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Penkrot, Brian. "Anisotropic streaming." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4715.
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My work Anisotropic Streaming is written for the University of Iowa Symphonic Orchestra. It is approximately 16 minutes in length.
The inspiration of the piece was the cosmic background radiation remaining from the Big Bang. In 1964, it was discovered that space was filled with a faint amount of radiation; a relic from the time when slight temperature variance allowed for the coalescence of particles. These particle collections soon had varying masses and therefore varying gravitational pulls, which in turn created the stars and galaxies. Since the universe expanded while the temperature variances allowed for this particle accumulation, the background radiation is patterned in a manner that is anisotropic: a nearly uniform arrangement of the radiation that appears different depending on the observer's orientation. As a formal tool, this phenomenon has suggested a compositional process focused on transition and contextualization.
The concept of anisotropy manifests itself in my composition in a number of ways. The first of three sections "collects" individual pitches until those frequencies are no longer perceptible - the listener's mind fuses the pitches into a single yet complex sonority. This fusion is encouraged further by the arrangement of pitches mimicking the overtone series. The second section features a very active and thick texture combining to make a single mass of sound. The texture gradually removes layers to reveal the individual short melodies that make up the mass. The third section rearranges these short melodies, making the high melodies low and the low melodies high. Each melody grows one note longer on each iteration, until each are so long they begin to fuse into a single, complex sonority. In these ways, I attempt to create the same kind of sound but through a shifting perspective, exposing sound's anisotropic construction.
Formally, the piece divides into three sections, each a composite sound at different levels of synchronicity and perspective. The sections are further subdivided into two parts, the first being transitional and the second being a more static exhibition of the section's conceptual purpose.
The pitch material in expositional areas is based on the mathematical overtone series (rounded to the nearest semitone). Pitch material in transitional phrases collects into aggregates, generally derived from a frequency modulation, amplitude modulation, or distortion by common fate. These pitches are not necessarily relegated to their registral frequencies, allowing for some octave equivalence.
The first section, an exposition of separate elements creating a whole sonority, begins with the accumulation of material in the middle, high, then low register. As events become more synchronized, these three disparate elements become parts of an Eb1 sonority through additive synthesis. After a brief transitional section of aggregate sonorities in a symmetrical rhythm, the fundamental switches to G1 as a pizzicato cloud texture replaces the higher overtones. The additive G1 sonority occurs repeatedly, getting more frequent towards the end of the section. Using common overtones, overtones of the G1 sonority are sustained and the harmony is displaced by Eb1.
The second section is a discovery of separate elements that exist within a sound complex, and subsequently, the germinal existences of those elements. The effect of parsing the lower pitches into imagined component pitches is the destabilization of a steady fundamental. The implied fundamentals instead fade in and out of perceivable space, creating a sonic environment of quasi-periodic harmonicity. The section begins by changing the Eb1 to a virtual Bb0 fundamental through a series of common overtones. The sustained Bb0 overtones are rhythmicized, becoming melodic fragments of varying lengths. After the surface texture of the Bb0 climaxes, the orchestration is reduced three times to solos and duets, revealing the melodies that exist in each registral area (high, middle, low). A brief transitional section of aggregate sonorities in a rhythm similar to the transitional area in section one, the implied fundamental becomes a D-1. The melodic fragments are extended through sparer orchestration, with soloists and small chamber combinations developing the ideas. The section ends with an implied C1 fundamental.
The final section is the destabilization of the quasi-periodic harmonicity of the second section. The section begins in the highest register on string harmonics that do not imply any particular fundamental. The overtones are textured, and interjections of shepherd tones and noise elements add to an active surface with an unmoored harmonic space. When the surface reaches a maximally undefined pitch space, the gesture of the completed added sonority from the first section returns, implying fundamentals of five different sonorities, moving progressively away from harmonicity. A superimposition of the solo and chamber melodies against segments of previous aggregate transitions leads the harmonic space to a C2 fundamental, played in the gesture of the completed added sonority from the first section. By holding shared common tones, the harmonic space changes to an E1 fundamental, and pitches get higher and quieter until the piece ends.
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Jones, Richard Earl. "Keep it Local: Music Streaming & Local Music Communities." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1512137210213619.
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Roychowdhury, Amrita. "NON-USE OF STREAMING MUSIC TECHNOLOGIES." Thesis, Uppsala universitet, Informationssystem, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-341750.
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Technology non-use or active resistance towards technology is a pertinent issue in Human Computer Interaction, especially when we contemplate the ongoing changes regarding the concept of usability. By combining Theory of Practice and Theory of Materiality with Theory of Affect this thesis explores the resistance towards online streaming music technology among music enthusiasts devoted to vintage Vinyl music culture and also takes an effort to understand any possible effect of this voluntary non-use on the digital music industry. Qualitative research analysis is employed on ten in-depth semi structured interviews showing that material aspects and nostalgia, create an individualistic image and passion for record collection; furthermore, these aspects play a role behind the choice of non-use of online music technology.
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Nilsson, Billy. "Music Streaming : Services, functions and users." Thesis, Högskolan i Halmstad, Akademin för ekonomi, teknik och naturvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-29297.
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Utterström, Frans. "Musikfrämjande folkbiblioteksarbete i en tid av streaming och upplevelseorientering." Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354739.
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The purpose of this master’s thesis is to find out how free music can be promoted in a meaningful manner towards young people living in an age of streaming and experience-orientation. This is achieved by investigating what music library work consists of, and how music streaming is perceived in relation to this. The investigation consists of qualitative interviews with library personnel working with music at public libraries in Sweden. The results show that there is a democratic reason to keep physical media such as CDs, although they are currently borrowed by a limited audience. This indicates a vacuum in terms of offering music free of charge to the entire population. While licencing commercial streaming services could prove too costly and might be regarded as somewhat superfluous, the interviewees in general seem positive towards libraries offering their own service. A library-specific service would ideally promote local musicians and could according to the author put public libraries on the map in a national as well as international sense. In conclusion suggestions are made to consider the value in keeping physical media by putting them in experience-oriented contexts, for example in involving adolescents in active listening and music discovery; regenerate Demoteket by working with it in a digital context; and focus on reaching adolescents by offering musical instruments and putting music in a context where the adolescents are rather than viewing the music department as exclusively an adult section. There is also reason for putting music in historical, lingual and geographical contexts, something that current streaming services lack. Both the physical space and the web can play important parts in exposing the music collection, which should be used as a means for experiences rather than as a goal in itself.
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Ahmed, Kachkach. "Analyzing user behavior and sentiment in music streaming services." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-186527.
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These last years, streaming services (for music, podcasts, TV shows and movies) have been under the spotlight by disrupting traditional media consumption platforms. If the technical implications of streaming huge amounts of data are well researched, much remains to be done to analyze the wealth of data collected by these services and exploit it to its full potential in order to improve them. Using raw data about users’ interactions with the music streaming service Spotify, this thesis focuses on three main concepts: streaming context, user attention and the sequential analysis of user actions. We discuss the importance of each of these aspects and propose different statistical and machine learning techniques to model them. We show how these models can be used to improve streaming services by inferring user sentiment and improving recommender systems, characterizing user sessions, extracting behavioral patterns and providing useful business metrics.De senaste åren har strömningtjänster (för musik, podcasts, TV-serier och filmer) varit i strålkastarljuset genom att förändra synen på hur vi konsumerar media. Om det tekniska impikationerna av att strömma stora mängder data är väl utforskat finns det mycket kvar i att analysera de stora datamängderna som samlas in för att förstå och förbättra tjänsterna. Genom att använda rådata om hur användarna interagerar med musiktjänsten Spotify, fokuserar den här uppsatsen på tre huvudkoncept: strömmandets kontext, användares uppmäksamhet samt sekvensiell analys av användares handlingar. Vi diskuterar betydelsen av varje koncept och föreslår en olika statistiska och maskininlärningstekniker för att modellera dem. Vi visar hur dessa modeller kan användas för att förbättra strömmningstjänster genom att antyda användares sentiment, förbättra rekommendationer, karaktärisera användarsessioner, extrahera betendemönster och ta fram användbar affärsdata.
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Delikan, Mehmet Deniz. "Changing Consumption Behavior of Net Generation and the Adoption of Streaming Music Services : Extending the Technology Acceptance Model to Account for Streaming Music Services." Thesis, Jönköping University, JIBS, Business Administration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12519.
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The rise of the streaming music services and the decreasing importance of physical distribution is an inevitable change that the industry has been facing, which is resulting from the so-called internet revolution over the past few years. Through years, the music business has already shifted to online platform with the birth of file sharing. Today, a generation who had grown up digital came to age. Members of this generation have different consumption habits than before, and have different motives toward consumption.
The consumer behavior of this group was examined at different stages of the digital revolution during last decade. However, although there is a wide number of researches have examined online consumer behavior and the adoption file-sharing technologies, no study investigated the use of streaming music services. Therefore, in order to understand the changing consumption behavior of the net generation music consumers, and to under-stand the use of streaming music services, this study extends the Technology Acceptance Model (TAM) to account the streaming music services. A questionnaire based empirical study was administrated among the users of Sweden based streaming music service Spotify. Results confirm that there is a significant relationship between users‟ perceived usefulness of service use, and their attitude toward using and their behavioral intention to use. In addition, it is also confirmed by the results that advertisement/charge, flow, and social influence are effective in explaining the motives of users‟, and the use of streaming music services. Furthermore, according to the findings of the study streaming music services have a positive effect on decreasing the music piracy.
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Barrett, Brandon T. "Modernizing Copyright for Equitable Treatment in the Streaming Age." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096023.
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Society’s progression through the digital streaming age has created a music licensing landscape of grave concern to all stakeholders in the industry. These drastic changes have occurred under an outdated legal framework. This paper will recommend a comprehensive reform to our copyright law to uphold the intentions of copyright in the modern, digital age of today. By looking at the history of copyright and its evolution, one can assess how Congress has been tasked with establishing a fair market value for music by promoting the public interest and fairly compensating copyright owners. This will lead to an evaluation and comparison of those methods used to determine fair market value for creative works that will be the basis of the recommendation used to modernize copyright law. This recommendation will comprehensively provide for equitable treatment for all parties in the streaming age through its totality, additional reforms, and alternative ideas.
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Liljeqvist, Fredrik. "Live-streaming as a marketing channel in the Swedish music industry." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-188961.
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The music business is one of the industries most affected by digitalization of content and distribution channels. As industry revenue shifted from principally physical to digital channels in 2015, while being the business with the largest presence and most popular accounts in virtually all social media platforms - the current state of the music industry is change. This has led industry professionals into searching for new and innovating ways of reimagining the business model of music distribution. Thus, the purpose of this study is to investigate the potential of video live-streaming as an addition to the current social media channels used to market artists. This was done through looking into what industry professionals think of the subject in terms of strategic reasoning and potential, observing an interactive live-stream with a Swedish boy band, and a questionnaire directed towards end-users and listeners of Swedish popular artists to define what their stance is towards music-related social media in general, and live-streaming in particular. The findings show that live-streaming certainly has a gap to fill in the social media tool-box at music companies through facilitating the defining process of superfans based on data analysis gathered from live-stream consumers, and that the channel has potential to create engagement beyond that of other social media platforms. Furthermore, end-users want to consume more live-stream content from Swedish artists. They want content that feels more personal and revealing, while utilizing the abstract feeling of “here and now” in order for it to be more interesting than other content on social media - something that the music industry professionals agree is important in live-streamed music content.Musikbranschen är en av de branscher där digitaliseringen av innehålls- och distributionskanaler haft störst påverkan. Industrins inkomst skiftar från att huvudsakligen komma från fysiska till digitala kanaler samtidigt som musikbranschen har den största närvaron och de mest populära kontona i praktiskt taget alla sociala medier - musikindustrins nuvarande tillstånd är förändring. Detta har lett branschfolk in i letandet efter nya och innovativa sätt att återuppfinna affärsmodellen för musikdistribution. Således är syftet med denna studie att undersöka potentialen för video live-streaming som ett tillägg till de nuvarande sociala media-plattformar som används för att marknadsföra artister. Detta gjordes genom att titta på vad branschfolk tycker om ämnet vad gäller strategiska resonemang och potential, observera en interaktiv live-stream med ett svenskt pojkband, samt en enkät riktad till användare och lyssnare av svenska populära artister för att definiera vad deras inställning är till musikrelaterat innehåll i sociala medier i allmänhet, och live-streaming i synnerhet. Resultaten visar att live-streaming har en lucka att fylla i musikföretagens sociala medier-verktygslåda genom att underlätta definitionsprocessen av superfans baserat på dataanalys som samlats in från lives-streams, och att kanalen har potential att skapa engagemang utöver det som genereras av andra sociala medierna. Dessutom vill användare konsumera mer live-stream-innehåll från svenska artister. De vill ha innehåll som känns mer personligt och avslöjande, samtidigt som man utnyttjar den abstrakta känsla av "här och nu" för att det ska vara mer intressant än annat innehåll på sociala medier - något som musikindustrins yrkesverksamma också tycker är viktigt i live-streamat musikinnehåll.
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Chaliane, Junior Guilherme Dinis. "Churn Analysis in a Music Streaming Service : Predicting and understanding retention." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215709.
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Churn analysis can be understood as a problem of predicting and understanding abandonment of use of a product or service. Different industries ranging from entertainment to financial investment, and cloud providers make use of digital platforms where their users access their product offerings. Usage often leads to behavioural trails being left behind. These trails can then be mined to understand them better, improve the product or service, and to predict churn. In this thesis, we perform churn analysis on a reallife data set from a music streaming service, Spotify AB, with different signals, ranging from activity, to financial, temporal, and performance indicators. We compare logistic regression, random forest, along with neural networks for the task of churn prediction, and in addition to that, a fourth approach combining random forests with neural networks is proposed and evaluated. Then, a meta-heuristic technique is applied over the data set to extract Association Rules that describe quantified relationships between predictors and churn. We relate these findings to observed patterns in aggregate level data, finding probable explanations to how specific product features and user behaviours lead to churn or activation. For churn prediction, we found that all three non-linear methods performed better than logistic regression, suggesting the limitation of linear models for our use case. Our proposed enhanced random forest model performed mildly better than conventional random forest.Churn analys kan förstås som ett tillvägagångssätt för att prediktera och förstå avslutad användning av en produkt eller tjänst. Olika industrier, som kan sträcka sig från underhållning till finansiell investering och molntjänsteleverantörer, använder digitala plattformar där deras användare har tillgång till deras produkter. Användning leder ofta till efterlämnande av beteendemönster. Dessa beteendemönster kan därefter utvinnas för att bättre förstå användarna, förbättra produkterna eller tjänsterna och för att prediktera churn. I detta arbete utför vi churn analys på ett dataset från en musikstreamingtjänst, Spotify AB, med olika signaler, som sträcker sig från aktivitet, till finansiella och temporala samt indikationer på prestanda. Vi jämför logistisk regression, random forest och neurala nätverk med uppgiften att utföra churn prediktering. Ytterligare ett tillvägagångssätt som kombinerar random forests med med neurala nätverk föreslås och utvärderas. Sedan, för att ta fram regler som är begripliga för beslutstagare, används en metaheuristisk teknik för datasetet, som beskriver kvantifierade relationer mellan prediktorer och churn. Vi sätter resultaten i relation till observerade mönster hos aggregerad data, vilket gör att vi hittar troliga förklaringar till hur specifika karaktärer hos produkten och användarmönster leder till churn. För prediktering av churn gav samtliga icke-linjära metoder bättre prestanda än logistisk regression, vilket tyder på begränsningarna hos linjära modeller för vårt användningsfall, och vår föreslagna förbättrade random forest modell hade svagt bättre prestanda än den konventionella random forest.
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Doherty, Jonathan P. "Song form intelligence for repairing streaming music across wireless bursty networks." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510461.
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Prado, Filho José Roberto. "Music collecting behavior and experience in the streaming era in Brasil." reponame:Repositório Institucional do FGV, 2018. http://hdl.handle.net/10438/24755.
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Submitted by JOSÉ ROBERTO PRADO FILHO (mestradoprofissional@fgv.br) on 2018-09-14T18:34:50Z
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This study examines music collecting behavior and experience in the streaming era. Twelve in-depth, qualitative interviews were carried out to explore the nature of analog music collecting in Brazil and to understand the relationship between the physical objects and the collectors. The evidence suggests that music collectors do identify with the term collector and their sense of Self is derived from it. The way music is consumed will vary depending on the occasion, with streaming being used on the go and vinyls and cds as a ritual to be performed at home, as collectors have a need to touch the objects and enjoy the music as a whole experience. There is a prevalence of masculine behavior in collecting. The collecting behavior can be seen by some as addictive and collectors will show signs of addiction often times. Buyers will show conflicting patterns, varying from rational to emotional purchasing behaviors. As collectors started to acquire their objects in early teenage years, their music taste today is the same genre as that time of their lives. There is an element of nostalgia in their current music consumption, often times to fulfill a wish that could not be satisfied at the time for lack money or lack of access. The topic is relevant for any music businesses, analog or digital, such as record label, music and memorabilia e-commerce, streaming services, collector groups and auction platforms, considering music consumption is broad and can be economically explored in many different ways.
Este estudo tem como objetivo examinar o comportamento e experiência de colecionadores na era do streaming. Doze entrevistas qualitativas em profundidade foram conduzidas para explorar a natureza de colecionadores de música analógica no Brasil e para compreender a relação entre os objetos físicos e os colecionadores. A evidência aponta que os colecionadores de música se identificam com o termo colecionador e seu senso de Self deriva deste. A forma como a música é consumida varia conforme a ocasião, sendo o streaming usado durante o transporte e vinis e cds como um ritual a ser feito em casa, já que os colecionadores têm uma necessidade de tocar o objeto e desfrutar da música como uma experiência completa. Existe uma prevalência de comportamento masculino no ato de colecionar. O comportamento de colecionar pode ser visto por alguns como viciante e colecionadores demonstram sinais de vício certas vezes. Consumidores demonstram padrões conflitantes, variando de comportamentos de compra racionais à emocionais. Como os colecionadores começaram a adquirir objetos durante a adolescência, o gosto musical hoje é do mesmo gênero daquela época. Existe um elemento de nostalgia no consumo musical atual, às vezes para suprir um desejo que não pode ser satisfeito na época por falta de dinheiro ou acesso. O tópico é relevante para qualquer negócio da música, analógico ou digital, tais como gravadoras, e-commerce de objetos e música, serviços de streaming, grupos de colecionadores e plataformas de leilão, considerando que o consumo de música é amplo e pode ser explorado de diversas formas diferentes.
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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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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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Österlind, Jerker. "Liveproduktion med Twitch som ett substitut för en allseende Gud." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3968.
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En undersökning av hur online-exponering påverkar kreativa processer. Genom att arbeta i en öppen live-stream har Jerker Österlind inför publik skapat en EP under 30 Twitch-sändningar. Denna text utforskar effekterna av att bjuda in åskådare till vad som brukar ske bakom stängda dörrar, hur det musikaliska resultatet påverkas, hur arbetsprocessen förändras och funderingar om hur livestreaming kan ge nya möjligheter för marknadsföring och karriär.An inquiry about the impacts of online exposure on creative processes. By working in a public livestream, Jerker Österlind has made an EP in front of an audience during 30 Twitch broadcasts. This text explores the effects of inviting an audience to things that usually take place behind closed doors, how the musical result is affected, how work methods are changed and how livestreaming can open up new opportunities for marketing and careers.
Arbetet presenteras i form av en EP med fem spår. Alla instrument är spelade av J. Österlind.
Musiken kan höras här:
https://open.spotify.com/album/18uGeyxD00Ssayi1exCCJo?si=qbFel0xUTaeF4rXiwlR2GQ
och här:
https://mudbody.bandcamp.com/album/underachieve-ep
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Sharma, Sudeep. "Humanise Music : How can design bring emotions to the center of music consumption?" Thesis, Linköpings universitet, Institutionen för datavetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166025.
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In today’s world music streaming is the most dominant form of music consumption. Introducing platform capitalism to music streaming has changed the music commodity and its effects serve as a motivation for this thesis. The role of emotions in music listening is explored and design research is conducted to find unmet latent needs of users in respect to the emotional side of music. Semi-structured user interviews are used to understand how users relate music to their emotional lives. Co-design workshops are conducted to identify unmet user needs and feelings. The data is analysed inductively and results treated through the theoretical lenses of emotional design (Norman D. (2003)) and psychological ownership theory (Pierce J.L., Kostova T., & Dirks K. Y., (2003)). The main themes generated by the research show that users want -- to know their music and their music service to know them; new ways to feel music, relive the “first time”; to connect music to their emotional and personal lives; to control music more easily. These findings motivate and inform the design of a conceptual artefact.
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Håstad, Martin. "Exploration and evaluation of different sessionization methods in a music streaming context." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-318126.
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Sessionization is a powerful method to create aggregated data used to understanduser behavior in the field of data mining. A lot of research has been performed overthe years and most of it is geared towards traditional web servers. How the resultstranslate to a context with a stand alone application with a service that has veryspecific usage pattern has not been fully investigated. In this project we investigatedhow the currently utilized heuristics perform on identifying a session in a musicstreaming context and introduce some additional measures to summarize such sessions.
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Léveillé, Gauvin Hubert Gauvin. "On popular music and media: Analyzing changes in compositional practices and music listening choice behavior using attention economy principles." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523284232353463.
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Johnson, Annika. "Musikkonsumenten i igenkänning och flow." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20358.
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Följande studie undersöker musikkonsumenternas behov i relation till streamingtjänsterna, med utgångspunkt i det krig som pågår mellan streamingtjänsterna, samt i de tre aktuellastreamingtjänsterna Spotify, Deezer och Apple Music. Studien undersöker musikkonsumentens (tolv till 35 år gamla) omedvetna behov som musikstreamingtjänsten ska uppfylla, samt hur förhållandet ser ut mellan de här behoven och musikkonsumentens val av streamingtjänst. Studien har genom en kvalitativ metod, där fokusgrupper och en semistrukturerad intervju legat till grund för empiriinsamlingen, kommit fram till slutsatsen att musikkonsumenten har två övergripande omedvetna behov: personifiering och igenkänning i tjänsten, samt behovet av att streamingtjänsten ska göra det möjligt för musikkonsumenten att leva i streamingen, i flow med den streamade musiken. Förhållandet mellan de omedvetna behoven och valet av streamingtjänst innebär övergripande att musikkonsumenten använder den streamingtjänst som tillfredsställer de omedvetna behoven, men inte byter tjänst med utgångspunkt i sina omedvetna behov, eftersom konsumenten inte själv känner till behoven.The following study examines the needs music consumers have in relation to the streamingservices, based on the war going on on the streaming market, as well as in the three currentstreaming services Spotify, Deezer and Apple Music. The study examines the music consumers (twelve to 35 years old) unconscious needs that the music streaming service must meet, and how the relationship is shaped between these needs and the music consumer's choice of streaming service. The study has through a qualitative approach, where focus groups and one semi-structured interview formed the basis of empirical data collection, come to the conclusion that the music consumer has two unconscious needs: personalisation and self-recognition in the streaming service, as well as the need for the streaming service to allow the music consumers to live in the stream, in flow with the stream of music. The relationship between these unconscious needs and the choice of streaming service, shows that the music consumer is using the streaming service that satisfies their unconscious needs, but does not replace the service on the basis of their unconscious needs since the consumer do not know these needs themselves.
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Stojanovski, Filip. "Churn Prediction using Sequential Activity Patterns in an On-Demand Music Streaming Service." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-228226.
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In data-driven companies, churn analysis aims to make use of novel machine learning and data mining techniques for the purpose of better understanding of the customers. The most common approach is to engineer a vast number of features describing users, products, services, and actions, which are then used to infer knowledge by means of machine learning and data mining. However, one aspect is typically neglected since it appears more difficult to model and utilize, and that is the time. This work presents the modeling of user activity on a music streaming service in the form of sequential temporally-dependent data, which serves to explore the advantages of detecting churning users by means of basic or long short-term memory recurrent neural networks. The performance and complexity are compared against non-sequential models using the same data. The conclusion reached is that even though recurrent networks bring no improvement of the module of a churn prediction model based on activity data, that data presented in sequential form does.Inom datadrivna företag används churn-analys i formv av maskininlärning och datautvinningsmetoder i syfte att bättre förstå kunder som väljer att terminera deras relation till företag. Det vanligaste angreppssättet är att ta fram ett antal attribut som kännetecknar användare, produkter, tjänster och handlingar, vilka sedan används för att generera kunskap med hjälp av maskinlärning och informationsutvinning. En aspekt som dock vanligtvis försummas är tid, då den visar sig vara svår att modellera och använda. Detta arbete presenterar modelleringen av användaraktivitet hos en musikstreamingtjänst i form av sekventiell temporärt beroende data, i syfte att utforska fördelarna med att detektera kunder som väljer att terminera sitt medlemskap med hjälp av long short-term recurrent neurala nätverk. Prestanda och komplexitet jämförs med icke-sekventiella modeller med samma data. Arbetets slutsats är att trots att recurrent neurala nätverk inte resulterar i en förbättrad churn-predikteringsmodul baserad på aktivitetsdata, så ger data presenterad i sekventiell form en förbättring.
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Nyman, Moa. "Estimating the energy consumption of a mobile music streaming application using proxy metrics." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-288532.
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For users of mobile devices an application with high energy consumption may cause the user to remove the application. For a music streaming service, energy consumption is a factor of competition. However, to reduce energy consumption it must be measured. In this study, proxy metrics, for example CPU usage and number of bytes written to memory, are investigated for their suitability as predictors for the energy consumption of a music streaming application on a mobile device. A literature review is conducted to find which metrics have the greatest impact on energy consumption. Further, the literature review is used to identify potential relationships between metrics and energy consumption. A OnePlus 6T using Android 9 as its operating system is rooted and its battery modified to collect data. The data is collected from three test cases for the mobile music streaming application. Memory and network statistics are gathered using the software strace, CPU statistics are collected using data from the proc file system while energy consumption is measured using a power meter. Based on the results from the literature review, linear models are constructed to model the energy consumption. The results show that many of the metrics are highly collinear. From each pair of collinear variables only one variable is kept. The resulting model had a 32.5% better predictive power than an non-optimised model. The best performing model used transmitted network bytes, read and written memory bytes, and user CPU as predictor variables.Bland mobila musikströmningstjänster är energikonsumtion en konkurrensfaktor. Har tjänsten en för hög energikonsumtion kan det leda till att användarna avinstallerar applikationen. Därför är det viktigt för apputvecklare att minimera energin deras app använder. För att kunna minska energikonsumtionen måste den först mätas. I den här studien är proxymetriker, såsom CPU-användning och antal skrivna bytes till minnet, undersökta för deras lämplighet som prediktorer för energikonsumtion i en musikströmningstjänst på mobila enheter. En litteraturstudie genomfördes för att hitta vilka metriker som har störst påverkan på energikonsumtionen. Vidare användes litteraturstudien för att identifiera potentiella samband mellan metrikerna och energikonsumtion. En OnePlus 6T som kör Android 9 som operativsystem rotas och dess batteri anpassas för att samla in data. Datan samlas in från tre testfall inom ramen för den mobila musikströmningsapplikationen. Minnes- och nätverksstatistik samlas genom att använda mjukvaran strace, CPU-statistik samlas in genom att använda data från proc-filsystemet medan energikonsumtionen mäts genom att använda en energimätare. Baserat på resultaten från litteraturstudien konstrueras modeller för att modellera energikonsumtionen. Resultaten visar att många av metrikerna är högst kollinära. Från varje par av kollinära variabler behålls endast en. Den slutliga modellen visade en 32.5% bättre prediktiv förmåga än en icke-optimerad modell. Den bäst presterande modellen använde skickade nätverksbytes, lästa och skrivna minnesbytes samt användar-CPU som prediktorvariabler.
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Durham, Blake. "Regulating dissemination : a comparative digital ethnography of licensed and unlicensed spheres of music circulation." Thesis, University of Oxford, 2018. https://ora.ox.ac.uk/objects/uuid:2912f7b5-b88b-4a8c-af7a-11c6a51fda0c.
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This thesis examines the transformations of music circulation and consumption brought about by new media platforms. Specifically, it shows how the social and technical design of online music platforms link the consumption of music immanently to its circulation. The thesis makes contributions to ethnomusicology, media studies, and digital anthropology, as well as to the study of music's technical cultures. It is based on a comparative ethnographic study of music circulation and consumption within two field sites: the commercial streaming service Spotify and the extralegal, unlicensed peer to peer platform 'Jekyll'. Governance comes to the fore in both sites: the study shows how practices of music curation, collection and consumption are regulated by the technical design of these platforms. Surprisingly, music consumption and circulation on Jekyll generates a variety of social relations, including pronounced social hierarchies. This is far less apparent on Spotify, due to the platform's individuated mode of address. The subjectivities of online music consumers are mediated by both their personal histories and by the broader technical genealogies of the platforms they use. The thesis illuminates the mutual interdependencies of the licensed and extralegal spheres, two domains often portrayed as not only separate but antagonistic. It also provides insight into the hybrid modes of exchange that generate digital music platforms. Through examining the entailments of circulatory participation, the study offers new insights into digital polymedia and to labour, exchange and governmentality online, as well as providing nuanced understandings of the ownership and collection of music in digital environments. Moreover, it advances new concepts to identify core aspects of digital music cultures, namely 'circulatory maintenance' and 'circumvention technology'. The thesis shows overall how Spotify and Jekyll are not merely emblematic of emergent consumption practices engendered by new media, but are bound up in the mutual co-creation of culture, engendering novel musical subjectivities, practices, socialities and ideologies. The complex musical, technical and social assemblages formed around music circulation online point to the affective potentials of music itself, producing inalienable attachments to the objects through which music is formatted, experienced, and circulated.
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Göthner, Fredrik. "Identifying Patterns in User Behavior in a Music Streaming Service: : A Cluster Analysis Approach." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-150433.
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Logged user data has become a highly valued asset to many Internet based services with large user bases. Being able to draw insight from this data is considered a key to gaining competitive advantages for the companies behind the services. This study aims to identify patterns in the behavior of users when interacting with Spotify, a music streaming service, by studying automatically logged data. In the study, we examine several methods to perform such analyses using machine learning techniques. We identify six different types of behavior through k-means cluster analysis, each representing between 51.4% and 0.5% of all user sessions. We also identify five factors partly explaining the differences in behavior between different sessions. These are found through factor analysis and account for 39% of the variance in the data. Finally, we demonstrate how factors and clusters can be translated from numeric representations to linguistic interpretations.Loggad användardata har blivit en högt värderad tillgång för många Internetbaserade tjänster med en stor mängd användare. Att finna insikter från dessa data anses vara en nyckel till att vinna konkurrensfördelar för företagen bakom tjänsterna. Denna studie har som mål att identifiera mönster i beteendet hos användare av Spotify, en musikströmningstjänst, genom att studera loggad data. I studien utreds flera metoder för att göra denna typ av analys genom att använda maskininlärningstekniker. Vi identifierar sex olika typer av beteende genom k-means klusteranalys, där var och en representerar beteendet i mellan 51.4 % och 0.5 % av alla sessioner. Vi identifierar också fem faktorer som förklarar en del av skillnaderna i beteende mellan användares olika sessioner. Dessa hittas genom faktoranalys, och förklarar tillsammans 39% av variansen i studiens data. Till sist går vi igenom hur kluster och faktorer kan översättas från numeriska representationer till semantiska tolkningar.
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Manchester, Geoffrey W. ""Beyond the Clouds": Insider Perceptions on the Transmutation of Terrestrial Radio In Canada." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23121.
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The aim of this study is to understand how leaders in the Canadian radio industry perceive the nascent personalized music streaming service industry, and how those perceptions inform their current business decisions. Over the last few years, Internet-based music services like Deezer and Rdio have launched in Canada, providing listeners with the opportunity of an alternative music experience to conventional broadcast radio. Through five interviews with experts representing terrestrial radio, on-demand services and regulation, three scenarios are presented for the future of conventional radio. In addition, a conceptualized listener profile is created using Grounded Theory Method. This profile buttresses the central finding of this research: should key political, economic and social factors remain in place, conventional radio is likely to continue to dominate as the leading commercial audio platform for Canadians in the years to come.
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Suh, Brendan Joseph. "International Music Preferences: An Analysis of the Determinants of Song Popularity on Spotify for the U.S., Norway, Taiwan, Ecuador, and Costa Rica." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2271.
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This paper examines data from Spotify’s API for 2017-2018 to determine the effects of song attributes on the success of tracks on Spotify’s Top 200 Chart across five different countries: the U.S., Norway, Taiwan, Ecuador, and Costa Rica. Two dependent variables are used to measure the success of a song – a track’s peak position on the charts and the number of days it survives on a country’s Top 200 Chart. Using ten separate regressions, one for each dependent variable in all five countries, it is concluded that the presence of a featured guest on a track increases a song’s peak position and the number of days it survives on the charts in almost every country. Further, songs that are perceived as “happier” are more successful for both metrics in Norway and Taiwan while those that are louder and more aggressive have a shorter lifespan on the charts in three out of five of the countries studied. The paper concludes that further research should be conducted with a larger, more diverse dataset to see if these findings hold and if they are present in other countries as well.
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Mogis, Jay D. "Transparency, technology and trust: Music metrics and cultural distortion." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/199497/1/Jay_Mogis_Thesis.pdf.
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Transparency issues influence many aspects of modern society and are critical in balancing the dichotomy between personalisation and privacy. Transparency behaviours have previously been refined into the disclosure, clarity and accuracy (DCA) model (Schnackenberg & Tomlinson, 2014). This thesis has two projects. Project 1 makes a significant contribution to the research literature on transparency and music industry practices by testing the DCA model. Project 2 presents an investigation into music licensing, missing revenue and technology transfer in Australia. The findings suggest an accreditation system for copyright throughput accuracy could function as a potential roadmap for transparency innovation more broadly.
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Brüggemann, Sophie [Verfasser], and Lorenz [Akademischer Betreuer] Welker. "Parsing consumption preferences of music streaming audiences : through concatenating data analytics / Sophie Brüggemann ; Betreuer: Lorenz Welker." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2020. http://d-nb.info/1218465514/34.
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Lundkvist, Björn. "The Effect of Social Media on the Numbers of Streams of Unsigned Artists’ Music." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210561.
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Social media has provided a way for music artists to reach many people with their music, without having to rely on record labels to perform marketing tasks. Most previous research within the area has focused on how already established music artists can use social media as part of their marketing strategies and how digital technologies have transformed the music industry. This study focuses on how unsigned music artists’ followers and fans on social media have an impact on their music streaming numbers. The main research question of the study is: how does unsigned artists’ social media performance affect the number of streams of their music? To investigate this, a robust regression model was defined with the aim of predicting the number of artists’ music streams based on their social media data. The robust regression model showed that the social media variables did not have significant effects on the number of streams. Therefore, an analysis of each individual artist in the data was conducted. The results showed that the social media data in this study could not be used to explain changes in the number of streams for unsigned music artists. An analysis based on each individual artist and the content that each individual artist is posting on the different social media channels, is suggested instead. An information visualization tool was developed with the purpose of allowing analysts to get an overview of the social media data as well as allow analysts to look at each artist’s social media feeds to understand how artists’ social media activities affect their music streaming data.Sociala medier har gjort det möjligt för musikartister att nå många människor med sin musik utan att behöva förlita sig på skivbolag. Tidigare forskning inom området har fokuserat på hur redan etablerade musikartister kan använda sociala medier som en del av sina marknadsstrategier och hur digital teknik har förändrat musikbranschen. Denna studie fokuserar på hur osignerade musikartisters antal anhängare och fans på sociala medier påverkar antalet streams av artisternas musik. Studiens huvudsakliga forskningsfråga är: Hur påverkar osignerade artisters prestationer på sociala medier antalet streams av deras musik? För att undersöka detta definierades en robust regressionsmodell i syfte att förutse antalet streams av artisternas musik baserat på deras sociala mediedata. Den robusta regressionsmodellen visade att socialamedievariablerna inte hade signifikanta effekter på antalet streams av artisternas musik. Därför genomfördes en analys av varje enskild artist i datan. Resultaten visade att sociala mediedatan i denna studie inte kunde användas för att förklara förändringar i antalet streams för osignerade musikartister. En analys baserad på varje enskild artist och innehållet som varje enskild artist lägger ut på de olika sociala mediekanalerna föreslås istället. Ett informationsvisualiseringsverktyg utvecklades med syftet att ge analytiker en möjlighet att få en överblick över sociala mediedatan samt låta analytiker titta på varje artists sociala medieflöden för att förstå hur artisternas sociala medier påverkar deras musikstreamingdata.
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Ferreira, Carolina Borges. "O clássico e o streaming: a curadoria digital e a recepção dos usuários da música de concerto no ambiente on-line." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-01022017-102919/.
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Desde que passou a ser mediatizada tecnicamente, a música de concerto serviu de modelo para avaliar as conquistas da alta fidelidade acústica tanto nas transmissões radiofônicas quanto na audição doméstica em aparelhos reprodutores. Após vários processos de mediação tecnológica pela escuta de discos e similares (LP, DVD, blu-ray etc), o consumo de música de concerto estendeu-se aos meios virtuais: as transmissões em streaming oferecem ao público a música de concerto de uma maneira inédita, uma vez que não têm como ponto de referência o objeto material. Além disso, oferecem a recepção em tempo real, ao vivo. As diversas formas de recepção nas quais esse serviço se fundamenta têm despertado o interesse de pesquisadores de áreas variadas do conhecimento. No caso da música, desdobra-se num campo de estudos na área da música - em particular da sonologia. Este trabalho pretende apresentar um estudo sobre a recepção da programação on-line de música de concerto, por meio de uma análise comparativa entre as preferências do público consumidor desse serviço e o que é efetivamente oferecido a ele por esses serviços. Dois aspectos serão analisados em detalhe: os sistemas de \"recomendação\" e a \"curadoria digital\", uma vez que constituem a maneira pela qual o serviço é gerado e gerido. Muito utilizado nas plataformas digitais para a escuta da música popular, no caso da música de concerto ainda se conhece pouco acerca do funcionamento operacional desse serviço. Esta pesquisa pretende, assim, avaliar de que maneira essa metodologia é aplicável ao repertório da música de concerto. O objetivo central desta pesquisa é esmiuçar os processos de como se dá este novo modo de ouvir, que depende da interação crítica entre assinantes que o utilizam e o provedor do serviço. Em síntese, compreender mais detalhadamente os aspectos particulares que constituem o funcionamento dos serviços streaming.Ever since becoming technically mediated, concert music served as a model to assess the achievements of high acoustic fidelity, both in radio broadcasts, as in domestic hearing in re-producers. After various processes of technological mediation, through listening to records and similar (LP, DVD, Blu-ray etc), consumption of concert music is extended to virtual environ-ments: streaming transmissions provide to the public concert music in a way unprecedented, since it does not have as a reference point the material object, aside from the fact that they offer the reception in real time, live. The different forms of reception on which this service is based have attracted the interest of researchers from different areas of knowledge. In the case of mu-sic, it unfolds in a field of study in music; specifically in sonology. This work intends to present a study on the reception of online concert music, through a comparative analysis of the prefer-ences by the consuming public of that service and what is actually offered to them by these services. Two aspects will be analyzed in detail: systems of \"recommendation\" and \"digital curation\", since they are the way in which the service is generated and managed. Frequently used in digital platforms for listening to popular music, little is known about the operational functioning of this service, in the case of concert music. This research thus aims to evaluate how this methodology is applicable to the concert music repertoire. The main objective of this research is scrutinizing the processes of this new way of listening, which depends on the critical interaction between subscribers and the service provider. In short, to understand in more detail the particular aspects that constitute the operation of streaming services.
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Nunes, Luís Filipe da Mata. "Consumo de música : os social media e os serviços de streaming." Master's thesis, Instituto Superior de Economia e Gestão, 2015. http://hdl.handle.net/10400.5/10684.
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Mestrado em MarketingA indústria da música obteve, durante décadas, lucros multimilionários do consumo de cópias físicas de obras musicais e não do consumo de música em si, uma vez que o consumo não implica a compra de música. No início deste século, o desenvolvimento de novas tecnologias e estratégias de distribuição e promoção de conteúdos, contribuiu para uma transformação tremenda da indústria de música e dos hábitos de consumo. Atualmente, as vendas de cópias físicas e de downloads legais de música continuam em queda, enquanto as plataformas de streaming apresentam subidas vertiginosas de quota de mercado. Ao mesmo tempo, o mundo assiste à massificação dos social media e, em particular, das redes sociais. Este estudo analisa vários fatores motivadores do consumo de música, estudando a sua influência no uso de redes sociais e de serviços de streaming, em específico. Estuda também a forma como a utilização dessas plataformas afeta o consumo de música atual, em particular na pré-disposição do consumidor em receber sugestões sobre nova música. A proposta final apresentada é a de que, possivelmente, os consumidores raramente procuram artistas ou música nas redes sociais, mas recorrem consistentemente aos serviços de streaming para o mesmo fim. Por outro lado, as características sociais e de comunidade em plataformas de streaming poderão aumentar a pré-disposição em ouvir nova música sugerida pelo serviço.
For decades, the music industry made millions in profits with the consumption of physical copies of musical works and not with the consumption of music itself - people can listen to music without buying a physical copy. Earlier this century, the development of new technologies and distribution strategies of musical content contributed to a tremendous transformation of the music industry and consumer habits. Now the sales of physical copies and legal downloads of music continue to fall, while streaming platforms have enormous increases in market share. Meanwhile, the world watches the massification of social media and social networking websites. This study analyzes the motivating factors for music consumption, and studies its influence in the use of social networking and streaming services. It also studies how the use of these platforms can affect music consumption habits, particularly in consumer pre-disposition to receive suggestions on new music. This work states that, possibly, consumers rarely look for artists or music on social networks, but consistently turn to streaming services for the same purpose. On the other hand, social and community features in streaming platforms may enhance the pre-disposition to hear new music suggested by the service.
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Fredsson, Dennis. "SpotiVis - Finding new ways of visualizing the spread of popular music." Thesis, Linnéuniversitetet, Institutionen för datavetenskap och medieteknik (DM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104968.
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Simply by reading data and statistics of the charting positions of popular songs on global and national music charts, it is hard to understand how the popularity of songs, albums, or artists within pop music truly behave over time. However, analyzing the data using visualizations as means of communication might provide us with new points of view and new insights into how the popularity of contemporary popular music behaves over a longer period. This is the hypothesis that we intend to investigate in this thesis. An interactive visualization application (presented as a website) has been developed based on data from “Daily Top 200” lists provided by Spotify. A survey was then used to evaluate the application, with the results suggesting that new and interesting insights into the trends in the popularity of music can be gained from the proposed prototype.
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Pires, Mateus Macedo. "Distribuição de música na cultura digital: a relação de artistas autônomos com as plataformas de Streaming." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21053.
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The basic assumption of this research is that contemporary digital technologies provide differentiated ways of producing, distributing and consuming music today, leading to a reconfiguration of the processes involving productions in the music industry and changes in the ways of enjoying music. Therefore, the main objective of this research is to understand how the relationships of the autonomous artists with the Streaming platforms in the consumption and the distribution of musical productions are given. It seeks to understand how current platforms, particularly Spotify, Deezer and Apple Music (audio distribution), and SoundCloud (social audio network) have changed the monopoly of the music industry, forms of financial collection and relations with the public. It is assumed, to do so, that is necessary to deal with issues that involve the circulation of cultural productions in modernity, through the technologies, communication and social sciences. Walter Benjamin's concept of "loss of aura" and "technical reproducibility", the concept of "mass culture" by Theodor Adorno and Max Horkheimer, the notions involving the networked society of Manuel Castells and the Cyberculture, of Pierre Lévy are important ideas for understanding contemporaneity. Finally, through an analysis of the theoretical perspectives based on these authors of communication and cultural studies, we intend to identify and make explicit the relationship between the technological evolution of the media and the copyrights in music, in order to understand economic, social and cultural practices in contemporaneity regarding musical production
O pressuposto básico desta pesquisa é que as tecnologias digitais contemporâneas proporcionam modos diferenciados de produzir, distribuir e consumir música atualmente, acarretando em uma reconfiguração dos processos que envolvem as produções na indústria da música e as mudanças nos modos de apreciar a música hoje. O principal objetivo desta pesquisa é o de compreender como ocorrem as relações dos artistas autônomos com as plataformas de Streaming no consumo e na distribuição das produções musicais. Pretende-se entender como as atuais plataformas, particularmente Spotify, Deezer e Apple Music (de distribuição de áudio), e SoundCloud (rede social de áudio) mudaram o monopólio da indústria fonográfica, as formas de arrecadação financeira e as relações com o público. Para tanto, é necessário tratar de questões que envolvem a circulação das produções culturais na modernidade, pelo viés das tecnologias, comunicação e ciências sociais. O conceito de “perda da aura” e de “reprodutibilidade técnica”, de Walter Benjamin, o conceito de “cultura de massa”, de Theodor Adorno e Max Horkheimer, as noções que envolvem a sociedade em rede, de Manuel Castells e Cibercultura, de Pierre Lévy são aspectos importantes para compreensão da contemporaneidade. Por fim, pretende-se, através de análise das perspectivas teóricas baseadas nesses autores da comunicação e nos estudos culturais, identificar e explicitar a relação entre a evolução tecnológica dos suportes e dos direitos autorais na música para compreender como se dão as práticas culturais, sociais e econômicas da contemporaneidade em relação as produções musicais
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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 marchésFor 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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Primschitz, Christina. "The effects of digitization on the music industry – From the viewpoint of music creators and independent record labels in Sweden." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20756.
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Digitaliseringen, uppkomsten och den ökade populariteten av on-demand musikstreamingtjänster har förändrat musikbranschen i snabb takt. Tidigare studier visar att digitaliseringen har påverkat sättet hur media skapas, publiceras, distribueras och konsumeras. Studier om digitaliseringens effekter på kreatörer och distributörer inom musikbranschen visade sig däremot vara få. Det ansågs därför som en möjlighet att utforska hur artister och oberoende skivbolag uppfattar digitaliseringens effekter för att minimera den nuvarande kunskapsluckan. Den explorativa sekventiella studien bestod av två faser och baserades på en kombination av olika metoder. Den initiala studien utgjordes av tre kvalitativa intervjuer och resulterande arbetsteorier prövades därefter i en kvantitativ enkätundersökning (n=81). Resultatet indikerar att större andelen av oberoende skivbolag har anpassat sina affärsmodeller och utvecklats till s.k. 360°-musikföretag. Resultatet visar vidare att digitaliseringen har till viss grad påverkat sättet hur musik skapas och produceras, med en tendens mot en mer individualistisk och digital process, och vidare medfört en förenkling för artister att publicera sin musik. Artisternas intäkter har däremot inte förbättrats och många upplever att arbetsklimatet har försämrats. Resultatet visar att digitaliseringen sedan uppkomsten av musikstreamingtjänster har medfört omvälvande förändringar, dock verkar dessa inte ha lett till en demokratisering av musikbranschen utan enbart till en förflyttning av makten från skivbolagen till musikstreamingtjänsterna. Både artister och oberoende skivbolag uppfattar att den nära framtidens främsta utmaningar å ena sidan är att uppnå en skälig betalning för artister, samt å andra sidan att framgångsrikt marknadsföra musiken för att nå igenom bruset. Det indikeras vidare att regler och lagar är nödvändiga för att kunna säkerställa en hållbar utveckling av musikbranschen.The emergence and continuously growing popularity of on-demand streaming music services has changed the music landscape rapidly and new services are entering the market at a high pace. Prior studies show that digitization has affected the way media is created, published, distributed and consumed. The literature review revealed a knowledge gap regarding the effects on music professionals and provided an opportunity to explore how artists and independent record labels perceive the aspects of digitization. The study followed an exploratory sequential mixed-methods approach and consisted of two phases, an initial study including three qualitative interviews, and a quantitative follow-up study, in which working theories that had resulted from the initial study were tested through an online survey (n=81). The results indicate that many independent record labels have changed and adapted their business models and turned into so called 360° music companies. The results further show that digitization developments have to some degree affected the way music is created and produced, with a tendency towards a more individualistic and digital process, and that it has become easier for artists to publish their music; their incomes have however not improved and for many artists the working climate has become harder. The results show that the emergence of on-demand streaming services has disrupted the music industry, instead of having a democratic impact, the power that record labels used to have appears to have shifted to streaming services. Both artists and independent record labels perceive the achievement of fair payments and successful promotion to be the main future challenges. It is indicated that regulations and laws that prevent exploitation are necessary in order to ensure the music industry to be sustainable in the future.
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Ding, Yiwen, and Chang Liu. "Exploring drawbacks in music recommender systems : the Spotify case." Thesis, Högskolan i Borås, Akademin för bibliotek, information, pedagogik och IT, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-8690.
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Currently, more and more people use music streaming websites to listen to music, and a music recommendation service is commonly provided on the music streaming websites. A good music recommender system improves people’s user experience of music streaming websites. Nevertheless, there are some issues regarding the existing music recommender systems that need to be looked into.The purpose of this thesis is to identify the weaknesses of music recommender systems. Spotify, a Swedish music streaming website, has a large number of users. As it is a widely known streaming service, it seems appropriate for a case study on the drawbacks of music recommender systems.The case study method has been chosen for doing this research. The process of making up this thesis was divided into three stages. At the first stage, some basic preparations for the thesis were done. The second stage was characterized by some empirical work, like interviews and questionnaires, to collect the required data. Those empirical findings were analyzed in the third part to help us to identify and define the drawbacks.The research results presented in this thesis contribute to close several knowledge gaps in the area of music recommender systems and could thus be beneficial to different actors: streaming website operators to identify drawbacks of their recommender system; designers of recommender systems to improve system design; and, last but not least, this thesis provides some useful advice to those who market music streaming websites.This thesis does not focus on the technical and algorithm fields, i.e. the hardware- and software-related background. Instead, the idea and the functions of the recommender system, its feedback loop and the user experience were subject to our research and discussion. The results of the thesis can provide those responsible with both and inspiration for creating more customized recommender systems.
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Hessler, Anton. "Musikstreamingtjänsternas inverkan på musikindustrin - Förändringar hos leverantör och konsument." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20328.
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Runt millennieskiftet upplevde den globala musikindustrin en dalande försäljning av fysiska format, som under nästan ett decennium hade svårt för att återhämta sig ekonomiskt. År 2008 etablerade sig den svenska musikstreamingtjänsten Spotify som av många sedan dess betraktats som musikindustrins och skivbolagens räddare. Fler streamingtjänster har sedan dess etablerat sig världen över och många ser idag på streaming som en vedertagen digital konsumtionsmodell. Denna studie undersöker streamingtjänsternas inverkar på musikindustrin. Studien ser efter vilka organisatoriska förändringar som har skett i och med streamingtjänsternas etablering, samt hur musikkonsumtionen och lyssningstrender har förändrats.Studiens empiri baseras på fyra intervjuer som har utförts med respondenter inom musikindustrin. Två av respondenterna arbetar för streamingtjänster och två arbetar för skivbolag. De tydligaste förändringarna som studien visar på är att streamingtjänsterna har intagit en multipel roll, vilket kan förkorta processen att tillgängliggöra musik för konsumenter. Förutom att vara en distributionsplattform som direkt levererar musik till konsumenter, har streamingtjänsterna blivit en attraktiv kanal för marknadsföring. De kan med sitt breda nätverk av användare, och tjänsternas integrering med sociala medier direkt nå musikkonsumenter över hela världen. När skivbolagen marknadsför genom streamingtjänsterna sker idag ingen ekonomisk transaktion, utan handlar mer om ett utbyte av tjänster.Streamingtjänsterna har också bidragit till att en ny aktör inom musikindustrin har inrättats, vilket är de digitala aggregatorerna. Dessa fungerar som en mellanhand mellan skivbolagen om streamingtjänsten. Studien visar också på en eventuell förändring hos konsumenterna, d.v.s. streaminganvändarna. En, enligt respondenterna, negativ utveckling i musiklyssnandet är det minskande behovet av album som format. En positiv utveckling är att befintlig forskning tyder på att internetpirater ser streaming som ersättning för illegal nedladdning.Around the turn of the century the global music industry experienced a decline in sales of physical formats, which has sent the industry into nearly a decade of poor finance. In 2008, the Swedish music streaming service Spotify was established and has since then been regarded as the financial savior of the industry. Several streaming services has since then been established around the world and many are people today perceive streaming as a conventional digital consumption modelThis study examines streaming services and their impact on the music industry. The study investigates the organizational changes that have occurred in the streaming service establishment, and how music consumption and listening trends have changed. The empirical work of the study is based on four interviews that were conducted with respondents in the music industry. Two of the respondents work for streaming services and two working for record labels. The most obvious changes that the study indicates is that streaming services have adopted multiple roles, which can shorten the process of making available music to consumers.In addition to being a distribution platform that directly delivers music to consumers, streaming service has also become an attractive marketing channel. They can with the wide network of users, and integration with social media, directly reach music consumers worldwide. When record companies marketing through streaming services today, there is no economic transaction, but is more about an exchange of services.Streaming services have also contributed to a new entrant in the music industry has been established, which is the digital aggregators. These act as an intermediary between the record companies on the streaming service. The study also indicates a possible change among consumers, i.e. streaming users. One, according to respondents, negative trends in music listening is the diminishing need for the album format. A positive development is that existing research suggests that Internet pirates sees streaming as compensation for illegal downloads.
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Stella, Wong. "Virtual Cheering together : Studies of Audience-Performer Interactions on live-streaming platforms." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-43725.
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In the previous two decades, live streaming has become a popular trend in the music industry. From TV and radio broadcast to live streaming on social media, the relationship between audience and performers has been transforming over time. In 2019, due to the sudden spread of Covid-19, the popularity of watching live streaming events reached an unprecedently peak. According to some market studies, this trend will continue even when the pandemic will be over. This research aims to explore how live streaming has changed the interaction between audiences and performers as a consequence of this great event. In order to understand the current music live-streaming culture, an online survey, interviews and field studies were conducted to obtain insights about potential problems and needs in live streaming. Through the project, a new design feature, the “Cheering” function, is suggested as an additional function to the existing live-streaming platforms, to enhance and enrich the interaction between audience and performers.
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Silva, Júnior Flávio Marcílio Maia e. "Música em fluxo : transformações na indústria fonográfica a partir do streaming." Pós-Graduação em Comunicação, 2018. http://ri.ufs.br/jspui/handle/riufs/8350.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESWith the popularization of streaming in the music industry, new actors and models of production emerge and strengthen the idea of excluding world record companies from stages such as recording and distribution of music. This research analyzes two musical joints related to streaming that consolidate the hypothesis of weakening of these companies: the production of songs made by Spotify and the intermediation of the aggregating companies in the distribution of digital music. However, major record companies, also known as majors, still hold a hegemonic position and seek alternatives to remain profitable in this environment. On other hand, the insertion of streaming into the production chain of music is a phenomenon in development that serves the majors and artists considered independent. To understand the growth of streaming as a trend for the consumption of music on the Internet, it was necessary to carry out a literature review and an analysis of the reports and documents published by Pro-Música Brasil in the last ten years. Interviews with music professionals were also conducted with the objective of identifying new relationships with music in the digital scene.
Com a popularização do streaming na indústria fonográfica, novos atores e modelos de produção surgem e fortalecem a ideia de exclusão das gravadoras mundiais de etapas como gravação e distribuição de música. Esta pesquisa analisa duas articulações musicais relacionadas ao streaming que fortalecem a hipótese de enfraquecimento dessas empresas: a produção de músicas realizadas pelo Spotify e a intermediação das empresas agregadoras na distribuição de música digital. Porém, as grandes gravadoras, também conhecidas como majors, ainda sustentam uma posição hegemônica e buscam alternativas de se manterem rentáveis nesse meio. Dessa forma, a inserção do streaming na cadeia produtiva de música é um fenômeno em desenvolvimento que atende às majors e a artistas considerados independentes. Para entender o crescimento do streaming como tendência para o consumo de música na internet, foi necessário realizar uma revisão de literatura e uma análise dos relatórios e documentos divulgados pela Pró-Música Brasil nos últimos dez anos. Entrevistas com profissionais da música também foram realizadas com o objetivo de identificar novas relações com a música no cenário digital.
São Cristóvão, SE
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Anbuhl, Caroline. "Social and Cultural Practices around Using the Music Streaming Provider Spotify - A qualitative study exploring how German Millennials use Spotify." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22466.
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Over the last years, the music industry has been disrupted by music streaming services which shifted the focus from owning music to accessing it. While the previous research focuses on the economic aspects, the social and cultural consequences remain largely unexplored. Existing research from an audience perspective is often focusing on one particular practice around music streaming and is mainly coming from and focusing on northern EU-countries. However, a broader contemplation of the sociocultural practices around music streaming is still missing. This thesis examines which sociocultural practices have emerged among urban and middle class Millennials in Germany when using the market-leading streaming provider Spotify and which affordances and gratifications these are based upon. The study is based on ten semi-structured interviews with German Millennials aged between 20 to 30 years. Three of these study participants are using a free Spotify account and seven the premium version. By conducting a thematic analysis against the theoretical background that interlinks practice theory, affordance theory and uses and gratifications theory, the practices are described and examined based on the underlying affordances and gratifications.The study found sociocultural practices around the themes social setting, listening mode, Spotify networks and music collection and outlines the underlying affordances and gratifications. During individual listening situations, users engage in the practices of mobile listening and mood management, while listening in social settings focused around navigating the group dynamics and the creation of context-sensitive playlists. The users also aim to create an unstructured and undisrupted music flow but are mainly listening in a passive manner while carrying out other activities. Due to social norms and privacy issues, the participants either reject the network function or build only small networks through which they were sharing and discovering music as well as creating playlists with friends. Lastly, users were building, organizing and maintaining individual music collections.
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Tang, Jie 'Victoria'. "Seeking Sustainability: An Exploration of the Determinants of Revenue Growth and Digital and Streaming Revenue Shares in the Recorded Music Business Across Countries." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1706.
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The recorded music industry experienced declining revenue from 1998 to 2014, but it saw a return to growth in 2015. This thesis uses a sample of 17 countries to explore the determinants behind this revenue expansion, and to assess whether this sales growth can be sustained. I examine the impact of eight factors on the overall, physical, digital, and streaming music revenue and revenue per capita, as well as the digital and streaming revenue share. The eight independent variables include the GNI per capita, the total population, the percentage of the young people, the percentage of the young females, the gross enrollment rate in secondary education, the percentage of Internet users, the percentage of mobile cellular subscriptions, and the percentage of fixed broadband subscriptions. Based on my study, the fixed broadband subscription rate has an impact that is both statistically significant and economically important on the streaming revenue share, which makes it the most important indicator for the industry’s potential sustainable development. The percentage of the young population also shows statistical significance and economic importance for explaining the overall and physical revenue per capita, but it has no effect on the digital and streaming revenue share. Also, although the Internet penetration rate and the mobile cellular subscription rate are statistically insignificant for the digital or streaming revenue share, point estimates suggest that these factors have important economic impacts.
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Hearn, Lucinda J. "Wild release: Making albums for audiences in a short-form economy." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/117287/2/Lucinda%20Hearn%20Thesis.pdf.
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The importance of making full length albums has been questioned in light of recent changes in the music industry, and there have been a variety of responses on the part of artists and labels. Many of these responses have been highly specific, and may not lend themselves to being scaled up effectively or to innovative ways of rethinking the relationship between artists and fans. Here I make the case that responses thus far are lacking, and point to the need for more broadly applicable and sustainable response techniques. Using a practice-led research project, I seek out such response techniques. I explore three modes of practice: creating a release and distribution experiment; creating a set of aesthetic musical rules; and creating a character for performance. I detail new operational knowledge in the form of narrative tools each mode of practice has uncovered, demonstrating the potency of using narrative tools in order to (re)engage audiences with the album as a musical form.
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Kamara, II Kalilu. "Music Artists' Strategies to Generate Revenue Through Technology." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5358.
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Music streaming services are increasing, compact discs (CDs) and digital download sales are declining, and many music artists are becoming affected by this positive shift in music technology. Music streaming revenue does not compensate for the decrease in revenue from CDs and paid downloads. Based on organizational configuration theory (OCT), the purpose of this multiple case study was to explore the technology and marketing strategies that small business music artists used to generate sales revenue from the Internet. Six small business music artists who were 18 years or older with different music revenue streams participated in semistructured interviews. These small business music artists provided detailed information on the technology and marketing strategies they used to generate sales revenue from the Internet. The data collection process for this study included semistructured interview data and participant observations. The data analysis process included methodological triangulation of the interview data and participant observation data to identify themes for the study. Seven themes identified were having a marketing budget, social media, recording studio sessions, digital distribution, SoundExchange, music licensing, and corporate sponsorships. These data may contribute to positive social change by helping small business music artists sustain operations in the music industry.
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Björnung, Cederholm Tove. "Där musiken och lyssnaren möts : En kvalitativ undersökning av fem universitetsstudenters dagliga användande av musik via streamingtjänsten Spotify." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-71166.
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Denna studie undersöker hur det privata vardagslyssnade av musik ser ut idag hos studenter. Studien har särskild fokus på hur lyssnandet påverkas av studenternas tillgång till musik via tjänsten Spotify. Uppsatsen presenterar, diskuterar och analyserar fem semi-strukturerade intervjuer utifrån tidigare forskning samt psykologen James Gibsons teori om affordance. Undersökningen är strukturerad efter ett antal teman som exempelvis: musik som tröst, musik för att kontrollera en social situation och musik och identitet. Materialet från intervjuerna jämförs och analyseras utifrån teorin om affordance. Resultatet visar att vardagslyssnandet idag ser annorlunda ut på grund av den mängd av musik som idag finns tillgängligt för studenterna, till skillnad från innan streamingstjänsterna slog igenom.
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Häger, Alexander. "Contextualizing music recommendations : A collaborative filtering approach using matrix factorization and implicit ratings." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-167068.
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Recommender systems are helpful tools employed abundantly in online applications to help users find what they want. This thesis re-purposes a collaborative filtering recommender built for incorporating social media (hash)tags to be used as a context-aware recommender, using time of day and activity as contextual factors. The recommender uses a matrix factorization approach for implicit feedback, in a music streaming setting. Contextual data is collected from users' mobile phones while they are listening to music. It is shown in an offline test that this approach improves recall when compared to a recommender that does not account for the context the user was in. Future work should explore the qualities of this model further, as well as investigate how this model's recommendations can be surfaced in an application.
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Liese, Christin. "Kaufst du noch oder streamst du schon?" Bachelor's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-223500.
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Die Zeiten der Plattensammlung sind vorbei, Kassetten und CDs sind der MP3-Datei gewichen und nun wird Musik ausschließlich gestreamt. Dieses Zukunftsszenario ist bis dato noch nicht eingetreten, aber wird dies überhaupt passieren? Wird der Kauf von physischen Musikdatenträgern und digitalen Musikdateien dank der immer stärker ansteigenden Streaming Aktivitäten komplett eingestellt? Oder können beide Formen nebeneinander existieren? Um diesen Fragen auf den Grund zu gehen, wurde im Rahmen dieser Arbeit eine Umfrage mit 1.661 Studenten der Technischen Universität Dresden durchgeführt. Die Ergebnisse geben Aufschluss über die Nutzungshäufigkeiten von kostenfreien und kostenpflichtigen Streaming Anbietern sowie von CDs / Schallplatten und MP3 Musikdateien. Zudem wird aufgezeigt, dass eine geringe Zahlungsbereitschaft bei den Studenten besteht. Es werden bereits selten mehr als 5 € in Musik investiert, doch seitdem die Studenten Streaming Dienste nutzen, geben sie nach eigenen Angaben noch weniger Geld für Musik aus als zuvor. Diesem Negativtrend steht die Erkenntnis gegenüber, dass die Probanden seit der Nutzung von Streaming Angeboten weniger Musik illegal herunterladen. Auch wenn der Großteil weniger Musik kauft, so ist es etwa der Hälfte aller Befragten sehr wichtig, Musik zu besitzen, vor allem in physischer Form. Zudem wurden Nutzungsmotive der Möglichkeiten des Musikhörens erfasst, um deren Stärken und Schwächen aufzuzeigen. Die Ergebnisse verdeutlichen, dass die kostenfreie Variante des Streamens zwar häufig genutzt wird, sich die traditionellen Musikdatenträger und Musikdateien jedoch immer noch großer Beliebtheit erfreuen. Von einer kompletten Verdrängung des Kaufens von Musik kann demnach nicht ausgegangen werden.
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Caramujo, Cláudia Maria Matias. "Music streaming market in Portugal: the introduction of a new music streaming service." Master's thesis, 2017. http://hdl.handle.net/10071/14160.
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Este projeto de mestrado é um projeto que procura estudar a viabilidade de um novo serviço inovador de música streaming em Portugal.
Com vista a dar uma resposta adequada, foi feito um estudo generalizado do mercado, no qual foram aprofundados os avanços tecnológicos do setor, como funcionam os negócios de plataformas online, identificadas as necessidades do mercado e do potencial consumidor.
Este estudo deu uma noção geral do mercado, que não foi, no entanto, suficiente para perceber se os consumidores potenciais realmente precisam de uma nova plataforma de música streaming. Para colmatar isto, foi feito um questionário, que foi distribuído pela população Portuguesa, de modo a recolher os seus hábitos de consumo de música online e avaliar se as suas necessidades, enquanto consumidores de música streaming, estão a ser suprimidas.
A conclusão é de que existe uma discrepância entre as plataformas de música streaming existentes no mercado Português e as necessidades da população. Isto representa uma oportunidade. Com base nisto, definida uma estratégia de marketing e foi quantificado o investimento necessário, bem como o retorno financeiro, de um novo serviço de música streaming.This is a project, conducted within the scope of the Management Master program, that aims to evaluate the viability of a new music streaming service introduction in the Portuguese market. In order to give an adequate response, a general study of the market was carried out, the technological advances of the sector and how the online platform business operates were exploited. A market characterization was also made and it was identified who the potential consumer is. This study gave a general notion of the market. However, it was not sufficient to realize if potential consumers indeed need a new music streaming platform. To fill this gap, it was conducted a survey among the Portuguese population. The aim was to collect their habits of music streaming consumption and evaluate if their needs are being answered. With this project it was possible to conclude that there is a discrepancy between the music streaming platforms existing in the Portuguese market and the needs of its population. This represents an opportunity. Therefore, a marketing plan was defined and the necessary investment was quantified, as well as the financial return, of the introduction of a new streaming music service.
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Nunes, Mariana de Almeida Gaspar Freixo. "On-demand music streaming and its effects on music piracy." Master's thesis, 2018. http://hdl.handle.net/10400.14/25934.
Full textAbstract:
In the late 1990’s, music industry revenues began to decline, mostly due to the proliferation of the Internet which enabled consumers to easily pirate music. Record companies and artists began fighting legal battles and investing in educational campaigns in an attempt to teach young people the value of intellectual property. However, the times are now starting to change. In 2016, US retail revenues from recorded music grew 11,4%, the biggest increment since 1998. Streaming revenues have now surpassed income from the sale of traditional formats. Nevertheless, there is still a big player in the market worth paying attention to: music piracy. This thesis seeks to investigate the impact on-demand streaming services have been having on illegal downloading and uncover young music consumers’ habits and preferences. Through an online survey, the study used a conjoint analysis to uncover consumers’ preference structure. It also included direct questions to assess music consumers’ characteristics and habits. The results show that ethics and perceived risk negatively influence the decision to pirate music. On the other hand, higher ethics and involvement are associated with the propensity to pay for streaming services. Also, as age increases the propensity to pay for streaming rises and the tendency to pirate decreases. Even though consumers are price sensitive, price is not always the main decision factor. Finally, we observe that streaming did in fact help to reduce the incidence of music piracy among young music consumers.No final dos anos 90, as receitas da indústria da música começaram a diminuir, principalmente devido à proliferação da Internet, que permitia aos consumidores piratear música facilmente. Discográficas e artistas começaram a travar disputas jurídicas e a investir em campanhas educacionais na tentativa de ensinar aos jovens o valor da propriedade intelectual. No entanto, os tempos estão a mudar. Em 2016, a receita associada à música cresceu 11,4%, o maior incremento desde 1998. As receitas de streaming já ultrapassaram as receitas dos formatos tradicionais. No entanto, ainda há um grande player no mercado ao qual vale a pena prestar atenção: a pirataria. A presente tese procura investigar o impacto que os serviços de streaming têm tido na pirataria de música, e compreender os hábitos e preferências dos jovens consumidores de música. Num questionário on-line, o estudo recorreu a uma análise conjoint para desvendar a estrutura de preferências dos consumidores. Também incluiu perguntas que permitiram avaliar as características e hábitos dos consumidores. Os resultados demonstram que a ética e o risco influenciam negativamente a decisão de piratear música. Por outro lado, maior ética e envolvimento estão associados a uma maior propensão a pagar por streaming. Além disso, à medida que a idade aumenta, a propensão a pagar por streaming aumenta, e a tendência para piratear diminui. Apesar dos consumidores serem sensíveis ao preço, este nem sempre é o principal fator de decisão. Finalmente, observamos que o streming ajudou a reduzir a incidência da pirataria entre os jovens consumidores de música.
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Chiang, Chiung-chi, and 江炯圻. "Investigating User Resistance to music streaming service." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/9cua64.
Full textAbstract:
碩士國立中央大學
企業管理學系
102
Over the last decades, the music industry has harmed by free MP3 download on in website. Consumers not only use the download site P2P (peer to peer) but also other ways to exchange music. And those have been impacting on the sales of physical album. People are still thinking about how to deal with this difficulty. Because the speed of Internet is getting faster and faster, there is a new kind of business model appearing: Online streaming music service, which is a concept of rent music. Subscribers can just pay the fixed monthly fee, and then they can unlimitedly enjoy the music of database. The original author can authorize vendors to offer online streaming music through charging them the property right fee. And the vendors can earn profit from monthly fee of membership and let advertiser publish commercial on website. This way can benefit all three parts, and it also makes industry revive. However, the proportion of using pirated music in 2012 is still around 85%, it means that the people using the online streaming music is still not enough. MP3 users still intend to listen to pirated music, taking the risk to break the law. And it indeed damages original authors and record companies. They aren’t willing to choose higher quality, online streaming music service, to enjoy music. This kind of issue is similar to the theoretical description of the status quo bias: "Users stick at the previous options, even if there is a better one." In this study, the total number of questionnaire is 308 that were collected on Internet. 292 of them are valid (response rate 94%). In this study, we used structural equation to analyze data, and the results showed that reliability and validity of the measurement model are good. In terms of the test of verifying the hypothesis are that: First, inertia, switching costs, cognitive benefits, social norms and the cost for the loss of performance have a significant impact on the attitude of resistance. Second, cost of uncertainty does not have a significant impact on the attitude of resistance. Third, the moderator of gender between the cost of the loss of performance and cost uncertainty is obvious.
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Liou, Ting-Wei, and 劉庭維. "Contract Strategies for Online Music Streaming Platforms." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/8g87kc.
Full textAbstract:
碩士國立臺灣大學
資訊管理學研究所
107
With the advancement of information technology and the penetration of mobile devices, music streaming platforms have increasingly got popular, where consumers are allowed to pay a monthly subscription fee to obtain the full content in subscription-based service, or listen some advertisements to get free but partial content in ad-sponsored service. At present, music streaming platforms proportionally share their revenues with content providers. Platforms will pay more if their revenues increase. There will not be a diminishing marginal effect in the current business model, which not only makes platform unable to earn sufficient profit, but also makes content providers dissatisfied with obtaining very low profit. Therefore, in this thesis, we propose two new contracts and four models to study how the contract strategies are affected by the quality difference between subscription-based service and ad-sponsored service, base valuation, supplementary quality and use frequency of subscribers. The analytical results show that the two new contracts can resolve the problems currently faced by platform and content provider. Also, they show not only the condition of best choice of each strategy for platform or content provider, but also the condition of a win-win situation. Our study can help music streaming platform and content provider adopt an appropriate contract under various market conditions, and provide better solutions to achieve a win-win and profitable strategy for platform and content provider in the music industry.
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Wu, Chun-Kuei, and 吳俊葵. "Music streaming in everyday life: Popular music, technology and cultural practices." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/w2adx8.
Full textAbstract:
碩士國立政治大學
傳播學院傳播碩士學位學程
107
Music streaming services have contributed to the development of popular music industry and the transformation of how people listen to music. This study aims to explore the changing experience and meaning of popular music consumption, which focuses on music streaming as both a technological and cultural practice in everyday life. Four approaches of music consumption, inspired by the model of cultural consumption theory, are integrated as theoretical framework, including meaning production, social intercourse, affective bonding, and social ordering. Furthermore, features of streaming platforms are emphasized as crucial research elements. Qualitative method was employed to gather materials from focus group interviews with streaming music audience, which offers thick descriptions of the music listening experience. The findings suggested that the experience of infomediation, social presentation, and situated listening shed new light on the practice of popular music consumption. While consuming music streams, the audience were faced with a dilemma of whether they should maintain the boundary between personal and social life. They were engaging in a daily negotiation between individual, society, and music, during which they hesitated over whether they should reveal their taste, perspective on music, or private feelings. They confronted the relationship between escaping from reality and blending into society through music. The datafication of listening and the recommendation algorithms not only actualizes self-reflection of the audience to their own listening behavior but also manipulates the audience through a series of standardization and distraction in the logic of cultural industry. The audience then came up with diverse listening tactics to free themselves from the manipulation and forms an unpresented interaction between people and music technology.