[pt] No final do século passado, a apropriação de duas novas tecnologias pelo grande público desestruturaram a indústria fonográfica. Mas o compartilhamento generalizado de mp3 pela internet não impactaria somente o negócio das grandes gravadoras, mas também a própria função da escuta musical. Mais móvel, extensa e flexível, a fonografia se torna virtualmente ubíqua, ganhando novas potencialidades, revelando outras aspirações por parte dos ouvintes. Por mais de uma década, a audição de música gravada fica à margem da monetização institucional e sua experiência uma atividade sem um projeto específico por parte da indústria. As plataformas de streaming de música, sob o pioneirismo do Spotify, surgem nesse contexto, convertendo em serviço o que era produto e concebendo um novo conceito para a experiência fonográfica. Nesse novo modelo de negócio, uma escuta musical de alto valor simbólico para fruição estética, objeto de interesse de um público aficionado, perde espaço para uma audição situada, funcional, em que a música associada à rotina e ao estado mental do usuário agrega valor aos seus dados coletados no mercado de publicidade programática. A perda de centralidade no público-alvo e a própria visão corporativa sobre a fonografia indica a alienação do fã de música pela própria indústria. Esta pesquisa exploratória se destina a investigar como este nicho se sente com relação ao atual contexto e de que forma ele contempla suas necessidades de fruição fonográfica através de uma escuta dedicada. Para tal, além de uma revisão bibliográfica destinada a examinar a lógica sobre a qual as plataformas de streaming operam, seu modelo de negócios e qual o papel do fã nesse cenário, entrevistamos 40 indivíduos de 18 a 70 anos que se identificam como fãs de música. Se nossa pesquisa de campo indicou que o referido nicho utiliza as plataformas para audição dedicada, é significativa a amostragem da utilização de outros recursos, como a prevalência da mídia física, especialmente o vinil, e a recorrência ao audiovisual para obter experiência estética. / [en] At the end of the last century, the appropriation of two new technologies by the general public disrupted the recording industry. But the widespread sharing of mp3s over the internet would not only impact the business of major record companies, but also the very function of music listening. More mobile, extensive and flexible, phonography becomes virtually ubiquitous, gaining new potential, revealing other aspirations by the listeners. For more than a decade, listening to recorded music has not been subject to institutional monetization and has been an activity without a specific project by the industry. Music streaming platforms,by Spotify s leadership, emerge in this context, converting what was a product into a service and conceiving a new concept for the phonographic experience. In this new business model, listening to music with high symbolic value for aesthetic enjoyment, an object of interest for a passionate public, loses space to situated, functional listening, in which music associated with the user s routine and mental state adds value to the data collected in the programmatic advertising market. The loss of centrality in the target audience and the corporate vision of phonography indicates the alienation of the music fan by the industry itself. This exploratory research is intended to investigate how this niche feels in relation to the current context and how it addresses its needs for phonographic enjoyment through dedicated listening. To this end, in addition to a bibliographical review aimed at examining the logic on which streaming platforms operate, their business model and the role of the fan in this scenario, we interviewed 40 individuals aged 18 to 70 who identify themselves as music fans. If our research indicated that this niche uses platforms for dedicated listening, the use of other resources is significant, such as the prevalence of physical media, especially vinyl, and the use of audiovisual media to obtain an aesthetic experience.

The beginning of the thesis deals with history of interconnection between video and the internet from its origins to the present. The thesis has two main aims. The first aim is to provide an overview of main solutions how to provide stream video over the internet. In the thesis there are described three different solutions. The first solution is to buy a complex media server. The second one is to hire a special service which can provide video storage and its distribution over the internet. The service must allow integration to various information systems and web pages or web applications. The last part of the first aim speculates about possibilities how to solve the stream video distribution over the internet in a business and commercial domain without any expenses to provide the functionality. The second aim is a practical realization of a complete project. The content of the project is a solution of video conversion, storage and distribution over the internet in a real company. The main business activity of the company is the development and providing of web pages and applications on its own servers. At the beginning of the second part of the thesis there are evaluated possible ways how to solve the goal of the project. The possible ways are solutions that are mentioned in the first part of the thesis plus development of new a solution by the company itself. The last alternative has proved to be optimal from the economic point of view. The result of the project is a web service which is completely platform independent. So it is possible to use the web service in company's content management systems that are developed in PHP or .Net. In the thesis there is also mentioned an issue of mechanism called HTTP Pseudo Streaming.

Digital music streaming websites have taken over the musical landscape. While the digital music market is booming, both data and time have revealed that the current system as it exists will not provide a sustainable future for creators of content or for technology companies. Although some consumers are willing to pay for content they can access for free, many are still enjoying content without paying. Both the technology companies and creators of content have sacrificed to meet consumer demands, but the technology companies have been too willing to make creators of content be the ones paying for ‘free.’ Recent legislative efforts have provided a good start to balancing a system that is clearly in distress, but there is still much be done to move the music industry forward. This paper examines the current issues facing the digital music streaming industry and several legislative and industry-prompted efforts in current discussion. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

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

Streaming video applications on the Internet generally have very high bandwidth requirements and yet are often unresponsive to network congestion. In order to avoid congestion collapse and improve video quality, these applications need to respond to congestion in the network by deploying mechanisms to reduce their bandwidth requirements under conditions of heavy load. In reducing bandwidth, video with high motion will look better if all the frames are kept but the frames have low quality, while video with low motion will look better if some frames are dropped but the remaining frames have high quality. Unfortunately current video applications scale to fit the available bandwidth without regard to the video content. In this thesis, we present an adaptive content-aware scaling mechanism that reduces the bandwidth occupied by an application by either dropping frames (temporal scaling) or by reducing the quality of the frames transmitted (quality scaling). We have designed a streaming video client and server with the server capable of quantifying the amount of motion in an MPEG stream and scaling each scene either temporally or by quality as appropriate, maximizing the appearance of each video stream. We have evaluated the impact of content-aware scaling by conducting a user study wherein the subjects rated the quality of video clips that were first scaled temporally and then by quality in order to establish the optimal mechanism for scaling a particular stream. We find that content-aware scaling can improve video quality by as much as 50%. We have also evaluated the practical impact of adaptively scaling the video stream by conducting a user study for longer video clips with varying amounts of motion and available bandwidth. We find that for such clips also the improvement in perceptual quality on account of adaptive content-aware scaling is as high as 30%

The explosive growth in on-demand access of video across all forms of delivery (Internet, traditional cable, IPTV, wireless) has renewed the interest in scalable delivery methods. Approaches using Content Delivery Networks (CDNs), Peer-to-Peer (P2P) approaches, and their combinations have been proposed as viable options to ease the load on servers and network links. However, there has been little focus on how to take advantage of user viewing patterns to understand their impact on existing mechanisms and to design new solutions that improve the streaming service quality. In this dissertation, we leverage on the observation that users watch only a small portion of videos to understand the limits of existing designs and to optimize two scalable approaches -- the content placement and P2P Video-on-Demand (VoD) streaming. Then, we present our novel scalable system called Joint-Family which enables adaptive bitrate streaming (ABR) in P2P VoD, supporting user viewing patterns. We first provide evidence of such user viewing behavior from data collected from a nationally deployed VoD service. In contrast to using a simplistic popularity-based placement and traditionally proposed caching strategies (such as CDNs), we use a Mixed Integer Programming formulation to model the placement problem and employ an innovative approach that scales well. We have performed detailed simulations using actual traces of user viewing sessions (including stream control operations such as pause, fast-forward, and rewind). Our results show that the use of segment-based placement strategy yields substantial savings in both disk storage requirements at origin servers/VHOs as well as network bandwidth use. For example, compared to a simple caching scheme using full videos, our MIP-based placement using segments can achieve up to 71% reduction in peak link bandwidth usage. Secondly, we note that the policies adopted in existing P2P VoD systems have not taken user viewing behavior -- that users abandon videos -- into account. We show that abandonment can result in increased interruptions and wasted resources. As a result, we reconsider the set of policies to use in the presence of abandonment. Our goal is to balance the conflicting needs of delivering videos without interruptions while minimizing wastage. We find that an Earliest-First chunk selection policy in conjunction with the Earliest-Deadline peer selection policy allows us to achieve high download rates. We take advantage of abandonment by converting peers to "partial seeds"; this increases capacity. We minimize wastage by using a playback lookahead window. We use analysis and simulation experiments using real-world traces to show the effectiveness of our approach. Finally, we propose Joint-Family, a protocol that combines P2P and adaptive bitrate (ABR) streaming for VoD. While P2P for VoD and ABR have been proposed previously, they have not been studied together because they attempt to tackle problems with seemingly orthogonal goals. We motivate our approach through analysis that overcomes a misconception resulting from prior analytical work, and show that the popularity of a P2P swarm and seed staying time has a significant bearing on the achievable per-receiver download rate. Specifically, our analysis shows that popularity affects swarm efficiency when seeds stay "long enough". We also show that ABR in a P2P setting helps viewers achieve higher playback rates and/or fewer interruptions. We develop the Joint-Family protocol based on the observations from our analysis. Peers in Joint-Family simultaneously participate in multiple swarms to exchange chunks of different bitrates. We adopt chunk, bitrate, and peer selection policies that minimize occurrence of interruptions while delivering high quality video and improving the efficiency of the system. Using traces from a large-scale commercial VoD service, we compare Joint-Family with existing approaches for P2P VoD and show that viewers in Joint-Family enjoy higher playback rates with minimal interruption, irrespective of video popularity.

Desde que passou a ser mediatizada tecnicamente, a música de concerto serviu de modelo para avaliar as conquistas da alta fidelidade acústica tanto nas transmissões radiofônicas quanto na audição doméstica em aparelhos reprodutores. Após vários processos de mediação tecnológica pela escuta de discos e similares (LP, DVD, blu-ray etc), o consumo de música de concerto estendeu-se aos meios virtuais: as transmissões em streaming oferecem ao público a música de concerto de uma maneira inédita, uma vez que não têm como ponto de referência o objeto material. Além disso, oferecem a recepção em tempo real, ao vivo. As diversas formas de recepção nas quais esse serviço se fundamenta têm despertado o interesse de pesquisadores de áreas variadas do conhecimento. No caso da música, desdobra-se num campo de estudos na área da música - em particular da sonologia. Este trabalho pretende apresentar um estudo sobre a recepção da programação on-line de música de concerto, por meio de uma análise comparativa entre as preferências do público consumidor desse serviço e o que é efetivamente oferecido a ele por esses serviços. Dois aspectos serão analisados em detalhe: os sistemas de \"recomendação\" e a \"curadoria digital\", uma vez que constituem a maneira pela qual o serviço é gerado e gerido. Muito utilizado nas plataformas digitais para a escuta da música popular, no caso da música de concerto ainda se conhece pouco acerca do funcionamento operacional desse serviço. Esta pesquisa pretende, assim, avaliar de que maneira essa metodologia é aplicável ao repertório da música de concerto. O objetivo central desta pesquisa é esmiuçar os processos de como se dá este novo modo de ouvir, que depende da interação crítica entre assinantes que o utilizam e o provedor do serviço. Em síntese, compreender mais detalhadamente os aspectos particulares que constituem o funcionamento dos serviços streaming. / Ever since becoming technically mediated, concert music served as a model to assess the achievements of high acoustic fidelity, both in radio broadcasts, as in domestic hearing in re-producers. After various processes of technological mediation, through listening to records and similar (LP, DVD, Blu-ray etc), consumption of concert music is extended to virtual environ-ments: streaming transmissions provide to the public concert music in a way unprecedented, since it does not have as a reference point the material object, aside from the fact that they offer the reception in real time, live. The different forms of reception on which this service is based have attracted the interest of researchers from different areas of knowledge. In the case of mu-sic, it unfolds in a field of study in music; specifically in sonology. This work intends to present a study on the reception of online concert music, through a comparative analysis of the prefer-ences by the consuming public of that service and what is actually offered to them by these services. Two aspects will be analyzed in detail: systems of \"recommendation\" and \"digital curation\", since they are the way in which the service is generated and managed. Frequently used in digital platforms for listening to popular music, little is known about the operational functioning of this service, in the case of concert music. This research thus aims to evaluate how this methodology is applicable to the concert music repertoire. The main objective of this research is scrutinizing the processes of this new way of listening, which depends on the critical interaction between subscribers and the service provider. In short, to understand in more detail the particular aspects that constitute the operation of streaming services.

Desde que passou a ser mediatizada tecnicamente, a música de concerto serviu de modelo para avaliar as conquistas da alta fidelidade acústica tanto nas transmissões radiofônicas quanto na audição doméstica em aparelhos reprodutores. Após vários processos de mediação tecnológica pela escuta de discos e similares (LP, DVD, blu-ray etc), o consumo de música de concerto estendeu-se aos meios virtuais: as transmissões em streaming oferecem ao público a música de concerto de uma maneira inédita, uma vez que não têm como ponto de referência o objeto material. Além disso, oferecem a recepção em tempo real, ao vivo. As diversas formas de recepção nas quais esse serviço se fundamenta têm despertado o interesse de pesquisadores de áreas variadas do conhecimento. No caso da música, desdobra-se num campo de estudos na área da música - em particular da sonologia. Este trabalho pretende apresentar um estudo sobre a recepção da programação on-line de música de concerto, por meio de uma análise comparativa entre as preferências do público consumidor desse serviço e o que é efetivamente oferecido a ele por esses serviços. Dois aspectos serão analisados em detalhe: os sistemas de \"recomendação\" e a \"curadoria digital\", uma vez que constituem a maneira pela qual o serviço é gerado e gerido. Muito utilizado nas plataformas digitais para a escuta da música popular, no caso da música de concerto ainda se conhece pouco acerca do funcionamento operacional desse serviço. Esta pesquisa pretende, assim, avaliar de que maneira essa metodologia é aplicável ao repertório da música de concerto. O objetivo central desta pesquisa é esmiuçar os processos de como se dá este novo modo de ouvir, que depende da interação crítica entre assinantes que o utilizam e o provedor do serviço. Em síntese, compreender mais detalhadamente os aspectos particulares que constituem o funcionamento dos serviços streaming. / Ever since becoming technically mediated, concert music served as a model to assess the achievements of high acoustic fidelity, both in radio broadcasts, as in domestic hearing in re-producers. After various processes of technological mediation, through listening to records and similar (LP, DVD, Blu-ray etc), consumption of concert music is extended to virtual environ-ments: streaming transmissions provide to the public concert music in a way unprecedented, since it does not have as a reference point the material object, aside from the fact that they offer the reception in real time, live. The different forms of reception on which this service is based have attracted the interest of researchers from different areas of knowledge. In the case of mu-sic, it unfolds in a field of study in music; specifically in sonology. This work intends to present a study on the reception of online concert music, through a comparative analysis of the prefer-ences by the consuming public of that service and what is actually offered to them by these services. Two aspects will be analyzed in detail: systems of \"recommendation\" and \"digital curation\", since they are the way in which the service is generated and managed. Frequently used in digital platforms for listening to popular music, little is known about the operational functioning of this service, in the case of concert music. This research thus aims to evaluate how this methodology is applicable to the concert music repertoire. The main objective of this research is scrutinizing the processes of this new way of listening, which depends on the critical interaction between subscribers and the service provider. In short, to understand in more detail the particular aspects that constitute the operation of streaming services.

This dissertation examines streaming media both as a technological innovation and cultural practice that co-configures audience and industry. Strategies and tactics provide a theoretical framework for understanding streaming media. Streaming is theorized as a tactic; wherein audiences momentarily buck against the strategic logic of media conglomerates and copyright regimes. However, streaming, concomitantly, is an audience tactic and a strategic logic of an emergent streaming industry. This results in the blurring between first and third party and sanctioned and unsanctioned streaming. In this dissertation, I parse out what are the nascent streaming logics within this burgeoning industry and how they constitutively shape and re-shape audiences and traditional broadcasting logics. Five typologies of streaming serve as conceptual tools for deepening our understanding of streaming media and technology. The first is streaming as a recent technological advancement, divided into software and hardware categories. The second conceptual framework is a typology of streaming that divides streaming into first and third party sanctioned and unsanctioned streaming. The third is streaming as an emergent industry. The fourth is streaming as a discourse, and the final typology divides streaming based on geography as transnational streaming, national streaming, and diasporic streaming. All of these classifications lay the groundwork for the further conceptualization of this important and emergent socio-technical practice.

Denna studie fokuserar på framtagandet av en visuell identitet för streamen AntagonistenTV på Twitch.tv som ägs av Felipe Delgado. David Sless sjustegsmetod har använts vid skapandet av identiteten. En visuell innehållsanalys har gjorts på andra streams för att få bättre förståelse inom streamingvärlden och underlätta designprocessen. Enkätundersökningar har använts för att få målgruppens perspektiv och åsikter. Enkäten visar hur tittarna påverkas av stream-designen. Slutresultatet blev en visuell identitet åt AntagonistenTV som sammanfattades i en grafisk manual. / This study focuses on developing a visual identity for the stream AntagonistenTV on Twitch.tv owned by Felipe Delgado. David Sless sevenstep method has been used in the creation of identity. A visual content analysis has been done on other streams to gain a better understanding of the streaming world and to facilitate the design process. Surveys have been used to get the target group's perspectives and opinions. The survey shows how the viewers are influenced by the stream design. The end result was a visual identity for AntagonistenTV which was summarized in a graphic manual.