Littérature scientifique sur le sujet « Plateformes de streaming musical »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Plateformes de streaming musical ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Articles de revues sur le sujet "Plateformes de streaming musical"
1
Bigay, Romain. « Stock et flux : convergence entre radios musicales et plateformes de streaming. Les cas de Fip et Deezer ». Le Temps des médias 39, no 2 (24 novembre 2022) : 100–117. http://dx.doi.org/10.3917/tdm.039.0100.
Texte intégral
2
Mary, Jean-François. « Réflexions sur l’avenir du cinéma face aux plateformes américaines de streaming ». Annales des Mines - Réalités industrielles Février 2022, no 1 (14 février 2022) : 29–32. http://dx.doi.org/10.3917/rindu1.221.0029.
Texte intégral
3
Silva, Igor Fediczko. « Streaming, produção, tecnologia e campo musical ». Ponto-e-Vírgula : Revista de Ciências Sociais, no 24 (7 février 2019) : 133–47. http://dx.doi.org/10.23925/1982-4807.2018i24p133-147.
Texte intégralRésumé :
O consumo e a produção da música mudaram com os serviços de streaming? Entrevistamos diversos personagens que atuam no mercado musical, como produtores, músicos, engenheiros e até mesmo executivos, para trazer novas perspectivas à essa resposta. Esse foi um dos objetivos da pesquisa de mestrado chamada “Streaming: produção, tecnologia e campo musical”, defendida em novembro de 2018 na PUC. Apresentamos aqui o resultado das entrevistas seguido de algumas observações.
4
Almqvist, Cecilia Ferm. « Spotify as a case of musical Bildung ». Nordic Research in Music Education 2, no 1 (6 avril 2021) : 89–113. http://dx.doi.org/10.23865/nrme.v2.3023.
Texte intégralRésumé :
This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.
5
Equoy Hutin, Séverine. « S’affranchir des plateformes de streaming pour redonner de la valeur à sa musique ? » Volume !, no 20 : 1 (1 novembre 2023) : 49–61. http://dx.doi.org/10.4000/volume.11473.
Texte intégral
6
Ritonga, Danny Ivanno, Tri Danu Satria et Aqsa Mulya. « IMPLEMENTATION OF OPEN BROADCASTER SOFTWARE STUDIO IN MUSIC PERFORMANCE MANAGEMENT THROUGH LIVE STREAMING ». Gondang : Jurnal Seni dan Budaya 5, no 2 (1 décembre 2021) : 204. http://dx.doi.org/10.24114/gondang.v5i2.29638.
Texte intégralRésumé :
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.
7
de Almeida, Jane, Leandro Oliveira, Alexandre Sônego de Carvalho et Cicero I. da Silva. « The Challenges of Musical Mediation through Streaming ». Creative Education 09, no 16 (2018) : 2898–911. http://dx.doi.org/10.4236/ce.2018.916218.
Texte intégral
8
Maia e Silva Júnior, Flávio Marcílio. « Novas articulações no mercado de música digital a partir da cultura do streaming ». Culturas Midiáticas 12, no 2 (19 décembre 2019) : 47–59. http://dx.doi.org/10.22478/ufpb.1983-5930.2019v12n2.45409.
Texte intégralRésumé :
A circulação da música digital nas plataformas de streaming é considerada a principal
forma de fruição musical na atualidade pela fácil usabilidade e acesso por meio da internet
em dispositivos móveis. Constituído a partir das transformações causadas pela
digitalização de processos tecnológicos, o streaming tem modificado o mercado musical
trazendo novas relações entre gravadoras, plataformas digitais, artistas e consumidores.
Neste artigo serão analisadas duas delas: a atuação do Spotify como uma gravadora e a
inserção das empresas agregadoras como mediadoras de artistas e dos serviços de
streaming, com o objetivo de apresentar novas possibilidades da produção de música no
meio digital.
9
Gregory, Andrew H. « Timbre and Auditory Streaming ». Music Perception 12, no 2 (1994) : 161–74. http://dx.doi.org/10.2307/40285649.
Texte intégralRésumé :
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.
10
Vaz de Melo, Gabriel Borges, Ana Flávia Machado et Lucas Resende de Carvalho. « Music consumption in Brazil : an analysis of streaming reproductions ». PragMATIZES - Revista Latino-Americana de Estudos em Cultura 10, no 19 (1 septembre 2020) : 141. http://dx.doi.org/10.22409/pragmatizes.v10i19.40565.
Texte intégralRésumé :
Music is one of the cultural segments that most adapts and innovates, as observed in the recent rise of streaming services. The consumption of digital music has altered the dynamics of the market and the way people enjoy it. The aim of this article is to show trends and tastes of Brazilian individuals, taking into account musical genres. For this purpose, it uses data of playlists collected from the Spotify streaming platform through its API. The results show that genres such as sertanejo universitário and international pop have great national reach. However, other national genres and artists with less popularity have a relevant and distinct demand in some Brazilian cities. Our analysis indicates both the maintenance of the traditional consumption as the rise of the mass-replacement model. Therefore, a regionalization of the musical taste in Brazil is evidenced,which suggests a potential of musical niches in the context of the streaming market.
Thèses sur le sujet "Plateformes de streaming musical"
1
Bendada, Walid. « Contributions to sequential learning for industrial-scale music recommendation ». Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLD056.
Texte intégralRésumé :
Les systèmes de recommandation aident les utilisateurs à découvrir du contenu pertinent dans des catalogues en lignetrop vastes pour être explorés manuellement. Par exemple, sur les plateformes de streaming musical, ils suggèrent deschansons, albums ou artistes susceptibles de plaire à l’utilisateur. Historiquement, ces systèmes prédisaient les goûtsindividuels des utilisateurs pour chaque chanson, sans prendre en compte l’aspect séquentiel de l’écoute de musique oul’immensité des catalogues disponibles. Cette thèse propose des solutions pour rendre les systèmes de recommandationplus adaptés aux plateformes musicales modernes, en adaptant des méthodes de prise de décision séquentielle auxcontraintes posées par la taille des catalogues de musique. Elle introduit une méthode pour prolonger automatiquementdes playlists ainsi qu’un nouveau schéma d’exploration, adoptés par la plateforme Deezer, pour explorer efficacement devastes catalogues musicaux en temps réelRecommender systems help users discover relevant content in online catalogs that are too vast to be explored manually.For example, on music streaming platforms, they suggest songs, albums, or artists likely to appeal to the user. Historically,these systems predicted individual user preferences for each song without considering the sequential nature of musiclistening or the enormity of available catalogs. This thesis proposes solutions to make recommender systems bettersuited to modern music platforms by adapting sequential decision-making methods to the challenges posed by the size ofmusic catalogs. It introduces a scalable framework to automatically extend playlists, as well as a new exploration scheme,adopted by Deezer, to efficiently explore large music catalogs in real-time
2
Silva, Igor Fediczko. « Streaming : produção, tecnologia e campo musical ». Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21759.
Texte intégralRésumé :
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-14T11:44:43Z
No. of bitstreams: 1
Igor Fediczko Silva.pdf: 639906 bytes, checksum: ab27b106100e6c2f75070a77ad7f469c (MD5)Made available in DSpace on 2018-12-14T11:44:43Z (GMT). No. of bitstreams: 1 Igor Fediczko Silva.pdf: 639906 bytes, checksum: ab27b106100e6c2f75070a77ad7f469c (MD5) Previous issue date: 2018-11-23
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work presents a historical contextualization of the creation of mp3 and the beginning of piracy, thus proposing an analysis of the relation between digital music, mp3 and the reduction of profits of the record companies. With the digital music space has arisen to create the streaming model currently used predominantly. With digital music and streaming, artists, producers, songwriters and other creators have changed their way of making music on the field with strategies, ways of acting and different ways of consuming and producing music. With the uberization concept, this new medium of production has shown artists that streaming is not an economically profitable model to sell their music and albums, and artists are looking for new ways to relate and relate their work within the platforms, looking for another type of gain: the playlists. Through interviews with different actors, from different positions within the musical field, the present work investigates the understanding that these musicians, producers and composers have about this new business model within the streaming services
Este trabalho apresenta uma contextualização histórica da criação do mp3 e o início da pirataria, propondo assim uma análise da relação entre a música digital, o mp3 e a diminuição dos lucros das gravadoras. Com a música digital surgiu espaço para a criação do modelo de streaming utilizado atualmente de forma predominante. Com a música digital e o streaming, artistas, produtores, compositores e demais criadores de conteúdo mudaram seu modo de fazer música dentro do campo, com estratégias, modos de agir e diferentes maneiras de consumir e produzir música. Com o conceito de uberização , esse novo meio de produzir mostrou aos artistas que o streaming não é um modelo rentável economicamente para vender suas músicas e seus álbuns, e com isso artistas procuram novas maneiras de se relacionar e relacionar a sua obra dentro das plataformas, procurando outro tipo de ganho: as playlists . Através de entrevistas com diferentes atores, de diferentes posições dentro do campo musical, o presente trabalho investiga o entendimento que esses músicos, produtores e compositores têm sobre esse novo modelo de negócio dentro dos serviços de streaming
3
Oliveira, Jorge Otávio Pinto Pouey de. « Curadoria musical no Spotify ». Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6814.
Texte intégralRésumé :
Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-12-05T15:33:15Z
No. of bitstreams: 1
Jorge Otávio Pinto Pouey de Oliveira_.pdf: 1107226 bytes, checksum: 9af9084c859cf494da3fffc258c8d826 (MD5)Made available in DSpace on 2017-12-05T15:33:15Z (GMT). No. of bitstreams: 1 Jorge Otávio Pinto Pouey de Oliveira_.pdf: 1107226 bytes, checksum: 9af9084c859cf494da3fffc258c8d826 (MD5) Previous issue date: 2017-07-06
Nenhuma
O uso constante de plataformas de streaming para acessar os mais diversos conteúdos é uma realidade. Diante deste quadro, podemos também enxergar estas plataformas assumindo funções neste ambiente digital que anteriormente eram realizadas pelos meios tradicionais de comunicação. Uma destas funções que podemos cogitar é a curadoria musical. O objetivo desta dissertação de mestrado é propor uma investigação e imersão na plataforma de streaming musical, o Spotify, e analisar de que forma ela opera para divulgar os seus conteúdos musicais, criando assim, através de suas estratégias curatoriais, uma noção de um novo jornalismo cultural. As bibliografias acionadas tematizam cultura da convergência, jornalismo cultural, radiojornalismo hipermidiático e curadoria, além de um questionário sobre hábitos de novos padrões de consumo de música seguido da respectiva análise. Dessa forma, este trabalho busca contribuir tanto para desmistificar o papel secundário do jornalismo cultural em relação a outras editorias, quanto entender as novas possibilidades de busca e uso de conteúdos que estão ao nosso alcance no ambiente digital.
The constant use of streaming platforms to access the most diverse content is a reality. Given this framework, we can also see these platforms assuming functions in this digital environment which were previously performed by traditional means of communication. One of these functions we can consider is music curatorship. The objective of this master's thesis is to propose an investigation and immersion in the musical streaming platform, Spotify, and to analyze how it operates to disseminate its musical contents, thus creating through its curatorial strategies a notion of a new cultural journalism. The bibliographies triggered include cultural convergence, cultural journalism, hypermedia radiojournalism and curation, as well as a questionnaire on habits of new patterns of music consumption followed by the respective analysis. Thus, this work seeks to contribute both to demystify the secondary role of cultural journalism in relation to other publications, and to understand the new possibilities of search and use of contents that are within our reach in the digital environment.
4
Sierra, Joaquín. « Comunidad y creación de contenido : modelo de negocios y desafíos para artistas musicales bajo streaming ». Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143913.
Texte intégralRésumé :
Seminario para optar al titulo de Ingeniero Comercial, mención AdministraciónEn el mundo digital del siglo 21, hemos alcanzado la instantaneidad, accediendo a servicios, contenido y entretenimiento de manera expedita. Conveniencia que sólo el mundo digital y su codificación nos permite articular, en un mundo cada día más actualizado/conectado. Al punto que podemos disfrutar el último episodio de nuestra serie favorita, donde queramos y cuando queramos, gracias a servicios como Netflix. Tomar un taxi a cualquier hora del día gracias a Uber. O encontrar acomodación para un viaje de negocios, gracias a servicios como Airbnb. Así mismo. Existen tecnologías en la industria de la música que nos permite escuchar a nuestros favoritos al alcance de un dispositivo, accediendo a una biblioteca prácticamente inconmensurable, al momento que deseemos. ¡Parece ser demasiado bueno para ser cierto! Sin duda, este tipo de plataforma de negocios debe ser sustentado por varías aristas que nos gustaría analizar en este trabajo, para esclarecer el deparar de los artistas quienes proveen a estos servicios de “streaming” de su contenido y el negocio que se monta a fin de cuentas Cabe destacar que la instauración de estos servicios no sólo han traído nuevas oportunidades para los músicos contemporáneos como alcanzar una exposición prácticamente global. Sino además desafíos que la conveniencia digital conlleva consigo misma. Vale decir, los “royalties” por derechos de autor han ido constantemente hacia la baja, creando un hoyo en el reditúo de los artistas por el uso de sus obras. Actualmente se vive ese escenario en el mundo del “streaming” digital, ese trade-‐off entre exposición de marca el cual es asegurado por el servicio de “streaming”, a cambio de los “royalties” asociados a dichos trabajos. De primera impresión, esto parece ser altamente desfavorable para los artistas (creadores de contenido), no obstante este trabajo pretende encontrar puntos de inflexión donde esta condición pueda ser explotada de manera redituable por parte de los artistas.
5
Boutin, Frédéric. « Les maisons de disques à l’ère des médias sociaux et des services musicaux en ligne : étude de cas de quatre maisons de disques québécoises ». Thèse, 2016. http://hdl.handle.net/1866/18413.
Texte intégralRésumé :
Au cours de la dernière décennie, les outils d’enregistrement et de production musicale,
les médias sociaux et les plateformes Web de vente et d’écoute de musique en ligne ont
radicalement transformé l’industrie de la musique enregistrée. La baisse significative de vente
d’albums et les nouveaux modèles de production, de diffusion et de promotion de la musique
ont directement affecté les acteurs traditionnels comme les maisons de disques. Pendant que
certains prévoyaient la fin de ces dernières au profit de l’autoproduction et de l’autopromotion,
d’autres ont suggéré que les maisons de disques indépendantes pouvaient devenir des joueurs
incontournables de ce nouvel environnement, pourvu qu’elles s’adaptent et développent une
offre de services et une expertise répondant aux besoins réels des artistes. Ce mémoire
s’intéresse à la façon dont les maisons de disques indépendantes québécoises perçoivent et
utilisent les médias sociaux pour accroitre la visibilité des artistes qu’elles représentent. Dans
cette étude de cas multiples, quatre maisons de disques indépendantes québécoises ont été
sélectionnées. Des entretiens en profondeur ont été réalisés avec les chargés de projet Web de
ces maisons de disques indépendantes afin de connaitre leur perception et leurs usages des
médias sociaux, de même que les stratégies qu’ils emploient pour accroitre la visibilité des
artistes qu’ils représentent sur le Web. Des données tirées d’observation des activités Web des
quatre maisons de disques ont également été collectées.During the last decade, music recording and production tools, social media, and platforms for selling and listening to music in streaming have radically transformed the industry of recorded music. The decline of album sales and new models of music production, distribution, and promotion have directly affected the traditional actors of the music industry such as record labels. While some predicted that these changes would bring an end to the records labels at the benefit of self-production and self-promotion, others suggested that independent record labels could become an essential part of this new environment, provided they adapt to it and develop new services and an expertise that meet the artists’ needs. This master thesis explores the visibility of independent Quebec music artists on the social web and the role record labels plays in it. In this multiple case study, four independent Quebec music labels were selected. In-depht interviews were conducted with the Web project managers of these music labels to discuss their perception and their usage of Web platforms, as well as the strategies they employ to increase the visibility on the Web of the artistes they represent. Observational data of the Web activities of the four music labels were also collected.
6
Moschetta, Pedro Henrique. « O consumo de música na era do streaming : práticas de curadoria musical no Spotify ». Master's thesis, 2017. http://hdl.handle.net/10071/14600.
Texte intégralRésumé :
O streaming permite o acesso sob demanda a um acervo gigantesco de músicas que ficam armazenadas
em um servidor remoto, não sendo necessário descarregar ou salvar os arquivos para o dispositivo. Por
muito tempo, o consumo de músicas esteve limitado ao que era vendido nas lojas ou promovido pelos
meios de comunicação em massa. Com a internet, a eliminação das barreiras físicas reduziu os custos
de acesso e distribuição, permitindo o consumo de itens menos populares, não deixando os ouvintes
limitados apenas aos hits. Neste contexto, a curadoria serve como uma forma de lidar com a abundância
e super acessibilidade dos serviços de streaming, que pode ser feita por humanos ou máquinas, através
do uso de algoritmos. Após uma pesquisa realizada com 20 utilizadores do Spotify no Brasil,
combinando entrevistas qualitativas com recolha de dados de utilização a partir de um serviço online de
automação - o IFTTT, os resultados mostram como a facilidade de acesso incentiva a descoberta de
novas músicas, tornando a experiência de consumo mais diversificada e fragmentada. As playlists são
frequentemente utilizadas como mecanismo de descoberta, coleção musical e construção identitária
entre os utilizadores do Spotify, sendo uma das principais mudanças fomentadas pelo streaming. O
estudo demonstra ainda que a curadoria algorítmica, apesar de ser constantemente aprimorada, ainda
não substitui a curadoria humana devido à sua maior previsibilidade e capacidade limitada de
compreender os gostos e expectativas dos ouvintes.Streaming allows on-demand access to an enormous collection of music stored in a remote server, not being necessary to download or save files to the device. For a long time, music consumption has been limited to the items sold in stores or advertised by mass media. With the internet, the elimination of physical barriers lowered access and distribution costs, allowing the consumption of less popular items, not limiting listeners to the hits. In this context, curation serves as a way of dealing with the abundance and over accessibility offered by streaming services, which can be done by humans or machines, through the use of algorithms and machine learning. After a research made with 20 Spotify users in Brazil, combining interviews with usage data collection by an automated online service - IFTTT, the results show how the ease of access encourages discovery of new music, turning the experience into a more diverse and fragmented consumption. Playlists are frequently used as a mean of discovery, collection and identity construction among Spotify users, being one of the major transformations fostered by streaming. The study also indicates algorithm curation, despite being constantly improved, still does not substitutes human curation because of its higher predictability and limited capacity of understanding users’ tastes and expectations.
7
Mendes, Telma Talina José. « A música online : o uso de plataformas streaming e a sua influência na descoberta e no gosto ». Master's thesis, 2019. http://hdl.handle.net/10071/19085.
Texte intégralRésumé :
Com a difusão da internet e a evolução dos meios tecnológicos digitais e seus usos, verificou-se uma transição da indústria musical do meio físico para o meio digital que veio trazer inúmeras mudanças na forma como se consome, produz e partilha música. Um dos mais populares formatos de audição e partilha musical atualmente, as plataformas de streaming musical, vão atingindo, de ano para ano, novos recordes de utilização. Com a sua utilização, surgem novos paradigmas e novas questões que valem ser a pena ser estudadas. Nesta dissertação, tentou-se perceber de que maneira este tipo de plataformas pode ter influência em duas dimensões pouco estudadas: a descoberta musical e o gosto. Como tal, foram entrevistados 10 jovens lisboetas utilizadores de plataformas de streaming musical. Os resultados mostraram uma população que prefere a funcionalidade que os serviços de streaming oferecem, que para além de permitirem o acesso a um acervo alargado, são utilizáveis em vários tipos de aparelhos tecnológicos que os acompanham no seu dia-a-dia. Para além disso, com a utilização da internet, a descoberta (e a redescoberta) são facilitadas em grande medida, mas não são capazes de substituir a recomendação humana. Quanto ao gosto, não se verificou na amostra de participantes, um peso estruturante das plataformas na formação ou reestruturação do gosto. Apesar do acervo disponível aumentar consideravelmente em relação ao consumo tradicional analógico, se não existir um interesse intrínseco para procurar e receber novo conteúdo musical fora da zona de conforto, não se verifica grande influência reportada.Following the diffusion of the internet and the evolution of technological media, there has been a transition from the music industry from the physical to the digital media that has brought numerous changes in the way music is consumed, produced and shared. Music streaming platforms, one of the most popular ways to listen and share music today, reach new usage records from year to year. With its use, new paradigms and new issues that are worth studying are emerging. In this dissertation, we tried to understand how these platforms can influence two dimensions: musical discovery and taste. As such, 10 young Lisbon users of music streaming platforms were interviewed. The results showed a population that prefers the simplicity that streaming services offer, which besides having a large online collection, are usable in various types of technological devices that accompany them in their daily lives. In addition, with the use of the internet, discovery (and rediscovery) is greatly facilitated, but doesn’t seem able to replace human recommendation. As for taste, there is no structuring weight of platforms in the formation or restructuring of taste. Although the available online music collection increases, if there is no intrinsic interest to search for and receive new musical content outside their own comfort zone, there is no palpable influence whatsoever.
8
Kraus, Adam Daniel. « Správa autorských práv při poskytování služeb online streamingu hudebních děl ve světle Směrnice 2014/26/EU a její implementace v České republice a Dánsku ». Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-393057.
Texte intégralRésumé :
The provision of online music streaming services and the management of copyright in the light of the Directive 2014/26/EU and its implementation in the Czech Republic and Denmark Abstract This thesis presents an insight into the management of copyright in musical works, with particular focus on their use in provision of online streaming services, together with the discernment of the individual aspects of such management in the context of changes brought about by the Directive 2014/26/EU and its implementation in the Czech Republic and Denmark. The aim of this thesis is to primarily describe the various models of copyright management and their importance for both the users of works and the right holders in the contemporary era of digital uses, and at the same time to analyse the individual legislative interventions into these models, confront them and infer possible de lege ferenda implications. The introductory part of the thesis also describes the streaming technology itself, especially with regard to its copyright aspects, whose grasp is essential for a proper description of the different modes of protection and application of copyright. The thesis is divided into eight chapters. The first chapter describes the historical development of copyright protection of works in the digital environment. The...
9
Pinto, Marco Paulino. « Managing the impact of the pandemic in the music industry ». Master's thesis, 2021. http://hdl.handle.net/10071/23917.
Texte intégralRésumé :
Corona virus came to shake the whole music industry, it stopped all live events which consequently limited the profits of musicians, labels and all other professionals related to this area.
Suddenly only streaming could guarantee a steady source of income for all the workers in this industry. A Partial Least Squares model of survey shows that the Pandemic Induced Behaviour positively affected user satisfaction, user loyalty and willingness to pay either in an indirect or direct way. We believe the pandemic crisis contributed for the growth of streaming and it will be felt in the long run.Através do método matemático "Partial Least Squares" (PLS), esta tese pretende analisar a lealdade do cliente e a satisfação do mesmo perante o serviço em questão ("streaming"), mediados através do comportamento induzido pela pandemia bem como a vontade do próprio cliente em pagar pelo serviço, visto que a pandemia levou ao confinamento da população que ficou apenas com "streaming" como alternativa aos concertos/festivais daí especularmos que a pandemia tenha efeitos positivos neste mercado. Concordantemente, os resultados do PLS de 197 perspetivas individuais e independentes, indicaram que a maioria das hipóteses predefinidas eram significantes, especialmente, a ligação entre a lealdade do cliente e a satisfação do cliente, a ligação entre a satisfação do cliente e a vontade de pagar, bem como a relação entre o comportamento induzido pela pandemia e a vontade de pagar ou a satisfação do cliente. Por outro lado, o efeito indireto entre o comportamento induzido pela pandemia na vontade de pagar do cliente através da sua satisfação e lealdade não foi provado significante como tínhamos antecipado.
Livres sur le sujet "Plateformes de streaming musical"
1
Gonçalves, Daniel Silva, et Mário Lúcio Tavares Fonseca. Direitos autorais na produção musical em plataformas de streaming no Brasil. Editora Conhecimento Livre, 2020. http://dx.doi.org/10.37423/2020.edcl86.
Texte intégral
2
Dwinal, Catherine. Interactive Visual Ideas for Musical Classroom Activities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190929855.001.0001.
Texte intégralRésumé :
This book is a resource on projection systems for any music teacher’s treasure chest of tools. Educators, from brand new to seasoned veterans, can discover new lessons, activities, and resources involving the projection systems already in their classrooms. From conventional projectors to streaming media players, beginners to the digital world will find tips and tricks to start using new systems. More experienced users will discover new resources and activities, from learning how to create VR worlds to demonstrate knowledge of music venues from around the world, to going on an outside safari to find missing instruments of the orchestra. This book also includes a resource index with app and website recommendations for going further and appendices that make it easier to find the activities and resources to fit any type of instruction. This book is a toolbox for teachers to keep on their desks to use every day to incorporate their digital tools in a meaningful way.
3
Townsend, Peter. The Evolution of Music through Culture and Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.001.0001.
Texte intégralRésumé :
Music is an international key aspect of humanity which impacts life, from love songs to religion, politics, and warfare. Changes in culture and developments in science drove musical progress from printing and distribution to instrumental improvements, innovation, and the acoustics of buildings and concert halls. Every aspect increased public demand and changed compositional styles, plus heightened the need for virtuosic star performers. Conversely, the attempts to record and distribute music inspired the growth of recording systems, microphones, and electronic amplifiers, which has resulted in the electronically dominated world as we now know it. The book maps these continuous changes and how they have influenced musical evolution, and it not only explores the past, but attempts to predict the near future in terms of the potential for new electronic instruments and the ongoing shifts between recording and broadcasting techniques (tapes, vinyl, CDs, streaming, etc.), together with their impact on, and the survival of, the music industry. Examples of changes for keyboard, string, and brass instruments, current understanding of voice production, hearing, and brain processing of music are all discussed. This book is for those interested in all aspects of music, from classical to jazz and pop. It does not require either scientific or musical backgrounds, but it will enhance enjoyment of music, and reveal the probable future of musical trends.
4
Duma, Ma’Chell. Cardi B's Invasion of Privacy. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9781501389306.
Texte intégralRésumé :
The elusive apex of critical praise and commercial success is a metric achieved by a select few. In 2020, Cardi B became synonymous with “record breaking” in the new millennium. Whether it’s streaming, charting, views, likes, retweets or shares Cardi dominates. Cardi B’s ascension to stardom is also pure 21st century; from welfare kid to unapologetic stripper, to reality TV persona, to social media maven, to a household name delivering one of the consummately executed albums in Rap History, it’s easy to imagine future critics noting popular music as before and after the rise of Cardi B. This in-depth look at Invasion of Privacy features a track-by-track breakdown of the album, with an accompanying conversation or essay from a collection of voices about a topic each song addresses. It explores the album’s multicultural musical influences, technical elements of production, and the producers on the record. It includes a summation of awards and note the record’s chart shattering success--going 5x Platinum while establishing Invasion of Privacy as the longest charting record by a female rapper in history.
5
Porter, Mark. Ecologies of Resonance in Christian Musicking. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534106.001.0001.
Texte intégralRésumé :
Ecologies of Resonance in Christian Musicking explores a diverse range of Christian musical activity through the conceptual lens of resonance, a concept rooted in the physical, vibrational, and sonic realm that carries with it an expansive ability to simultaneously describe personal, social, and spiritual realities. In this book, Mark Porter proposes that attention to patterns of back-and-forth interaction that exist in and alongside sonic activity can help to understand the dynamics of religious musicking in new ways and, at the same time, can provide a means for bringing diverse traditions into conversation. The book focuses on different questions arising out of human experience in the moment of worship. What happens if the entry point of a human being experiencing certain patterns of (more than) sonic interaction with the world around them is taken as a focus for exploration? What different ecologies of interaction can be encountered? What kinds of patterns can be traced through different Christian worshiping environments? And how do these operate across multiple dimensions of experience? Chapters covering ascetic sounding, noisy congregations, and Internet live-streaming, among others, serve to highlight the diverse ecologies of resonance that surround Christian musicking, suggesting the potential to develop new perspectives on devotional musical activity that focus not primarily on compositions or theological ideals but on changing patterns of interaction across multiple dimensions between individuals, spaces, communities, and God.
6
Sanjek, Rick. American Popular Music and Its Business in the Digital Age. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190653828.001.0001.
Texte intégralRésumé :
Abstract This book is a sequel to my father’s American Popular Music and its Business—the First 400 Years, also published by Oxford University Press. It compares the music business to a funnel through which money spent by consumers and licensees flows before reaching performers and songwriters after deducting the cost of financing, managing, promoting, and marketing. It also traces how the delivery of music transitions from analog vinyl and tape to digital successors from CDs through MP3s, to subscription streaming. It follows the Big Six major label groups consolidating to the Big Three by 2020, and the merger of Live Nation and Ticketmaster completing the transition of ticketing from paper to electronic to digital. Technology including the internet, smartphones, broadband, and social media platforms facilitated the management of the metadata emanating from the all-important relationship between consumers and creators, for without this relationship, there is no music business. The book has three main sections spanning 1985 to 1995, 1996 until 2006, and 2007 through 2019. Each has five chapters starting with “The Game of Musical Thrones” about the competition between record labels. “Records, Retail, Radio, and the Charts That Bind Them” examines the revenue generated by record sales and radio airplay. Then comes “Publishing, Copyright, Legislation, and Litigation,” “The Creators of Music—Getting Paid,” and “The Consumer—From Whom, How, and Where the Money Flows,” Finally an epilogue covers the effects of COVID-19 in 2020 on all involved, closing with a glimpse into the crystal ball of the digital future.
Chapitres de livres sur le sujet "Plateformes de streaming musical"
1
James Walsh, Michael. « Platform-generated playlists and the curation of musical listening ». Dans Streaming Sounds, 42–70. London : Routledge, 2024. http://dx.doi.org/10.4324/9781003273363-3.
Texte intégral
2
Best, Katelyn. « Expanding Musical Inclusivity ». Dans Music and Democracy, 235–66. Vienna, Austria / Bielefeld, Germany : mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-010.
Texte intégralRésumé :
Products such as headphones, music streaming platforms, and learning assessments foster a hearing-centric realization of music that places auditory senses at the forefront of musical experience. Yet within the context of Deaf culture, a linguistic minority defined by the use of sign language, music takes on new meaning as musical experience is expanded to other senses of the body. Despite this relative construction, music in Deaf culture has been subjugated to a hegemonic ideology that undermines and marginalizes Deaf experiences of sound. However, Deaf musicians have been able to work toward subverting the ideological limitations that have been placed on their music, and by extension their bodies, by adapting musical structures produced by mainstream society and realigning them toward Deaf priorities. Using ethnographic methods including artist interviews, this chapter investigates how Deaf rappers have created a style of hip hop that prioritizes Deaf experiences of sound over hearing ones and considers how, through performance, they subvert hegemonic control over Deaf musical expression and promote the inclusion of Deaf forms of musicking.
3
Menezes, Nina. « Attaining #fame : Female Cover Musician’s Self-Fashioning and Socio-musical Interactions with Live Stream Audiences in Chennai and Beyond ». Dans Streaming and Screen Culture in Asia-Pacific, 217–29. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09374-6_12.
Texte intégral
4
Morgan, Benjamin A. « Optimisation of Musical Distribution in Streaming Services : Third-Party Playlist Promotion and Algorithmic Logics of Distribution ». Dans Music Business Research, 151–69. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09532-0_9.
Texte intégral
5
Mooij, Annelieke. « Governing the Meta-World Finances ». Dans Regulating the Metaverse Economy, 1–4. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-46417-1_1.
Texte intégralRésumé :
AbstractImagine that you live in London and are a fan of musicals. You have grown particularly fond of the musical Hamilton. As a special rendition the musical plays in New York with your favorite star singing the lead. It provides a great way for you to see the musical and catch up with your old classmate who moved to New York. Unfortunately, you live in Europe and you cannot find the time to travel to New York and back. Your option is to buy a ticket to a live screening and have a video call with your friend afterwards. Most people will agree that this is not a real alternative to seeing the musical in real life. Whilst streaming is less expensive and will save you the trouble of travelling, it does not offer the same experience. The videocall with your friend will provide you with some interaction but not on the same level as sitting next to each other at the theatre. In comes the Metaverse to provide you the immersive 3D alternative. Instead of sitting at home or in your local cinema watching the live screen in 2D, the Metaverse will allow you to buy a ticket to a virtual seat in the theatre. Your friend is sitting on the virtual seat next to you, so you both chat before the curtain call. In the break you both have a drink from your own kitchen but with the experience of being in the café of the theatre.
6
« Pitch-based Streaming in Auditory Perception ». Dans Musical Networks. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/4812.003.0008.
Texte intégral
7
Dwinal, Catherine. « Streaming Media Players ». Dans Interactive Visual Ideas for Musical Classroom Activities, 138–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190929855.003.0006.
Texte intégralRésumé :
Streaming media players are newer devices in the music teacher’s toolbox but are becoming more commonly found in the classroom. Being one of the more modern kids on the block, there are even more opportunities to create activities and resources specifically for these devices. Use your devices as a tool for your instruction. Such as a remote for your computer or as your recording device for assessments. Students can use interactive instrument apps to perform together, create VR and AR experiences on their own, or use their devices to interact with their recorders to practice. Mobile devices are perfect for allowing students to have more independence in their learning and create their own musical works of art.
8
« Counterfeiting Attention in the Streaming Economy : Spam, Click Fraud, and Fake Artists ». Dans Streaming Music, Streaming Capital, 144–92. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027874-005.
Texte intégralRésumé :
“Counterfeiting Attention in the Streaming Economy” examines the unintended effects of the platform model, as musicians and other actors have sought to turn streaming’s peculiar economic incentives and infrastructural limitations to their advantage. Three case studies are considered. One concerns so-called musical spam, especially knockoff cover versions of popular hits that siphon off from the originals a portion of the attention (and royalties) they might otherwise accrue. A second concerns the procurement of so-called fake streams from third-party services, automated scripts, and clickworkers disproportionately located in the Global South. The third case study examines the 2017 “fake artist” controversy that Spotify ignited. Together, the different forms of imposture evidenced in these three cases illuminate a more fundamental imposture underpinning the streaming economy, as platforms pass off quantitative metrics as qualitative judgments, equating digital signals with the engagement they allegedly index.
9
« Streaming, Cheap Music, and the Crises of Social Reproduction ». Dans Streaming Music, Streaming Capital, 193–234. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027874-006.
Texte intégralRésumé :
“Streaming, Cheap Music, and Crises of Social Reproduction” reads the prominence given to mood, activity, and context-based playlists on streaming platforms through the lens of social reproduction theory. Streaming platforms cast such functional music as a tool by which users can perform certain tasks necessary to maintain themselves and others, which are also necessary to maintain themselves as labor power. Facilitating this change in music’s use value is the partial decommodification it undergoes on streaming platforms. As a form of cheap culture, digital music is conscripted to mitigate the rising costs of care, along with the increased offloading of these costs onto private individuals and households. Yet the more platforms frame music as a resource for living, the more the living of musicians is threatened. Inasmuch as cheap music depends on a cheapening of musical labor, streaming helps beget a crisis of reproduction specific to the world of music.
10
« Streaming Music ». Dans Streaming Music, Streaming Capital, 22–62. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027874-002.
Texte intégralRésumé :
“Streaming Music” considers what streaming makes of music. Drawing on theories of musical mediation developed by Georgina Born and others, this chapter examines some of the key ways that platforms mediate music. On streaming services, music is enacted as data, metadata, intellectual property, and much else besides. Taken together, this constellation of mediations conspires to make a change in music’s politico-economic condition appear otherwise, as if it were a change of ontology, imposed by a novel technological system. Stream versus download, object versus event, music as good versus music as service: such commonplace dichotomies, which undergird popular narratives about the development of streaming, deflect attention away from a more significant mutation: platforms’ transformation of digital copies from durable to disposable goods, a transformation that exploits digital reproduction’s enactment of recorded music as a quasi-public good at one level to reinscribe music within the regime of private property at another.
Actes de conférences sur le sujet "Plateformes de streaming musical"
1
Samčović, Andreja, et Svetlana Čičević. « Streaming Services for Musical Content Distribution ». Dans Sinteza 2018. Belgrade, Serbia : Singidunum University, 2018. http://dx.doi.org/10.15308/sinteza-2018-169-176.
Texte intégral
2
Araujo, Carlos Soares, Marco Cristo et Rafael Giusti. « Predicting Music Popularity on Streaming Platforms ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10436.
Texte intégralRésumé :
Online streaming platforms have become one of the most important forms of music consumption. Most streaming platforms provide tools to assess the popularity of a song in the forms of scores and rankings. In this paper, we address two issues related to song popularity. First, we predict whether an already popular song may attract higher-than-average public interest and become “viral”. Second, we predict whether sudden spikes in public interest will translate into long-term popularity growth. We base our findings in data from the streaming platform Spotify and consider appearances in its “Most-Popular” list as indicative of popularity, and appearances in its “Virals” list as indicative of interest growth. We approach the problem as a classification task and employ a Support Vector Machine model built on popularity information to predict interest, and vice versa. We also verify if acoustic information can provide useful features for both tasks. Our results show that the popularity information alone is sufficient to predict future interest growth, achieving a F1-score above 90% at predicting whether a song will be featured in the “Virals” list after being observed in the “Most-Popular”.
3
CASTRO, ALEXANDRE ANDRADE DE, et Renato Antônio Brandão Medeiros Pinto. « STREAMING MUSICAL : NOVOS RUMOS PARA A PRODUÇÃO SONORA ». Dans XXXII Congresso de Iniciação Científica. Manaus, Amazonas : Even3, 2024. http://dx.doi.org/10.29327/xxxii-congresso-de-iniciacao-cientifica-380957.758349.
Texte intégral
4
Seufitelli, Danilo Boechat, et Mirella M. Moro. « Understanding Musical Success Beyond Hit Songs : Characterization and Analyses of Musical Careers ». Dans Anais Estendidos do Simpósio Brasileiro de Sistemas Multimídia e Web, 23–24. Sociedade Brasileira de Computação - SBC, 2024. http://dx.doi.org/10.5753/webmedia_estendido.2024.244326.
Texte intégralRésumé :
Streaming brought the high data availability over the web associated with music consumption and listener preference. With such data, we can extract relevant knowledge, such as what can lead some songs to success and others not. In this scenario, Hit Song Science emerged, an area of study focused on revealing the dynamics of success in the music industry. Collecting hits can lead artists to experience periods of success far beyond the "ordinary" periods known as Hot Streaks. In this sense, understanding the factors of how the different profiles of artists stand out and reach their most successful periods can be crucial for the music industry, which deals with the constant natural evolution of the market and needs to reinvent itself to satisfy the desires of its consumers: connect successful music and artists. Thus, this thesis aims to identify the characteristics that lead artists to reach their most successful periods.
5
Moreira Júnior, Luiz Delando Santos, Guilherme Ribeiro Eulálio Cabral et Giordano Ribeiro Eulálio Cabral. « Correlating Big Five Primary Personality Dimensions with Musical Preferences ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19433.
Texte intégralRésumé :
According to J Clement in 2019 an estimated 2.95 billion people were using social media worldwide, with a projection of 3.43 billion in 2023. Social networks increasingly play a fundamental role in the way of expressing our-selves and relating to others, in which it is directly linked to our personality. Several studies relate a persons personality to the most diverse areas, such as predicting political orientation, classifying gender, or even measuring the level of success at work. Wu Youyou, 2015 proposes an algorithm that can allegedly estimate the personality of a Facebook user better than his partner, based on his digital footprint, thanks to AI techniques and the massive number of inter-actions that users perform on their social media. The focus of this work is to relate the Big Five personality theory with musical preferences. Since social media posts register moments and impressions of users lives, and since music streaming platforms provide material about musical taste second Peter J RentFrow et al, 203, we used tools to extract the big five primary personality dimensions from Facebook and audio features from the Spotify Web API, and looked for correlations be-tween musical preferences and personality. Results show some correlations and anticorrelations found, pointing to further research with a broader range of features.
6
Ivaniukovich, U. A., et A. S. Tsikhonchyk. « ORGANIZATION OF MUSIC THERAPY SESSIONS ON THE BASIS OF STREAMING DATA TRANSMISSION TECHNOLOGIES ». Dans SAKHAROV READINGS 2022 : ENVIRONMENTAL PROBLEMS OF THE XXI CENTURY. International Sakharov Environmental Institute of Belarusian State University, 2022. http://dx.doi.org/10.46646/sakh-2022-2-413-416.
Texte intégralRésumé :
A streaming web service is proposed for organizing music therapy sessions based on cloud storage technologies to improve the mental and physical condition of patients. The service allows selecting musical compositions selected by experts for various situations, or creating individual playlists based on the needs and preferences of the user. The created software application includes a web version, as well as applications for Android and iOS mobile operating systems. For the iOS platform, the Swift language and the Docker and Kitura frameworks are used. For the Android platform, the Java language and the Spark and JBehave frameworks. Adobe Photoshop and Figma were used to implement the design of the application. In addition to programmers, a psychologist and music specialists are involved in the creation of the service.
7
Mondelli, Maria Luiza Botelho, Luiz M. R. Gadelha Jr. et Artur Ziviani. « O Que os Países Escutam : Analisando a Rede de Gêneros Musicais ao Redor do Mundo ». Dans VII Brazilian Workshop on Social Network Analysis and Mining. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/brasnam.2018.3586.
Texte intégralRésumé :
Plataformas de streaming de música são cada vez mais populares, democratizando e facilitando o acesso ao conteúdo musical. Esse efeito amplia o alcance e a penetração de diferentes estilos musicais, incrementando a diversidade de gêneros escutados nos diferentes páıses do mundo. A fim de melhor entender essa diversidade e identificar páıses com interesses em comum, neste artigo foi construída e analisada uma rede complex de artistas, gêneros musicais e páıses utilizando dados do Spotify, uma das plataformas de streaming de música mais utilizadas atualmente. Como resultados, além de identificar comunidades de páıses com estilos musicais semelhantes, nós mostramos como a grande quantidade e diversidade de gêneros musicais pode influenciar a modelagem e análise da rede considerada. Nós também classificamos os gêneros mais comumente escutados utilizando diferentes métricas de centralidade.
8
Paula, Bruna C. M., Gabriel P. Oliveira et Mirella M. Moro. « Mood Analysis during the COVID-19 Pandemic in Brazil through Music ». Dans Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/webmedia_estendido.2022.227063.
Texte intégralRésumé :
In this paper, we investigate the oscillation in the general feelings of the Brazilian population during the Pandemic through the songs consumed. We analyze Brazilian streaming musical consumption between 2019 and 2021. In special, we focus on special dates that have changed history, such as the beginning of the pandemic in the country, the dates of increase in cases, milestone dates in deaths, the beginning of vaccination, among others. Data was collected through Spotify API and made publicly available. Our results show people have preferred more danceable and positive songs during the period analyzed.
9
Weinberger, Maor, et Dan Bouhnik. « The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract] ». Dans InSITE 2020 : Informing Science + IT Education Conferences : Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.
Texte intégralRésumé :
Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
10
Moura, Filipe A. S., Carlos H. G. Ferreira et Helen C. S. C. Lima. « Characterization of the Brazilian musical landscape : a study of regional preferences based on the Spotify charts ». Dans Proceedings of the Brazilian Symposium on Multimedia and the Web, 80–88. Sociedade Brasileira de Computação - SBC, 2024. http://dx.doi.org/10.5753/webmedia.2024.242290.
Texte intégralRésumé :
In the digital age, streaming services such as Spotify have changed the way people consume music, highlighting the enormous influence these platforms have on the market. In the highly competitive music industry, it is crucial for independent artists in particular to maintain their popularity. This is especially true in countries like Brazil, where geographical and cultural differences influence music consumption patterns. Understanding these patterns is essential for effective marketing and production strategies. Despite previous research on music consumption, genre preferences and user behavior, there is a lack of detailed studies on the geographical and cultural distribution of music preferences in Brazil. Our study fills this gap by examining musical genre preferences and acoustic features of tracks across Brazilian regions over two years. We collected Spotify chart data from 2022 and 2023, modeled bipartite genre-city networks, and used backbone extraction methods to highlight significant genre preferences. Temporal analysis revealed patterns and persistence of musical preferences across cities, while clustering techniques revealed regional and cultural differences in acoustic features. Our results show that genre preferences are stable across Brazilian regions, with important genres emphasized by backbone networks. Persistence analysis suggests minimal changes over time, except during major holidays. Furthermore, Brazilian city clusters exhibit distinct acoustic patterns regardless of music genres, with notable differences in features such as liveliness, speechiness, and valence. This research provides new insights into regional musical diversity in Brazil and paves the way for future studies on cultural and geographical influences on music preferences.