DOCSLIB.ORG

Guide D'accompagnement

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide D'accompagnement Offre de fichiers numériques commerciaux musicaux : acquisition en vue d’un usage radiophonique Logo de l’e ntreprise, si désiré Travail de Bachelor réalisé en vue de l’obtention du Bachelor HES par : Anne CHRISTEN Conseiller au travail de Bachelor : (Patrick RUCH, professeur HES) Genève, 8 juillet 2009 Haute École de Gestion de Genève (HEG-GE) Filière Information Documentaire Déclaration Ce travail de Bachelor est réalisé dans le cadre de l’examen final de la Haute école de gestion de Genève, en vue de l’obtention du titre de Spécialiste en information documentaire. L’étudiant accepte, le cas échéant, la clause de confidentialité. L'utilisation des conclusions et recommandations formulées dans le travail de Bachelor, sans préjuger de leur valeur, n'engage ni la responsabilité de l'auteur, ni celle du conseiller au travail de Bachelor, du juré et de la HEG. « J’atteste avoir réalisé seule le présent travail, sans avoir utilisé des sources autres que celles citées dans la bibliographie. » Fait à Genève, le 8 juillet 2009 Anne Christen Au sens du présent travail, toute désignation de personne, de statut ou de fonction vise indifféremment l’homme ou la femme. Offre de fichiers numériques commerciaux musicaux : acquisition en vue d’un usage radiophonique CHRISTEN, Anne i Remerciements Je tiens à remercier chaleureusement les personnes suivantes : Mes mandants, Marie-Françoise Guex-Gauthier, responsable de la Documentation sonore de la RSR, et Jean-François Cosandier, responsable du Service Documentation et Archive de la RSR, pour leur implication et leur disponibilité pour répondre à mes interrogations diverses ; L’ensemble des documentalistes de la Documentation sonore de la RSR, pour leur enthousiasme et leur accueil : Elisabeth Studer, Janine Mamie, François Pitton, Edgar Cabrita, Nicolas Favre, Blaise Dupasquier, Alain Freudiger et Hervé Provini ; Patrick Ruch, mon conseiller, pour son suivi et sa disponibilité ; Florent Dufaux, bibliothécaire aux bibliothèques et discothèques municipales de la Ville de Genève, pour avoir accepté de remplir le rôle de juré ; Les différents collaborateurs des radios publiques suisses et francophones qui ont pris du temps pour répondre à mon questionnaire ; Finalement, mes remerciements vont également aux personnes ayant participé à la relecture de mon travail pour leurs remarques pertinentes. Offre de fichiers numériques commerciaux musicaux : acquisition en vue d’un usage radiophonique CHRISTEN, Anne ii Résumé La Radio Suisse Romande diffuse sur ses 4 chaînes (La Première, Espace 2, Couleur 3, Option Musique) un grand nombre d’heures de musique de tous les styles et pour des auditeurs aux goûts très variés. Celle-ci est actuellement achetée sous forme de CD par les documentalistes de la Documentation sonore. Une mutation vers le tout numérique encourage ce Service à se questionner sur l’acquisition, non plus d’album physique, mais également de fichiers numériques. Cependant, les besoins dans l’obtention de musique en ligne résultant d’un usage radiophonique diffèrent de ceux d’un internaute lambda. La Documentation sonore m’a donc mandaté, dans le cadre de mon Travail de Bachelor, afin de disposer d’une meilleure vision de l’offre commerciale actuelle des fichiers numériques musicaux. Mon étude a premièrement consisté à dresser un état de l’art du domaine de la musique en ligne, de son marché et de ses spécificités, après avoir effectué des recherches dans la littérature professionnelle, la presse quotidienne et l’Internet tout public. Une enquête par questionnaire a également été réalisée auprès d’autres radios publiques afin de connaître les études déjà menées (ou en cours) sur ce domaine dans d’autres environnements similaires, ainsi que de me baser sur des expériences existantes pour la suite de mon travail. La deuxième partie, comporte un état des lieux de la Documentation sonore concernant son attitude face à l’acquisition de fichiers numériques musicaux. J’ai ensuite identifié les besoins du Service en relation avec l’utilisation de ces fichiers en interrogeant l’ensemble des documentalistes concernés. Après avoir assimilé une certaine connaissance du domaine et identifié les besoins de la Documentation sonore, j’ai effectué une analyse comparative de plusieurs sites payants ou gratuits, proposant de la musique en ligne. Un tableau (voir annexe 4) résume les résultats de cette étude. Pour terminer, ces différentes étapes m’ont amené à proposer à la Documentation sonore des recommandations dans le choix de sites de téléchargement. Ainsi que les alternatives qui existent ou qui tendent à se développer dans ce domaine. L’état actuel du marché de la musique en ligne ne permet pas à la Radio Suisse Romande de se tourner exclusivement vers le téléchargement de fichiers numériques, en lieu et place de CD. En effet, des éléments comme les métadonnées, la qualité Offre de fichiers numériques commerciaux musicaux : acquisition en vue d’un usage radiophonique CHRISTEN, Anne iii sonore, l’offre disponible, ont encore besoin d’évoluer pour envisager d’en faire un usage radiophonique convenable. Néanmoins, des solutions spécifiques se développent, comme les sites proposant aux médias de diffusion du contenu adapté. Une meilleure collaboration nationale et internationale, entre Radios publiques, est également indispensable. Offre de fichiers numériques commerciaux musicaux : acquisition en vue d’un usage radiophonique CHRISTEN, Anne iv Table des matières Déclaration.......................................................................................................... i Remerciements ................................................................................................. ii Résumé ............................................................................................................. iii Table des matières ............................................................................................ v Liste des Tableaux ......................................................................................... viii Liste des Figures ............................................................................................ viii Introduction ....................................................................................................... 1 Méthodologie ..................................................................................................... 3 1. Revue de la littérature ................................................................................ 5 1.1 Musique et acoustique ............................................................................. 5 1.2 Musique et son numérique....................................................................... 7 1.3 Musique et formats ................................................................................... 9 1.4 Musique et métadonnées ....................................................................... 12 1.4.1 Dublin Core .................................................................................... 14 1.4.2 ID3 ................................................................................................. 14 1.4.3 BWF (Broadcast Wave Format) ..................................................... 15 1.4.4 MXF (Material eXchange Format) .................................................. 15 1.4.5 METS (Metadata Encoding and Transmission Standard) ............... 16 1.4.6 MPEG-7 ......................................................................................... 16 1.4.7 DDEX (Digital Data EXchange) ...................................................... 16 1.5 Musique et restrictions ........................................................................... 17 1.6 Musique et droit ...................................................................................... 19 1.6.1 En Suisse ...................................................................................... 20 1.6.2 En Europe ...................................................................................... 22 1.7 Musique et typologies des sites ............................................................ 23 1.7.1 Business-to-business (B2B) ........................................................... 23 1.7.1.1 Agrégateurs de contenus ................................................................... 23 1.7.1.2 Offre de fichiers numériques musicaux réservée aux médias ........... 23 1.7.2 Sites de ventes de musique en ligne .............................................. 24 1.7.2.1 Sites généralistes ............................................................................... 24 1.7.2.2 Sites proposants des artistes et labels indépendants ........................ 24 1.7.2.3 Sites spécialisés ................................................................................. 24 1.7.2.4 Sites des maisons de disques ............................................................ 24 1.7.2.5 Sites des artistes ................................................................................ 25 1.7.3 Sites proposants de la musique gratuitement................................. 25 1.7.3.1 Ecoute en streaming .......................................................................... 25 1.7.3.2 Radios personnalisables .................................................................... 25 1.7.3.3 Réseaux sociaux ................................................................................ 25 1.7.3.4 Musique libre ...................................................................................... 26 1.7.3.5 Peer-to-Peer (P2P) ............................................................................
Load more

Recommended publications
  • Uila Supported Apps
    Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage.
    [Show full text]
  • Standard Template for PM and Short Reportsat JIBS
    Digitization in the music industry in Sweden An analysis on the profitability of music companies Paper within Business Administration Author: Roberto Alejandro Orozco Gómez 8811186793 Tutor: Bozena Mierzejewska Jönköping May 2012 Orozco, 2012 Acknowledgements I would like to thank all people that have contributed to this master thesis with their know- ledge, feedback, time and support. To Patrik Wikström, who helped with the collection of secondary data. To the other groups in the seminars that always provided me with constructive feedback. Finally, I want to thank my tutor, Bozena Mierzejewska, who guided me through the process of writing this thesis. Roberto Orozco Jönköping International Business School May, 2012 “Don’t tell me the sky’s the limit when there’s footprints on the moon” Paul Brandt, singer and songwriter. 1 Orozco, 2012 Bachelor Thesis in Business Administration Title: Digitization in the music industry in Sweden: An analysis on the positive effects of digitization. Author: Roberto Alejandro Orozco Gómez Tutor: Bozena Mierzejewska Date: 2012-05 Subject terms: Digitization, music industry, Sweden, positive effects, profitability. Abstract Background and problem: The music industry has been in transition in the last two decades; technological developments have changed the mar- ket and companies are creating new business models to adapt; scholars have done research on the negative effects that digitization has broght to the industry and only a few re- searchers have focused on the positive effects that this has caused. Purpose: The purpose of this paper is to analyze the positive effects that digitization has on the music industry in Sweden. Frame of reference: The frame of reference consists of previous research, the music industry in Sweden, established and emergent music companies, a concept of profitability of media companies and propositions.
    [Show full text]
  • Buydrm Delivers Silverlight DRM Solution to Qtrax Ad-Supported Free Music Model Goes Mainstream with Keyos
    BuyDRM Delivers Silverlight DRM Solution to Qtrax Ad-supported free music model goes mainstream with KeyOS Las Vegas, NV - April 20th, 2009 - BuyDRM, a Microsoft-licensed PlayReady DRM so- lutions and service provider, successfully launched its KeyOS Silverlight DRM offering with Qtrax. Utilizing BuyDRM’s KeyOS technology, Qtrax will be able to expand their customer base and increase revenues. The KeyOS Silverlight DRM Solution provides a dedicated, scaleable and robust platform for Qtrax to securely deliver content to the majority of Internet users. “We have been using KeyOS for over a year now and have been highly anticipating the launch of Silverlight DRM powered by PlayReady. With support for PCs, Mac and soon Linux, the KeyOS Silverlight DRM Solution will allow us to tap into previously inacces- sible audiences- immediately increasing our customer reach, relevance and revenue,” said J. Christopher Roe, CTO of Qtrax. Qtrax’s enhanced capabilities are a testament to the superiority of BuyDRM’s KeyOS platform. We are obviously very excited that our Silverlight DRM offering is now avail- able and an industry first as both a solution and a service” said Christopher Levy, CEO and Founder, BuyDRM. “This achievement provides BuyDRM an opportunity to further distance the KeyOS platform from competitive offerings.” About Qtrax Qtrax is the world’s first free and legal peer-to-peer music service which showcases an innovative ad-supported downloading model that easily directs revenue back to art- ists and rights holders. Qtrax has licensing deals with major labels, music publishers and leading indies, including: Warner Music Group (WMG), Warner Music International, Warner Chappell, EMI Music North America, EMI Publishing, Sony BMG MUSIC EN- TERTAINMENT, Sony/ATV Publishing, Universal Music Group North America, Universal Music Group International, Universal Publishing, TVT Records, Beggars Banquet and more.
    [Show full text]
  • The New Inventors How Users Are Changing the Rules of Innovation
    Research report: July 2008 The New Inventors How users are changing the rules of innovation The New Inventors How users are changing the rules of innovation Foreword ThereÔs nothing new about user-led innovation. Many of the products and technologies we now take for granted were developed by users Ï ÓordinaryÔ but skilled and imaginative people who knew what they needed to do their jobs more effectively and decided to invent it themselves. What is new in this picture are the powerful tools that users can now employ Ï the digital technologies and networks that they can exploit to create further innovations and to connect with each other. To investigate this phenomenon, NESTA commissioned research from the Centre for Research in Innovation Management (CENTRIM), University of Brighton, and the Science and Technology Policy Research Unit (SPRU), University of Sussex. This report sets out a way of understanding this ÓnewÔ phenomenon. Focusing on innovation that emerges from individual users and communities of users, it presents UK and international examples of Ýrms that are harnessing user-led innovation Ï and Ýrms that have emerged directly from communities of user innovators. Most importantly, it asks the question: are we doing enough to encourage these forms of innovation Ï or simply to allow them to Þourish? Jonathan Kestenbaum CEO, NESTA July, 2008 NESTA is the National Endowment for Science, Technology and the Arts. Our aim is to transform the UKÔs capacity for innovation. We invest in early-stage companies, inform innovation policy and encourage a culture that helps innovation to Þourish. 3 Executive summary User-led innovation Ï where users play an active part in the development of new or improved products and services Ï is exploding: proliferating digital technologies mean that weÔre all potential innovators now.
    [Show full text]
  • Market-Led Strategic Change, Fourth Edition
    Market-Led Strategic Change This page intentionally left blank Market-Led Strategic Change Transforming the Process of Going to Market Fourth edition Nigel F. Piercy Professor of Marketing and Strategic Management Warwick Business School The University of Warwick AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SYDNEY • TOKYO Butterworth-Heinemann is an imprint of Elsevier Butterworth-Heinemann is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First edition published by HarperCollins Publishers Ltd 1991 First published as a paperback edition by Elsevier Ltd 1992 Second edition 1997 Reissued with new cover 2000 Third edition 2002 Fourth edition 2009 Copyright © 2009, Nigel Piercy. Published by Elsevier Ltd. All rights reserved The right of Nigel Piercy to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone ( ϩ 44) (0) 1865 843830; fax ( ϩ 44) (0) 1865 853333; email: [email protected]. Alternatively visit the Science and Technology Books website at www.elsevierdirect.com/rights Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein.
    [Show full text]
  • Digital Music Forum East February 25-26, 2009
    2009 Speakers Exclusive Keynotes Dalton Caldwell, Founder/CEO, imeem Music-focused online social network imeem has raised over $50 million in funding from investors including Sequoia Capital and Warner Music Group, according to reports. The company, which counts 30 million registered users, has licenses from all four major labels and many independents to offer free, ad-supported streaming music. While many see social networks as a crucial component in helping indie musicians and record labels win fans and launch careers in the Web 2.0 era, some are skeptical about the company's future. In this rare opportunity to meet imeem's 28-year-old founder, recently featured in BusinessWeek.com's up-and- comers under 30 story, you will get a view of the current inner workings of the digital music industry and what role he would like imeem and other social networks and streaming services to play in the music eco-system of the future. Jim Griffin, Warner Music Advisor/President, Choruss For the past year, Jim Griffin has advised Warner Music Group on digital distribution and licensing models with the goal of bringing an end to the litigation that has put a wedge between the major labels and their customers and replacing it with a regular flow of income for right holders. The project known as Choruss, which is being incubated at Warner and is planned to be rolled out as a non-profit with Griffin at the helm, proposes to build a small music-royalty fee into university tuition payments received from students, and, if successful, could be expanded to make ISPs the collector of the fees.
    [Show full text]
  • 200950996.Pdf
    Web Marketing for the Music Business This page intentionally left blank Web Marketing for the Music Business Tom Hutchison AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2008 Tom Hutchison. Published by Elsevier, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: permissions@ elsevier.com. You may also complete your request online via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Hutchison, Thomas W. (Thomas William) Web marketing for the music business/Tom Hutchison. p. cm. Includes bibliographical references and index. ISBN 978-0-240-81044-7 (pbk. : alk.paper) 1. Music trade. 2. Internet marketing. I. Title. ML3790.H986 2008 780.68’8–dc22 2008020851 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81044-7 For information on all Focal Press publications visit our website at www.books.elsevier.com 08 09 10 11 12 5 4 3 2 1 Printed in the United States of America v Table of Contents ACKNOWLEDGMENTS...................................................................................................................
    [Show full text]
  • Spybot Is an Application Designed for the Removal of Spyware, Malware and Other Intrusive Software
    Description Spybot is an application designed for the removal of spyware, malware and other intrusive software. Licence Spybot is only free to download for personal use. Business or other commercial users please refer to the End User Licence Agreement. Requirements Windows XP SP2 or later 512 MB RAM when used with Windows XP 1 GB RAM when used with Windows Vista or later 300 MB free hard disk space FAQs Visit the website of Spybot to get an answer for frequently asked questions. © 2000-2013 Safer-Networking Ltd. All rights reserved. Module Overview One important change in Spybot is that the functionality is much more modularized. This has a lot of advantages, including: Resources: you do not need everything Spybot offers all at the same time. By loading only those parts you need when you need them, Spybot can run faster while it uses less system memory. Speed: the application will simply show much faster. Interaction: a challenge is to present it to the user in a way that is not affecting his ease of use; on the contrary, it should help him getting things done by presenting only what he currently needs, at the same time allowing him to easily go to another part. Updates & Maintenance: by having functionality separated, new functions or bug fixes mean that testing can concentrate on one module, and possibly those depending on it, but not on the full package, leading to faster and more stable updates. Scripting/Scheduling: if you want to automate things, you can restrict that to the modules that offer the functionality you want to script, without the need to load the full, slow loading old application all the time.
    [Show full text]
  • Vpliv Interneta Na Trženje V Glasbeni Industriji
    UNIVERZA V LJUBLJANI EKONOMSKA FAKULTETA DIPLOMSKO DELO VPLIV INTERNETA NA TRŽENJE V GLASBENI INDUSTRIJI Ljubljana, marec 2008 PETER CERAR IZJAVA Študent Peter Cerar izjavljam, da sem avtor tega diplomskega dela, ki sem ga napisal pod mentorstvom dr. Tomaža Kolarja, in dovolim objavo diplomskega dela na fakultetnih spletnih straneh. V Ljubljani, dne 27. 3. 2008 Podpis: _______________________________ KAZALO 1. UVOD ................................................................................................................................1 2. GLASBENA INDUSTRIJA IN TRG GLASBENE INDUSTRIJE ............................. 1 2.1. Pomen in struktura glasbene industrije................................................................. 1 2.2. Globalni trg glasbene industrije.............................................................................. 3 2.2.1. Struktura in značilnosti globalne glasbene industrije........................................ 4 2.2.2. Upravljanje z umetniki in repertoarjem ter trženje v glasbeni industriji............ 5 2.2.3. Izzivi in problemi globalne fonogramske industrije .......................................... 6 2.3. Slovenski glasbeni trg............................................................................................... 9 2.3.1. Splošni podatki................................................................................................... 9 2.3.2. Razvoj, struktura in značilnosti slovenske glasbene industrije........................ 10 2.3.3. Izzivi in problemi slovenske glasbene industrije
    [Show full text]
  • Copyright Remains Key to the Digital Music Business. Digital Market
    Digital Music Report 2007 Page 02 Digital Music In 2007 – A Brave New World However, there is correctly a certain amount However, actions against individual ?Digital music expands worldwide of nervousness around. This is sensible; there is uploaders are onerous and expensive and certainly no room for complacency. We are we shouldn’t have to be taking them. That job Consumers Shape The all troubled by the research that suggests the should not be ours – it should be done by the number of new tracks purchased per MP3 gatekeepers of the web, the Internet Service player is low, and yet at the same time digital Providers (ISPs), who unquestionably have Future Of Recorded Music music is hitting new milestones. It has helped the technical means to deal with copyright the singles business to its best year ever, infringement, if only they would take revived genres like classical and is responsibility for doing so. regenerating formats like music video. It is spreading internationally. New markets like At one time you were considered a new China, that have been historically closed media philistine if you wanted to regulate the Digital Market to legitimate business by ruinous levels of internet. But then Google promised the piracy, are offering the prospect “ofMus aic is not only Chinese government that censorship was the most popular “leap to digital”. consumer product possible. Then Google blacklisted BMW in the in the industrialised world. It is a key Overview In 2006 internet world for anti-social behaviour. It 6 driver of the digital The record industry today has evolved into a The chief winners in the rise of digitaleconomy music.” seems policing is acceptable for all sorts of digital thinking, digitally literate business.
    [Show full text]
  • Reluctantly Virtual
    Faculty of Economic Sciences, Communication and IT Media and communication studies Patrik Wikström Reluctantly Virtual Modelling Copyright Industry Dynamics DISSERTATION Karlstad University Studies 2006:44 Patrik Wikström Reluctantly Virtual Modelling Copyright Industry Dynamics Karlstad University Studies 2006:44 Patrik Wikström. Reluctantly Virtual: Modelling Copyright Industry Dynamics DISSERTATION Karlstad University Studies 2006:44 ISSN 1403-8099 ISBN 91-7063-075-5 © The author Distribution: Karlstad University Faculty of Economy, Communication and IT Media and communication studies SE-651 88 KARLSTAD SWEDEN +46 54-700 10 00 www.kau.se Printed at: Universitetstryckeriet, Karlstad 2006 Till Pia Abstract During the evolution of the music industry, developments in the media environment have required music firms to adapt in order to survive. Changes in broadcast radio programming during the 1950s; the Compact Cassette during the 1970s; and the deregulation of media ownership during the 1990s are all examples of changes which have heavily affected the music industry. This study explores a similar but contemporary dynamics, examines how decision makers in the music industry perceive and make sense of the developments, and reveals how they revise their business strategies, based on their mental models of the media environment. A qualitative system dynamics model (the Music Industry Feedback Model) is developed in order to support the reasoning brought forward by the study. The model is empirically grounded, but is also based on previous music industry research and a theoretical platform constituted by concepts from evolutionary economics and sociology of culture. The empirical data primarily consist of 36 personal interviews with decision makers in the American, British and Swedish music industrial ecosystems.
    [Show full text]
  • P2P Strategies for the Safe Distribution of Rich Media Content
    P2P Strategies for the Safe Distribution of Rich Media Content by Helder Fernandes de Castro Dissertation submitted to the Faculty of Engineering of the University of Porto for the degree of Doctor of Philosophy in the Doctoral Program in Electrical and Computers Engineering Supervisor Artur Pimenta Alves (PhD), Co-Supervisor Maria Teresa Andrade (PhD) 2012 iii Abstract The production, distribution, and consumption of information goods have faced various challenges over the years. Currently, the status-quo in this field is being shaken by the emergence of the Internet as the prime ground for information exchange. This powerful new information distribution medium, is very attractive for consumers, who find it much more comfortable. It is also appealing for distributors as it enables a near costless replication and distribution of information commodities. If the on-line medium is combined with P2P distribution, such costs are decreased even further. However, this near annulment of the mentioned costs, by the Internet, has enabled an explosion of free content exchange. Content scarcity has thus been virtually eliminated in the on-line environment, and is thus challenging age-old intellectual-property regimes Commercial players have begun adopting all-digital on-line distribution and P2P distribution technologies, inscribed within operations that are characterized by Business Models (BMs) which have simply been transposed from the “real world” onto the on-line environment. These BMs are, typically, very dependent on the scarcity of the delivered content, thus, to make up for its natural loss, in the on-line medium, said BMs generally require the employment of access restricting Digital Rights Management (DRM) technology to artificially recreate the lost scarcity.
    [Show full text]