Do Artists Benefit From Online Music Sharing?
By Sudip Bhattacharjee, Ram D. Gopal,
and G. Lawrence Sanders
….page 2
…page 4
…page 33
Marketing Strategies in the Music Industry
The Evolution of Business Models and Marketing Strategies
in the Music Industry
Valerie L. Vaccaro
State University of New York, USA
Deborah Y. Cohn
Yeshiva University, USA
Volume 6, Issue 1-2, 2004
…page 47
...page 49
...page 51
...page 54
...page 56
Media, Culture & Society © 2003
When creators, corporations and consumers
collide: Napster and the development of on-line
music distribution
Tom McCourt
FORDHAM UNIVERSITY, NEW YORK, NY, USA
PATRICK BURKART
TEXAS A&M UNIVERSITY, COLLEGE STATION, TX, USA
…page 335
…page 336
…page 337
…page 338
Digital cultures - Understanding New Media
Edited by Glen Creeber and Royston Martin
2009
Edited by Glen Creeber and Royston Martin
2009
Digital music: production, distribution and consumption
....page 97
....page 99
....page 99
....page 99
COMMUNICATIONS OF THE ACM July 2003/Vol. 46, No. 7
DIGITAL MUSIC AND
ONLINE SHARING:
SOFTWARE PIRACY 2.0?
Considering the similarities and unique characteristics of
online file sharing and software piracy.
By Sudip Bhattacharjee, Ram D. Gopal,
and G. Lawrence Sanders
….page 107
Do Artists Benefit From Online Music Sharing?
By Sudip Bhattacharjee, Ram D. Gopal,
and G. Lawrence Sanders
….page 2
…page 4
…page 33
Marketing Strategies in the Music Industry
The Evolution of Business Models and Marketing Strategies
in the Music Industry
Valerie L. Vaccaro
State University of New York, USA
Deborah Y. Cohn
Yeshiva University, USA
Volume 6, Issue 1-2, 2004
…page 47
...page 49
...page 51
...page 54
...page 56
Media, Culture & Society © 2003
When creators, corporations and consumers
collide: Napster and the development of on-line
music distribution
Tom McCourt
FORDHAM UNIVERSITY, NEW YORK, NY, USA
PATRICK BURKART
TEXAS A&M UNIVERSITY, COLLEGE STATION, TX, USA
…page 335
…page 336
…page 337
…page 338
Rock Formation
music, technology and mass communication
Newbury Park, CA). It is © by Sage Publications and Steve Jones
TECHNOLOGY AND POPULAR MUSIC
chapter one
Without technology, popular music would not exist in its present form. Obvious as it may seem, such a statement (like many other obvious ones) deserves closer scrutiny. On the surface, it would appear obvious that without tape decks, stereo systems, CD players and the like, we could not listen to popular music. Fair enough. But, as I will argue throughout the course of this book, it is the technology of popular music production, specifically the technology of sound recording, that organizes our experience of popular music.
Without electronics, and without the accompanying technical supports and technical experimentation, there could not be the mass production of music, and therefore there would not be mass-mediated popular music, or its consumption. But beyond production and consumption, there would also not be the composition of popular music, for popular music is, at every critical juncture of its history, determined by the technology musicians use to realize their ideas. Of equal importance, without technology there could not be the creation of sounds that are today intimately associated with popular music. This is particularly true in the case of rock and roll, as technology often drives innovation in composition.
CHRIS ANDERSON
2009
http://scholar.google.co.uk/scholar?start=30&q=old+music+industry+business+model&hl=en&as_sdt=0,5&surl=1&safe=active
https://summaries.com/index/Free.pdf
Why the music industry may gain from free downloading — The role of sampling
International University in Germany, 76646 Bruchsal, Germany
Downloading digital products for free may harm creators and intermediaries because consumers may no longer buy the version for sale. However, as we show in this paper, this negative effect may be overcompensated by a positive effect due to sampling: consumers are willing to pay more because the match between product characteristics and buyers' tastes is improved. This indeed holds under sufficient taste heterogeneity and product diversity.
Media Magazine
In the last decade the music industry has faced the most complex set of changes in its history. The conventional industry models have been challenged, largely due to the emergence of new technologies and new ways for music lovers to listen to, and own, the music they love.
The industry is still struggling to deal with how these changes have affected their balance sheets, and the pace of change doesn’t look like slowing yet, but for those who wish to pursue a career in music, it’s important to see how many of these new developments can be used to your advantage.
In the complex, old-fashioned model, the artist brings the talent, and the label provides everything else that only a large corporation can provide – expensive recording facilities, plants to bulk-manufacture records, the network to distribute the recordings widely to shops,
... a large fund to market the work via traditional media, the logistical expertise to mount a proper tour, the business acumen to collect royalties. In the modern digital world, much of this can actually be done on a smaller scale and we may even be able to circumvent the record companies entirely.
... a large fund to market the work via traditional media, the logistical expertise to mount a proper tour, the business acumen to collect royalties. In the modern digital world, much of this can actually be done on a smaller scale and we may even be able to circumvent the record companies entirely.
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