Free Streaming is Music to the Ears: Uproar in the Music Industry - Works Cited

This is my bibliography to my final research project. If you wish to read my final paper, please clink on this link, and it will take you there!

“Data.” Wellbeing in the Music Industry: 'It's a Global Myth That Mental Illness Is a Weakness' - Music Ally, musically.com/2018/08/21/napster-revenues-rivals-profitable/.

“Future of Music Coalition.” Full Summary of the Digital Millennium Copyright Act | Future of Music Coalition, futureofmusic.org/article/economics-recorded-music.

“How Spotify's New Upload Feature Hurts Labels, but Helps Artists.” Dance Music NW, 3 Oct. 2018, dancemusicnw.com/spotify-new-upload-feature-helps-artists/.

“Insomniac Introduces 'Play,' a Gaming-Centric Music Festival.” Digital Music News, 16 Oct. 2018, www.digitalmusicnews.com/2018/10/15/latest-insomniac-play-music-festival/.

“Living in the Immaterial World: Holograms and Spirituality in Recent Popular Music.” Taylor and Francis Online, www.tandfonline.com/doi/abs/10.1080/03007766.2015.1065624.

“Music in VR Empowers the Brain and Body to Push Past Fatigue.” VR Fitness Insider, 16 Oct. 2018, www.vrfitnessinsider.com/music-in-vr-empowers-the-brain-and-body-to-push-past-fatigue/.

“Music to My Ears.” Professional Safety, vol. 50, no. 3, Mar. 2005, p. 72. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=16236496&site=ehost-live.

“Spotify Will Use Your DNA to Personalize Your Music Playlists.” Fortune, Fortune, fortune.com/2018/09/28/spotify-to-use-your-dna-for-playlists/.

“Stream of Consciousness: A Decade Later, Spotify Has Changed Everything.” The Big Issue, 1 Oct. 2018, www.bigissue.com/culture/music/stream-of-consciousness-a-decade-later-spotify-has-changed-everything/.

“Taking on Digital Disruption.” Music Trades, vol. 166, no. 2, Mar. 2018, pp. 86–87. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=128230701&site=ehost-live.

“The Future Of Music: A Manifesto For Executives, Creatives And Artists.” Hypebot,www.hypebot.com/hypebot/2015/08/the-future-of-music-a-manifesto-for-executives-creatives-and-artists.html.

“The Future Of Music: A Manifesto For Executives, Creatives And Artists.” Hypebot,www.hypebot.com/hypebot/2015/08/the-future-of-music-a-manifesto-for-executives-creatives-and-artists.html.

“The Tension Is Building Between Spotify and the Music Industry.” Bloomberg.com, Bloomberg, www.bloomberg.com/news/articles/2018-09-06/tension-builds-between-spotify-music-industry-in-war-of-wills.

“UC Berkeley Student Fosters Artistic Growth through Label Golden Records.” The Daily Californian, 23 Feb. 2018, www.dailycal.org/2018/02/21/isaac-oh-golden-records/.

“VR: Real Future Of Live Music Or Another Shiny Distraction?” Hypebot, www.hypebot.com/hypebot/2018/10/vr-the-real-future-of-live-music-or-just-another-shiny-distraction.html.

Bachner, and Bryan. “Facing the Music.” Planning D-Day (April 2003) - Library of Congress Information Bulletin, Victor, 31 May 2006, www.loc.gov/today/cyberlc/feature_wdesc.php?rec=4095.

Barrera, Sandra. “LA's Festival M.A.R.S. Adds Quantum Physics to Its Mix of Music, Art and Technology.” Daily News, Daily News, 1 Oct. 2018, www.dailynews.com/2018/10/01/las-m-a-r-s-festival-adds-quantum-physics-to-its-mix-of-music-art-and-technology/.

Barrera, Sandra. “LA's Inaugural M.A.R.S. Festival Combines Arts, Music and Beer.” Daily News, Daily News, 28 Aug. 2017, www.dailynews.com/2017/04/10/las-inaugural-mars-festival-combines-arts-music-and-beer/.

Berger, Karol. “The Ends of Music History, or: The Old Masters in the Supermarket of Cultures.” The Journal of Musicology, vol. 31, no. 2, 2014, pp. 186–198. JSTOR, JSTOR, www.jstor.org/stable/10.1525/jm.2014.31.2.186.

Botstein, Leon. “Music in Times of Economic Distress.” The Musical Quarterly, vol. 90, no. 2, 2007, pp. 167–175. JSTOR, JSTOR, www.jstor.org/stable/25172867.

Brabazon, Tara, et al. “Jingling the Single: The i-Podification of the Music Industry.” AQ: Australian Quarterly, vol. 77, no. 3, 2005, pp. 26–40. JSTOR, JSTOR, www.jstor.org/stable/20638340.

Bromwich, J. (2014, Jul 07). Independent music labels and young artists offer streaming, on their terms. New York Times (1923-Current File)Retrieved from https://search.proquest.com/docview/1941481799?accountid=14496

Burgess, Matt. “Music in VR Needs Its ITunes Moment... and This Could Be It.” WIRED, WIRED UK, 19 Jan. 2018, www.wired.co.uk/article/melodyvr-virtual-reality-music.

Carver, Seth A. "Changing the Industry, Spotify." (2016).

CD Companion Introduction: Power and Responsibility: Converted to Streaming between Machines

Company Profile: Pitchfork: Birth of an Indie Music Mega-Brand

Crowds, Clouds, and Idols: New Dynamics and Old Agendas in the Music Industry, 1982 - 2012

Crowds, Clouds, and Idols: New Dynamics and Old Agendas in the Music Industry, 1982 - 2012

Cueno, Alice Z. “Microsoft Changes Its Marketing Tune for Lackluster Zune.” Advertising Age, vol. 78, no. 44, Nov. 2007, pp. 4–39. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=27403198&site=ehost-live

Datta, Hannes, George Knox, and Bart J. Bronnenberg. "Changing Their Tune: How Consumers' Adoption of Online Streaming Affects Music Consumption and Discovery.", https://www.researchgate.net/profile/Hannes_Datta/publication/293753759_Changing_Their_Tune_How_Consumers'_Adoption_of_Online_Streaming_Affects_Music_Consumption_and_Discovery/links/591201ef4585152e1992844c/Changing-Their-Tune-How-Consumers-Adoption-of-Online-Streaming-Affects-Music-Consumption-and-Discovery.pdf

Deahl, Dani. “How AI-Generated Music Is Changing the Way Hits Are Made.” The Verge, The Verge, 31 Aug. 2018, www.theverge.com/2018/8/31/17777008/artificial-intelligence-taryn-southern-amper-music.

Deahl, Dani. “Inside Imogen Heap's Cutting-Edge VR Concert.” The Verge, The Verge, 23 Aug. 2018, www.theverge.com/2018/8/23/17769166/imogen-heap-concert-oculus-vr-headset-thewavevr.

Delikan, M. Deniz. "The streaming music revolution: an empirical study on streaming music service Spotify." Towards a Political Aesthetics of Music (2012).

Dellaira, Michael. “Some Recorded Thoughts on Recorded Objects.” Perspectives of New Music, vol. 33, no. 1/2, 1995, pp. 192–207. JSTOR, JSTOR, www.jstor.org/stable/833705.

Di Scipio, Agostino. “THE TECHNOLOGY OF MUSICAL EXPERIENCE IN THE 20th CENTURY.” Rivista Italiana Di Musicologia, vol. 35, no. 1/2, 2000, pp. 247–275. JSTOR, JSTOR, www.jstor.org/stable/24323744.

Dickey, Jack. “Taylor Swift TIME Cover: Spotify, Role Models and The Knicks.” Time, Time, 13 Nov. 2014, time.com/3578249/taylor-swift-interview/.

Dollars for Downloads: Ruling Backs Music Companies' Rights to Royalties for Webcast 'Performances'

Duran, H.B. “Sony Turns Experiential Pop-Up Into Social Content With Weekly Show.” AListDaily, 5 Nov. 2018, www.alistdaily.com/entertainment/sony-music-pop-up/.

Etherington, Dave. “How the New Era of Marketing Is Shepherded In as Digital and OOH Collide.” – Adweek, Adweek, 25 Sept. 2018, www.adweek.com/brand-marketing/how-the-new-era-of-marketing-is-shepherded-in-as-digital-and-ooh-collide/.

Fairchild, Charles. “Crowds, Clouds, and Idols: New Dynamics and Old Agendas in the Music Industry, 1982-2012.” American Music, vol. 33, no. 4, 2015, pp. 441–476. JSTOR, JSTOR, www.jstor.org/stable/10.5406/americanmusic.33.4.0441.

Fairchild, Charles. “Crowds, Clouds, and Idols: New Dynamics and Old Agendas in the Music Industry, 1982-2012.” American Music, vol. 33, no. 4, 2015, pp. 441–476. JSTOR, JSTOR, www.jstor.org/stable/10.5406/americanmusic.33.4.0441.

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.

Graflex Record PlayerDate: 1961/04/12Collection: Center for Sacramento History Photo CollectionOwning Institution: Center for Sacramento HistorySource: CalisphereDate of access: October 18 2018 04:49Permalink: https://calisphere.org/item/ac409e81abcfa188551764f0653fe493/

Guardian, The. “Here's How Much Musicians Make Online from Spotify, ITunes and YouTube.” Business Insider, Business Insider, 3 Apr. 2015, www.businessinsider.com/heres-how-much-musicians-make-online-from-spotify-itunes-and-youtube-2015-4.

Haberman, Clyde. “Grappling With the 'Culture of Free' in Napster's Aftermath.” The New York Times, The New York Times, 7 Dec. 2014, www.nytimes.com/2014/12/08/technology/grappling-with-the-culture-of-free-in-napsters-aftermath.html.

Harding, Cortney. “Deal Or No Deal?” Billboard, vol. 121, no. 21, May 2009, p. 11. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=40121459&site=ehost-live.

Harris, Mark. “The History of Napster: Yes, It's Still Around.” Lifewire, Lifewire, www.lifewire.com/history-of-napster-2438592.

Hirsch, Reyne. “The Ever Changing Face of the Music Industry.” The Huffington Post,TheHuffingtonPost.com, 7 Dec. 2017, www.huffingtonpost.com/reyne-haines/the-ever-changing-face-of_b_5698313.html.

Holmes, Thom. “THE SOUND OF MOOG: USING VINYL RECORDINGS TO RECONSTRUCT A HISTORY OF THE MOOG SYNTHESIZER.” Notes, vol. 71, no. 2, 2014, pp. 219–236. JSTOR, JSTOR, www.jstor.org/stable/44734879.

How Digitization has Created a Golden Age of Music, Movies, Books, and Television

https://pdfs.semanticscholar.org/0dbb/61829dfcf97b3dd303bd10dbe95da4ccd055.pdf?_ga=2.201000877.2081286853.1541652333-1543599071.1540843392

https://www.researchgate.net/profile/Richard_Stern5/publication/3215163_Napster_A_Walking_Copyright_Infringement/links/54dbba5a0cf28d3de65c5571.pdf

Huang, Yu-An, et al. "I worship, so I download? Idol worship, music purchase and piracy by young consumers in Taiwan." Asia Pacific Journal of Marketing and Logistics27.1 (2015): 99-126., https://espace.curtin.edu.au/bitstream/handle/20.500.11937/10097/234521_234521.pdf?sequence=2&isAllowed=y

Janssens, Jelle, et al. “The Music Industry on (the) Line? Surviving Music Piracy in a Digital Era.” European Journal of Crime, Criminal Law & Criminal Justice, vol. 17, no. 2, Apr. 2009, pp. 77–96. EBSCOhost, doi:10.1163/157181709X429105.

JOHNSTON, JOHN. “Why The Sound of Music Was Right (About Content Marketing).” EContent, vol. 40, no. 6, Nov. 2017, pp. 26–27. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=126048204&site=ehost-live.

Jones, Steve. “Music and the Internet.” Popular Music, vol. 19, no. 2, 2000, pp. 217–230. JSTOR, JSTOR, www.jstor.org/stable/853669.

Kaleagasi, Bartu. “A New AI Can Write Music as Well as a Human Composer.” Futurism, Futurism, 9 Mar. 2017, futurism.com/a-new-ai-can-write-music-as-well-as-a-human-composer.

KARP, HANNAH. “Streaming Sidesteps The Labels: Spotify Is Licensing Music Directly from Unsigned Acts and Managers, While Apple Music Backs Its Own Artists. Will Indie Labels Survive?” Billboard, vol. 130, no. 15, June 2018, pp. 13–14. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=130697279&site=ehost-live.

Katz, and Mark. “Capturing Sound.” Planning D-Day (April 2003) - Library of Congress Information Bulletin, Victor, 9 Nov. 2005, www.loc.gov/today/cyberlc/feature_wdesc.php?rec=3825.

Kim, Jiwhan, et al. “What Do Consumers Prefer for Music Streaming Services?: A Comparative Study between Korea and US.” Telecommunications Policy, vol. 41, no. 4, May 2017, pp. 263–272. EBSCOhost, doi:10.1016/j.telpol.2017.01.008

Kipnis, Jill. “Digital Hollywood Tackles Online Music Marketing.” Billboard, vol. 116, no. 42, Oct. 2004, pp. 35–36. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=14803048&site=ehost-live.

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Knopper, Steve. “Beats Enters Streaming Wars.” Rolling Stone, no. 1202, Feb. 2014, p. 15. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=94136234&site=ehost-live.

Knopper, Steve. “How Technology Has Changed the Economics of Music.” Rolling Stone, Rolling Stone, 25 June 2018, www.rollingstone.com/music/music-news/the-new-economics-of-the-music-industry-234924/.

KOLGRAF, JACKIE. “The Rising Power Of Fan Armies.” Billboard, vol. 130, no. 5, Feb. 2018, pp. 17–18. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=128238786&site=ehost-live

Lamont, Tom. “Napster: the Day the Music Was Set Free.” The Guardian, Guardian News and Media, 24 Feb. 2013, www.theguardian.com/music/2013/feb/24/napster-music-free-file-sharing.

Leesh. “The Saturated EDM Market: Eliminating the Celebration of Creativity.” Medium.com, Medium, 8 Feb. 2018, medium.com/@LEESHmusic/the-saturated-edm-market-eliminating-the-celebration-of-creativity-25e8d687a859.

Levy, Steven. “Steven Levy on Facebook, Spotify and the Future of Music.” Wired, Conde Nast, 21 Oct. 2011, www.wired.com/2011/10/ff_music/.

Lichtman, Douglas, and William Landes. "INDIRECT LIABILITY FOR COPYRIGHT INFRINGEMENT: AN ECONOMIC PERSPECTIVE." Harvard Journal of Law & Technology 16.2 (2003).

Livneh, Nir. “Can AI Create Better Music Than Humans?” Forbes, Forbes Magazine, 26 Nov. 2018, www.forbes.com/sites/forbestechcouncil/2018/11/26/can-ai-create-better-music-than-humans/#4132e4a81936.

Love, Tirhakah. “Do Androids Dream of Electric Beats? How AI Is Changing Music for Good.” The Guardian, Guardian News and Media, 22 Oct. 2018, www.theguardian.com/music/2018/oct/22/ai-artificial-intelligence-composing.

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

Mantaras, Ramon Lopez de, and Josep Lluis Arcos. “AI and Music: From Composition to Expressive Performance.” Association for the Advancement of Artificial Intelligence, www.aaai.org/ojs/index.php/aimagazine/article/view/1656.

Marr, Bernard. “Big Data, Taylor Swift And The Future Of The Music Industry.” Forbes, Forbes Magazine, 23 Dec. 2015, www.forbes.com/sites/bernardmarr/2015/12/23/big-data-taylor-swift-and-the-future-of-the-music-industry/#b377e1b71575.

Marshall, Lee. "‘Let's keep music special. F—Spotify’: on-demand streaming and the controversy over artist royalties." Creative Industries Journal8.2 (2015): 177-189., https://www.tandfonline.com/doi/full/10.1080/17510694.2015.1096618?scroll=top&needAccess=true

MASON, KERRI. “Robot Revolution.” Billboard, vol. 125, no. 19, May 2013, pp. 38–40. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=87663454&site=ehost-live.

Measuring the Effect of the File Sharing on Music Purchases

Meyer, Leonard B. “Innovation, Choice, and the History of Music.” Critical Inquiry, vol. 9, no. 3, 1983, pp. 517–544. JSTOR, JSTOR, www.jstor.org/stable/1343338.

Millar, Michael W. “The Future of Music Careers.” College Music Symposium, 49/50, 2009, pp. 54–58. JSTOR, JSTOR, www.jstor.org/stable/41225230.

Morris, Chris. “A History of Independent Labels.” Billboard, vol. 106, no. 44, Nov. 1994, p. 131. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9411161869&site=ehost-live.

Morris, Chris. “A History of Independent Labels.” Billboard, vol. 106, no. 44, Nov. 1994, p. 131. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9411161869&site=ehost-live.

Music and the Internet

Music Business Worldwide. “Amazon Music - Head of Marketing, Digital Music (JP).” Music Business Worldwide, 4 Sept. 2018, www.musicbusinessworldwide.com/jobs/amazon-music-head-of-marketing-digital-music-jp/.

Music Business Worldwide. “What's the Value of a Song When Artificial Intelligence Is Everywhere?” Music Business Worldwide, 31 Oct. 2018, www.musicbusinessworldwide.com/whats-the-value-of-a-song-when-artificial-intelligence-is-everywhere/.

Music in Times of Economic Distress

Music Wars

N.H. man makes treble clef sign look even more like $Date: 1953Collection: Los Angeles Public Library Photo CollectionOwning Institution: Los Angeles Public LibrarySource: CalisphereDate of access: October 18 2018 06:07Permalink: https://calisphere.org/item/2cc643168abbb7d80ed10eac3213bad8/

Nguyen, Alicia. “Taiwan to Install VR Technology at Music Conc...” Taiwan News, Taiwan News, 29 Oct. 2018, www.taiwannews.com.tw/en/news/3563100.

Online Music Consumption in Today's Technological Context: Putting the Influence of Ethics in Perspective

Online, FE. “Now Get Ready for 3D Music to Uplift Your Listening Experience.” The Financial Express, हिन्दी, 4 Oct. 2018, www.financialexpress.com/industry/technology/now-get-ready-for-3d-music-to-uplift-your-listening-experience/1336712/.

PAGE, WILL, and ROB HARVEY. “The Economics Of Getting Heard: While Labels and Artists Battle on the Charts, Competition for Attention Becomes an Issue.” Billboard, vol. 129, no. 24, Oct. 2017, p. 38. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=126106889&site=ehost-live.

Peoples, Glenn. “Digital Music Myths.” Billboard, vol. 124, no. 30, Sept. 2012, p. 8. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=79390262&site=ehost-live

Peoples, Glenn. “Digital Music Myths.” Billboard, vol. 124, no. 30, Sept. 2012, p. 8. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=79390262&site=ehost-live.

PHAM, ALEX. “Discovery: The Key To Digital Fortune.” Billboard, vol. 124, no. 43, Dec. 2012, pp. 18–20. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=83762307&site=ehost-live.

Pierce, David. “Music's Salvation Might Be Selling Not Songs, But VR.” Wired, Conde Nast, 3 June 2017, www.wired.com/2016/09/future-of-vr-music/.

Pinch, Trevor, and Karin Bijsterveld. “Sound Studies: New Technologies and Music.” Social Studies of Science, vol. 34, no. 5, 2004, pp. 635–648., www.jstor.org/stable/4144355.

Pohlmann, Ken C. “Music Wars.” Scientific American, vol. 283, no. 5, 2000, pp. 57–60. JSTOR, JSTOR, www.jstor.org/stable/26058932.

Porges, Seth. “For The First Time, Students Can Major In Virtual, Augmented, And Mixed Reality.” Forbes, Forbes Magazine, 6 Nov. 2018, www.forbes.com/sites/sethporges/2018/11/01/for-the-first-time-students-can-major-in-virtual-augmented-and-mixed-reality/#153687237927.

Quiñones, Marta García. “Listening in Shuffle Mode.” Lied Und Populäre Kultur / Song and Popular Culture, vol. 52, 2007, pp. 11–22., www.jstor.org/stable/30043759.

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.

Rancic, Michael. “VR Music Festivals Could Become A Widespread Reality In The Future.” UPROXX, UPROXX, 6 June 2018, uproxx.com/music/vr-music-festivals-endless-riff/.

Ray Ku, Raymond Shih. "The Creative Destruction of Copyright: Napster and the New Economics of Digital Technology," University of Chicago Law Review vol. 69, no. 1 (Winter 2002): p. 263-324. HeinOnline, https://heinonline.org/HOL/P?h=hein.journals/uclr69&i=275.

Roehmann, Franz L. “Technology, Culture, and Music.” College Music Symposium, vol. 35, 1995, pp. 124–131. JSTOR, JSTOR, www.jstor.org/stable/40374274.

Rogers, Jim, and Sergio Sparviero. “Same Tune, Different Words: The Creative Destruction of the Music.” Observatorio (OBSpass:[*]), vol. 5, no. 4, Dec. 2011, pp. 1–30. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=82313379&site=ehost-live.

Rudd, Dean. “What to Look for in an Independent Record Label Part II.” Canadian Musician, vol. 25, no. 5, Sept. 2003, p. 13. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=10983374&site=ehost-live.

Rudd, Dean. “What To Look For In An Independent Record Label.” Canadian Musician, vol. 25, no. 4, July 2003, p. 12. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=10434290&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.

Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry.", https://files.eric.ed.gov/fulltext/EJ1175643.pdf

Schneider, et al. “Artists' Rights & the Digital Marketplace.” Planning D-Day (April 2003) - Library of Congress Information Bulletin, Victor, 12 Apr. 2016, www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7355.

Sinkovich, Justin, et al. “Company Profile: Pitchfork: Birth of an Indie Music Mega-Brand.” International Journal of Arts Management, vol. 15, no. 2, 2013, pp. 73–81. JSTOR, JSTOR, www.jstor.org/stable/24587114.

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

Smirke, Richard. “MelodyVR CEO On Building a Global Music Business Out Of Virtual Reality.” Billboard, Billboard, 7 Nov. 2018, www.billboard.com/articles/business/8483712/melodyvr-ceo-anthony-matchett-interview-virtual-reality-music-biz.

STERN, RICHARD. "Napster: A walking copyright infringement?."

Stern, Richard. "Napster: a walking copyright infringement?." IEEE micro 20.6 (2000): 4-5.

Suskind, Alex. “15 Years After Napster: How the Music Service Changed the Industry.” The Daily Beast, The Daily Beast Company, 6 June 2014, www.thedailybeast.com/15-years-after-napster-how-the-music-service-changed-the-industry.

Swanson, K. (2013). A case study on spotify: Exploring perceptions of the music streaming service. MEIEA Journal,13(1), 207-230. Retrieved from https://search.proquest.com/docview/1519295625?accountid=14496.

Swanson, Kate. "A Case Study on Spotify: Exploring Perceptions of the Music Streaming Service." MEIEA Journal, vol. 13, no. 1, 2013, pp. 207-230. ProQuest, https://search.proquest.com/docview/1519295625?accountid=14496.

Teague, E. Jordan. "Saving the Spotify revolution: Recalibrating the power imbalance in digital copyright." Case W. Res. JL Tech. & Internet 4 (2012): 207.

The Economics of Music

The Ends of Music History, or: The Old Masters in the Supermarket of Cultures

The Future of Music Careers

Tjora, Aksel H. “The Groove in the Box: A Technologically Mediated Inspiration in Electronic Dance Music.” Popular Music, vol. 28, no. 2, 2009, pp. 161–177. JSTOR, JSTOR, www.jstor.org/stable/40541425.

TSCHMUCK, PETER. The Economics of Music. Agenda Publishing, 2017. JSTOR, www.jstor.org/stable/j.ctv5cg90z.

Van Belle, Guy. “CD Companion Introduction: Power and Responsibility: Converted to Streaming between Machines.” Leonardo Music Journal, vol. 9, 1999, pp. 123–126. JSTOR, JSTOR, www.jstor.org/stable/1513491.

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