The work deals with design and implementation of application for IOS platform using modern programming tools such as cocos2D framework and Xcode.

Mobile applications stores such as Apple’s App Store and Google’s Android Market revolutionized the distribution of applications for mobile devices. However, with thousands of application submissions, limited testing resources and the lack of an effective filtering mechanism, application stores suffer from information overload and a risk of releasing poor quality applications that could create confusion to consumers and may seriously affect the App store markets. Thus concern has been raised whether applications have been developed according to the need and interest of consumers. Therefore, the purpose of this study was mainly to identify and get insight into the main factors that mobile application consumer takes into consideration when purchasing mobile applications from the desktop iTunes App Store and the mobile App Store on the iOS devices: iPhone, iPad and iPod Touch. In this study both qualitative and quantitative case study approach was used. Accordingly twelve participants were selected from Stockholm and Uppsala area and their behaviour in the Apple’s App Store from the desktop iTunes and the mobile App Store on iOS devices was observed and recorded. Additionally questionnaires were administered to all participants in order to gather the necessary information. Consumers on the App Store behave differently depending on the unit they are using. This is because applications on the App Store are presented differently in the desktop iTunes App Store and the mobile App Store on the iOS devices. The study shows that young consumers with lower income purchase apps more frequently than the consumers with higher income. It also shows that consumers often consider the description, the screenshots, and the ratings when they are interested in buying applications. Furthermore consumers take a look more on ratings in the list on the iPhone and iPad App Store because the ratings are not shown in the list on the iTunes App Store. Similarly consumers tend to read the customer reviews more on the iTunes and iPad App Store as the customer reviews on the iPhone App Store is displayed in another page. Consumers were found to be more attracted by visual elements that they are already familiarized with, apps with famous logos and known fonts and styles but also to coherent and descriptive app names and strong colors (i.e. red, green, yellow, black and blue, respectively). The majority of the participants found the iTunes App Store messy and cumbersome to use. They preferred using the iPad App Store because they found it to be a good mixture of both iTunes and iPhone App Store but also because it has more options to consider. Although consumers behave differently depending on the unit they are using, the visual element of the apps, prior knowledge of consumers about the name of the apps, ratings, easy accessibility of screenshots and customer reviews of the apps were found to be the main factors to be considered by consumers when they visit app stores for purchase. Thus application developers and digital magazine publishers should consider these consumer behaviours in order to influence more downloads and successfully sell apps on the app stores.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-01T16:32:02Z No. of bitstreams: 1 CHAIANE THIESEN BITELO_.pdf: 15335883 bytes, checksum: 3419aa495111d045594418a167de204f (MD5) / Made available in DSpace on 2016-04-01T16:32:02Z (GMT). No. of bitstreams: 1 CHAIANE THIESEN BITELO_.pdf: 15335883 bytes, checksum: 3419aa495111d045594418a167de204f (MD5) Previous issue date: 2011-04-04 / Nenhuma / Este estudo tem por objetivo entender as relações de significação existentes nas experiências vividas pelos usuários diante da presença de propriedades midiáticas nas interfaces do aplicativo iTunes. A partir da perspectiva do Design Estratégico, compreende-se o objeto iTunes como parte de um sistema-produto e se busca uma angulação teórico-metodológica com contribuições e tensionamentos oriundos do campo da Comunicação e do Design de Interfaces através da área de UX - User Experience. O método adotado estabeleceu a coleta de dados em torno do objeto iTunes a partir de dois observáveis: interfaces e sujeitos. A análise se desenvolveu a partir dos cruzamentos teórico-metodológicos com os resultados da coleta nas interfaces e da coleta com os sujeitos. Os resultados demonstraram, primeiramente, a importância do olhar do Design Estratégico sob as interfaces digitais, especialmente a partir do conceito de sistema-produto. Com o objeto iTunes, ficou evidenciado a relevância da identificação das relações de significação estabelecidas pelos sujeitos nas interfaces digitais, a fim de buscar uma compreensão mais ampla do usuário contemporâneo, principalmente por meio da composição teórico-metodológica formada pelas áreas de Design Estratégico, UX e Comunicação para observar o usuário. / This study aims to understand the relationships of significance that exist in users' experiences with iTunes interface, a aplication with media properties. With the perspective of Strategic Design, the goal is to understand the research object, the iTunes, as a part of a system-product. In line with this, an intersection theory and methodology of the Area of Communication and Design Interface UX - User Experience seeks to contribute to the proposed study. The methodological procedures were performed in two stages around the study’s object: observations of interfaces, and interviews with users. The results demonstrated, first, the importance of Strategic Design’s look under the digital interfaces, especially from the concept of system-product. With the iTunes, evidenced the importance of identifying the relationships of significance established by the users at the digital interfaces. This enabled the understanding about contemporary users, mainly through the composition formed by the theoretical and methodological areas of Strategic Design, UX and Communication to observe the user.

<p>Purpose/Aim: The purpose of this thesis is to define and analyse how Swedish record companies work with digital musical content distributors. A more narrow aim is to show how the record companies and with the digital musical content distributors iTunes Music Store and Spotify create incentives for consumer’s to use legal digital music channels through the Internet. To further circle the core of the problem following questions have been asked: How does the record companies provide iTunes Music Store and Spotify with digital content and what is done by the record companies to retain control over the material? How do the record companies view digital musical sales and what incentives are given to consumers to buy music digitally? Finally, What position of power do iTunes Music Store and Spotify have on the digital content arena?</p><p>Material/Method: The data collected for this thesis is retrieved through personal interviews with representatives from three of the four major record companies Universal Music, Warner Music and EMI and their Swedish branches.</p><p>Main results: The consumer’s access to digital content through iTunes Music Store and Spotify is of the utmost importance and is a prerequisite. Even if the record companies choose to not demand DRM protection on their products it does not stop Apple from keeping their Fairplay protection. In this way Apple is the company controlling the files, even if the Record Companies have made their decision based on research, which has shown that sales go down if the music files are DRM protected. The record companies have chosen not to get involved with the sales of digital content. This results in power being shifted to E-tailers such as iTunes Music Store and Spotify. The incentives the consumers are given to buy music digitally are found in the surplus value, which is supported by iTunes Music Store and Spotify. These surplus values are such services as recommendations of music or artists. Different packaging solutions, such as subscriptions through an Internet provider, do not raise the value of the music. The value is added to the Internet provider’s products and not the music, but they do guarantee a steady income for the record companies.</p>

Purpose/Aim: The purpose of this thesis is to define and analyse how Swedish record companies work with digital musical content distributors. A more narrow aim is to show how the record companies and with the digital musical content distributors iTunes Music Store and Spotify create incentives for consumer’s to use legal digital music channels through the Internet. To further circle the core of the problem following questions have been asked: How does the record companies provide iTunes Music Store and Spotify with digital content and what is done by the record companies to retain control over the material? How do the record companies view digital musical sales and what incentives are given to consumers to buy music digitally? Finally, What position of power do iTunes Music Store and Spotify have on the digital content arena? Material/Method: The data collected for this thesis is retrieved through personal interviews with representatives from three of the four major record companies Universal Music, Warner Music and EMI and their Swedish branches. Main results: The consumer’s access to digital content through iTunes Music Store and Spotify is of the utmost importance and is a prerequisite. Even if the record companies choose to not demand DRM protection on their products it does not stop Apple from keeping their Fairplay protection. In this way Apple is the company controlling the files, even if the Record Companies have made their decision based on research, which has shown that sales go down if the music files are DRM protected. The record companies have chosen not to get involved with the sales of digital content. This results in power being shifted to E-tailers such as iTunes Music Store and Spotify. The incentives the consumers are given to buy music digitally are found in the surplus value, which is supported by iTunes Music Store and Spotify. These surplus values are such services as recommendations of music or artists. Different packaging solutions, such as subscriptions through an Internet provider, do not raise the value of the music. The value is added to the Internet provider’s products and not the music, but they do guarantee a steady income for the record companies.

MP3與P2P的出現，打破過去唱片業者壟斷市場及通路的遊戲規則。面對網路盜版的猖獗，不只全球主要的音樂唱片公司，嘗試從法律面及技術面去尋求解決之道，對於未來的發展方向，許多廠商及也都在努力思考，如何經由科技應用、創新經營模式以搶得市場之先機。 自蘋果電腦力邀五大唱片商合作、率先揭櫫數位音樂大旗以來，其以線上音樂商店結合iTunes軟體及iPod數位音樂播放器的經營模式，可能就是管理、法律、科技相互配合，共同捍衛智財權的最佳範例。 本論文由音樂播放軟體系統競爭的角度切入，針對線上音樂廠商，面臨系統產品的標準競爭、網路外部性、產品相容性、互補性資產等議題，所採取的各項策略進行全面性探討，其中包括平台標準的建立與選擇、系統採開放或封閉模式、廠商最適垂直整合度等決策。 本研究除了從智慧財產管理、資訊產品特性、系統平台面看線上音樂產業之發展，也探討數位版權技術的應用、經營模式的改變、法律規範的嚇阻，如何克服網路盜版音樂猖獗的問題，更試圖整理目前線上音樂業者之經營模式、蘋果電腦領先之道以供後續廠商參考，並提出新的經營模式、網路經營觀念等促進線上音樂蓬勃發展之建議。

隨著網路普及而興起， MP3音樂檔案格式在1999年入選美國時代雜誌TIME 所公佈十大最佳網路科技。而MP3這項殺手級科技（Killer Application）更強力促進了線上音樂的盛行，尤其是自蘋果電腦聯合五大唱片商合作誕生出iTunes這種革命性的音樂經營模式出現後，合法授權線上音樂這塊市場更是呈現出爆發性的快速成長局面。 反觀台灣本地合法授權的線上音樂市場是呈現出滯留不前的局面。因這幾年唱片盜版問題遲遲不能解決，加上經濟環境之劇烈變化，除了造成台灣唱片市場在世界排名上的滑落，更造成後來國內幾家稍具知名度的線上音樂網站接連因服務與營運上的問題出現關閉的局面。而能夠存活下來的線上音樂業者如KKBOX在經營服務上相較於歐美多重選擇的線上音樂服務與內容，仍有許多待改進之處。 本研究希望嘗試探究現在既有的線上音樂網路商店之經營模式，分析各大業者在經營模式上的優缺，再針對台灣的特殊市場情況加以討論。期望本研究在最後所提出的經營策略建議能減低盜版市場的猖獗，為台灣合法線上音樂帶來經營新氣象，促進線上音樂產業蓬勃發展。

In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.

No description available.

New digital distribution and value capture models have emerged on the global music industry scene in the last ten years. These models are highly dependent on a strong underlying communications and broadband internet infrastructure which is largely present in most developed markets. South Africa, however, is a developing country whose broadband infrastructure is still nascent and not as widely available or accessible. Due to the permeation of mobile technology, most broadband internet access is likely to occur through the mobile networks in most developing markets. This stands in stark contrast to developed markets where broadband internet access occurs primarily via fixed line infrastructure with mobile as a secondary option.This research set out to investigate whether digital value distribution and value capture models which succeeded in developed countries would be suitable for the South African music industry given the broadband infrastructure constraints and the different internet access methodologies prevalent in this developing market. This research employed an exploratory research methodology in order to investigate this question and found that a mixture of value distribution and value capture models would address the entire market requirement, with mobile-centric digital distribution models being most suitable for mass market deployment. / Dissertation (MBA)--University of Pretoria, 2012. / Gordon Institute of Business Science (GIBS) / unrestricted