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Netti, S. Yollis Michdon, and Irwansyah Irwansyah. "Spotify: Aplikasi Music Streaming untuk Generasi Milenial." Jurnal Komunikasi 10, no. 1 (July 31, 2018): 1. http://dx.doi.org/10.24912/jk.v10i1.1102.
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The large population in Indonesia has become a huge market for many products, including streaming music-based technology products, to reach the target audience of young people. One of the applications that is becoming a trend at the moment is Spotify. A streaming music platform that has many interesting features, and is widely used by millenial generation around the world, including in Indonesia to listen to music. This paper aims to explain clearly and detail about Spotify as the world's largest streaming music platform, how the business model used by Spotify, how Spotify helps musicians to maximize their earnings, how Spotify can change the trend of listening to music from millennials and connoisseurs music around the world, what is the millennial reference for listening to music online, how millennial generation consumes music, history and streaming music technology trends, how Spotify prepares its technology to remain number one, how does music streaming in Spotify, what Just about the online advertising services from Spotify For Brands, how to implement Spotify ads for the brand and ad format used, what brand success stories have used Spotify's advertising services, and how Spotify helps the brand to reach millennials in effective, and how Spotify utilizes technology to be at the forefront of the moment. Jumlah penduduk yang besar di Indonesia menjadi pasar yang sangat besar bagi berbagai produk, termasuk di dalamnya produk teknologi berbasis musik streaming, untuk menjangkau target audience anak muda. Salah satu aplikasi yang sedang menjadi tren pada saat ini adalah Spotify. Sebuah platform musik streaming yang memiliki banyak fitur menarik, serta banyak digunakan oleh generasi milenial di seluruh dunia, termasuk di Indonesia untuk mendengarkan musik. Tulisan ini bertujuan untuk memaparkan secara jelas dan detail tentang Spotify sebagai sebuah platform musik streaming terbesar di dunia, bagaimana model bisnis yang digunakan oleh Spotify, bagaimana Spotify membantu para musisi di dalam memaksimalkan pendapatannya, bagaimana Spotify dapat mengubah trend mendengar musik dari para milenial maupun penikmat musik di seluruh dunia, apa yang menjadi acuan dari generasi milenial untuk mendengarkan musik secara online, bagaimana generasi milenial mengkonsumsi musik, sejarah dan tren teknologi musik streaming, bagaimana Spotify mempersiapkan teknologinya untuk tetap menjadi nomor satu, bagaimana cara kerja music streaming di Spotify, apa saja layanan-layanan periklanan online dari Spotify For Brands, bagaimana implementasi iklan Spotify untuk brand dan format iklan yang digunakan, apa saja kisah sukses brand yang telah menggunakan layanan iklan dari Spotify, dan bagaimana Spotify membantu brand untuk dapat menjangkau generasi milenial secara efektif, dan bagaimana Spotify memanfaatkan teknologi untuk menjadi yang terdepan pada saat ini.
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Way, Samuel F., Jean Garcia-Gathright, and Henriette Cramer. "Local Trends in Global Music Streaming." Proceedings of the International AAAI Conference on Web and Social Media 14 (May 26, 2020): 705–14. http://dx.doi.org/10.1609/icwsm.v14i1.7336.
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Audio streaming services have made it easier for countries around the world to listen to each other's music. This expansion in listeners' access to global content, however, has raised questions about streaming's impact on the import and export flows of music between countries and their preferences for local or global content. Here, we analyze five and a half years of all streaming data from Spotify, a global music streaming service, and find that preferences for local content have increased from 2014 through 2019, reversing previously noted trends. Perhaps correspondingly, both common official language and geographic proximity between countries increasingly shape listener consumption during this period, particularly for younger audiences. Further, we show that these trends persist across different genres, listener age groups, and early- and late-adopters of streaming, providing new insights into this newest phase in the continued evolution of music and its impact on listeners around the world.
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DROTT, ERIC A. "Music as a Technology of Surveillance." Journal of the Society for American Music 12, no. 3 (July 10, 2018): 233–67. http://dx.doi.org/10.1017/s1752196318000196.
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AbstractThis article explores surveillance in cloud-based music streaming. Key catalysts in the transition from ownership- to access-based models of music distribution, services like Spotify, Pandora, or Deezer have positioned themselves as a means of reintegrating listeners into “digital enclosures” over which rights holders exercise greater control. Yet streaming's promise of remonetizing musical commodities demonetized by filesharing has been called into doubt by difficulties in converting users of advertising-based “freemium” services into paying subscribers. In need of alternative means of extracting value from users, streaming platforms have increasingly refashioned themselves as enterprises whose business extends beyond music-related services to encompass the collection, aggregation, and exchange of user data. In pursuing this strategy, streaming platforms place themselves in direct competition with other new media companies trading in user data. In order to distinguish themselves from such competitors, streaming platforms cast music as a particularly valuable source of data, offering privileged access to listeners’ innermost selves. But they also cast music as an ideal tracking device, accompanying individuals across a variety of social, physical and geographical spaces. In this way, the very attributes that make music so powerful a “technology of the self” facilitate its transformation into an equally powerful technology of surveillance.
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Amanda, Rissa. "Music streaming dalam industri musik era industri 4.0." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 6, no. 1 (March 20, 2022): 358–82. http://dx.doi.org/10.25139/jsk.v6i1.3772.
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Industrial era 4.0 shows that all human activities will be connected and dominated by digital media. Creativity and new ideas to innovate technology are the keys of this era. For example in the music industry 4.0, which develops music streaming technology products, trying to attract a lot of millennials generation. In the context of Indonesia, Langit Musik as a local product competes with Spotify as an international product. Therefore, through this literature review-based research and interview with some of the participants in Whatsapp phone call, researchers want to see what kind of music streaming platform in the industrial era 4.0 make many peoples interested, especially the millennials generation in Indonesia. The results show that the use of Spotify in Indonesia is still more popular than Langit Musik, because for most of the Indonesian millennial generation Spotify is already suitable for the music streaming criteria they want. These include a diverse and global selection of songs, from old songs to the latest songs that are always up-to-date, have a simple and eye-catching display, easy to use, clear sound quality, have lyrics for karaoke, integrated with social media for status updates, have playlist personalisation feature, and no need to use large mobile data internet quota. However, Spotify and Langit Musik are still not able to attract their customers to switch from free to premium services, due to different needs and there are people who are still comfortable downloading songs illegally even though they already had music streaming. Spotify has become more popular than Langit Musik because of consumer trust in its quality, besides that personal promotion by word-of-mouth from the closest people and status updates on social media, which also support the expansion of Spotify's popularity.
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B., Killa,, and Upadhyay, A.K. "Business Models in the Music Streaming Industry: A Critical Review of Literature on the Role of Audio Advertising." CARDIOMETRY, no. 24 (November 30, 2022): 887–95. http://dx.doi.org/10.18137/cardiometry.2022.24.887895.
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This paper aims to explore advertising on music streaming platforms as an opportunity for brands to advertise in India by studying users’ attitudes towards advertisements while listening to music on these platforms. The paper is an outcome of reviewing several published journals and articles referring to music streaming services, their revenue models, and their impact on consumer listening behaviors. The paper presents an overview of the music industry’s evolution, the piracy issues involved, and revenue models of music streaming platforms; free streaming and paid/premium models. It discusses the music consumption behavior of users and the effect of audio advertising on the platform. Finally, the paper emphasizes the targeting and personalization of ads. The research only concentrates on the Indian consumer of music streaming platforms and is limited to advertising on India’s streaming platforms. The paper critically examines India’s potentially growing industry – the audio streaming industry, which has not been previously reviewed. It studies the users of music streaming platforms in India to conclude their listening patterns and behavior towards ads on the platform and further research.
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Borja, Karla, and Suzanne Dieringer. "Streaming or stealing? The complementary features between music streaming and music piracy." Journal of Retailing and Consumer Services 32 (September 2016): 86–95. http://dx.doi.org/10.1016/j.jretconser.2016.06.007.
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Angela, Angela, Fandi Halim, Tri Agung Pramana, and Andolin Simanjuntak. "USER EXPERIENCE EVALUATION ON MUSIC STREAMING APPLICATIONS WITH UEQ METHOD." JURTEKSI (Jurnal Teknologi dan Sistem Informasi) 8, no. 2 (April 16, 2022): 209–18. http://dx.doi.org/10.33330/jurteksi.v8i2.1323.
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Abstract: Along with the development of information technology, the way people listen to music also changed with the emergence of many music streaming applications. The user experience of an application plays an important role in attracting and retaining application users. Therefore, this study has goal to compare the music steaming applications’ user experience of the Joox and Spotify by using User Experience Questionnaire (UEQ) method. There are 6 scales assessed by UEQ, including attractiveness, perspicuity, efficiency, dependability, stimulation, and novelty. Data was collected by distributing online questionnaires and obtained as many as 104 responses that could be processed. The results show that both applications have positive impressions which are indicated by the average value of each scale greater than 0.8. This indicates that these two applications are considered quite fun, effective, easy to understand, and innovative. However, the comparison’ results show that between Spotify and Joox is not significantly different, with Spotify scores slightly better than Joox. Keywords: music streaming application; user experience; user experience questionnaire Abstrak: Seiring dengan perkembangan teknologi informasi, cara masyarakat mendengarkan musik juga mengalami perubahan dengan munculnya banyak aplikasi streaming musik. User experience suatu aplikasi berperan penting untuk menarik dan mempertahankan pengguna aplikasi. Oleh karena itu, penelitian ini memiliki tujuan untuk membandingkan user experience dari aplikasi streaming musik Joox dan Spotify dengan metode User Experience Questionnaire (UEQ). Terdapat 6 skala yang dinilai oleh UEQ yaitu daya tarik, kejelasan, efisiensi, ketepatan, stimulasi, dan kebaruan. Data dikumpulkan melalui penyebaran kuesioner secara daring dan diperoleh sebanyak 104 jawaban yang bisa diolah. Hasil penelitian menunjukkan bahwa kedua aplikasi memiliki impresi positif yang ditandai dengan nilai rata-rata setiap skala lebih besar dari 0.8. Artinya kedua aplikasi ini dinilai cukup menyenangkan, efektif, mudah dipahami, dan inovatif. Meskipun demikian, hasil perbandingan menunjukkan bahwa perbedaan antara Spotify dan Joox tidak terlalu signifikan, dengan nilai Spotify sedikit lebih unggul daripada Joox. Kata kunci: aplikasi streaming musik; pengalaman pengguna; user experience questionnaire
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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.
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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.
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DROTT, ERIC. "Why the Next Song Matters: Streaming, Recommendation, Scarcity." Twentieth-Century Music 15, no. 3 (October 2018): 325–57. http://dx.doi.org/10.1017/s1478572218000245.
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AbstractThis article explores how human curation and algorithmic recommendation are figured in cloud-based streaming platforms. In promoting their services as alternatives to illicit file-sharing, platforms such as Spotify, Deezer, and Apple Music have long touted the access they provide to a massive database of music. Yet the effectiveness of appeals to musical plenitude have been thrown into doubt, as high rates of user turnover threaten streaming's economic viability. Curation and recommendation have thus been posited as solutions to this problem, as means of producing and reproducing consumer desire. By attending to the fantasies woven around streaming and music recommendation more specifically, this article highlights the peculiar form of subjectivation at work in the way recommendation hails listeners. The normative listener constructed through such modes of hyper-personalized address is ideally one that is as dynamic and adaptive as the algorithmic systems that adjust to their fluctuating needs, dispositions, and desires.
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Lüders, Marika, Vilde Schanke Sundet, and Terje Colbjørnsen. "Towards streaming as a dominant mode of media use?" Nordicom Review 42, no. 1 (January 1, 2021): 35–57. http://dx.doi.org/10.2478/nor-2021-0011.
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Abstract Music and television streaming services present users with abundant catalogues of content available on demand. We investigate whether users respond by narrowing or widening the diversity of content they consume. Further, we examine how the different logics characterising music and television streaming are mirrored in the number of streaming services people use. To do so, we compare non-, sporadic, regular, and frequent users of television and music streaming services. Findings from a cross-sectional survey in Norway show that frequent streamers consume a wider variety of genres and rely on more services. Our results also indicate that streaming has gone from a first-mover activity to a standard consumer mode. This study indicates that we can expect continued growth in television streamers, whereas the music streaming industry seems more consolidated.
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Sesigür, Onur. "How to approach collecting music on streaming services." Interactions: Studies in Communication & Culture 11, no. 1 (April 1, 2020): 65–74. http://dx.doi.org/10.1386/iscc_00006_1.
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Consumption, collection and curation activities on streaming music services are a relatively new phenomenon that has not yet been offered an abundance of ways to be approached. This article addresses the information nature of a song and the collection and curation practices on a streaming platform to propose a methodological approach at the intersection of personal information management (PIM) and collection studies. By discussing the state of ownership and experience on streaming, this methodological approach uses the concept of mediality to redefine the collectible as information and decentralizes it by putting the emphasis on the act of collecting. By viewing streaming songs as collectable information objects and focusing on the interaction and experience a listener has with the songs and the environment of the songs, an outline of how a streaming music collection can be studied is provided. The concepts of bookmark for the streaming song and address book for the personal streaming playlist are proposed to study streaming music consumption, collection and curation at the intersection of PIM and collection studies.
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Hiller, R. Scott, and Jason M. Walter. "The Rise of Streaming Music and Implications for Music Production." Review of Network Economics 16, no. 4 (December 20, 2017): 351–85. http://dx.doi.org/10.1515/rne-2017-0064.
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Abstract In this paper, we model the potential for streaming music, a non-durable product, to upend and displace durable music sales. As the popularity of streaming music increases producers will adjust their production to focus on the non-durable channel. We identify conditions under which the changes in music delivery will encourage musicians to release fewer songs, but at a higher quality, leading to market deepening and increased engagement. This change will complete the unbundling process in music production making the traditional bundled album of little importance. This tendency toward unbundling for individual musicians depends on a robust bundle from a delivery platform to provide value for consumer subscriptions. Beyond a model of consumer utility and producer profit, we analyze the most played songs of the large streaming music platform, Spotify, and compare those results to traditional album sales using Nielsen data.
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Ritonga, Danny Ivanno, Tri Danu Satria, and Aqsa Mulya. "IMPLEMENTATION OF OPEN BROADCASTER SOFTWARE STUDIO IN MUSIC PERFORMANCE MANAGEMENT THROUGH LIVE STREAMING." Gondang: Jurnal Seni dan Budaya 5, no. 2 (December 1, 2021): 204. http://dx.doi.org/10.24114/gondang.v5i2.29638.
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This study aims to compile the management of performing arts in musical performances through live streaming at the Music Education Study Program, State University of Medan and to develop methods for implementing Open Broadcaster Software Studio in musical performances through live streaming in the Music Education Study Program. This study uses a qualitative approach by following the opinions of Miles and Huberman (1984), namely (1) data collection (data collection), which is carried out through interviews, observations, document digests, recording and recording; (2) data reduction, which is done by summarizing, selecting the main things, focusing on the important things, looking for themes and patterns and discarding unnecessary ones; (3) data display, which is done by showing data and presenting it in the form of narrative text and charts; (4) conclusion drawing/verification conducted by drawing conclusions and verifying the research findings. The results of the study indicate that the management of performing arts in Karya Musik performances through Live Streaming starts from the planning, organizing, actualling, and controlling stages. A show can be managed well if it has a good management system too. By having a good management system, the performance of the musical works will be able to achieve greater goals, targets, or outputs. Planning begins with preparing Human Resources and preparing hardware and software. The organization consists of the Program Director as the person in charge, Production manager who oversees the Floor Director and Talent/musicians, Multimedia manager who oversees IT operators, Software and Hardware Operators, and Camera Man, and Stage Manager who oversees Sound Operators and Lighting Operators. The implementation of Musical Performances through Live Streaming has been carried out 3 times. They are the Nusantara Tetabuhan Music Show, the Langkat Tamiang Rentak Show, and also the Orchestra Music Show. the methods and steps taken in implementing the OBS Studio software as a medium for the virtual musical performance process include input and output methods and using OBS Studio Software. The Method of Performing Live Streaming Music Works using OBS Studio Software begins with determining the settings and design layout, selecting Capture Card, Copy Code Live Streaming on Youtube, Paste Code Live Streaming to the OBS system, and Start Streaming.
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Maasø, Arnt. "Music Streaming, Festivals, and the Eventization of Music." Popular Music and Society 41, no. 2 (September 22, 2016): 154–75. http://dx.doi.org/10.1080/03007766.2016.1231001.
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Webster, Jack. "Music on-demand: A commentary on the changing relationship between music taste, consumption and class in the streaming age." Big Data & Society 6, no. 2 (July 2019): 205395171988877. http://dx.doi.org/10.1177/2053951719888770.
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From providing on-demand access to vast catalogues of recorded music at little or no cost to the use of Big Data to personalise the experience of consuming music, music streaming platforms, such as Spotify and Apple Music, have the potential to disrupt the part that music taste plays in the performance of class identities and the reproduction of class privilege in ways not previously encountered. The influential sociologist, Pierre Bourdieu , demonstrated that cultural taste – what and how people consume cultural goods, such as music, food and fashion – is shaped by class background and in doing so serves to mark and reproduce class differences in everyday life. In this commentary, I consider how sociologists might address the important but challenging question of if and how are music streaming platforms shaping the part that music taste plays in the performance of class identities and the cultural reproduction of class privilege. I discuss some ways in which music streaming platforms may be shaping how class identities are performed through how people consume music, drawing attention to consumption practices that have the potential to both involve and resist the use of music streaming platforms in the pursuit of social distinction.
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Hadjis Labarca, Ulises. "Music streaming and its consequences within the dynamics of power, consumption and creation." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 18, no. 1 (December 4, 2020): 3–12. http://dx.doi.org/10.5209/tekn.68748.
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Streaming has dominated the consumption of music and audiovisual media over the last five years. 80% of music in Mexico is now consumed through streaming (Gutiérrez, 2019) YouTube, Netflix and Spotify present an unquestionable hegemony in the Western world. This article shows how consumption through the streaming of music tracks, in conjunction with non-possession, opens up a new space in the world of music production and distribution, which in many aspects changes the creation of composers. The article also considers the power dynamics of the recommendation algorithm on various platforms.
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Amanda, Rissa. "Spotify WOM by Millennial Generation." Jurnal Komunikasi 14, no. 1 (May 11, 2022): 140. http://dx.doi.org/10.24912/jk.v14i1.12256.
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The presence of Spotify as an online music streaming platform is a new alternative for music lovers to enjoy music without having to buy physical albums or download songs illegally and stored it on smartphones, which take a lot of memory. Spotify is getting more and more popular as we can see from the increasing number of Spotify users every year. Therefore, this study wants to know in depth how the millennial generation's experience in using Spotify can influence their decision in recommending online music streaming to non-Spotify users with the WOM technique. This is because Spotify is one of the most popular online music streaming platforms. This research using phenomenology method that is equipped with in-depth interviews. The results of the study show that millennial Spotify users are satisfied with the quality and the many benefits they get, especially if they choose the premium service. So they want to recommend this application to music lovers, especially music streaming lovers. Spotify is also very suitable for music lovers who are active, productive, and often listen to the songs.
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Chang, Victor, Yifan Yang, Qianwen Ariel Xu, and Chang Xiong. "Factors Influencing Consumer Intention to Subscribe to the Premium Music Streaming Services in China." Journal of Global Information Management 29, no. 6 (November 2021): 1–25. http://dx.doi.org/10.4018/jgim.20211101.oa17.
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This study investigates the causes impacting the consumers' intention of the premium music streaming services' subscription in China. An integrated model called the Theory of Streaming Service Acceptance (TSSA) is proposed to explain and predict premium music streaming service subscription behaviors. The TSSA consists of four constructs: attitude, descriptive norm, injunctive norm and perceived behavioral control. The research data was collected in the form of an online survey in China with 120 respondents. Then, interviews were conducted to collect qualitative data from 20 participants. An explanatory sequential mixed method was implemented and the PLS-SEM technique was used to analyze the survey data. The results showed that all constructs in modified research mode, including attitude, injunctive norm and perceived behavioral control except descriptive norm, are indicative predictors for a person’s intention toward premium music streaming services’ subscription. Significant practical inspirations from the perspective of music streaming services providers are also summarized.
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Masdaner, Reynanta, and Poppy Ruliana. "Electronic Word Of Mouth Dan Brand Image Dalam Minat Beli Layanan Aplikasi Musik Spotify." Ganaya : Jurnal Ilmu Sosial dan Humaniora 4, no. 2 (September 10, 2021): 356–73. http://dx.doi.org/10.37329/ganaya.v4i2.1323.
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Currently the trend of listening to music using music application is gaining popularity. One of the most popular streaming music applications is Spotify. Spotify’s strong brand image makes it easy for the public to remember. Spotify’s brand image was formed through electronic word of mouth (eWOM). eWOM is marketing communication strategy that influences and generates buying interest when users see interesting and positive comments on the internet regarding the Spotify streaming music application product. This study aimsto determine the effect of eWOM and brand image on interest in purchasing Spotify premium services. What is meant by premium service is a paid feature to get full and ad free access. This study uses a quantitative approach using a survey method which conducted on 100 students of STIKOM Interstudi who are users of the Spotify streaming music application. The results show that eWOM and brand image have a positive influence on the interest in buying premium services for the Spotify streaming music application
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Gao, Andrea. "Catching the Earworm: Understanding Streaming Music Popularity Using Machine Learning Models." E3S Web of Conferences 253 (2021): 03024. http://dx.doi.org/10.1051/e3sconf/202125303024.
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The digitization of music has fundamentally changed the consumption patterns of music, such that the music popularity has been redefined in the streaming era. Still, production of hit music that capture the lion’s share of music consumption remains the central focus of business operations in music industry. This paper investigates the underlying mechanism that drives music popularity on a popular streaming platform. This research uses machine learning models to examine the predictability of music popularity in terms of its embedded information: audio features and artists. This paper further complements the predictive model by introducing interpretable model to identify what features significantly affect popularity. Results find that machine learning models are capable of making highly accurate predictions, suggesting opportunities in music production that could largely increase possibility of success within streaming era. The findings have important economic implications for music industry to produce and promote the music using controllable and predictable features tailored to the consumer’s preferences.
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Noor, Muhammad Usman, and Wihdah Askariyyah. "Improving Music Streaming Services Through Metadata: Case Study from JOOX Indonesia." Record and Library Journal 7, no. 1 (June 29, 2021): 125–33. http://dx.doi.org/10.20473/rlj.v7i1.116.
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Background of this Study: This article examines how digital music handled on music streaming services, JOOX Indonesia in particular. Purposes: The aims was to bring insight that metadata management skill could help an enhancement over music streaming services through metadata and to improve the user experience when using music streaming services. Method:A single case study is chosen as the research method for this paper. The researcher did three months internship to see how the music file handled on the back end of JOOX. Semi-structured qualitative interviews and documentary analysis were used to collect and triangulate the qualitative data. Findings: The result shows JOOX using its operational self-possession procedures to handle its digital music file and using its own metadata standard with adaptation from music metadata standard. JOOX has a feature that utilizes music lyric. We found that lyric metadata embedded as a distinct entity on their backend system. Since lyric frequently used by the user as an access point when they do the retrieval, we propose to embed lyric as a field on music metadata to improve search result. Conclusion: These research shows are lyric as the essential part when users enjoy the music in music streaming services. By embed lyric on music metadata, lyric could be able as an access point for retrieval. Moreover, lyric as metadata could be part of music digital file handling.
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Chen, Han. "The Relationship between Music Property and Degree of its Popularity in Spotify." BCP Business & Management 13 (November 16, 2021): 386–90. http://dx.doi.org/10.54691/bcpbm.v13i.112.
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The global recorded music market grew by 7.4% in 2020, the sixth consecutive year of growth, according to IFPI, the organization that represents the recorded music industry worldwide. Figures released today in IFPI’s Global Music Report show total revenues for 2020 were US$21.6 billion. Growth was driven by streaming, especially by paid subscription streaming revenues, which increased by 18.5%. There were 443 million users of paid subscription accounts at the end of 2020. Total streaming (including both paid subscription and advertising-supported) grew 19.9% and reached $13.4 billion, or 62.1% of total global recorded music revenues. The growth in streaming revenues more than offset the decline in other formats’ revenues, including physical revenues which declined 4.7%; and revenues from performance rights which declined 10.1% – largely as a result of the COVID-19 pandemic. As we have seen, the music market has a huge economic potential on a global scale, then I want to use 40,000 of data in Spotify to analysis people’s average hobbies and build a simple persona.
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Oh, Sang-Yong, and Byung In Lim. "Economic Analysis on Music Streaming Service." Korea Association Of Cultural Economics 23, no. 1 (April 30, 2020): 77–97. http://dx.doi.org/10.36234/kace.2020.23.1.77.
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Bender, Mark, Esther Gal-Or, and Tansev Geylani. "Attracting artists to music streaming platforms." European Journal of Operational Research 290, no. 3 (May 2021): 1083–97. http://dx.doi.org/10.1016/j.ejor.2020.08.049.
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Sinclair, Gary, and Julie Tinson. "Psychological ownership and music streaming consumption." Journal of Business Research 71 (February 2017): 1–9. http://dx.doi.org/10.1016/j.jbusres.2016.10.002.
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Noviani, Dini, Raenita Pratiwi, Silvia Silvianadewi, Mohammad Benny Alexandri, and Marsha Aulia Hakim. "Pengaruh Streaming Musik Terhadap Industri Musik di Indonesia." JURNAL BISNIS STRATEGI 29, no. 1 (July 1, 2020): 14–25. http://dx.doi.org/10.14710/jbs.29.1.14-25.
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Music streaming service has become one of the most influential factors in Indonesian music consumption patterns where the music industry can no longer depend on physical products and consumers are now more selective in enjoying music. This study discusses how the development of the use of steaming music platforms has an impact on consumption patterns and music marketing. The method used in this study is a qualitative method by means of descriptions in the form of words and language. The results of this study indicate that the movement of Z as the main connoisseurs of digital music in Indonesia has shown that the music industry players are very supportive of digitalization to facilitate marketing their music and help protect their intellectual property by reducing piracy.
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Tabata, Tomohiro, and Tse Yu Wang. "Life Cycle Assessment of CO2 Emissions of Online Music and Videos Streaming in Japan." Applied Sciences 11, no. 9 (April 28, 2021): 3992. http://dx.doi.org/10.3390/app11093992.
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In this study, we analyzed the CO2 emissions of online music and video streaming services, as one of the digital contents, in Japan using life cycle assessment. As a system boundary of online music and video streaming, processes such as data center construction and server manufacturing, usage of communication networks and internet communication technology devices (personal computers (PCs) and smartphones), and disposal of data centers and servers were considered. Data were collected using statistical and online surveys, and CO2 emissions per 1 MB of communication volume were calculated. One of the results revealed that the lifecycle CO2 emissions of listening to online music using PCs and smartphones were 5.88 × 10−4 and 1.43 × 10−4 kg-CO2/MB, respectively. The overall CO2 emissions for domestic music and video streaming services in 2019 was 921 thousand t-CO2. Online video streaming accounted for 87.7% of the total emissions, which corresponded to approximately 0.23% of domestic CO2 emissions derived from electric power generation.
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Chen, Charlie C., Steven Leon, and Makoto Nakayama. "Are You Hooked on Paid Music Streaming?" International Journal of E-Business Research 14, no. 1 (January 2018): 1–20. http://dx.doi.org/10.4018/ijebr.2018010101.
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The proliferation of free on-demand music streaming services (e.g., Spotify) is offsetting the traditional revenue sources (e.g., purchases of downloads or CDs) of the music industry. In order to increase revenue and sustain business, the music industry is directing its efforts toward increasing paid subscriptions by converting free listeners into paying subscribers. However, most companies are struggling with these attempts because they lack a clear understanding of the psychological and social purchase motivations of consumers. This study compares and contrasts the two different phases of Millennial generation consumer behaviors: the alluring phase and the hooking phase. A survey was conducted with 73 paying users and 163 non-paying users of on-demand music streaming services. The authors' data analysis shows two separate behavioral dynamics seen between these groups of users. While social influence and attitude are primary drivers for the non-paying users in the alluring phase, facilitating conditions and communication control capacity play critical roles for the paying users in the hooking phase. These results imply that the music industry should apply different approaches to prospective and current customers of music streaming services.
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Hagen, Anja N., and Marika Lüders. "Social streaming? Navigating music as personal and social." Convergence: The International Journal of Research into New Media Technologies 23, no. 6 (October 18, 2016): 643–59. http://dx.doi.org/10.1177/1354856516673298.
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Music-streaming services embed social features that enable users to connect to one another and use music as social objects. This article examines how these features are experienced within negotiations of music as personal and social through the acts of sharing music and of following others. The analysis relies on 23 focus-group interviews with 124 Spotify and/or Tidal users and a mixed-method study including music-diary self-reports, online observation and interviews with 12 heavy users. Our findings suggest that users incorporate social awareness in non-sharing, selective-sharing and all-sharing approaches with strong, weak and absent ties. These ties are characterized by different configurations of social and music homophily. Negotiations of music as personal and social shape how music-streaming services are experienced.
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Gregory, Andrew H. "Timbre and Auditory Streaming." Music Perception 12, no. 2 (1994): 161–74. http://dx.doi.org/10.2307/40285649.
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Listeners rated the subjective difference between pairs of different synthesized orchestral instrumental timbres. They then reported their perception of variations on crossing ascending and descending musical scales played in different timbres. With little or no timbre difference between the scales, auditory streaming by pitch led to the perception of separate high and low halfscales. Increasing timbre difference led to the perception of the complete scales played by each instrument, particularly if the two scales were in distant keys or temporally interleaved rather than simultaneous. If the notes of each scale alternated between two instruments, then perceptual separation by timbre would result in the perception of the "jumping" sequence of notes played by each instrument. This sequence was perceived only if the scales were discordant or temporally interleaved. Multidimensional scaling of the difference ratings led to three dimensions, which were correlated with acoustic parameters resulting from spectral analysis of the sounds. The most important aspects of timbre for perceptual separation were the proportion of energy in the lower partials and, for discordant scales, the duration of the decay. Auditory streaming by timbre thus depends on particular dimensions of timbre and on musical factors such as harmonic relation, simultaneity, and continuity.
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Danielsen, Anne, and Yngvar Kjus. "The mediated festival: Live music as trigger of streaming and social media engagement." Convergence: The International Journal of Research into New Media Technologies 25, no. 4 (July 25, 2017): 714–34. http://dx.doi.org/10.1177/1354856517721808.
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Live music events are increasingly saturated with and mediated via the online and mobile devices of the audience. This article explores patterns in this media use surrounding the Øya festival in Norway and focuses, in particular, on music streaming and social media activity. It presents statistical analysis of listening sessions via the streaming service Wimp and social interactions via the micro-blogging platform Twitter. The juxtaposition of these unique access points allows the analysis to explore the impact of physical live concerts on the digital music experience. It also enables a nuanced examination of how the festival audience responds to different artist segments, from international headliners to local acts. One key finding is that local artists that are positively evaluated via Twitter have the greatest boost in subsequent music streaming. The article argues that in-depth studies of the intersection of live and mediated music are essential to understanding the encounter between artists and audiences that is facilitated by contemporary live music events.
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Wulandari, Diyah, Usep Suhud, and Unggul Purwohedi. "The Influence Factors of Continuance Intention to Use a Music Streaming Application." International Journal on Advanced Science, Education, and Religion 2, no. 2 (June 28, 2019): 17–25. http://dx.doi.org/10.33648/ijoaser.v2i2.32.
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Currently, streaming music applications have a high demand by smartphone users in Indonesia. Streaming music applications is new trend and can’t be separated from the people daily life, because of the need for full access, easy and inexpensive music services. This study aimed to find out the factors that influence continuance intention to use a music streaming application. This study uses variable perceived ease of use, perceived enjoyment, entertainment, habit, social influence, satisfaction and continuance intention. The data used in research is primary data obtained from online questionnaires. Sample in this study were 200 respondents streaming music application users from Spotify in the Greater Jakarta area. The sampling technique of this study was non-probability sampling with purposive sampling method. This study uses a quantitative approach through statistical analysis. Tests conducted using Structural Equation Modeling (SEM) with the help of analysis of moment structures (AMOS 24). This result shows that perceived ease of use, perceived enjoyment, and entertainment have a positive and significant effect toward satisfaction. Satisfaction and habit have a positive and significant effect toward continuance intention. Meanwhile social influence has a negative and significant effect toward continuance intention.
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Werner, Ann. "Moving Forward: A Feminist Analysis of Mobile Music Streaming." Culture Unbound 7, no. 2 (June 11, 2015): 197–213. http://dx.doi.org/10.3384/cu.2000.1525.1572197.
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The importance of understanding gender, space and mobility as co-constructed in public space has been emphasized by feminist researchers (Massey 2005, Hanson 2010). And within feminist theory materiality, affect and emotions has been described as central for experienced subjectivity (Ahmed 2012). Music listening while moving through public space has previously been studied as a way of creating a private auditory bubble for the individual (Bull 2000, Cahir & Werner 2013) and in this article feminist theory on emotion (Ahmed 2010) and space (Massey 2005) is employed in order to understand mobile music streaming. More specifically it discusses what can happen when mobile media technology is used to listen to music in public space and investigates interconnectedness of bodies, music, technology and space. The article is based on autoethnographic material of mobile music streaming in public and concludes that a forward movement shaped by happiness is a desired result of mobile music streaming. The valuing of ‘forward’ is critically examined from the point of feminist theory and the failed music listening moments are also discussed in terms of emotion and space.
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Tan, Min, and Seong-Joon Limb. "A Study on the Determinants of YouTube Music User Satisfaction and Continuous Use Intention - Focusing on YouTube Premium Subscribers -." Korea Association Of Cultural Economics 25, no. 3 (December 31, 2022): 135–68. http://dx.doi.org/10.36234/kace.2022.25.3.135.
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In this study, the user’s selection factors (UGC service, content sufficiency, content diversity, pricing plan, personalization, system quality) were derived for the music streaming service ‘YouTube Music’, and their effect on satisfaction and continuous use intention was empirically investigated. To this end, a survey was conducted on 314 YouTube Premium subscribers who mainly listen to music through YouTube Music. As a result of the analysis, among the selection factors, only personalization, system quality, content sufficiency, and pricing plan had significant positive effects on the satisfaction and continued use intention of YouTube Music users, but UGC service and content diversity did not. The implications of YouTube Music and other domestic music streaming providers according to the study results were discussed.
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Hsu, Chiehwen, Yeshwant Raj, and Bob Sandy. "Music Streaming Characteristics and Consumption Emotion as Determinants of Consumer Satisfaction and Purchase Intention." Contemporary Management Research 17, no. 3 (September 1, 2021): 157–88. http://dx.doi.org/10.7903/cmr.20647.
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The present study analyzes consumers perceptions of music streaming and how such perceptions might influence customers brand loyalty and purchase intent. The competitive advantages of music streaming, widely known for its cost-saving measures, ease of use, and worldwide accessibility, are carefully reviewed herein. The S-O-R Theory commonly employed in psychology studies is applied in this study to explain the relationship between the product characteristics of streaming music (e.g., price, content quality, functionality, convenience, and design) and consumer behavior as seen by consumption emotions. This relationship is viewed as either positive or negative in consumer satisfaction and purchase intention. The data were collected through an online web-based survey questionnaire. One thousand seven (1007) subjects from Indonesia completed the survey. The Structured Equation Modeling (SEM) was used to examine the relationship among product attributes, consumer satisfaction, and purchase intention. Our study findings revealed a strong association between emotion and particular product characteristics, whereby a positive emotion exists across all product characteristics in music streaming services. The design variable is the most popular function of all music streaming services product attributes. Our findings suggest that either positive or negative emotions may predict the functionality constructions in comparison with previous research results. On the other hand, the findings of the present study suggest that only positive emotions can influence the satisfaction level of consumers and, in turn, affect the consumers purchasing intent
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Chae, Seung-Kyun. "Music Contents Creators’ Rights Issue in Streaming-dominant Music Market." Journal of the Korea Academia-Industrial cooperation Society 22, no. 10 (October 31, 2021): 421–30. http://dx.doi.org/10.5762/kais.2021.22.10.421.
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Li, Jingting. "Analysis of The Trend of Spotify." BCP Business & Management 34 (December 14, 2022): 919–26. http://dx.doi.org/10.54691/bcpbm.v34i.3112.
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With the change in people's music consumption patterns, music streaming media enterprises have attracted more and more attention. Spotify is one of the largest music streaming media enterprises at present, and its rapid development has been attracting attention. As the market becomes increasingly competitive, Spotify's single business model is increasingly limited. Through the combination of qualitative and quantitative research, this paper concludes that the main problems of Spotify's current business model are as follows: firstly, it cannot produce content, and acquiring music playing rights only by buying the copyright of record companies not only consumes a lot of money but also has uncertainties. Second, only relying on a single advertising and subscription fees revenue model has been unable to meet the needs of enterprise management costs. Third, as the competition among music-streaming services intensifies, Spotify must be able to provide users with music that is more satisfying to their tastes. Therefore, to solve these problems in the future, Spotify can focus on creating its own record company, upgrading its algorithm, and developing its own hardware products to enrich its business model.
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Nakano, Davi. "Digital music, online outlets and their business models." Brazilian Journal of Operations & Production Management 16, no. 4 (November 30, 2019): 581–91. http://dx.doi.org/10.14488/bjopm.2019.v16.n4.a4.
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Goal: to describe the current configuration of digital music distribution, and to give an overview of the business practices adopted by digital music outlets.
Design/Methodology/Approach: Longitudinal study using descriptive statistics and cluster analysis on two datasets collected in 2011 and 2018.
Results: Three clusters were identified in 2011: paid download, music streaming, and video streaming. Data shows that, in 2018, although streaming was the predominant technical mode, many outlets still applied the paid download business model (BM), and that cluster presented the highest survival rate. Large outlets used streaming, but the specialized ones still adhered to download, and catalog specialization and consumer behavior are the explaining factors.
Limitations of the investigation: Data was gathered from 70 digital outlets operating in two major digital markets, USA and UK, but some large ones, such as Korea and Japan, were not analyzed.
Practical implications: While a dominant technology prevails on mass markets, old technologies can still be adopted in niche markets, due to market limitations and consumer behavior. Thus, even in concentrated markets, small competitors can benefit from exploring segments with special needs that are not addressed by large players.
Originality/Value: There are few quantitative studies and longitudinal analyses on digital music business models.
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Ruddin, Isra, and Jamalullail Jamalullail. "The Development of New Media in the Economic Growth of the Indonesian Music Industry." Ilomata International Journal of Management 3, no. 4 (October 31, 2022): 470–85. http://dx.doi.org/10.52728/ijjm.v3i4.580.
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This study will discuss how new media in the music industry affect the music industry. This has had a major impact on businesses in the music industry and consumers who enjoy music. Streaming services have become something that has a big impact in the digital era that we know as Industry 4.0. The music industry can no longer rely on physical products and consumers are increasingly choosing to enjoy music. The method used in this research is a good method that is tested through research with unusual research ideas about; Describe behavior, thoughts, motivations, actions, etc. in the aggregate and in the form of words and messages. The findings of this study are that consumers find music easier and industry players support new media in the music industry because it makes it easier for them to market music and helps protect their intellectual property thereby reducing piracy. Market participants can also use the appropriate marketing mix. Luggage; Good recording, good songwriting should be distributed and rewarded; Because in the digital era, there are many streaming applications that must be used properly, such as uploading works to social media and streaming applications, so that uploaded works can be supported by Monetization.
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Saputri, Nur Amala. "Ekonomi Politik Media Dalam Industri Musik Digital Spotify." KOMUNIKA 4, no. 2 (December 27, 2021): 214–29. http://dx.doi.org/10.24042/komunika.v4i2.9406.
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Since the emergence of internet media, digital music was born which then marked as a change in the dominance of conventional recorded music. It is slowly and surely replacing the roles of conventional media, starting from the production process, distribution, to the level of music consumption. One of the most prominent music streaming platforms today is Spotify. In practice, the music streaming platform Spotify acts as a cultural industry that seeks to obscure people's real needs. This research uses a qualitative descriptive method based on a critical paradigm. With the aim of analyzing power relations in cultural practices that have been built by the digital music industry, either through the media or by the owners of capital through the perspective of the political economy of communication media. There are 2 main findings as a result of the study. First, there are 5 forms of digital music standardization that emerged because of the Spotify platform. Second, there are 2 forms of culture created from the relationship and identity of digital music actors, namely, the trend of soloist musicians or music by do it yourself, and bargaining power between musicians and music labels. In the end, Spotify is the party who benefits the most because it acts as a mediator who provides services or services for digital music streaming providers.
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Pal, Debajyoti, and Tuul Triyason. "User Intention towards a Music Streaming Service: A Thailand Case Study." KnE Social Sciences 3, no. 1 (January 15, 2018): 1. http://dx.doi.org/10.18502/kss.v3i1.1393.
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This paper presents a novel acceptance model for an online music streaming scenario of Thailand. The music streaming industry has been gaining in popularity in the recent times. This research has been conducted in order to measure the user attitude towards the use of this relatively new service using a modified version of the popular Technology Acceptance Model. We try to identify the most popular music-streaming service of Thailand and also the factors that affect the use of such a service. Data has been collected in the form of an online questionnaire survey from more than 300 participants for the purpose of model building and validation. A subsequent regression analysis carried out on the proposed model explains more than 60 percent of the variance of the dependent variable i.e. Behavioral Intention in our case to the predictor variables Perceived Usefulness, Perceived Ease of Use, Perceived Enjoyment and Perceived Satisfaction Level. The results show that Perceived Enjoyment and Perceived satisfaction are the two strongest predictors for Behavioral Intention which is quite different from that of the utilitarian type of information systems.Keywords: Music streaming, TAM, hedonic information systems, regression
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Tang, Diming, and Robert Lyons. "An ecosystem lens: Putting China’s digital music industry into focus." Global Media and China 1, no. 4 (December 2016): 350–71. http://dx.doi.org/10.1177/2059436416685101.
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The digital disruption of the global music industry hits the value chain for recorded music hard. In China, new digital service providers began to amass large user bases, offering a variety of services based on e-commerce and social messaging applications. In a low-intellectual property environment, these services have become the primary sources of digital music streaming via the Internet and increasingly through mobile telephony. This article reviews the literature on the value chains within the Chinese music industry, compares a classic business ecosystem model with a more recent model, and examines available user data on current Chinese music streaming services. We then suggest an ecosystem framework toward understanding the digital music industry in China and discuss how this framework maps to recent developments in China’s digital music industry.
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Lee, Joo Hee, and Young Doc Seo. "Analysis of Music Streaming Service's Price Types." Journal of Arts and Cultural Management 11, no. 1 (July 30, 2018): 81–100. http://dx.doi.org/10.15333/acm.2018.7.30.81.
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David, Matthew. "Music lessons: football finance and live streaming." Journal of Policy Research in Tourism, Leisure and Events 3, no. 1 (March 2011): 95–98. http://dx.doi.org/10.1080/19407963.2011.539384.
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Maasø, Arnt, and Anja Nylund Hagen. "Metrics and decision-making in music streaming." Popular Communication 18, no. 1 (December 11, 2019): 18–31. http://dx.doi.org/10.1080/15405702.2019.1701675.
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Torres, Víctor Ávila. "Book review: Streaming music: Practices, media, cultures." New Media & Society 21, no. 4 (December 29, 2018): 1029–32. http://dx.doi.org/10.1177/1461444818820074.
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Prey, Robert. "Nothing personal: algorithmic individuation on music streaming platforms." Media, Culture & Society 40, no. 7 (November 30, 2017): 1086–100. http://dx.doi.org/10.1177/0163443717745147.
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Raymond Williams once wrote, ‘… there are in fact no masses, but only ways of seeing people as masses’. In an age of personalized media, the word ‘masses’ seems like an anachronism. Nevertheless, if Williams were to study contemporary online platforms, he would no doubt conclude that there are in fact no individuals, but only ways of seeing people as individuals. This article explores this idea by taking a closer look at online music streaming services. It first conducts a comparison of how two leading streaming platforms conceive of the individual music listener. Then, drawing from Gilbert Simondon’s theory of individuation, it demonstrates how ways of seeing the individual work to enact the individual on these platforms. In particular, ways of seeing are heavily influenced by the consumer categories that are defined and demanded by advertisers. This article concludes with an examination of how commercial imperatives shape ‘ways of seeing’ and ‘algorithmic individuation’ on music streaming platforms.
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Velankar, Makarand, Sneha Thombre, and Harshad Wadkar. "EVALUATING DEEP LEARNING MODELS FOR MUSIC EMOTION RECOGNITION." International Journal of Engineering Applied Sciences and Technology 7, no. 6 (October 1, 2022): 252–59. http://dx.doi.org/10.33564/ijeast.2022.v07i06.026.
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Music listening helps people not only for entertainment, but also to reduce emotional stress in their daily lives. People nowadays tend to use online music streaming services such as Spotify, Amazon Music, Google Play Music, etc. rather than storing the songs on their devices. The songs in these streaming services are categorized into different emotional labels such as happy, sad, romantic, devotional, etc. In the music streaming applications, the songs are manually tagged with their emotional categories for music recommendation. Considering the growth of music on different social media platforms and the internet, the need for automatic tagging will increase in coming time. The work presented deals with training the deep learning model for automatic emotional tagging. It covers implementation of two different deep learning architectures for classifying the audio files using the Mel-spectrogram of music audio. The first architecture proposed is Convolutional Recurrent Model (CRNN) and the second architecture is a Parallel Convolutional Recurrent Model (Parallel CNN). Both the architectures exploit the combined features of Convolutional and Recurrent layers. This combination is used to extract features from time and frequency domains. The results with accuracies in the range of 51 to 54 % are promising for both models for a small dataset of 138 songs, considering the large datasets required for training deep learning models.
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Razlogova, Elena. "Provincializing Spotify: Radio, algorithms and conviviality." Radio Journal:International Studies in Broadcast & Audio Media 18, no. 1 (April 1, 2020): 29–42. http://dx.doi.org/10.1386/rjao_00014_1.
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Focusing on early experiments with algorithms and music streaming at WFMU, the longest-running US freeform radio station, and the Free Music Archive (FMA), a curated open music website, this article shows how commercial streaming services have been indebted to independent, open music infrastructures but have then erased and denied that history. The article ‘provincializes’ music streaming platforms such as Spotify by focusing not on their commercial aims but instead on the ‘convivial’, collaborative practices and spaces that their software engineers and users inhabited. I analyse an experimental national telephone broadcasting service at WFMU in 1989, an algorithmic WFMU radio stream ‘The Flaming Robot of Love’ during the Republican National Convention in 2004 and the ‘Free Music Archive Radio App’ that recommended tracks on the FMA website from 2011 to 2016. The app worked with an application programming interface (API) from Echo Nest. Echo Nests’ algorithmic recommendation engine also powers most commercial streaming services today. When Spotify purchased Echo Nest in 2014 and took the start-up’s open API offline in 2016, it engaged in ‘primitive accumulation’ of open-access knowledge and resources for commercial purposes. The FMA closed in 2019 and now only exists as a static site. As social institutions, however, WFMU and FMA ‘recomposed’ ‐ adapted to a new medium and a new political context ‐ collaborative engineering practices of the early broadcasting era. The article argues that moments of oppositional ‘conviviality’ in media culture such as the FMA should be analysed as elements of a continuous struggle.
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Kushner, Scott. "Collecting and media change, or: Listening to Phish via app." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (April 4, 2019): 969–89. http://dx.doi.org/10.1177/1354856519838741.
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Practices of collecting are constrained by media circumstances. To show how changing media circumstances can occasion changes in collecting practices, this article explores one case study, an iOS app developed by a Phish fan to allow streaming audio of fan-made recordings of Phish concert performances. Such practices are part of a history of unofficial music collecting that parallels the history of recorded sound. This case study shows how one collecting community’s practices evolved in the context of changing media conditions: from cassette tape to CD-R to MP3 to streams (and a parallel motion from print to online message boards to app). This progression illustrates the ways that different ways of listening to and accessing recorded music afford different possibilities of collecting music, different links between listener and music, and different relationships among listeners. More precisely, Phish concert recordings, which lent themselves to collection when circulated on cassette, are no longer available to collect when they circulate as streaming media, because streaming is characterized by a relationship of access rather than possession. Among devoted fans, streaming recordings provoke a cultural emphasis on knowledge about music, rather than accumulation of recordings. My argument is rooted in prevailing theories of collecting, which situate collecting as a component of consumer culture emerging from the capitalist expansion stimulated by 19th-century mass production. Ultimately, I argue that when an object of collecting is displaced by changing media conditions, new collecting practices emerge to fill the void.