regional lockout builds in limitations on the affordances of digital software and hardware. As distribution, it seeks to ensure that digital technologies accommodate media industries’ traditional segmentation of markets. Finally, as a cultural system, regional lockout shapes and reflects long-standing global hierarchies of power and discrimination.
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45

Dwinal, Catherine. Interactive Visual Ideas for Musical Classroom Activities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190929855.001.0001.

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This book is a resource on projection systems for any music teacher’s treasure chest of tools. Educators, from brand new to seasoned veterans, can discover new lessons, activities, and resources involving the projection systems already in their classrooms. From conventional projectors to streaming media players, beginners to the digital world will find tips and tricks to start using new systems. More experienced users will discover new resources and activities, from learning how to create VR worlds to demonstrate knowledge of music venues from around the world, to going on an outside safari to find missing instruments of the orchestra. This book also includes a resource index with app and website recommendations for going further and appendices that make it easier to find the activities and resources to fit any type of instruction. This book is a toolbox for teachers to keep on their desks to use every day to incorporate their digital tools in a meaningful way.
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46

Greenland, Thomas H. Epilogue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0009.

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This epilogue examines some of the changes that have taken place in the decade-plus since the author conducted his study in 2002, along with their impact on New York City's jazz scene. It begins with a discussion of the terrorist attacks of September 11, 2001; the housing bubble in 2007–2008 and the ensuing global financial crisis; and the continued gentrification of New York neighborhoods. It then considers how the economic recession affected jazz entrepreneurs and looks at the advent of file-sharing and music-streaming technologies as well as digital media such as Facebook, artist websites and blogs, YouTube, Myspace, and Twitter. It also recounts the 2008 election of Barack Obama as the nation's first black president and assesses its implications for jazz communities. It shows that jazz people improvise over “the changes” as they try to adapt to New York's highly variable environment.
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47

C, Papademetriou Peter, and Burchfield Art Center, eds. Kleinhans Music Hall: The Saarinens in Buffalo, 1940, a streamline vision. [Buffalo, N.Y: Burchfield Art Center, Buffalo State College], 1990.

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48

Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
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49

Francis, Leslie P., and John G. Francis. Privacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190612269.001.0001.

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We live more and more of our lives online; we rely on the internet as we work, correspond with friends and loved ones, and go through a multitude of mundane activities like paying bills, streaming videos, reading the news, and listening to music. Without thinking twice, we operate with the understanding that the data that traces these activities will not be abused now or in the future. There is an abstract idea of privacy that we invoke, and, concrete rules about our privacy that we can point to if we are pressed. Nonetheless, too often we are uneasily reminded that our privacy is not invulnerable-the data tracks we leave through our health information, the internet and social media, financial and credit information, personal relationships, and public lives make us continuously prey to identity theft, hacking, and even government surveillance. A great deal is at stake for individuals, groups, and societies if privacy is misunderstood, misdirected, or misused. Popular understanding of privacy doesn’t match the heat the concept generates, though understandably. With a host of cultural differences as to how privacy is understood globally and in different religions, and with ceaseless technological advancements, it is an increasingly slippery and complex topic. In this clear and accessible book, Leslie and John G. Francis guide us to an understanding of what privacy can mean and why it is so important. Drawing upon their extensive joint expertise in law, philosophy, political science, regulatory policy, and bioethics, they parse the consequences of the forfeiture, however great or small, of one’s privacy.
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50

Moore, Robin D., Juan Agudelo, Katie Chapman, Carlos Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench. Progressive Trends in Curricular Change. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0013.

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This chapter investigates the general curricular requirements of two of the most popular music degrees undertaken by undergraduates—performance and music education—in order to consider how current coursework could be reconfigured into a more student-driven, inclusive framework that reflects the dynamics and needs of modern musical careers. In looking at the core courses as well as the upper-division, more specialized courses in each particular major, we address questions such as how to streamline core courses, how to allow students to have more active roles their degree trajectories without increasing the time it takes to graduate, and how to use the current degree models as jumping-off points for curricular reform. Specifically, the chapter examines representative music programs that have already successfully implemented curricula in entrepreneurial training, cross-disciplinary collaboration, and international exchanges, among other areas.
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