For this blog post, I will be doing an updated version of my Exercise 4 from a couple weeks back. Here is the link to that post:
https://rw17300.wixsite.com/tech2go/blog/library-exercises-4-5-6
The image above shows not only the major topics I will expand on but also a rough format of how the project will be. Since the last time, I have a lot more evidence that I found extremely useful I posted an update list of my sources on another post because if I put it here, it will be long and incredibly messy. Here is the link to that one! https://rw17300.wixsite.com/tech2go/blog/updated-list-of-sources-for-my-project
My slide deck really helped organized my thoughts and helped me see how I should order my topics relating to technology and music. A couple things I forgot to add above is music production, which would go under technological advancements, such as synthesizers and how is it affecting the music creating process and if it is affecting the creativity in the music industry. I also plan on talking a little bit on the illegal downloading of music off the internet in the beginning of the topic "Streaming."
EVIDENCE GATHERING:
I collected quotes from my sources that I believe will be useful and help me with my claims.
Online Music Consumption in Today's Technological Context: Putting the Influence of Ethics in Perspective
"... most applications available at that time offering cheap and convenient online access to music were illegal and did not create revenues for the artists"
"A majority of respondents are tolerant toward advertising, accepting it as an everyday reality. A minority of respondents are ... are really annoyed by advertising. The older respondents in this group explicitly indicate that they are willing to pay for music to avoid advertising in the future..."
The Economics of Music
"Thus, digitization has opened up new potentials of added value in the music business that go beyond the usual processes of selling music. As a result, artists have become less dependent on the traditional structures and processes of the music business. It is now common for artists to post their music videos on YouTube, to use Facebook, Instagram and twitter as direct communication channels with their fans, and even to distribute their music directly through the Internet"
"In the digital value-added network of the music business, the computer has become the main tool of producing music and many artists can operate their own home recording studios"
Note to Self: Talks about music companies and how they help artists and how digitization can substitute them --> Chapter 9
CD Companion Introduction: Power and Responsibility: Converted to Streaming Between Machines
"... we believe that the artist can be a bridge between technology and the application of that technology, anticipating as well as enforcing effects on the individual and social level... it is only through the active involvement of artists who are aware of possibilities and who demonstrate the creative potentials of crucial technologies that cultural and artistic innovation persists"
Crowds, Clouds, and Idols: New Dynamics and Old Agendas in the Music Industry, 1982 - 2012
"First, we need a more lucid understanding of how the music industry has worked to adapt to the digital economy in music"
"Second, we need a clearer understanding of what people meant when they said that the music industry was 'industry' ... for the big players in the music in the music industry, as album sales fell, the health of 'the music industry' did too"
"Third, we need to more fully understand the incontrovertible successes produced in this period, most notably, music-based reality television, and the relationship these successes have to the larger changes in the music industry, especially the advent of music streaming services"
The Ends of Music History, or: The Old Masters in the Supermarket of Cultures
"I consider the main dangers that currently threaten a success cultivation of music history. These include our inability to notice historical developments that really matter when we are blinded by thinking in terms of group identities and the unfortunate confluence of two recent cultural trends: the flood of ever new products of the music (or entertainment) industry, combined with our inability and unwillingness to discriminate"
Music Wars
"As we advance to broadband and wireless Internet delivery, music's accessibility will only increase, forcing the industry to explore new business models. The choices will probably include purchase, pay-per-listen and monthly subscription"
"The distribution technology that will shape our audio future is already in hand"
Measuring the Effect of File Sharing on Music Purchases
"The development of broadband facilitates music sharing ... File sharing is not limited to music. The development of fast connections is extending downloading to other digital goods such as movies, software, video games, and books"
The Future of Music Careers
"Laptops, digital recording software, and lower costs of hard drive space and computer memory have made recording projects more cost effective than at any time in history, while the massive social networking capabilities of the World Wide Web allow musicians to market and distribute media on a scale previously only possible within the music and media industry apparatus"
I would be very glad to continue my list of sources and evidence; however, I have over 15 sources and I think this post would be way too long that even I would get slightly bored, maybe even irritated.
Intriguing Texts/Sources:
Technically, all of the texts are interesting, but I just want to point out some in particular!
Mall, Andrew. “Concentration, Diversity, and Consequences: Privileging Independent over Major Record Labels.” Popular Music, vol. 37, no. 3, 2018, pp. 444–465., doi:10.1017/S0261143018000375., https://www.cambridge.org/core/services/aop-cambridge-core/content/view/64BE0FB2F8233B7BF5A51F3F127F94A6/S0261143018000375a.pdf/concentration_diversity_and_consequences_privileging_independent_over_major_record_labels.pdf
The Future of Music Careers
Millar, Michael W. “The Future of Music Careers.” College Music Symposium, 49/50, 2009, pp. 54–58. JSTOR, JSTOR, www.jstor.org/stable/41225230.
GALE, ALEX, and MICHAELANGELO MATOS. “The Electronic Takeover Down Under.” Billboard, vol. 127, no. 15, May 2015, pp. 21–22. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=102815823&site=ehost-live.
RYS, DAN. “Spotify Lets Artists Upload Music Directly to Platform.” Billboard, vol. 130, no. 22, Sept. 2018, p. 24. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=132186909&site=ehost-live.
Raine, Michael. “CAN INDIE ARTISTS GET ON Spotify Playlists?” Canadian Musician, vol. 39, no. 5, Sept. 2017, pp. 10–11. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=125138185&site=ehost-live.
SISARIO, B. (2013, Jan 29). As music streaming grows, artists' royalties slow to a trickle. New York Times (1923-Current File) Retrieved from https://search.proquest.com/docview/1815055812?accountid=14496
Keywords (Concepts)
Streaming --> Streaming and how it affects artists
Artists and Royalties
Music and AI
Music and VR
Music Economy
Music Marketing
Independent Record Label --> Independent Record Label vs. Major Music Companies
Spotify and Artists
Spotify and Streaming
Music Digitization
Music Production and Technology
EDM and Technology
Music Business
Progression of Music
The main questions I brought up last time were these:
1. As online streaming continues to capture consumers' eyes, how is it affecting music companies and their artists? Are they affected the same way? What are the music companies striving for? What do the artists want?
2. Looking at how online streaming services have been so successful over the years, why are the people (consumers) willing to pay for them when the purpose of streaming services is for people to have legal access to music?
3. Do all record labels and music companies have the same mindset? Do indie record labels strive for something different from the 3 big music companies?
4. How is AI affecting the music industry - business and artists? Why are people willing to go listen and watch AI or cyber musical synthesizer perform? Will it go on long-term or will it be a short-term event? Will AI drive artists out of the industry?
5. VR is becoming more and more prevalent in society - started in the gaming industry and now, the music industry. VR can help consumers (fans) worldwide enjoy their artists, but in what ways it is harming or benefiting the artists and record labels? Why would artists and record labels push for VR-based performances - music videos and concerts?
6. Although there are streaming services available to consumers, why are there consumers who prefer the traditional methods of listening to music, such as vinyls, CDs, cassette tapes, etc.? Do music companies target these consumers when their artists release new music? Since there are not that many consumers who prefer traditional methods compared to those who stream, how do companies satisfy their consumers while fulfilling their own desires? What is ironic about the consumers' decisions to purchase CDs and vinyls? How are the music companies struggling with satisfying consumers, artists, and themselves while technology is advancing?
7. How is the music-creating technology/equipment affecting music in general? With the advancement of technology, more and more music genres are being created, such as techno or electric dance music. What are the artists' perspectives on the new technology - is it pulling them away rom creativity and traditional music production or is it simply expanding the music world?
I have been trying my best to make claims and find sources and evidence to answer these questions, and so far, it has been fairly successful. Throughout my research, I have discovered a common concept/keyword that I somehow kept overlooking: piracy/copyright. To complement that discovery, I found a TedTalk that goes great - LIKE ABSOLUTELY GREAT - with it. https://www.ted.com/talks/margaret_stewart_how_youtube_thinks_about_copyright/transcript?language=en
These past few weeks, I have found a lot of sources that talks about both sides of the questions that I created above. At the very moment, some things are very messy, but as I continue to read them and write down the important aspects or evidence, everything is coming together ... very slowly but surely.
Next Steps/Planned Research/A Plan in General:
Potential Case Study -
Napster on Streaming and Piracy --> This goes along to "how are you adding to discussion." Napster was one of the very first streaming services. Being the one who practically started the streaming movement, it was also the one who sparked major uproar regarding copyright and piracy, something I kept overlooking because I was so focused on finding info on streaming and how it affects consumers, artists, and music companies. Hopefully Napster can shed some light on the war between Spotify and music companies.
Golden Records
I need to look deeper into AI and VR. I have made so much progress on all the topics relating to streaming and marketing, but I am definitely lacking on AI and VR. Those two are priorities.
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