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A change is gonna come : the future of copyright and the artist/record label relationship in the Music IndustryDahl, Kurt 25 September 2009 (has links)
The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. Digital technologies are overhauling the way in which musicians, record labels, and other industry professionals make a living, and my goal is to decipher what these changes mean in the long term. In light of this transformation, my research investigates whether musicians still need record labels in the digital era, and what role copyright law will continue to have in this new model.<p>
The method of research for my thesis was slightly atypical. While I utilized any textbook and scholarly journal that was available on the topic, much of my most valuable research came in the form of personal interviews with some of the biggest players in the music industry, as well as various articles and studies found online.<p>
My thesis argues that the roles played by artists and record labels have completely changed in the last five years, and the parties that will find success on either side of the bargaining table will be those most appreciative of and adaptive to this change. Directly related to this is the changing face of copyright in the music industry. My thesis argues that while copyright used to provide massive value from a single source in the short term, it now generates smaller amounts of value from an infinite array of sources, in the long term. The significance of this finding cannot be understated, for both artists and their investors. In this way, my research aims to be equally significant and accessible to musicians, industry professionals, and academics.
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Customer loyalty creation in the digital music portal industry.. : Looking at three countriesLjungwaldh, Sebastian January 2010 (has links)
<p><strong>Purpose:</strong>The purpose of this study is to investigate the most important factors for creating customer loyalty, which contribute to competitive advantage in the DMP industry.</p><p> </p><p><strong>Background: </strong>The emergence of the digital music industry in recent years has resulted in a competitive situation with new digital music portals (DMPs) entering the market. A DMP can be defined as ‘<em>an e-business whose core service is to legally offer digital music by means of stream and/or download’.</em> The industry has experienced rapid developmental changes on the online platform with an outcome of a steady growth in online sales. Customers can choose from a large music assortment and DMPs function as intermediaries between right holders and end-consumers, and customers can easily switch between rivals at low costs. <em> </em></p><p><strong> </strong></p><p><strong>Method: </strong>The research strategy used in this thesis was a qualitative research strategy. Data was collected from eleven interviews, from people working within the DMP industry, using semi-structured questions. The sample was selected through a combination of convenience and snowball sampling. The collected data was later interpreted and analysed. Coding was used as an analysis method, where the authors selected relevant data and created groups of themes related to the purpose and the research questions.</p><p><strong> </strong></p><p><strong>Conclusion: </strong>The analysis results show that DMPs have to focus on performance, explicitly performance competing strategies for creation of customer loyalty, which overlaps value and trust creation activities. The most important factors for creating customer loyalty contributing to competitive advantage in this industry are gathered under three concepts: developing innovative new transaction structures, increasing customer affiliation through usability and editorials and to engage the customer in the portal’s service.</p>
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iPod people experiencing music with new music technology /Burton, Justin Daniel, January 2009 (has links)
Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Music." Includes bibliographical references (p. 170-176).
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An experiment in portable escapism : storytelling and the iPod / Title of accompanying DVD: How your life is a storyGumaste, Nitin S. January 2006 (has links)
This study examines the possibility of creating original video-based content for the video-enabled iPod that was released in October 2005. Current trends show that existing content created for conventional media like television, cinema and computers are simply being ported over to this new medium. However, when this project began, none of the production studios are concentrating on creating content specifically for this medium, which has its own unique properties like portability, screen size and the ability to easily start and pause content as required. The purpose of this project is to prove that such medium-specific content can be created and made financially viable for the creators. Further, this hypothesis is put to the test by presenting it to a group of Ball State University students and their responses are examined in detail. / Department of Telecommunications
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An iterative investigation into the implementation of handheld computers as learning tools in a science museum /Phipps, Molly E. January 1900 (has links)
Thesis (Ph. D.)--Oregon State University, 2009. / Printout. Includes bibliographical references. Also available on the World Wide Web.
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Understanding the Digital Music Customer : Attributes of SatisfactionHensley, Evan, Kassios, Efstathios January 2010 (has links)
Record companies are suffering due to a downturn in recorded music sales. Innovative firms have developed digital music services that offer recorded music products to customers in new ways, yet sales are not what they used to be. Web 2.0 technologies have changed the customer’s tastes, expectations, and desires. Thus, a deeper understanding of the new “digital customer” is needed in order to better offer services in a way that he or she prefers most.
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Understanding the Digital Music Customer : Attributes of SatisfactionHensley, Evan, Kassios, Efstathios January 2010 (has links)
<p>Record companies are suffering due to a downturn in recorded music sales. Innovative firms have developed digital music services that offer recorded music products to customers in new ways, yet sales are not what they used to be. Web 2.0 technologies have changed the customer’s tastes, expectations, and desires. Thus, a deeper understanding of the new “digital customer” is needed in order to better offer services in a way that he or she prefers most.</p>
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Download culture and the dilemma of postmodern technologies: (il) legal digital music sharing and itss effects on South African artistesKgasago, Tshepho Justice January 2022 (has links)
Thesis(Ph.D. (Communication Studies)) -- University of Limpopo, 2022 / Digital technologies are increasingly revolutionising music consumption patterns
globally. Consequently, there is an emerging culture in which online tools have
become primary platforms for music consumption. In this postmodern era, digital
technologies make music easily accessed, consumed and shared, thereby providing
a seemingly global recognition to artistes beyond their immediate geographical
market. As a result, artistes sometimes distribute their music for free with the
intention to reach potential consumers. Equally, these technologies also allow
consumers to illegally access and share music freely without financial compensation
to the artistes. At the same time artistes also sell their music through different online
stores to generate revenue. Alongside these developments, there are challenges
with access to the Internet in South Africa with older adults and those in rural areas
being disadvantaged, and the cost of Internet curtailing what youths can afford to do
online. This then prompts critical questions: How do older adults and youth listen to
music? Where and how do they access music? How does the new digitalised music
affect their music consumption? What are the implications of all these to the social
capital and social lifestyles of youth and older South African adults? Also, how has
the digitalisation of music impacted on the political economy of the music industry in
South Africa? In what ways do the illegal and legal downloads of music benefit or
disadvantage local artistes?
From a critical theorisation of an emerging ‘download culture’ and a discussion of the
postmodern technological turn, this study examined a case study of South African
youth and older adults’ music consumption pattern. Through a survey of 202
university students in a rural South African university and 100 older adults from semi rural areas of Limpopo Province in South Africa, the study examined the ways youth
and older adults access and consume music. It explored music sharing habits and
opinions about piracy in a culture where music has become instantaneously
shareable. Apart from findings from this study, new knowledge and a contribution to
communication scholarship is presented here with a proposal of new theory of
‘download culture’. Fundamental to this study is the implications of download culture
for the creative industry, predominantly, its impact on the South African music
industry. The data show that this cohort of South African youth are not different from
youths globally, where music is accessed through mobile cell phones. This study
also reflects that many older adults do not access digitalised music due to socio economic conditions and challenges of technology access. Nevertheless, the social cultural impact of this has repercussions on the cultural well-being of this vital group
in society. Although internet access challenges persist, a critical concern is the
blurring distinctions about the legal and illegal download of music. / National Institute for the Humanities and Social
Sciences (NIHSS), in collaboration with the South African Humanities Deans Association (SAHUDA)
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[en] ANALYSIS OF THE BRAZILIAN PHONOGRAPHIC INDUSTRYNULLS FUTURE FACING THE THREAT OF PIRACY AND DIGITAL MUSIC / [pt] FUTURO DA INDÚSTRIA FONOGRÁFICA BRASILEIRA DIANTE DA PIRATARIA E DA MÚSICA DIGITALMONIQUE PEREIRA IBITINGA DE BARROS 19 April 2004 (has links)
[pt] Esta dissertação tem como objetivo avaliar qual a
tendência da indústria fonográfica nos próximos anos,
tendo em vista as mudanças estruturais que ela vêm
passando em conseqüência das alterações ocorridas no
ambiente. O setor vem sendo drasticamente abalado por uma
oferta ilegal de produtos, além de inovações tecnológicas
que podem ser utilizadas de forma benéfica, mas também
possibilitam um acesso incontrolável à principal matéria
prima das gravadoras. A metodologia utilizada para buscar
esta tendência foi o método Delfos de previsão. Este
método foi o escolhido por se tratar de um setor
desprovido de um histórico confiável, devido às constantes
mudanças tecnológicas e de padrão de consumo, e dos
eventos atuais que provocam a insegurança sobre o futuro da
indústria proporcionarem alterações inesperadas. O método
permite a elaboração de uma previsão com base na opinião
de especialistas, e tem como resultado uma avaliação do
futuro da indústria com base na percepção de pessoas
diretamente ligadas a ela. Através deste estudo foi
possível verificar que existe uma expectativa de que o
governo vá se posicionar mais fortemente com relação à
repressão da pirataria musical e que as gravadoras
eventualmente passem a tratar como negócio não só a
produção de CDs, mas também outros produtos e serviços
diretamente ligados à música. Também foi possível concluir
que a música digital, de forma geral, não é percebida como
uma ameaça à indústria de música tradicional, e pode
ser vista como uma oportunidade de negócio. Assim, foi
possível diagnosticar o futuro mais provável para as
empresas e a estrutura do setor fonográfico brasileiro,
além de verificar as variáveis que indicarão a formação
deste cenário. / [en] The present work intends to evaluate the most probable
scenario for the Brazilian phonographic industry in the
next few years, taking in account the structural changes
that have been going on in the environment. This industry
has been suffering from the continuous increase on the
illegal products offering, in addition to new
technological solutions, which may have positive
implications, but may also allow innovative and
uncontrollable ways of obtaining the recording companies
main asset without paying for it. The Delfos technique has
been the methodology chosen for this study. The method was
the best choice bearing in mind that the industry does not
have a trustworthy historical data, partially because of
the technological innovation and chances on the
consumption pattern, and the current events on the sector
had resulted on unexpected turn a rounds on the industrys
development. Trough this work it has become possible to
identify that it is expected from the government to take
stronger measures to reprehend the music piracy and also
that the recording organizations will eventually make
their ways not only with CDs themselves but also with
everything music related. Besides, digital music is not
perceived as a threat, but in fact is expected to become a
business and distribution opportunity for the music
industry. Therefore, it has been possible to forecast the
most likely future for the companies on the Brazilian
music business, along with defining the variables that
will indicate the structuring of this scenario.
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Applications of Semantic Web technologies in music productionWilmering, Thomas January 2014 (has links)
The development of tools and services for the realisation of the Semantic Web has been a very active field of research in recent years, with a strong focus on linking existing data. In the field of music information management, Semantic Web technologies may facilitate searching and browsing, and help to reveal relationships with data from other domains. At the same time, many algorithms have been developed to extract low and high-level features, which enable the user to analyse music and audio in detail. The use of semantics in the process of music production however is still a relatively new field of research. With computer systems and music processing applications becoming increasingly powerful and complex in their underlying structure, semantics can help musicians and producers in decision processes, and provide more natural interactions with the systems. Audio effects represent an integral part in modern music production. They modify an input signal and may be applied in order to enhance the perceived quality of a sound or to make more artistic changes to it in the composition process. Employing music information retrieval (MIR) and Semantic Web technologies specifically for the control of audio effects has the potential to be a significant step in their evolution. Detailed descriptions of the use of audio effects in a music production project can additionally facilitate the description of work flows and the reproducibility of production procedures, adding an additional layer of depth to MIR. We substantiate the hypothesis that the collection of audio related metadata during the production process is beneficial, by comparing the results of various feature extraction techniques on audio material before and after the application of audio effects. We develop a formal Semantic Web ontology for the domain of Audio Effects in the context of music production. The ontology enables the creation of detailed metadata about audio effects implementations within the Studio Ontology framework for use in music production projects. The ontology contains inter-linkable classification systems based on different criteria constituting an interdisciplinary classification. Finally, we evaluate the ontology and present several use cases and applications, such as adaptive audio effects using and creating semantic metadata.
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