music streaming
Chronicling how music streaming services work, and reactions to them
Tony Lashley and
music streaming
In reality, Spotify was subject to the outsized influence of the major-label oligopoly of Sony, Universal, and Warner, which together owned a 17 percent stake in the company when it launched. The companies, which controlled roughly 70 percent of the market for recorded music, held considerable negotiating power from the start. For these major label... See more
Liz Pelly • The Ghosts in the Machine, by Liz Pelly
Just a moment...
crsreports.congress.gov“Because over-the-air transmission by broadcast radio stations falls outside the definition of ‘digital audio transmission,’ radio stations do not need to pay royalties to the performers, record labels, or other owners of the sound-recording copyright to publicly perform a sound recording.”
Do!!You!!! World!
doyou.world
Tunes tunes tunes
"The Future of Rock and Roll: 97WOXY and the Fight for True Independence," Robin James, and "Chokepoint Capitalism," Rebecca Giblin and Cory Doctorow.
What Does Music Mean to Spotify? An Essay on Musical Significance in the Era of Digital Curation
Asher T Chodosacademia.edu
Abstract: The growing field of “critical algorithm studies” often addresses the cultural consequences of machine learning, but it has ignored music. Te result is that we inhabit a musical culture intimately bound up with various forms of algorithmic mediation, personalization, and “surveillance capitalism” that has largely escaped critical attention. But the issue of algorithmic mediation in music should matter to us, if music matters to us at all. This article lays the groundwork for such critical attention by looking at one major musical application of machine learning: Spotify’s automated music recommendation system. In particular, it takes for granted that any musical recommendation – whether made by a person or an algorithm – must necessarily imply a tacit theory of musical meaning. In the case of Spotify, we can make certain claims about that theory, but there are also limits to what we can know about it. Both things – the deductions and the limitations – prove valuable for a critique of automated music curation in general."
In many instances, companies have leveraged structural advantages to achieve seemingly unassailable positions in their relative markets. Streaming services that host user-generated content (UGC) have significant advantages over other services due to copyright ‘safe harbours’, which has led to the dominance of services like YouTube. We have been tol... See more
Streaming sites have thus transformed into enterprises whose business is not limited to the sale of music-related services, but relies increasingly upon the collection, aggregation, and exchange of user data. A key issue this article pursues concerns the changing status of music within the commercial strategies of online streaming. While previous r... See more
Eric Drott • Music as a Technology of Surveillance
Spotify has already learned that there’s no money to be made with exclusive rights to superstar offerings. “After pouring billions into podcasts and audiobooks to little effect,” explains tech journalist David Pierce, “it seems to have largely given up on the idea that exclusive content is the path to riches.”
The more profitable move is to manipula... See more
The more profitable move is to manipula... See more
Ted Gioia • Nobody Will Tell You the Ugly Reason Apple Acquired a Classical Music Label
If Apple wanted to offer exclusive music, they would cut a deal with Taylor Swift. They have the cash to do it. They wouldn’t waste time on locking up Kalevi Aho. That’s so obvious I shouldn’t even have to say it, but (given all the smoke and mirrors here), I really do.
So we’re clearly dealing with the bad Apple here. And the fact that the company... See more
So we’re clearly dealing with the bad Apple here. And the fact that the company... See more