MASTER THESIS PHILIP MOSSMAN MAY 2021

DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL

A PROVOCATIVE CONCEPT FOR THE MUSIC INDUSTRY Design interventions at a systemic level; a provocative concept for the music industry

Master thesis Msc. Strategic Product Design

Author Philip Mossman

Graduation committee

Chair Prof. ir. Jeroen van Erp Professor of Concept Design

Mentor Prof. Dirk Snelders Professor of Organising Product and Service Development

Company mentor Omar Kbiri Co-founder / Creative Director Maak

Faculty of Industrial Design Engineering Delft University of Technology Landbergstraat 15, The Netherlands

Company Maak Camperstraat 42, Amsterdam PAGE 4 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL PREFACE

PREFACE Philip Enjoy theread! more. often. Iboughtaproperstereosystemtoenjoyit I was also inspired to sit and listen to music more only didIlearnalotaboutthemusicindustrybut Not significantly. improved conversations my of and morefamiliarwiththesubjectquality that much.ThroughouttheprojectIbecamemore however Isoondiscovereddidnotreallyknow some knowledgeofmusicandtheindustry, graduation project.Icameintotheprojectwith my projectinmind,theseletterssymbolise depicted asletters.Lookingatthisnowandwith What youwillnoticeisthatthemusicnotesare live music,gavemegoosebumps. time, combinedwiththerecentabsenceofany years ago.Hearingthatagainaftersuchalong that recordingofColinplayinginTivoli allthose preparing fortheprojecttokick-off Ilistenedto reminded meofthismusichis;“Sorry”.AsIwas I becameenthusiasticfortheprojectandit mentioned was name his as soon As place. first got meinterestedinchoosingthisprojectthe It was Colin Benders, formerly Kyteman, that Band andrediscoveredthefunofmakingmusic. during mystudies,IplayedthetenorsaxinaBig and Istillhavethatpieceofpaper. Subsequently, alto saxophone;Iplayeditoverandagain somewhere in 2010, so that I could play it on my I wrotedownthenotesjustafteritwasreleased, value formygraduationproject.Iwillexplainwhy. 2009. Forme,thispieceof paper hasasymbolic Kyteman’s “Sorry”,asperformed inTivoli, Utrecht This sheetofpapercontainsthemusicfor

5 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN PREFACE PAGE PAGE 6 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL EXECUTIVE SUMMARY EXECUTIVE SUMMARYEXECUTIVE and fosterthoseconnections. DIY creators.Createdirect, intimateinteractions Goal: Makestreamingmore socialforindependent/ relationship betweencreators andtheiraudience. Why: Direct Streaming Platforms constrict the Answer: Makemusicstreamingmoresocial. music industrytobalancevaluestreams? Research question:Howcanweredesignthe • • • 4. 3. 2. 1. principles: and distilledtocreatethefollowingfourdesign previous tworesearchphaseswereassembled of thedesignphase,allinsightsfrom industry, especiallyonSpotify. To formthebasis the decisionwasmadetofocusonstreaming the musicindustrywasmappedout.Subsequently phase research first the In phase. design a and The processinvolvedtwomainresearchphases thought provokingconcept. industry. Thisgoalisachievedbydevelopinga distributed tobalancevaluestreamsinthemusic stakeholders howvaluecanbereinterpretedand artists. The objective of this thesis is to show interest inoffering services toindependentmusic with marketingagencyMaak.Maakexpressedan This masterthesiswasexecutedincollaboration as theyarebecominghardertofind. generated playlistsarebecomingdevalued DSP’s pushtheirownplaylists;User- dependent onasmallgroupofeditors Editorial playlists; More and more people Algorithmic playlists;nohumaninvolved biased -orboth: playlists aregenerallyeitherimpersonalor of theuser-generatedplaylist;currently Playlist improvement;Restoretheimportance Stimulate independentartists process critical listenerstobecomepartofthecreative design, in reflected be to co–operation and User involvement; Collectivism, collaboration for independentartists Artist empowerment;lowerbarrierstoentry

stakeholders andalaunchstrategy. to establishdifferent needsandvaluesamongst concept, the define better to research further for justification be could there and potential having were involved in the process. It shows signs of supported bymusicindustryprofessionalsthat through severaliterationsasaresult.Itiswell- Lister wasvalidatedinvariouswaysandhasbeen music basedonsimilartaste,inasocialway. users todiscover, andexchangeideas about, Lister isamusiccommunityplatformwhichallows turn thisconceptwasnamed“Lister”. which, oneconceptwaschosentofocuson.In concept developmentofthreeconcepts.After The designphaseconsistedofideationand

@PHILLUSTRATORR

7 PAGE PAGE 8 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL ACKNOWLEDGEMENTS Graeff &Marisa Wouters. Acket, WillemBijleveld, Eva Breunesse,Tim Schellings, GuillaumeWarmerdam, Madelon Mutsaers, JosFeijen,Dago Houben,Selma Pitou Nicolaes,Marinus de Goederen,Wilbert Roos Meijer, LiekeHeusinkveld, PimvanOs, Erwin Blom,GerardvanEnk,ColinBenders, to theproject:PatrickvanThijn,AnnekeStulp, following people for their valuable contributions Last butnotleast,Iwouldlike to thankthe latter. adventures inanemptyIDEfaculty. Mostlythe together, eitherhelpingeachotherorgoingon Bootsy forthecountlessstudyhourswespent you knowsheisalsoanIndesignwizard? and stressedputtingasmileonmyface.Did Marah forputtingupwithmewhenIwasgrumpy whenever hecould. sounding boardformyideasandthinkingalong the project. My Dad especially, for being a My MumandDad,forsupportingmethroughout they freeduptohelpoutwherevercould. Niels Aalbertsfortheirgreatadviceandthetime do so.IwouldliketothankTon vanderWerf and to myproject,butsomewentoutoftheirway There are a number of people that contributed which wassomewhatoutoftheordinary. And alsofortakingonmygraduationproject, and dedication. energy with filled chats informal Jeroen vanErpformixingacademicguidancewith Both myuniversitysupervisors,DirkSneldersand believed inmefromthestartofproject. failed toenergisemeduringmeetingsand this projectunderhissupervision.Omarnever with meandprovidingthechancetodo Omar Kbiriforsharinghispassionandknowledge I wouldliketothank. people supportingmethroughouttheprojectwho challenge for me. Luckily I had a lot of great executing thisprojectwouldhavebeena Even withoutthecorona-relatedcircumstances, ACKNOWLEDGEMENTS Slider Recording company, also:recordlabel Overlap Music industry Major recordlabel Master (rights) Lister Indie (recordlabel) Independent Artist DSP DIY API GLOSSARY

to define the desired overlap (see overlap) formusic discovery. (see overlap) overlap desired the define to The slideristhefeatureof Lister whichenablestheuser copyright enforcement. recruitment anddevelopment, musicpublishing,and of functionsinthemusic industry, includingnewartist market recordedmusicTheyengageinawiderange Record labelsarecompaniesthatproduceand another user, basedontheirexistingplaylist(s). with common in has user a that music the by defined Overlap IntheconceptofLister(seeLister),overlap is record industry. music industry, themusicpublishingindustryand The musicindustryconsistsofthreesectors;live Entertainment andWarner MusicGroup. record labelsareUniversalMusicGroup,Sony Major record label The so-called ‘big three’ major career andwork. your masterrecordings,yougettostayincontrolof the righttousearecordedpieceofmusic.Byowning Master (rights)Amasterrightgivesthelicenseholder developed asapartofthisgraduationproject. The nameoftheconceptproposalthathasbeen also amusicgenre. under controlofthethreemajorrecordlabels.Indieis abbreviation forindependentrecordlabels,i.e.not Indie isshortforindependent.Andusedasan their subsidiaries. record labels (Sony, Warner and Universal) or one of An artistthatisnotsignedtooneofthethreemajor service thatfeaturesdigitalalbumsandsingles. Direct StreamingPlatformisanonlinestoreorstreaming individual. punk subculturewhereeverythingisconstructedbythe DIY standsforDoItYourself andistheaspectof two applicationstotalkeachother. Interface, which is a software intermediary that allows API is the acronym for Application Programming

9 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN GLOSSARY PAGE TABLE OF CONTENTS

CHAPTER 1 14 CHAPTER 6 48

DESIGN FOCUS PROJECT OVERVIEW 6.1 Design principles 1.1 Project brief 6.2 Design challenge CHAPTER 2 18 CHAPTER 7 52

MUSIC INDUSTRY CONCEPT DEVELOPMENT

2.1 The evolution of recorded music 7.1 Ideation 2.2 The rise of record companies 7.2 Conceptualisation 2.3 Democratisation of the music industry 7.3 Final concept CHAPTER 3 26 CHAPTER 8 60

MAJOR REVENUE STREAMS LISTER

3.1 Independent artists 8.1 Validation methods 3.2 Streaming 8.2 Feedback 3.3 Live 8.3 Iteration 3.4 Live Streaming CHAPTER 4 34 CHAPTER 9 74

CONCLUSION DO IT YOURSELF 9.1 Recommendations 4.1 DIY origins 9.2 Discussion 4.2 Translations to now 9.3 Reflection CHAPTER 5 40 REFERENCES 80

MUSIC STREAMING INDUSTRY

5.1 Direct Streaming Platforms (DSP’s) 5.2 Spotify 5.3 Playlists 5.4 Consequences of streaming APPENDIX 83 PAGE 12 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL INTRODUCTION INTRODUCTION conversation. looks tochallengethestatus quoandprompta concept thatsupportsthe independent artistand lays thefoundationfor developmentofa reinforced byliteratureresearch. Thisinformation question information isprimarilyobtained byinterviewsand this answer To flourish. can they how industry. Thefocusisonindependentartistsand how torebalancevaluestreamsinthemusic This thesislookstoanswerthequestionof those thatsellthemusic. struggle betweenthosethatmakemusicand music industrywherethereisanongoingpower two decadesapart,theypaintthesamepicture;a Although the above events took place more than Prince”. other names,“TheArtistFormerlyknownas symbol ashestartedtobereferredas,amongst 2015). Thatiswhyhechangedhisnameintoa music releasedunderthatname(TheGuardian, owned andcontrolledhisnameaswellany Bros. (the record company) and they, as a result, His argumentwasthathesignedtoWarner public withtheword“Slave”writtenonhischeek. During themid-90sPrincestartedappearingin “the mostsilentalbumeverrecorded”. with JackStratton,drummerofVulfpeck, callingit accumulate almost$20,000dollarsinroyalties, Before “Sleepify”wastakendownitmanagedto high volumesofstreams(Knopper, 2018). an extremeofshortsonglengthandextremely nowadays; streaming.Thiswasjusttakingitto rules and the main format of the music industry of 30seconds.SotheideatoyedwithSpotify’s counted whenthesongisplayedforaminimum Spotify paysperstream,butstreamsareonly “crowdfunded” tour. up royaltieswhichwouldcoverthecostsofafree repeat overnight. The album was released to rack fans wereencouragedtostreamthealbumon The albumwentunderthenameof“Sleepify”and 30-seconds longandcontainingnosoundatall. album onSpotifycontaining10tracks,allroughly In March2014,abandcalledVulfpeck releasedan Lister. validation process. This leads to the final concept; Iterations areperformedusing feedbackfromthe users throughinterviews,surveys andsimulation. validated withindustryprofessionals, artistsand of Results concept. concept validation are presented. The concept is final the of development Chapter eightcontinueswiththefurther to thefinalconcept. with ideationandconcepting,allthewaythrough chapter thedesignprocessisdescribed,starting Chapter seven;Conceptdevelopment.Inthis design focus. chapter) aremouldedtoformthebasisfor where theinsights(highlightedatendofeach the researchphaseofthisthesisisconcludedand the nextphaseofproject;design.Thisiswhere information, wherethefoundationislaiddownfor Chapter sixisaculminationofalltheabove is lookedinto. are discussed.Lastlythephenomenonofplaylists is analysedandtheconsequencesofstreaming streaming Platforms (DSP).Afterabroadoverview, Spotify music the industry withafocusontheDirectStreaming analyses five Chapter provide learningsandinsights. movement aretranslatedtothehere-and--now a casestudy, theideasandzeitgeistofDIY the punkera.Inthischapter, whichistreatedas It Yourself (DIY)musicduringtheearlydaysof is reviewed.ThisleadsbacktotheoriginsofDo In chapterfourthehistoryofindependentartists independent artistthroughoutthischapter. topics areviewedfromtheperspectiveof major revenue models; live and streaming. Both elaborates uponthatanddivesintothetwocurrent the democratisationofmusic,chapterthree Where chapter two leavesoff byintroducing provide structureandtobringthestorylife. what it is today. Three key pillars are chosento to industry music the shaped that influences key of recordedmusic.Thischapterlookstohighlight Chapter twodescribesthehistoryandevolution master thesis. to Maakandtheapproachcompletingthis project includingthedesignbrief,anintroduction chapter providesanoverviewofthegraduation first The follows. as is report the of up build The OVERVIEW CHAPTER

on furtherresearchanddesignelements. 7 and8,withchapter9makingrecommendations there onthedesignphaseisdescribedinchapters applied toformthebasisofdesignphase.From Design focus,theseinsightsareassembledand made asaresultoftheinsights.Inchapter6, in somecases,alistofdecisionsthathavebeen overview ofthemaininsightsthatchapterand, research phase(chapters2-5)isconcludedbyan Furthermore, each chapter comprising the interviews besidesexistingliterature. are listed;thisthesisreliesheavilyonexpert of thechapter. Thecontributorstoeachchapter chapter, thecontenttobediscussedandaim each chapterbeginswithanintroductiontothe and results-oriented piece ofwork. To ensurethis, is putonmakingitawell-organised,easy-to-read In termsofstructuringthisthesis,theemphasis REPORT STRUCTURE the graduationproject. of process the on reflects which section a is there and development of the concept platform. Lastly, ofthis recommendations aremadeforfurtherresearch the results nine, research anddesignthesisarediscussed chapter, final the In

13 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN INTRODUCTION PAGE PROJECT OVERVIEW 1 CHAPTER CHAPTER 1 C1

CONTENT 1.1 PROJECT BRIEF 1.2 MAAK (COMPANY) 1.3 ASSIGNMENT This chapter provides a general overview of the project; 1.4 APPROACH & PROCESS defining the initial brief, introducing Maak as a company, outlining the assignment and providing the approach and process. AIM To show the relevance and motivation for this graduation project and how it came about. DESIGN INTERVENTIONS AT LEVEL A SYSTEMIC DESIGN INTERVENTIONS OVERVIEW

CHAPTER 1 PROJECT PAGE 15 PAGE CHAPTER 1 16 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL PROJECT OVERVIEW Maak’s experienceandcontactsintheindustry. considerable helpthroughouttheproject,dueto of Maak,itwasevidentthatMaakwouldbe for music.Althoughmusicisnotthecorebusiness that hehasanenormouspassionandknowledge conversations with Omar, co-founder of Maak, this graduationsubject.Itwasclearfromthe is whatsparkedtheconversationsurrounding accompany thereleaseofanewvinylrecord.This Benders, acreativemusician)whichwasgoingto Maak was running a campaign (for Colin At thetimeofexploringgraduationsubjects, that changecanleadtopositiveprogress. marketing. Thekeyisthatclientsbecomeaware and takesdisruptiveactions,referringtoNewera marketing thatleavesingrainedcustomsbehind agency foundedin2015.Maakbelieves Amsterdam-based marketingandadvertising This projectisacollaborationwithMaak,an MAAK 1.1 take homemostoftheearnings. streaming servicesandmajor recordcompanies own destiny, consumershavebecomespoiledby their on influence little have artists ideal; from far innovation. Thishasledto anecosystemwhichis defensive attitude towards development and rapid change,whilealwaysadoptingavery is theresultofanindustrythathasgonethrough suffers fromisunbalancedvaluestreams.This the ecosystemofmusicindustrycurrently members oftheecosystem.Themainissuethat of valuetocustomers,whoarethemselves a communitywhichproducesgoodsandservices as ecosystem business the defined (1996) Moore a complexnetworkofinterdependentbusinesses. to viewtheentiremusicindustryasanecosystem; lead totunnelvision.Therefore,thisprojectaims artists perspective limits the solution space and will project. However, tacklingthisissue only fromthe That isthequestionthatsparkedthisgraduation “How canamusicartistbecomeindependent?”... PROBLEM STATEMENT PROJECT BRIEF ASSIGNMENT • • • • • • as aguideduringtheprocessofproject: sub-questions havebeenformulatedtobeused To beabletoanswerthisquestionanumberof streams?” redesign themusicindustrytobalancevalue to themainresearchquestion:“Howcanwe have tobemadeinthemusicindustry, thisleads In order to achieve this objective interventions RESEARCH QUESTION a provocativeconceptforthemusicindustry Design interventionsatasystemiclevel; TITLE and howtheycanbeapartofthis. streams. ForMaak,thefocusisonartistautonomy re-thought atasystemiclevel,tobalancevalue stakeholders howthemusicindustrycouldbe principles. Theobjectiveoftheconceptistoshow which isbasedongainedinsightsanddesign is to develop aconcept product orservice The objectiveofthisresearchanddesignthesis /GOALOBJECTIVE business opportunity(s)forMaak? How doesthisstrategytranslateintoa into astrategy? How canthisintervention(s)beimplemented change ofthemusicindustry? What interventionswillleadtoasystemic industry withoutinterventions? What doesthefuturelooklikeformusic involved parties? What arethesub-revenuemodelsof industry andwhatdotheyvalue? Who arethestakeholdersinmusic research phase, and first diamond, is conducted is diamond, first and phase, research development (seediagram1).Theprimary by MusicIndustry, StreamingandConcept defined are diamonds subsequent the thesis, this a convergingpartoftheprocess.Incase and subsequently a diverging signifies diamond viewed asatriplediamondapproach.Each The processthathasbeenfollowedcanbe PROCESS Methods Results History ofthemusicindustry Mapping currentecosystem Interviews/conversations Knowledge &insights Literature review Music industry Vaue mapstreamingindustry; Interviews/conversations Insights andthoughts DIY; historyandnow Literature review focus onSpotify Streaming hs wih s xctd n h tid n final and third diamond. the in executed is which phase two diamonds lead to the foundations of a design gated. Thistimetheinsightsfromprevious Streaming. Thisphaseisonceagainstage- the topic(s)ofsecondaryresearchphase; by astage-gate,wheredecisionismadeon literature reviewandinterviews.Thisisfollowed on theentiremusicindustryandisperformedby scenarios Concepts principles “What if” Design Ideas Concept development Diagram 1:Triple diamondapproach Final concept Simulation Interviews Validation

Iteration

Survey

17 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN OVERVIEW PROJECT

PAGE 1 CHAPTER MUSIC INDUSTRY 2 CHAPTER CHAPTER 2 C2

CONTENT 2.1 THE EVOLUTION OF RECORDED MUSIC 2.2 THE RISE OF RECORD COMPANIES 2.3 DEMOCRATISATION OF MUSIC This chapter looks to shed light on how the music industry has been shaped throughout history; predominantly recorded music is discussed. By analysing the past, a clear picture can be painted of the AIM To gain a clear understanding of the turning points that current state. occurred that changed the music industry.

CONTRIBUTORS Niels Aalberts Patrick van Thijn Ton van der Werf Erwin Blom DESIGN INTERVENTIONS AT LEVEL A SYSTEMIC DESIGN INTERVENTIONS INDUSTRY

CHAPTER 2 MUSIC PAGE 19 PAGE CHAPTER 2 20 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL MUSIC INDUSTRY Recording andDistribution. pillars to provide structure, thosebeing; Formats, of recordedmusicwillbesupportedbythreekey industry” sectorwillbediscussed.Theevolution Throughout thischaptermainlythe“record musician beingpresent. Meaning musiccouldbelistenedtowithoutthe 2001), transformedmusicintoaphysicalgood. synonymous withthe“musicindustry”(Leyshon, Lastly the“recordindustry”,oftenimpliedtobe to musicalcompositions(Hesmondhalgh,2002). involves theownershipandcontrolofrights publishing concernsmuchmorethanthisasit its mid-15thcenturyorigins,nowadaysmusic whereas this is indeed the case and where it finds is responsiblefortheprintingofsheetmusic, industry”. Thenamemightsuggestthissector of thethreemainsectorsis“musicpublishing audience (ÁlvarezVásquez,2017).Thesecond professionals whowouldperformforalimited 14th centurywhenmusiciansbecamesalaried (2002). Firstly, the“livemusicindustry”,datesbackto Hesmondhalgh by defined as industry, define to the threemainsectorsthatmakeupmusic important is it started, getting Before 2.1 MUSIC EVOLUTIONTHE OF RECORDED records were made out of shellac, which made quality andquantityincreased.Whereasearly As thediscsevolvedthroughouttime,music from asinglemasterrecording. pre-recorded music, and to mass produce copies This madeitpossibleformankindtoexperience speeds and made of different types of materials. the consumermarket,discsrotatingatvarious sound. Inthe1900srecordswereintroducedto device thatmechanicallyrecordsandreproduces invention ofthephonographbyEdisonin1877,a that made this practice happen was the popular to listenaudiorecordings,thetechnology By theendof19thcenturypeoplewereable FORMATS 10 yearstheturnover oftheglobalmusic industry Within long. so for fill only could Discman and CD demand forconvenience. It wasaneedthatthe became more sophisticated, so did the constant the inventionofinternet, andascomputers With 2017). (Kendal, fire caught really format the not until1999-withthecreation ofNapster-that until 1992thattheMP3wentmainstream,and originally developedintheearly80s,butitwasn’t was format MP3 The masses. the for files digital The nextmilestonewastheintroductionof into existence. playing ofmusic“onthego”.SoCDeracame the Discman,adevicewhichmadepossible digital formatoftheCD.AlongwithCD,came pressed onvinyl)neededtobetransformedthe had previouslybeenrecordedasanalogand format cameabout,oldmasterrecordings(which Compact Disc(CD)in1982.Whenthisnew the nextmilestonewasintroductionof Ignoring theadventofcompactcassette, ensued. singles andalbumsalike.Thesingle/albumera Columbia in 1948 established the length of music the introductionoflongplay(LP)recordby in theearly1900’s, to23minutespersidewith onto theformat.Ashiftfrom4minutesperside fit could music more ensured also microgrooves increased durability, butincombinationwith we producedinvinyl.Theuseofvinylnotonly them noisy, andaboveallfragile,laterrecords changed the layout ofthestudioascomputers digital recording tookplace.Thisdigitalisation also 1980’s thatthetransformationfromanalogto It wasnotuntiltheintroduction oftheCDin decades (Alinson,2020). medium in any professional recording studio for previously asaformat,waspopularrecording cassette. Theformer, howevernotmentioned formats, mostnotablyreel-to-reelandthecompact invention spurrednumeroustape-basedrecording methods for recording sound. The magnetic tape magnetic taperecordingswereusedasanalogue For almost four decades vinyl recordings and the mainrecordingstudioofBeatles. in 1931,thestudiowouldbeknownworldwideas also befound at AbbeyRoadstudios. Established and equipment,thissametypeofsecrecycould Hanania, 2016).Eachstudiohaduniquemethods microphones infrontofthemusicians(Richieri complex andcostlyprocess,expertswouldplace were acousticallytreatedplaceswhere,ina this new industry (therecordindustry). The studios studios werestartingtobecomeimportanttoolsof to theideaofrecordsasmusicformat,recording During the1900’s, aspeopleweregettingused streaming. We nowliveinthestreamingera. to belistenedwithouthavingdownloadit; devices hascreatedanopportunityformusic As of2009,theexpansioninternettomobile regarded asthe“darkage”forrecordindustry. The periodfrom1999until2009isverymuch RECORDING the wheelsofchangehadbeensetinmotion. these companieswereshutdown,nonetheless and ofcourseNapster. Thispirateeralasteduntil era was typified by Limewire, Oink, The PirateBay MP3 The business. big became files audio digital of sharing file peer to peer MP3, the and internet halved -thecausepiracy. Withtheriseof and themusicindustryinNetherlandswas

click ofabutton. recording studios,likeAbbeyRoad,atjustthe nowadays almostanybodycanreplicatecertain out assomethinginaccessibletoanamateur, subsequently mixed and edited.Where it started the waymusiccouldbecreated,recordedand revolutionised 1991, in officially market the hitting in 1980, and computer programs like Pro Tools, 808, adrum-machinewhichenteredthemarket 2016). Technological innovationsliketheRoland a singlepersonalcomputer(RichieriHanania, and magnetictapescouldallbereplacedby even non-professional musicians. Soundboards outside thestudiosnowbecameaffordable to The equipmentthatusedtobeinaccessible the recordingstudio. became amoreandimportantelementin

21 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN INDUSTRY MUSIC

PAGE 2 CHAPTER CHAPTER 2 PAGE MUSIC INDUSTRY DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL 23 this transformation has been the music streaming labels major three still are there Today industry. which control the world of music: Sony BMG, Music Group. Universal Music Group and Warner The skewed balance of power that has evolved in the recorded music industry has become more and more visible in the past 15 years. It is the consequence of the technological innovations the industry has gone through. They are what has shaped the music industry to what it is today and to companies recording the have enabled they take advantage of the situation. money to make money.” During the 1980s and During money to make money.” profits industry multiplied format digital the 1990s, reproduction costs and a due to decreasing pop music. Not only did the booming market for much as twice than more paying accept listeners of media, but they ended up for the new kind favourite albums in digital disc reacquiring their real highs version as well (Hanks, 2015). The & ’97. would later be dated back to ‘95, ‘96 when the pirate era came around in However, to fade 1999, the limited distribution started which away; the very part of the music industry in, or at least the major labels had a monopoly out of the a certain amount of control, was taken to record equation. This brought major challenges was being companies worldwide, as their music for free on platforms such as Napster. offered for the This resulted in a decrease in earnings the record record labels. Once this happened reclaim their labels turned to the “live industry” to for part of the share. They claimed responsibility catalogue of building up the brands and the music to reap artists and in doing so they also wanted the rewards. Now there was money in music again; this had not been the case since 1999. The main contributor to THE RISE OF RECORD RECORD THEOF RISE COMPANIES 2.2 and in return they demanded a higher share of the earnings. The way things worked was that an a studio off artist would only start making money, album, once the recording company recouped the costs of creating it, which included recording costs, the hiring of musicians and any related artists for profit 2020).The Leal, (Rocha advances the on tour on go would they when come would record from had enjoyed success they of the back sales or airplay on radio. Live performances their artists and for income stream the main were management. The introduction of the CD in 1982 led to huge wealth. Between 1988 and 1999 six record companies controlled the world of music: EMI, Bros., PolyGram, BMG and Warner Sony, Universal. They were earning vast sums of money - some of which they reinvested in the business.. in Music Sony of CEO appointed Mottola, Tommy have to spend 1990, had a saying for this: “You The three key pillars of formats, recording and The three key pillars one thing in common; they distribution all have companies record 1950’s During the cost money. the process of the structuring entered the scene, but also making it a closed “recorded industry”, they helped establish the system. Although stars. The downside was that careers of many these stars, the system, established to generate tantamount to a music became a monopoly, dictatorship (Rocha Leal, 2020). as a physical Back in the times when music was sold artists contracts to good, record companies offered companies’ with a 85% to 15% split in the record that the record advantage. These contracts meant recording, companies controlled publishing, As artist management and even merchandising. process lay such, the recording and distribution that, in in the hands of a new kind of company controlled industry, of the musical the structure cycles during the production and consumption the record the second half of the 20th century: company (Richieri Hanania, 2016). of bank when Record companies took up the role advances for it came to providing artists with or recording recording their music in the studio video clips. That role of taking risks (on artists and their music) was taken by record companies which usually results in making more money which usually results in making more and new ways of artistic creativity. a new way of making money (revenue model), a new way of making

endless, leading to distribution becoming limitless. the dawn of the streaming era. The streaming The era. streaming the of dawn the industry has largely taken the place of radio and brick and mortar music stores. Now the shelf is in physical music stores and on the radio? this time round, ever since That is what is different delivered to. Although the format size decreased delivered to. Although the format size always when the CD came around, the question take, both remained; How much can the industry records was limited to how many of them would records was limited to how many of fit in the delivery many would fit in the music store they were being van, and subsequently how Back in the 1900s, when music started selling as Back in the 1900s, when music started of shellac/vinyl good, the distribution a physical as the core of all these technical innovations is as the core of all these technical the bottleneck distribution. This has always been of the music industry. introduction of the CD, then the disruption of mp3 introduction of the CD, then the disruption and finally streaming in the digital age. What lies 2. to album, the Think of vinyl shifting from single 1. The technological innovations in terms of formats The technological generally led to two things; or recording have DISTRIBUTION

22 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN MUSIC INDUSTRY MUSIC

PAGE CHAPTER 2 CHAPTER OVERVIEW

PAGE CHAPTER 2 24 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL MUSIC INDUSTRY to moderndayDIYartistsisdescribedextensively. In chapter4,thehistoryofDIYanditstranslation more possibilities. not necessarilybecomeeasier, therearejustalot opportunities aremanagedandutilised..Ithas need tobeverysmartandsavvyabouthowthe for the DIY/independent artist, so there is a There are a lot more possibilities nowadays (Albini, 2014). product final the without needtocompromisewithrecordlabels over control total gives ethic relationship betweenartistsandfans.TheDIY DIY musicbandswereabletodevelopacloser of theentireproductionanddistributionchain, the mainstreammusicindustry. Bytakingcontrol scene. Itdevelopedasawaytocircumnavigate DIY music has its origins in the mid 1970s punk rock (do ityourself)movement. democratization ofmusichasbeenduetotheDIY up to limitless distribution alone. A big part of the for smalleralternativemusichasnotonlybeen still playaroleandwherethereislotmoreroom towards amorehybridversion,wheremajorlabels But thefactthatmusicindustryhasshifted in chapter2.1.2. replaced with optical fibre, as previously described distribute vinylrecordsorCD’s; thishasallbeen the factthattherearenomorevansneededto labels. Themainpartofthedemocratisationis without themediationofprofit–orientedrecord in theory—accesstolistenersallaroundtheworld which amateurandaspiringartistsgain—atleast industry could beunderstood as a process in argues that the democratisation of the recording In anarticlepublishedin2012,PeterGaluszka 2.3 DEMOCRATISATION OF MUSIC C2 INSIGHTS 2E 2D 2C 2B 2A

already unlimited. countries adopt streaming, supply is Demand isgoingtoincreaseasother communication, 17November2020) stay, forawhile.”(Aalberts,personal innovations. Streamingishereto to astandstillintermsoftechnological very stable.“Itseemslike we arecoming Streaming eraisheretostay, andseems music forthethirdtime Baby boomergenerationispayingfor Barriers toentryforindependentartists control. Record companiesarestillverymuchin

25 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN INDUSTRY MUSIC

PAGE 2 CHAPTER CHAPTER 3 PAGE MAJOR REVENUE STREAMS DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL 27 - STREAMING LIVE LIVE STREAMING 3.1 3.2 3.3 independent artist, by demonstrate the journey of the To from their per discussing the live and streaming industry spective. Roos Meijer Lieke Heusinkveld Selma Schellings Willem Bijleveld Dago Houben Jos Feijen Colin Benders Guillaume Warmerdam

CONTRIBUTORS C3 CONTENT AIM

STREAMS

REVENUE MAJOR CHAPTER 3 the perspective of the independent artists to make their the perspective of the independent position become more apparent. After that, live streaming is discussed, a combination of is discussed, a combination After that, live streaming new to the scene. both live and streaming and relatively is highlighted from Everything discussed in this chapter In this chapter the independent artists are portrayed and the independent artists are portrayed In this chapter revenue along with the two main they are introduced and live. music industry today; streaming streams in the CHAPTER 3 PAGE CHAPTER 3 28 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL MAJOR REVENUE STREAMS size fits all. There is no pre-selection of artists, nopre-selection is There all. fits size A bulkdistributor isabulkaggregator. One bulk andspecialist. are two types of online distribution companies; music whenitwassoldas a physicalgood.There companies whichwereonce inplacetodistribute companies haveoutgrownthedistribution online distributorsoraggregators.These All musiconDSP’s hasbeenuploadedthrough tweaking the benefits provided to both artists and artists both to provided benefits the tweaking The DSP’s competewith one anotherbyslightly known asDirect Streaming Platforms (DSP’s). It is more or less dominated by companies, The musicstreaminglandscapeisquitebroad. as adigitalfile. produced orrecordedmusicandstoredthe achieve that,theindependentartistmusthave the independentartists’potentialaudience.To public, ofgoodquality, readytobeconsumedby getting themusic“outthere”;onlinefor The mostimportantthingaboutstreamingis that istheyworkwithonlinedistributors. Tidal. All have at least one thing in common and iTunes, Amazon,GooglePlay, Spotify, Deezerand consumers. ThemainDSP’s are:Apple Music, the termindependentartistwillbeused. record labelsortheirsubsidiaries.Inthischapter autonomously, remainingindependentfrommajor which iseitherproduced,recordedanddistributed indie orDIYaregenerallyusedtodescribemusic known asindielabels.Thetermsindependent, signed toindependentrecordcompanies,also of theirsubsidiaries.Independentartistscanbe commercial (major)recordcompanynorone independent artistisnotundercontractwitha So whatexactlyisanindependentartist?An DISTRIBUTORS INDEPENDENT ARTISTS 3.1 MUSIC STREAMING of artists.Atailoredapproachisadopted.An from bulkdistributionbyconductingpre-selection Specialist onlinedistributiondifferentiates itself Ditto andAmuse. distributors are: CDBaby, TuneCore, Distrokid, journey beginsintermsofstreaming.Popularbulk As anindependentartistthisislikelywherethe should notexpectanyextraone-to-oneservices. artist. the Since thecompaniesarebulkdistributors,artists by specified platforms streaming on the musicavailableattimeanddate then theresponsibility of thecompanytomake is It required. is membership annual and fee flat these distributors.Formostoftheservicesa everybody can upload music through any of STREAMS videos; oftenreferredtoaslabelservices. on marketing,soundrecordingorshootingmusic companies willprovidecashadvancestospend percentage fees(dependentonrevenue).These exchange, thespecialistdistributorsoftencharge personal communication,12December2020).In director GuillaumeWarmerdam (Warmerdam, dividends, according to LAB music managing LAB believesin,whichresultsinthemusicpaying management. LABworkssolelywithmusicthat an exclusiveselectionofartists,labelsand established in the Netherlands, working with proclaimed boutiquedistributioncompany, example ofaspecialistisLABmusic;self The artistscan increasetheamountof streams Stream Payout. their cut).Seetable1foran overviewofthePer- and theonlinedistribution companies havetaken distribution companies to theartists(afterDSP from streaming are paid out through the online own streamingcharges/revenues.Theearnings each case.EachDSPisresponsibleforsettingits on theagreementmadewithdistributorin artist determineshowmuchisearned,depending industry. Theamountofstreamsrackedupbyan Streams arethecurrencyofstreaming when newmusicisreleasedbytheartist. to mobilisefollowers or targetacertaingroup different types of advertising. These can be used is utilisingadvertising.Spotify, forexample,offers way ofgeneratingstreamsontheplatformitself number ofstreams.(Spotify, 2020). The second placement onaplaylistcangivebigboosttothe included onbigplaylistscuratedbySpotify. Getting genre andplaylistsuggestions.Thegoalistobe artists canpitchtheirmusic,accompanyingitwith means thatthroughthe“SpotifyforArtists”page, pitching andinvolves music totheDSP. InthecaseofSpotify, this is cost-free one first The stimulate thenumberstreams. there arealsooptionswithintheDSPitselfto listeners, suchassocialmediaorradio.However, by marketingactivitiesoutsideofDSP’s toattract Table 1: Per-StreamPayout2021,Source: https://www.digitalmusicnews.com

next section. which willbediscussedanddemonstratedinthe However this ignorestheimportanceofliveperformances ofstreaming. metric the by defined is managers. Today, generally, anartist’s success has gainedimportancebothforartistsandtheir In thestreamingera,numberofstreams pluggers. playlisting; socalledstreamingmanagersor to influence roles specific have sometimes and They havemorecontactswithintheindustry could increasethechancesofgettingplaylisted. depending on what is specified in the contract, they As forstreamingviaspecialistdistributors,

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PAGE 3 CHAPTER PAGE CHAPTER 3 30 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL MAJOR REVENUE STREAMS helping break newactsontheinternational live 2020). ESNS hasaproventrackrecord for 40.000 visitorsintotal(Eurosonic Noorderslag, showcases around350European artistsforover including 400international festivals,and ESNS attractsover4.000professional delegates, and musicconference.Selling outeachyear, non-profit, European artistonly, 100%showcasefestival a is (ESNS) Noorderslag Eurosonic more detailbelow. North oftheNetherlandsisdescribedinalittle normally (COVIDexcluded)takesplaceinthe Eurosonic Noorderslag,anannualfestivalwhich Noorderslag (NL), to name a few. For example, Reeperbahn (DE),MaMA(FRA)andEurosonic kickstart theirlivecareer. TheGreatEscape(UK), to catchtheeyeofindustryprofessionalsand certain gigsthatartistswillwanttobeplaying When itcomestoliveperformances,thereare important torealisethatthenumberofstreamsis difference betweenstreaming andlive.Itis Artists, however, shouldbepreparedfor the booking theartist. (i.e. bookingmanagers)willbecomeinterestedin is successfulandattentiongenerated,venues have tofocusonreleasingmusiconline.Oncethis the currentmusicindustry. Firstlytheartistswill deliberately, becausethisishowthingshappenin with StreamingprecedingLive-hasbeenchosen The sequenceofthesectionsinthischapter- 2021). not fans. These are fans of the playlist. (Herstand, and streaming numbers overnight. But theseare playlists canskyrocketanartist’s monthlylisteners know theartistsname!.Yes, gettingonafewhot that peoplelisteningtomusicdonotnecessarily of playlistsonstreamingservicesandthefact will showup.Thisisduetothehugepopularity streams, yetwhenplayingavenueonlytenpeople fanbase; anartistmightachieveonemillion not necessarilyafairrepresentationofanartist’s GIGS 3.2 LIVE plays Noorderslag. artists, whilstthelocaltalentfromNetherlands of thefestivalwhichisdesigned for European ESNS issplitintotwoparts;Eurosonicthepart opportunity forupandcomingartists. can start planning their tours. This is a huge artists that thus and line-up their filling start can means festivalprogrammersandvenuebookers for artists. The timing of the event, mid January, music scene.ESNSisindeedalaunchingpad artists, arguing thatonceartistsreceive a in thewayit couldworkoutforindependent February 1 2021). Benders is especially interested post-COVID (Benders,personal communication, believes thatthereisroom foranewcategory his eponymousorchestra,is oneoftheartistswho Colin Benders,formerlyknown asKytemanwith performance segment. live performances,avaluableadditiontothe artists tocollectdataandgaininsightsabouttheir partof be a greaterartistserviceplatformwhichenables would service This music. for Netflix audiovisual streamingservice,comparableto 2020). DeEffenaar iscurrentlyworkingonan (Feijen, personalcommunication,1December of musicvenueDeEffenaar inEindhoven(NL) to stay”,arguesJosFeijen,generalmanager a categoryonitsown.“Athatishere such concertsiscompletelydifferent, makingit However, theproductionandexperienceof as iftheyarereplacementsforliveconcerts. People seemtobejudging the livestreams of theseeventscouldbeenormous. revenue streamsandpublicity),theimplications look atthesenumbers(andthinking about the performances (Kastrenakes,2020).Taking aquick gathered 33 million views in total across the four shows inthehitkidsgameRoblox.The audience ofmillionsacrosstwodaysandfour 2020). NotmuchlaterLilNasXperformedtoan people[fans] tookpartinthespectacle(Stuart, titled “Astronomical”andmorethan12million Travis ScottteamedupwithFortniteforhisconcert as gamingplatforms,toperformvirtualconcerts. artists have also taken to popular platforms, such likes ofBillieEilishandDutchbandDeStaat, Apart fromlivestreamingperformancesbythe into consideration. live industryasaresult,aretoobigtonotbetaken pandemic, theeffects thathaveoccurredonthe the purposeof this thesisis to designbeyondthe developments surroundingCOVID-19.Although concerts isadirectconsequenceofthelatest effort toreachtheiraudience, livestreaming in popularity. Withartistshavingtoputinmore A hybridofstreamingandlivehasrecentlygrown 3.3 LIVE STREAMING LIVE

February 12021). Benders (Benders, personal communication, the futureholdsmusicalnomads,accordingto Whereas digitalnomadswereoncepopular, followers on). own channels(i.e.theplatformsthattheyhave at the same time. Directing the streamlink to their playing atacertainfestivalwhilstlivestreamingit leverage and negotiationposition when artists are On topofthat,thiscouldleadtohavingacertain audience, knowing they have some reassurance. it moreattractiveforartiststostartgrowingtheir yet still it would be profitable for them. This makes or citiesinwhichtheyhavelessofanaudience, this setup,artistscouldpotentiallyvisitcountries whilst also bringing in peoplephysically. Using they streams, can setupaproductionanywhereintheworld, tolive visitors of flow consistent

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PAGE 3 CHAPTER OVERVIEW Diagram 2:Streaming andliveposition C3 INSIGHTS DECISIONS 3G 3F 3E 3D 3C 3B 3A (scope). because itisthebiggestDSPinNetherlands overlap betweenthetwo.Spotifyischosen Spotify toseewheretherecouldbepotential Decision toanalyseDIYfrompunkoriginsand and consumer(listener). Goal; Creatinganewrelationshipbetweenartist Live industrynotwithinscope Focus onthescopeofNetherlands.

Live streaminghasafuture. There isstillademandforlivemusic. Importance ofliveperformances. Risk ofanonymityamongthemany. what yourfanbaseis. DSPs havepowerintellingwhereand Introduction ofonlinedistributors. established itself. Hierarchy ofthestreamingindustryhas

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PAGE 3 CHAPTER CHAPTER 4 PAGE DO IT YOURSELF DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL 35 DIY ORIGINS NOW TO TRANSLATION 4.1 4.2 scene, translating its conduct a case study on the DIY To and setting, to verify if those ideas origins to a modern-day beliefs can still be upheld. van der Werf Ton Madelon Acket Erwin Blom

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DO the as a case study, CHAPTER 4 focussing on music, to capture the beliefs and ideas of to capture the beliefs and focussing on music, ideas and beliefs are this movement. From there, these translated to the current situation. In this chapter, which serves In this chapter, to it yourself) music are retraced origins of DIY (do only broader approach is taken, not the punk era A CHAPTER 4 PAGE CHAPTER 4 36 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL DO IT YOURSELF in termsof music productionanddistribution. full advantage ofthetechnologicalinnovations developing duringthe1970’s and80’s weretaking The independentrecordcompanies whichstarted freedom andanti-establishment views. “properly”, allfueledbyadeep beliefinindividual be played,bypeoplewho couldnotplaythem instruments wereplayedastheyshouldnot short, straightforwardand“inyourface”.Musical ona depending paid expert.Thisresultedinsongsthatwere not and self-sufficient being The punksubcultureadvocatedaDIY-ethic; remark. static, therefore“Boring!”wasafrequentlyheard music wasjudgedtobetoocommercialand Bowie, FleetwoodMacandtheBeatles.The overproducing musicofartistssuchasDavid the reactiontonumberofrecordlabels a rebellionagainstthehippieculture.Itwas The punk music movement was started as the punksubculture(Jonker, 2012). zippers andchains.Fashionwasjustonesideof one different than the next, buttons, safety pins, punk movement;Silkscreenprintedt-shirts,each the of look the defined that clothing in specialised for hershop.“BuckDanny”,theshop’s name, between 1974and1976,tostockuponitems run byMalcolmMcLarenandVivienne Westwood up and down to London to visit SEX, a botique in the UK during the 1970’s. Acketwould travel in TheHague(NL).punkmovementemerged store punk first very the of owner the was Acket , personalcommunication,3December2020). spoken by MadelonAcketduringtheinterview(Acket sentence first the is This up. built be to DIY liesattheheartofeverything,everythinghas industry toseewhereDIYmightworknowadays.” translating these factorsonto the currentmusic a stepbackandanalysethehistoryofDIY, start has continuedtogrowthroughouttheyears.Take was hisadviceforthisgraduationproject.“DIY punk era,youmightrecognisecertainprinciples”, you lookattheriseofDIY, especiallyduringthe personal communication,November302020).“If at theUtrechtSchoolArts(HKU)(Werf, vander, itself, accordingtoTon vanderWerf ateacher The musicindustryhasthetendencytorepeat 4.1 DIY ORIGINSDIY to rebel,whilstnowadaysitisrebellingdobetter. a keydifference; backthenitwasrebellingsimply stubbornness existsnowadays,however there is prevailed. Acket recognises thatthesame became apparent.Anattitudeofstubbornness between musicartists,activismandtheaudience became apoliticalmovement,whererolefading housing shortageofthe70’s, thepunksubculture During theongoingpovertyandanenormous company, assoontheybecamesuccessful. bought uporlosingtheirbestactstoamajorrecord independent recordcompaniesriskedbeing therefore beingseenasa“sell-out”.Likewise, contract atamajorlabel,abandoningDIYand Back then,manyartistswouldgiveitallupfora on thegiantsofmusicindustry. as DIYlabels,theseweretoughtimesfortaking spread information.HoweverforbothDIYartists fanzines containingrecordreviewswereusedto album coverswerehandmadebystencilingand Independent distribution channels were set-up, as thelikesof Punk,HipHopandReggae were and co-operations werebigduringthe punk era, you mustenjoyandbegood at.Collaborations to playanactiveroleyourself, whichissomething artists andtheaudience.As aDIYartist,youhave collectivism, being creating andenhancingthe relationshipbetween notions, three collaboration andco–operation areleadingin final The the nextchapter. in though this on More influence. of amount huge very centralisedaroundbigplayersexercisinga source ofmusicconsumptionviastreamingisalso a dominantposition.Nottomentionthatthemain to 65.5%in2020(Midia,2021),yetstillremain in thelast12months,fallingfrom66.5%2019 as “thebigthree”,lostalittleglobalmarketshare remains. Thethreemajorlabels,alsoreferredto expanding, thepowerofmusicindustrygiantsstill the currentsituation.AlthoughDIYhaskepton This notion does not quite come into its own in Moving ontothesecondnotionofdecentralisation. music industryoperates. these seemverytranslatabletohowthecurrent notions of “participation and access”. Both of two first the to leads which accessible, this been endless andeasilyaccessible.DIYhasnever endless, alsotechnologytoolsareprettymuch live inatimewheredistributionpossibilitiesare it’s ordinaryandwellorganised.Notonlydowe matter ofprincipleandoutnecessity, nowadays so. Thebigdifference isthatbackthenitwasa nowadays artistsdonotfeelthenecessityofdoing during thepunkerawouldsellthemselvesout, the lookoutfornewinnovations.Whereasartists co-owner ofFastMovingTargets andalwayson proclaimed Erwin Blom (interview reference), “The Internet is the new phase of DIY, the new punk” the DIYsceneofpunkeraintostatusquo. a guideline to translate the beliefs and views from co–operation. Thesenotionswillbeconsultedas decentralization, collectivism,collaborationand Galuszka (2012)article are participation, access, media system.Thenotions,asdescribedinPeter led toasetofnotionsthatarevitaldemocratic democratization toanalyzeBritishpost–punkwhich Hesmondhalgh (1997)appliedtheconceptof 4.2 TRANSLATION TO NOW A scanoftheoriginal pamfletusertomarktheopening of“BuckDanny” in thegameFortnite(asdescribedchapter5.4). performing inapunkclubtoTravis Scott’s concert finishes Acket co-operations, the interviewbycomparingGrandmasterFlash of topic the On movements. new influenced and other each with outcast by society to start off with, they interacted very much intertwined. As groups that had been

Source: Acketarchive

DO IT YOURSELF IT DO 37 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN

CHAPTER 4 CHAPTER PAGE OVERVIEW C4 INSIGHTS 4E 4D 4C 4B 4A

recognition. Whilst financial income is important, so is Opportunity forMaak? their competency/capabilitygaps. The DIY artists need a helping hand to fill good indoingbusiness. only begoodatmakingmusic.Also As aDIYartistsyouarerequiredtonot co–operation tobereflectedindesign. Collectivism, collaborationand rebellion. Punk movementwastheresultofa

39 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN YOURSELF IT DO

PAGE 4 CHAPTER CHAPTER 5 PAGE MUSIC STREAMING INDUSTRY DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL 41 - DIRECT STREAMING PLATFORMS (DSP) PLATFORMS DIRECT STREAMING SPOTIFY PLAYLISTS OF STREAMING CONSEQUENCES 5.1 5.2 5.3 5.4 to illustrate the growth and influence of streaming in To music industry. day’s van der Werf Ton Wilbert Mutsaers Colin Benders

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STREAMING MUSIC CHAPTER 5 figures. A closer look is taken at Spotify, the Swedish look is taken at Spotify, figures. A closer well as the consequences Direct Streaming Platform, as in general. that streaming has had on music In this chapter a deep-dive is taken into the world of the a deep-dive is taken into the In this chapter concept of the Direct Streaming The streaming industry. and and illustrated by facts Platform is introduced CHAPTER 5 PAGE CHAPTER 5 42 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL MUSIC STREAMING INDUSTRY discussed. be will streaming of consequences the finally and Spotify asacompany, theimportanceofplaylists In thefollowingsectionsthereisafocuson share in2020(Mulligan,2020). maintained itsposition,boastinga32%market (O’Dair Et.al,2020).However, Spotifyhasalway ushering inashiftfromownershiptoaccess YouTube, havebecome increasinglydominant, such asSpotify, AppleMusic,Tidal, Deezerand attention oftheconsumer. Asaresult,DPP’s, What followedwasapowerstruggletowinthe a platformthatrecommendedmusictolisteners. the to recognise importance ofpairingon-demandlisteningwith platform first the was Spotify music foruserstotryout(Grannell,2018). that machines were used to predict and suggest time first the was This behaviour. listening users The platformsrecommendedmusicbasedonthe iTunes music store, offered something different. Pandora, launchedjustbeforeandafterthe and last.fm Both album. or song per amount fixed offered userstheabilitytodownloadmp3’s fora iTunes store,introducedtoaccompanytheiPod, they launchedtheiTunes musicstorein2003.The The first major initiative was taken by Apple, when albums andsingles. streaming servicethatfeaturesdigitalmusic A DirectStreamingPlatform(DSP)isanonline this growthcomeabout? listening tothatsamemusiconDSP’s. Sohowdid 433 millionusersofpaidsubscriptionaccounts (Gowan, 2002). Now, 20 years later, there are tracks for80millionsubscribersglobally, forfree provided access to millions and millions of music into the world. AtitspeakinFebruary2001,theplatform way its made service, sharing file peer Just over 20 years ago Napster and its peer-to- 5.1 DIRECT STREAMING PLATFORMSDIRECT STREAMING profitable company. establishment in2008Spotifyhasneverbeena to bepredominantlygrowthforus.”Sinceits over growth,butforthe next few years it’s going profit on more focus we’ll where maturity of point inan it put Ek as interview with CNBC: “Eventually we will get to a Or later. profit now, growth into thecompany, asthatisthecurrentstrategy; remaining 30%ofrevenuesisinvestedback to rightsholdersintheshapeofroyalties.The alike. Thecompanypays70%ofitstotalrevenue as independentartistsandminorrecordlabels gets itscontentfrommajorrecordlabelsaswell is broughtinbyadvertisingrevenues.Spotify for 90%ofSpotify’s revenue,theremaining10% These 155millionpremiumusersareresponsible them thebiggeststreamingserviceinworld. are subscribed users (Spotify, 2021), making 155 millionofSpotify’s 345millionworldwide users offline listening. can download music straight to their device(s) for or Premiumusersreceivehigh-qualitymusicand advertisements inreturn.Thesubscription-based services receivelowerqualitymusicandoccasional model; userswhichhavefreeaccesstoSpotify’s From the start, Spotify offered a “freemium” based 2012) U.S.(Bertoni, the in deals licensing the finalise theU.K. and Spain,ittookanotherthreemoreyearsto France, in Scandinavia, launched first necessary fortheplatformtowork.The for theenormoussongcataloguesthatwere had to be agreed upon with record companies this delaywasmainlyduetothelicensedealsthat did notgoliveuntilOctober2008.Thereasonfor and MartinLorentzonin2006,howeverSpotify The nameSpotifywasregisteredbyDanielEk 5.2 SPOTIFY

road aheadtoachievethestatedSpotifymission 8 billion artists, this suggests there is still a long of streamsbeingsharedbetween57,000out 60.000 songsbeinguploadedeverydayand90% 2021) insteadof“asmanyaspossible”.With mission statementreads“1million”(Spotify, official the Whilst, statement. mission Spotify’s as art/music in front of the widest possible audience” “Letting asmanypeoplepossibleliveoff their was interviewedforthisthesisspokeabout Wilbert Mutsaers, headofSpotifyBenelux,who service. as aproportionoftotalsongsstreamedonthe model; thenumberofstreamsanartist’s songs platform paysroyaltiesaccordingtotheprorata regarding unfaircompensationforartists.The always beenonthereceivingendofcriticism 2020). However, fromthegetgoSpotify has (Spotify, statement financial Spotify 2019 the to to musicindustryrightsholdersintotalaccording music. Spotifyhaspaidmorethan15billioneuros What Spotifyhasdoneisbringmoneybackinto THE SPOTIFYMISSION

43 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN INDUSTRY STREAMING MUSIC

PAGE 5 CHAPTER PAGE CHAPTER 5 44 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL MUSIC STREAMING INDUSTRY however they heavilyfeaturemusicproduced by are proclaimed andputforwardasbeing neutral, Topsify. These playlists, which are on Spotify, owns Digster, Sony owns Filtr, and Warner owns own “independent”Spotify playlist;Universal On topofthis,eachthe majorlabelshastheir areowned and curatedbySpotify. offollowers, amount the by asof defined that fact the October 2020,allofSpotify’s top10playlists, in reflected is power That saying goes)“informationispower”. Spotify harvestsalotofinformation,and(asthe their advertisersremainsunclear, nevertheless Wherever thedataisgoingbesidesSpotifyand data fromitslisteners(wholistenstowhat). generated playlists,Spotifyisobtainingvaluable Whether theyareSpotifyplaylistsoruser- shuffle. freemium users’playlistcanonlybeplayedon and premiumuserplaylistcapabilitiesisthata The onlydifferencebetweenfreemiumuser • • • types; Spotify playlistsessentiallycomeinthreedifferent recommendation tools,likeSpotifyradio. user homepageandintroducingmultiplenew -completely revampingandpersonalisingthe Spotify hasuppedtheirgameinmusicdiscovery Mix wereintroducedtothepublic.Eversince, Just over a year later Release Radar and Daily the playlistwasahugesuccess(Dredge,2015). behaviour andsongsenjoyedbysimilarlisteners, recommendations ofnewmusicbasedonlistening Weekly” playlist.Updated weeklyandproviding In 2015,Spotifylaunchedthe“Discover industry startedselectingmusicfortheconsumer. 2021). Itoriginatedfromthefactthatmusic listen toontheircomputer, phone,etc.(Playlist, is alistofpiecesmusicchosenbysomeoneto A playlist,asstatedbytheCambridgedictionary, 5.3 created bybothfreemiumandpremiumusers. User generatedplayliststhathavebeen by Spotifycomputersusingalgorithms. algorithmic playliststhathavebeenfabricated put togetherbyaSpotifyeditor editorial (orcurated)playliststhathavebeen PLAYLISTS Whereas Spotifysetouttobeatrulysocialplatform the gainedinsights. nothing canbecarriedoutorachievedbasedon provided isrelativelybroadandwithintheplatform data, insights etc.”. However, all of the data look at the entirevalue of whatyou are getting; look attheout-of-pocketvalueofstreams,but topic, Mutsaersarguesthat “one shouldnotjust provides dataonstreams and listeners.Onthis playlist inclusion.Besidesthat,theservicealso music to Spotify’s editors to be considered for as describedinchapter3.3,artistscanpitchtheir Spotify launchedforArtistsin2017where, the samerecordcompanythatownsit. Spotify togettheirdailyfixofmusicanyway”. matter whichartiststheylistento,cometo that haveamanufacturable success; Itdoesnot of “Spotifyfans”todescribeconsumers (Warren, 2012). Colin Benders uses the notion in 2012,littleseemstobeleftofthatstatement Swift. such acquire music catalogs,suchhas happenedtoTaylor to firms investment big attracted on theirsongcatalogs.On theotherhandithas and FleetwoodMac’s StevieNickstocashin been theimpetusforolderartists,likeBobDylan source ofincomeforartists”.Thisperpetuityhas not aone-off paymentitisaconstantlong-term “Unlike buyingaCDordownload,streamingis as MusicWeek editorTim InghamtoldtheBBC: spread outcomparedtoCDorvinylreleases.Or earned throughrecordedmusic.Earningsare Lastly, streaminghasalteredthewaymoneyis not. Asaresult,lotmoresinglesarereleased. very clearwhichsongsworkandonesdo on analbumwereappreciated.Nowadays,itis possible to uncover in the CD era, was if all songs feedback ontheirmusic.Somethingthatwasnot attitude fromartistsastheyreceivedirect These typesofinsightshaveledtoadefensive playlist. mean thatasongwillberemovedfromaneditorial meaning thatacertainamountofskipscould through-rate. Ontopofthat,askipisregistered, hook. Hopingthatthiswouldleadtoalowerskip- the instrumentalintroandleapstraightinto songs becomingshorterastheystartedtoditch seconds, beforebeingskipped.Thisresultedin calculation) if the song was played for at least 30 stream wouldonlybeincluded(intherevenue certain DSP’s introducedthefunctionalitythata worst nightmare.Thishasbecomethecasesince A songbeingskippedhasbecomeanartist’s the embraceofstreaming. what havebeenotherknockoneffects causedby That initselfisaconsequenceofstreaming,but occupied withtheirownmanufacturablesuccess. as contentprovidersforaplatformwhichismainly attention” byBenders.Whereartistsmerelyserve for a“marketplace as defined is context, this in most time is spent looking for lesser evils”. Spotify, Colin Bendersdescribesitas“aprocesswhere When choosingastreamingserviceforhismusic, 5.4

CONSEQUENCES OF STREAMING

45 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN INDUSTRY STREAMING MUSIC

PAGE 5 CHAPTER

OVERVIEW

Publisher label Record

Major label owned playlists owned label Major Publishing royalties Publishing

Data Publishing royalties Publishing

Music

Recording royalties Recording

& royalties & Creator

Licensing Licensing

Data Music

Data

Music Premium

Subscription fee Subscription

Playlist inclusion Playlist Music

Royalties

Distributor Spotify Playlists

Music Music + ads + Music

Data

Freemium

Data

Editorial and algorithmic playlists algorithmic and Editorial

Advertising fee Advertising Diagram 3:Spotify valuenetwork Data

Advertiser party 3rd

playlists Editorial Editorial C5 INSIGHTS 5F 5E 5D 5C 5B 5A

Removing thebarriertoentryiskey. for change. Playlists representanopportunity, alever insignificant. Users canmakeplaylists,yettheyare have. playlists that influence and Dominance independent artists. Meaning positivediscriminationtowards vision, theyneedtohelpindependents. For Spotifytoachievetheirmission/ a playbuttonandtohearmusic. Lazy Spotifyconsumers,alltheywantis

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PAGE 5 CHAPTER CHAPTER 6 PAGE DESIGN FOCUS DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL 49 DESIGN PRINCIPLES DESIGN CHALLENGE 6.1 6.2 and findings from conducted research Collect and analyse in terms of design principles. identify opportunities

AIM C6 CONTENT

FOCUS - DESIGN - CHAPTER 6 search phase, design principles are set up to initiate and design principles are set up to search phase, support the design phase. In this chapter the research part of this thesis is conclud the research part of this thesis In this chapter separate up the main insights of each ed by summing from the re from the gained insights Drawing chapter. CHAPTER 6 PAGE CHAPTER 6 50 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL DESIGN FOCUS 5E 5D 5C 5B 4D 4B 3D 3C 3A 2B 2A results inthefollowinglistofinsights: present anopportunityorthreatareselected.This previous chaptersarereviewed.Thosethat from allinsights principles, design the define To 6.1 for change. Playlists representanopportunity, alever insignificant. Users canmakeplaylists,yettheyare have. playlists that influence and Dominance independent artists. Meaning positivediscriminationtowards vision, theyneedtohelpindependents. For Spotifytoachievetheirmission/ gaps. competency/capability Opportunity forMaak? their fill The diyartistsneedahelpinghand operation tobereflectedindesign. Collectivism, collaborationandco– Risk ofanonymityamongthemany. what yourfanbaseis. DSPs havepowerintellingwhereand established itself. Hierarchy ofthestreamingindustryhas Barriers toentryforindependentartists. control. Record companiesarestillverymuchin DESIGN PRINCIPLES 4. 3. 2. 1. four designprinciples: This listwasdistilleddowntothefollowing importance oftheuser-generatedplaylist. Playlist improvement;Restorethe Stimulate independentartists. creative process. critical listenerstobecomepartofthe and co–operationtobereflectedindesign, User involvement;Collectivism,collaboration for independentartists. Artist empowerment;lowerbarrierstoentry

will beusedinsteadof(music)artist. Note: Fromthischapteronwardthetermcreator and fosterthoseconnections. DIY creators.Createdirect,intimateinteractions Goal: relationship betweencreatorsandtheiraudience. Why: For whom: Answer music industrytobalancevaluestreams? Research question: following lineofreasoningseemslogical: When revisitingthemainresearchquestion or theiraudience properly accessibleanddirectlyusableforartists discovery. Thedataandinsightsarethere,yetnot to minimalaudienceengagementandmusic The problemislackofcommunity. Thisleads • • • less social. listening to.Ontopofthat,playlistsarebecoming it intotheplaylistsandthuswhataudienceis power oftheDSPtodictatewhichcreatorsmake and moredominantimportant,sodoesthe As platform-generatedplaylistsbecomemore key tounlockingvaluefortheindependentartists. The solutionliesinplaylists.Playlistsholdthe discovery. growing. Streamingisthemainsourceofmusic music industry. Thestreamingindustryisstill Streaming isamassiverevenuestreamofthe 6.2 as theyarebecominghardertofind. generated playlistsarebecomingdevalued DSP’s pushtheirownplaylists;User- dependent onasmallgroupofeditors Editorial playlists; More and more people Algorithmic playlists;nohumaninvolved Direct Streaming Platforms constrict the Makestreamingmoresocialforindependent/ : Makemusicstreamingmoresocial. Independent(DIY)creators Howcanweredesignthe DESIGN CHALLENGE

empowerment orsocialinteraction. value that is mostly intangible be it via recognition, project, thefocusswingssomewhattowards research question.Inthelightofthisgraduation very wideinterpretationwithrespecttothemain So itisimportanttounderstandthatvaluehasa sales (streams). spreads so a fan base can build up and lead to lead totangible monetary value.Asrecognition intangible valuecan,overthecourseoftime, intangible. Itisworthnotingthoughthatsuch of valuetoacreator. Recognitionislargely that, forexample,“recognition”alsohasalot In thecourseofthisprojectithasbecomeclear easily measured. with monetaryworthwhichistangibleandcanbe differently. Value ismostcommonlyassociated people; different peoplecan valuethesamething “value”. Value means different thingstodifferent It isnowpertinenttohaveashortdiscussionabout In theresearchquestion,word“value”isused. VALUE DEFINITION

51 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN FOCUS DESIGN

PAGE 6 CHAPTER CONCEPT DEVELOPMENT CONCEPT 7 CHAPTER CHAPTER 7 C7

CONTENT 7.1 IDEATION 7.2 CONCEPTUALISATION 7.3 FINAL CONCEPTS In this chapter the development of the concept is de- scribed; starting from ideation, through to defining three concepts. On the basis of the design principles set out in the previous chapter, a decision-making process is used To illustrate the creative and decision-making process to select which concept to continue developing, leading AIM which marks the translation from research to design. to the final concept. DESIGN INTERVENTIONS AT LEVEL A SYSTEMIC DESIGN INTERVENTIONS DEVELOPMENT

CHAPTER 7 CONCEPT PAGE 53 PAGE CHAPTER 7 54 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL CONCEPT DEVELOPMENT This could make playlisteditors/curators placement on theonespicked? playlists tochoosefrom, but wereguaranteed What ifartistswereallowed alimitedamountof has similarmusictaste. someone youhavecrossed pathswithandwho geo-location? Playlistswouldbeexchangedwith What ifplaylistdiscoverywouldworkbasedon listening, thismightincentivisepaidsubscriptions. means thatartistsearnmorethroughyour account. Ifchoosingforasubscriptionaccount using afreemiumaccountoversubscription users? Thiswouldmakeusersthinktwiceabout subscriptions weighedheavierthanfreemium What ifroyaltiesearnedthroughpremium user. the by taste defined clearly a in Resulting not. or by swipingtheuserjudgesiftheylikemusic New musiccouldbediscoveredbylisteningand What iftherewasTinder forSpotify? that creator/artist. submission wouldbereviewedbythefollowersof It couldbecalled“pitchtothepeople/public”.The are reviewedbySpotifyusers? What if pitch submissions via Spotify for Artists because ofyourstreams. metric such as minutes listened or money earned your weeklyconsumptionofmusicintermsa It couldbecalled“Wrapped weekly”,quantifying Spotify? What if users received a Screen Time report for exclusive contentandpresaleforconcerts. Following artistswouldpayoff forbothpartieswith What ifPatreonwasonSpotify? What if…. of ideas. the problemathand.Thisledtofollowinglist challenges thedesignertothinkdifferently about This methodtriggersunexpectedideasand primarily usingthe“Whatif…?”scenariotechnique. The ideationprocessforthisprojectwasfocussed 7.1 IDEATION incentivise usergeneratedplaylists. amount of streams is at the moment. This would in aplaylistbecomesnewmetric,likethe Playlist inclusion is rewarded and being included centered paymentsystem?” What ifstreamingwouldembracea“playlist example). picked performedwell(amountofstreamsfor playlist andwouldberewardedifsongsthey Users couldcreatea“fantasyfootball”esque as thedraftsysteminNFL? What ifusershavetheoptiontopicknewreleases editorial playlists. redundant, andevenlyspreadartistsamong broader panelandamorenuancedreview. editors/curators, butalsobyfans.Resultingina Songs thatarepitchednotonlyreviewedby multiple tierreviewsystem? What ifsongswouldbereviewed/consideredbya 2. 1. two maincriteria: on judged and refined were concepts the choose, finally to concept which on decision well-founded into conceptualisation.To beabletomakea promising concepts were chosen to take forward Using theideasasmentionedabove,three becomes important, yet does not fulfill a social purpose. fulfill not does yet important, becomes 4. Playlistimprovement; Medium.The playlist might convertintoplaylistinclusion. are stimulatedtocreatemore faninteractionsthat 3. Stimulateindependentartists; Medium.Artists back andforthwithartists. their actionsaremademeaningful, yetthereisno 2. Userinvolvement;High.Usersareinvolvedand empowered 1. Artist empowerment; Low. The artist is not Design principlecompliance: advantage overotherDPSs. and consumercentered.Gainingacompetitive behaviour. Playlisteditingbecomesmoreartists DSP value:Insightsintomusicconsumption journey oftheartistandthereforeappealtofans. of theprocessandfeelmoreincludedalong Audience value:Audienceswouldbemadepart the artistandfans. would leadtoamoredirectconnectionbetween Creator value:Aplaylist-centeredpaymentsystem generated playlistsonly. a payment.Thiswouldbethecaseforuser metric, basedonwhichotherartistsalsoreceive accounts for. Playlistinclusioncouldbeanew based onthenumberofstreamstheirmusic Description: At the moment artists are being paid Playlist-centered paymentsystem CONCEPT A 7.2 6.1. chapter in specified as principles design The stakeholders; Creator, Audience,DSP Value propositionforeachofthethree CONCEPTUALISATION

CONCEPT B knowledge ofabroaderreviewshouldstimulate 3. Stimulateindependentartists;Medium.The opinions beingvaluedhigherthanothers. some with users, other influence can and valued 2. Userinvolvement;High.Users’opinionsare not muchchangesforthem. gains ahugeamountoffeedbackontheirmusic, 1. Artist empowerment; Low; Although the artist Design principlecompliance: performed forthem. part of the work of sorting and scoring pitches is data iswhatinit for theDSP’s. Ontopofthat, DSP value:Collectingfaninsightsandvaluable fulfilment forthelisteners. in terms of discovery and this then leads to more More reviews will lead to more informed decisions involved andiscreditedfortheircontribution. Audience value:Theaudiencebecomesmore terms ofreviews. amount ofpeople.Thisleadstomoreinsightsin of themusic,otherthanitbeingjudgedbyasmall at thecurator. Thisresultsinabroaderevaluation Creator value:Thesongpitchisnotonlytargeted final tierisformedbyotherfollowersandfans. in thesecondtierareaccreditedfollowersand is used.Thetoptierstilloccupiedbycurators, by inhousecurators,amultipletierreviewsystem Description: Insteadofsongpitchesbeingreviewed Multiple tiermusicreviewsystem

55 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN DEVELOPMENT CONCEPT

PAGE 7 CHAPTER PAGE CHAPTER 7 56 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL CONCEPT DEVELOPMENT community creation.Something trulysocial. become important for musicdiscovery and for 4. Playlistimprovement; High. Usersplaylists which resultsintheirmusic beingspread. are stimulatedtointeractmorewiththeirfans, 3. Stimulateindependentartists;Medium.Artists a community. discovering newmusic.Theyalsobecomepartof by spreadingthemusicofartisttheylikeor 2. Userinvolvement;High.Usersareinvolved with regardtotheirfanbase. influence with them provides This communities. empowered bythecreationoftheirown 1. Artistempowerment;Medium.Artistsare Design principlecompliance: the DSPwithacompetitiveadvantage. platform. Apointofdifferentiation thatprovides perceived asatrulyartist-friendlyandsocial DSP value:Userbehaviourinsights.Being process face) recommendations.Ownershipinthecreative and thereforecomingclosetoreallife(face Audience value: Music discovery, user-generated their artist“brand”. engaging fans,theystartcreatingadvocatesfor fan/audience engagement.Onceartistsstart that revolvesaroundtheirmusic.Directintimate Creator value:Communitycomesintobeing with them. themselves” andartistscantapinto,interact spread. Communitiesarecreatedorganically“by Artists receiveinsightsabouthowtheirmusicis modes, eitherspreadingordiscoveringmusic. user. Theusercanchoosetwodifferent user music tasteandhavingcrossedpathswiththat geo-location. Matchesaremadebasedonsimilar Description: Usersexchangeplaylistsbasedon platform Proximity-based musiccommunitycreation CONCEPT C making adifference. social platformwhereuserplaylistsreallystart that itshowspromiseofbecomingalegitimate 6. Akeypointthatdifferentiates thisconceptis design principles that were established in chapter the fulfilling to comes differenceit of when point a audience andtheDSP. Ontopofthat,italsooffers the most potential value for the creator, the The reasonforthisisbecauseconceptCshows with conceptC. concepts, thedecisionhasbeenmadetocontinue Based ontheaboveevaluationofallthree DECISION PLATFORM COMMUNITY CREATION CONCEPT C-AMUSIC SLIDER Some definitionsoftermsrelativetoConceptC: music taste A musicdiscoveryplatformbasedonsimilar by otherusers thatcontainthesetwo songs, used tolook for playliststhathavebeen created this exampleasthe“overlap”. Thisoverlapwillbe in defined are above described as songs two The OVERLAP two songs that are common in the target playlists. mean thatmusicwouldbediscoveredbasedon at 20%ofaplaylistcontainingtensongs,would from 0-100%.For example, with the slider set they wanttodiscovermusicwith.Thesliderisset slider todeterminethepercentageofthatplaylist of theirownplaylistsandsubsequentlyusethe to discovermusicwith.Auserwillchooseone a tooltodeterminetheamountofdesiredoverlap been replacedbya“slider”.Thissliderisusedas based orgeo-locationplaylistdiscoveryhas A majorchangetotheconceptisthatproximity- C ifnotmentionedotherwise. concept orplatformareused,theyreferto Note: Fromthispointonwards,when the words between different usergroups areenvisioned. to clarifythefeaturesandhowinteractions C willbepresented,alongwithavisualisation changes andfurtherdevelopmentstoconcept C has been selected. In this subchapter, the author ofthisthesis.Aswasdescribed,Concept around thoughtsthathadbeenformedbythe with people(expertsandenthusiasts),also made. These adjustments were based on talks concept developmentphase,adjustmentswere As thethreeconceptsadvancedthroughout 7.3 FINAL FINAL CONCEPT

See Diagram4formoreinformation. and offerings. their community, intheformofexclusivecontent Artists havetheopportunitytodirectlyengagewith location andquantity. watch theircommunitygrow, receivinginsightson Artists cantrackthemovementoftheirmusicand CREATORS (theartists) same time. Note thatbothmodescanbeactivatedatthe it intheirplaylist. a promoterofanyartists’musicbyhavingselected Distributor mode; Effectively a distributor becomes of thatartists’community. When userssubscribetoartiststheybecomepart add ittotheirplaylistsandsubscribeartists. Discovery mode;Userscandiscovernewmusic, however, ifthisisdesired. Both modescanbeactivatedatthesametime (Discovery mode)orpublic(Distributormode). This meansyourplaylistsareeitherprivate Discovery andDistributormode As auseryoucanswitchbetweentwomodes; between twouser-generatedplaylists. desired amountofoverlapmusicismeasured Connections are made between userswhen a A consciousdecision. USERS -DiscoveryandDistributormode. then startdiscoveringthemusicthattheyinclude. view ofthecontenttheseotherplaylistsandcan amongst others.Theuseristhenpresentedwitha

57 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN DEVELOPMENT CONCEPT

PAGE 7 CHAPTER PAGE CHAPTER 7 58 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL CONCEPT DEVELOPMENT and billionsoffanstheopportunitytoenjoybe creative artiststheopportunitytoliveoff theirart potential ofhumancreativity—bygivingamillion social responsibility:“Ourmissionistounlockthe Spotify ismoreabletoliveupitsmissionand DSP’s Introduction ofnewtypesmetrics engagement. and createdirectintimatefan/audience music andhavetheabilitytotapintocommunities subscribed tothemandhaveexchangedtheir See growingcommunitiesofpeoplewhohave audience. on maintainingthecommunityandengaging followers. Providingartistswithmoretimetofocus music, whichareinitiatedandsustainedbytheir Self-propagating communities,basedonartists’ CREATORS the core. like-mindedness ofbothpeopleandmusicisat recommendations. Asocialinteraction,where An experiencethatmimicsrecordstore Regaining importanceofusergeneratedplaylists. from constrainedplaylistsandrecommendations. Peer topeermusicdiscovery, breakingaway (part ofthediy/punkmovement). and growingtheircommunity. audience=creator their successbyspreading/promotingmusic involved bytheartist,butalsocontributingto Ownership inthecreativeprocess;bothbeing USERS Personal, human &social Satisfaction asavalue their audience Direct exchangeofvalue between creatorsand GENERAL inspired byit.” VALUE PROPOSITION

making (play)lists. of theconcept;listeningto(new)musicand because itencapsulatestwoofthemainfeatures name of“Lister”.Thishasbeenchosen From now on the concept/platform will go by the LISTER

Adjust slider User B’s playlist is User A discovers User A adds User A subscribes User A opts for User A creates to set preferred a match, based on new music in new music to discovered “Disovery” mode playlist(s) overlap percentage overlap playlist of User B to playlist artist

USER A USER Community is formed

Community is sustained and nourished USER B USER

User B opts for User B creates Playlist of User B is “Distributor” mode playlist(s) discovered by User A based on percentage of overlap ARTIST

Access platform Get insights into See community Locate Target subscribers Engage with Provide through artists how artists’ music grow as users subscribers directly with subscribers subscribers with profile is spreading subscribe personalised intimately and exclusive content authentically content

Diagram 4:Lister

59 PAGE LISTER 8 CHAPTER CHAPTER 8 C8

CONTENT 8.1 VALIDATION METHODS 8.2 FEEDBACK 8.3 ITERATION This chapter describes how Lister was tested and iterat- ed upon through different rounds of validation. This con- sisted of testing against three basic criteria: desirability, feasibility and viability. To gather data on these criteria, To provide the necessary verification and proof of concept the concept was assessed during interviews, a simu- AIM for LISTER to make it a convincing concept. lation and an online survey. The results are reported as feedback that either support the concept or provide adjustment for iteration. CONTRIBUTORS Ton van der Werf Patrick van Thijn Niels Aalberts Roos Meijer DESIGN INTERVENTIONS AT LEVEL A SYSTEMIC DESIGN INTERVENTIONS Pim van Os Colin Benders Pitou Nicolaes Marinus de Goederen Anneke Stulp Erwin Blom Gerard van Enk Eva Breunesse Tim Graeff Marisa Wouters LISTER

CHAPTER 8 PAGE 61 PAGE CHAPTER 8 62 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL LISTER the stepsthatwerecarriedout. subchapter introduces the method and describes to validatetheconceptarepresented.Each In thispartthedifferent methods thatwereused its functionality. Themainobjectiveofthisquick Firstly, theconceptwastestedpurelyregarding Card gamesimulation functionality oftheinteractionwasproven. It workedandthus,inastraightforwardway, the not matchwould,inthatcase,be“discovered”. a certainlevelofoverlap,thenthecardsthatdid playlists (i.e.hands)wereexamined.Iftherewas cards fromapile.To seeiftherewasoverlap,two platform. Playlistswerecreatedbydrawingrandom 13 songsweretheentiresongcatalogonthis resembled asong,making13songsintotal.These playing cardswasused.Eachcardfromanysuit To simulatetheinteraction,adeckofregular made sense. music discoveryandwhetherthetrainofthought overlap between playlists would lead to proper defining of process the if investigate to was test CARD GAMESIMULATION 8.1 VALIDATION METHODS INTERVIEWS Marinus deGoederen (Aballadeer) Pitou Nicolaes(Pitou) Pim vanOs(PimandProper) Roos Meijer Colin Benders Music artists; Gerard vanEnk(Developer/Owner Million Pieces) Erwin Blom(OwnerFastMovingTargets) Anneke Stulp(GeneralManagerBeneluxFUGA) FUGA) Patrick vanThijn(RegionalManagerBenelux Niels Aalberts(Editor-in-chief3voor12VPRO) & Teacher HKU) Ton vanderWerf (OwnerEndewerfManagement Industry Experts; 6 industryexpertsand5musicartists. A total of 11 interviews were conducted, containing • • • • • • interview. Thislistcontainedquestionssuchas: questions wassetuptobeconsultedduringthe To structureandguidetheinterviewsalistof the conceptorsuggestchangestoimproveit. experts. Thisleadstoquotesthateithersupport for artistsandintermsoffeasibilitybyindustry was tovalidatetheconceptintermsofdesirability The mainresearchobjectiveoftheinterviews audio recordedfortranscriptionpurposes. The handout can befoundinAppendixII.Theinterviewswere focussed. and efficient more was concept in the same manner and that the process that allparticipantswereinformedaboutthe the conceptseveraldaysinadvance.Thisensured provided with a handout containing an overview of and lasted 45-60 minutes. The interviewees were Each oftheinterviews was conductedviaZoom Which partstillneedswork? thing? Do you believe there is a need for such a Is anythingunclear? Is somethingmissing? What appealstoyouaboutit? What doyouthinkoftheconcept? responses. See Appendix IVforthefullsurvey including 7. 6. 5. 4. 3. 2. 1. the survey: participants wereaskedthefollowingquestionsin entire conceptbeforethesurvey. Thefollowing into theproject,butwerenotintroducedto The participantsweregivenabriefintroduction (distributor) roleandwhatwouldincentivisethat. the willingness of users to takeon the playlister the slideronwards.Thesurveyalsolooksinto place tofurtherinvestigatetheuserjourneyfrom slider andoverlapinteraction,sothesurveywasin as describedinthepreviouspart,lookedinto to use more advancedfeatures..The simulation, to investigate the willingness of potential users The mainresearchobjectiveofthesurveywas qualitative data. questions, which would result in quantitativeand of 7 questions, 4 open questions and 3 closed completed thesurvey. Thesurveyconsisted enthusiasts aspossible.Intheend,30respondents The reasonforthiswastotargetasmanymusic Niels Aalberts(Editor-in-chief3voor12VPRO). was distributed via the personalnewsletter of A surveywassetupinGoogleForms.The SURVEY that role? If so,whatwouldencourage youtogetinto new musicbyotherusers? maker and be responsible for the discovery of Would youliketotakeontheroleofplaylist music? playlist(s) tohelptheartistdistributetheir Would youadddiscoveredmusictoyourown playlists? users to keepup to date with their (new) Would youuseasubscriptionfunctionfor preferences, butcreatedbyotherusers? music throughplaylistsbasedonyour How wouldyoufeelifcoulddiscovernew music? How wouldyoumostliketodiscovernew the moment? In whatway(s)doyoudiscovernewmusicat additional songs ontheexpandedplaylist. After thiscamethethirdassignment; listentothe is publicandshareitwiththe otherparticipant. want theothertodiscover. Makesuretheplaylist 2. overlap. songs. This,respectively, resembledhighandlow 9 songs,whilsttheotherpaircouldonlyretain3 picked tobringtheiroverlappingplaylistback After this,onepairofparticipantswasrandomly 10-15 songs. playlist of these songs containing a maximum of you bothhaveinyourownplaylists.Makea 1. have includedinanexistingplaylisttheycreated. mutual playlistofsongsthatbothparticipants similar musictastewasmimickedbycreatinga The interactionofcreatingtheoverlapbasedon were askedtocompletethreeassignments. introduction, theparticipantswerepairedand laptop andhaveSpotifyinstalled.Afterabrief Each oftheparticipantswasaskedtobringa Is themusicexploringexperienceimproved? music? What aretheeffects ofusingoverlaptodiscover answered bymeansofthesimulation: The followingquestionswereexpectedtobe desired amountofoverlap. the userinteractionofsliderthatcontrols The mainresearchobjectivewastoinvestigate recorded bothonaudioandvideo. scheduled fortwohours.Theentiresessionwas role during the simulation. The test duration was previously andthusalsotookupafacilitative Ton hadalreadybeenintroducedtotheconcept students andtheirteacherTon vanderWerf. participants, three 2nd year Kunst & Economie Utrecht ArtSchool(HKU).Thetestinvolvedfour The simulationtestwascarriedoutatthe FACE-TO-FACE SIMULATION

Expand the playlist by adding songs you Match asmanysongspossiblethat

63 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN LISTER

PAGE 8 CHAPTER PAGE CHAPTER 8 64 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL LISTER simulation seeAppendixIII. For theentireslidedeckthatwasusedfor • • • further 3questionswereasked:. soon as they were then given the full overview, a not yetbeenintroducedtotheentireconcept.As At thispointinthesimulation,participantshad • • • • • • • was guidedbythefollowingquestions. playlists, a45-minuteevaluationtookplacewhich After theparticipantshadlistenedtotheirexpanded as youareusedtodiscoveringmusic. from youroverlappingplaylist.Listentothemusic 3. Evaluating thesimulation ofLister Participants discovering newmusic Card gamesimulation From toptobottom:

home andwhy? In whichuserrolewouldyoufeelmostat Would youuseit?Why/whynot? whole concept? What doyouthink-nowthatyou’veseenthe What wouldyouliketoknowasadistributor? overlap? What isthedifference betweenhighandlow What doyouthinkoftheadditionslider? Was itanimprovement? playlist? through anotheruser’s How didyoufeelaboutdiscoveringmusic than usual? Have youdiscoveredmusicinadifferent way on overlap? What didyouthinkofdiscoveringmusicbased Discover themusicotherhasmade first question, “In what way(s) do youdiscover do new musicat themoment?”,itbecame clear that way(s) what “In question, at first aimed were habits andhow theycouldbeimproved. Withthe questions survey uncovering theparticipants musicdiscovery first The DISCOVERY TRUSTWORTHY being discoveredwhichsuitedtheuser. tested duringthesimulationandledtomusic overlap for discovery. This feature was specifically by theincorporationofslidertodetermine Moreover, theuniqueuserexperienceisenhanced that content. content creatorsandenoughuserstoconsume user groups,whichmeanstherewould be enough would beapotentiallyequalsplitbetweenboth new musicbyotherusers.Thissignalsthatthere maker andberesponsibleforthediscoveryof respondents wouldtakeontheroleofplaylist From the survey it became clear that 50% of the communication, 10March2021). those two different modes. (Aalberts, personal role. Ihavenotencounteredthatanywhereelse, the start, is where averyconsciouschoiceismadefor interesting particularly find I “What concept. validation is thefact the userexperienceis unique tothis upduring came that insight first The UNIQUE USER EXPERIENCE and feedintotheiterations. are bemade to presented. Thesechangesarethenimplemented adjustments or modifications Secondly, theresultsthatindicatedforany that reinforceandverifytheconceptarereported. validations the step, first the In groups. separate feedback hasbeenanalysedandsplitupintotwo mentioned intheprevioussubchapter. The was collectedbyallthreevalidationmethods In thissubchapterthefeedbackispresentedwhich 8.2 REINFORCING FEEDBACK FEEDBACK

April 2021). gradually” (Wouters, personalcommunication, 12 In ordertomakethediscovery processgomore known) songsandafew new onestodiscover. I likeit when there are more of my own (well- new musicatonce.Ilike recognitioninsongs, it verymuch,becauseIcannot handletoomuch in thesimulationremarked:“Iwouldpersonallylike On theadditionofsliderfeatureoneparticipant April 2021). familiar” (Graeff, personalcommunication,12 then startexploringitsoundsrecognizableand make aplaylistwiththetwoofyou,thatwhenyou comment inthesurvey“You noticethatwhenyou is averycomfortingfeelingasevidencedby Being atthecontrolsofyourownmusicdiscovery communication, 12April2021) Iam Then own list. more inclinedtoactuallylisten”(Wouters, personal my in fits already it if safe in “Discoveringmusicthatsuitsme.Itfeelsvery with theadditionofsliderfeature.Thisresults familiarity andrecognisability, whichareenabled discovery. Themaindriversoftrustinthiscaseare obvious thattrustplaysamajorpartinmusic During theevaluationofsimulationitbecame personal communication,24March2021). that Spotifyplaylistsoftenlackforme.”(Stulp, does havethepotentialtoprovidesurprises and whatreallyappealstomeisthefactthatit supports this:“Ithinkit’s aninterestingconcept meant with“trustworthydiscovery”.AnnekeStulp whilst stillremainingfamiliar, thisiswhat musicdiscovery broaden anddeepenauser’s has thepotentialofenablingthis,asitmay for reference), wasoneoftheanswers.Theconcept atool however, more “unknown”musicwouldbenice”(survey satisfied, “Quite DSP’s. broader and more structured discovery through improvements ofthestatusquo,suggesting discovered, mostparticipantswerecontentwith When askedhowmusicideallywouldbe occasionally. Apple MusicalsoamongDSP’s gettingmentioned discover music,withBandcamp,YouTube and more thanhalfoftheparticipantsusedSpotifyto

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PAGE 8 CHAPTER PAGE CHAPTER 8 66 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL LISTER all threeparticipantsagreedonthefactthatthey communication, 12April2021).Inthesimulation, time anditgaveachance.”(Graeff, personal may havelistenedalittlelonger. Took a littlemore the discoveryisgivenmoreofanopportunity:“I knowingly discoveredwithasocialfactoristhat One oftheimplicationsmusicbeing 2021). it.” (Breunesse,personalcommunication,12April it work,includingthelovethathasbeenputinto very humaninit.Theauthenticityiswhatmakes on howthemusicisreceived:“Theresomething emphasized theeffect thatthehumanfactorhas communication, 12April2021)..Anothercomment very curiousabouttheinput.”(Wouters, personal taste [beforelisteningtothemusic]makesyou “Knowing thatwealreadymatchedintermsof evaluating thetest,oneparticipantremarked: the human factor plays an important role. When During thesimulationitalsobecameclearthat communication, 25March2021). both the artists and the fans.” (Blom, personal social layerisanimportantmissingfactor, for by ErwinBlom:“Iverymuchagreethat The lackofasocialfactorisalsounderpinned streaming. properly representedwithin,andassociatedwith, music discoveryreallyisandhowitnotyet discover music.Thisgoestoshowhowsocial participants whenaskedhowthey would ideally also thesecondmostcommonanswergivenby music discovery. However, “through friends” was named secondmostasacurrentmeansfor In thesurvey, friends’recommendationswere SOCIAL/HUMAN FACTORY 12 April2021). in them.” (Werf, van der, personal communication, those pre-programmedplaylists, there’s nostory That’s thehumanside.That’s thedownsideto “When youcreateaplaylist, youtrytotellastory. playlists forothers,Ton vanderWerf arguesthat When steppingintothedistributor roleofcreating listened toeachsonglongerbeforeskipping. manner different tousual,yettheyhadindeed had notnecessarilydiscoveredthemusicina opposed toartiststiedamajorlabel.Thislack as have artists independent that influence of lack empower artists.Thisistoovercometheobserved A keyobjectiveofthedesignprinciplesisto LACK OF INFLUENCE ARTIST BY INDEPENDENT (new) playlists. function for users to keep up to date with their respondents wouldindeeduseasubscription From thesurveyitbecameclearthat70%of something thatanalgorithmcertainlydoesnotdo. and thebuild-upthroughoutplaylist.Thisis added byputtingthoughtintothesongsequence human elementintocreatingaplaylist,valueis So thereisvaluebeingaddedjustbybringingthe their music.This signalsthattheplatform could their ownplaylist(s) tohelptheartist distribute the respondentswouldadd discoveredmusicto From thesurveyitbecame clearthat80%of 9 March2021). the on playlists.” (Werf, van der, personal communication, influence any have not do certainly you page, butontheotherhandyoureallydonot.And useless. You havesomekindofinfluenceonyour “Spotify for Artists;very handy but completely communication, 10March2021). try to undermine withyourconcept.”(Aalberts,personal you that field force a course of is It DSP. not somuch that theartistscanalso do without to artistsorlabelsandrightsholders,butofcourse gold theysiton.Anddogivesmallpartsofit insight into that data, but that data is of course the close totheirchests.Theypretendgiveartists very interesting, because ofcoursethatisthecardDSP’s hold journey artist’s the find also “I (Stulp, personalcommunication,24March2021). otherwise I will never get to see my audience.” artist to think; I have to join a major label because other waystoreachmorelisteners.Ineverwantan holy grail and the realization that there are also could bethatSpotifyplaylistsarenolongerthe “I think the biggest advantage [of your concept] from interviewswithmusicindustryexperts. quotes following the by illustrated is influence of

which arenot mentionedinabovetext). please seeAppendixV (this includesquotes For thefulllistofreinforcing feedbackquotes communication, 3March2021). enthusiastic aboutyouridea.”(Thijn,van,personal about thatandfrompointofviewIamvery a fewmillionstreams.Andyouhavetothink than anoccasionalplace(inaplaylist)thathits “You’re muchbetteroff withaloyalfanbase communication, 22March2021). can distinguishyourselfin.”(Nicolaes,personal And that’s something that, as a new platform, you to messageorinteractwiththosepeopledirectly. see howmanyfollowersIhave,buthavenoway that I have 10,000 listeners per month and I can in termsofartistinsights;Forexample,Icansee “As withSpotify, italwaysremainsfairlyanonymous March 2021). need forit.”(Meijer, personalcommunication,12 or yourfanbaseIcertainlythinktherewouldbea communicate moreorgetfromacommunity your fansviathis.[...]Theideaofbeingableto that thereissimplynowaytocommunicatewith that withSpotifybecomingthego-to-platform, “I knowfromalotofartists,includingmyself, interaction ispresentfromtheartistsperspective. with artistsitbecameclearthatthedesirefor and regarditasvaluable.Fromtheinterviews asin“if”artistsareindeedwillingtointeract “if’”... In thequotebyTon vanderWerf thereisamajor communication, 9March2021). value to both parties.” (Werf, van der, personal you cancreate something organically which has “If theartistworkstogetherwithaudience and proactive.OrasTon vanderWerf putsit: the creator, thecreatorneedstobecommitted As described previously, for the concept to benefit NEED FOR INTERACTION of empowerment independent artists. the fulfilling in forward move

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PAGE 8 CHAPTER PAGE CHAPTER 8 68 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL LISTER to yourplatform, howare you goingtomakeit (smaakmakers) thatluretherestof people “How areyougoingtoattract thetrendsetters Dutch. Pitou,aDutchartist, askedthequestion: trendsetters oftheconcept, “smaakmakers”in types ofuserswereperceived bymanyasthe the incentivisationof distributor role.These the concept during the interviews had to do with The mostcommonfeedbackthatwasreceivedon INCENTIVISING THEDISTRIBUTOR ROLE 12 April2021) consumer.” (Breunesse,personalcommunication, and tobeableplayaroundwiththatisgreatfora changing. Sojusthavingtheoptionofslider changing, yourstateofmindisconstantly isyour need today[intermsofmusic]?You areconstantly what needs; different fulfills slider “The April 2021). high].”(Wouters, personalcommunication,12 yourself andmusicyouknow[puttingtheslider day youhavehadenoughandkeepitcloserto new musicandyouputthesliderlownext needs youhave.Onedayareveryopento “The sliderworksverywellbasedonthedifferent support andelaborateonthesethoughts. validation methods.Thefollowingtwoquotes not beenanticipatedoruncoveredduringearlier the moodofuser. Thistype of feedbackhad and lowsettings,symbolisedastateofmindor participants remarkedthattheslider, anditshigh difference was between high and low overlap the Moreover, whenaskedwhattheperceived 2021). (Breunesse, personalcommunication,12April The sliderisacceptancebutalsorecognisability.” day, sometimesIfeellikesomethingelseoneday. do with your comfort zone. It also depends on the explained byEvaBreunesse:“It[theslider]hasto the sliderledtoanewtypeofinteraction,as was themainobjective.Firstly, theadditionof of thesliderandwhateffect ithadontheuser simulation thatwasrun,uncoveringtheinteraction The featureofthesliderwascentralto SLIDER THE 8.3 ADJUSTING FEEDBACK communication, 17March2021). larger listeningcommunity.” (Benders,personal build an independentcommunity and becoming a with thatalsobridgethegaptomakingradioand subscribers asitwouldbefortheartists.And just asinterestingtostarttargetingpeopleand subscribers. [...]Forthecuratorrole,itcouldbe and insightsinthecommunitylocationof now onlyendupwiththeartist,suchastools that interesting things of lot a finds [distributor] B question duringhisowninterview:“Ithinkuser Colin BenderswentontoanswerPitou’s 2021). (Nicolaes, personalcommunication, 22 March interesting forthem?” value aricher experienceofthedistributor role. experienced theconcept, thatpotentialusers that alsoduringthesimulation, whenhaving communication, 12April2021). Thisgoestoshow the userbroleisanegoboost.” (Wouters, personal communication, 12April2021) and“Recognition, kind ofchatundertheplaylist.”(Greaff, personal was allabout:“Gettingintouchwithpeople.A According tothestudents,distributorrole personal communication,12April2021). songs are likedandwhichlesspopular?”(Wouters, which specific; “Very and 2021) April 12 get achance.”(Graeff, personalcommunication, artists arefeaturedinplaylists.Sothattheyalso a distributor, Iwouldmakesurethatmanysmaller simulation answeredthefollowing;“Firstofall,as know when fulfilling that role, the participants of the When asked what the distributor would like to or wheretheycatchon.”(MarinusdeGoederen) how itworks,forexamplewherepeoplecomefrom no dataaboutitandthereforedonotunderstand myself andasaplaylistmakerInoticethathave by thenameofAballadeer:“Ialsomakeplaylists interview withaDutchsingersongwriterthatgoes functions important,aswasdiscoveredduringthe fact thatplaylisters themselves also deemthese logical step.Thiswasalsosupportedbythe function to the distributor mode seemed like a So far, theadditionofinsightsandasubscription communication, 12April2021). het aanSpotify vastzit.”(Breunesse, personal als zijn makkelijker zou “Het modification: a being became clearthattheplatform wouldbebestoff During theevaluationof the simulationitalso discovering musicviaknown platforms. previously asareinforcingfeedback,alsoinvolves experience. Trustworthy discovery, asmentioned music throughDSP’s, orwantedanimproved of therespondentswerecontentwithdiscovering most liketodiscovernewmusic?”justoverhalf for musicdiscovery. Whenasked:“Howwouldyou half oftheparticipantsuseDSP’s (mainlySpotify) From thesurveyitbecameclearthatmorethan 2021). clever.” (Blom,personalcommunication,25March service ontopof Spotify, whichisofcoursevery “The mostpromisingsituationistobuildavaluable March 2021). more social.” (Meijer, personal communication, 10 do nothingaboutcommunityandmakestreaming getting bigger. Thereitisalsoquitealossthatthey that wouldbealogicalchoicesinceitisalso Spotify isalreadysomethingeveryoneonso could itbeageneralthing.That’s whyIthought me wouldbewhetherIhadtoaddsomethingor “I think the idea is super cool, but the trigger for existing DSP. it would have to be built as a mod on top of an the concepttobeacceptedbyitsdifferent users the validationprocess,itbecameclearthatfor DSP. During existing an on (mod) modification a have theplatformasafreestandingDSPor of technical integration. The two options were to to howtheconceptwouldberealisedinterms Up untilthevalidation,nodecisionwasmadeas PLATFORM INTEGRATION personal communication,25March2021). participate isrecognition,tobeseen”(Blom, to askyourself.[...]Themainreasonpeople become active?Isalwaysanimportantquestion when youtalkaboutcommunities.“WhyshouldI The challenge lies in activating people,especially

which arenotmentionedinabovetext). please see Appendix VI(this includes quotes For thefulllistofreinforcingfeedbackquotes communication, 25March2021). prestige in acertain scene.” (Blom, personal you must,sotospeak,have10artistswho that, your planmust be verywell organized and immediately understandwhattheideais.For have tomakesurethatwhenuserscome,they “Before youlaunchsomethinglikethis, March 2021). much.” (Aalberts,personalcommunication, 10 that it with themselves profile to want not do and They lovemusic,buttheyarenotthatdeepinit users willnotbeyourmomanddadmybrother. first The it. for value maximum creating and niche influential an targeting with start things good “All understood byalltypesofuser. that the concept comes into its own and is fully creating contentbeforetheinitiallaunch.Ensuring should startbyalreadybuilding the platformand Blom bothsharedtheopinionthatconcept the traction. Industry experts Niels Aalberts andErwin concerned feedback potential launchoftheconceptandhowtogain adjusting final The LAUNCH STRATEGY personal communication,25March2021). risk factorandseewhatispossiblenow.” (Blom, someone else’s API.You havetodescribeitasa because it is always a danger to build on top of at leastmentionthatdependency[ofSpotify], DSP. As such, Erwin Blom also remarked: “I would technical knowledgeandadependenceonthe the concept into an existing DSP required some To make recommendations on how tointegrate

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PAGE 8 CHAPTER PAGE CHAPTER 8 70 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL LISTER 8.3 4. 3. 2. 1. 2010). Handbook foractivatingyouraudience(Blom, that Erwin Blom describes in hisCommunities factors fey five the with line in much very it puts (“smaakmaker”), enhancestheplatformand becoming thepreviouslymentioned trend-setter This rolechangeoftheSelectormodenow form. mode wasnotattractiveenoughinitsoriginal clear duringthevalidationprocess,selector users totakeontheSelectorrole.Asbecame feature. Thethinking behind thisistoincentivise the additionoflistenerinsightsandasubscriptions The Selectormodeisbroughttoanewlevel with SELECTOR MODEADDITIONS distributors ordistributioncompanies. confusion surroundingthepreviouslyusedtermof features thatwillbeaddedandtoavoidany mode. Thisnamechangestandsforthenew “distributor” mode,itwillberenamedto“Selector” To reinforce the changes that are made to DISTRIBUTOR BECOMESSELECTOR visualisation. final iterations areaccompaniedbyanupdated These iteration. of points into transformed as describedintheprevioussubchapter, is In this subchapter the adjusting feedback and canbe adjusted accordingly. Theslider is The sliderrepresents thesentimentof theuser SLIDER METRIC 5. that the reward consists of more privileges on community. Whatworksinsuchasituationis them activebecausetheyreallyloveyour Reward; Thebestthingtodoisget and stayactive. Reputation; motivatingforpeopletobecome of opensourcesoftware,amongotherthings. Joining forces;motivatingforthedevelopment or havemade Expression; Showingotherswhatyoucando Contact; Findinglike-mindedpeople the siteorexclusivity ITERATION playlist includes15songs.Inthiscase,theslider interaction feelmoretrusted.Forexample,the The amountofsongsisthemetric,making that the playlist contains in the mostliteral sense? slider isarepresentationoftheamountsongs the if What personal. feel not did it except suffice, percentages. Low, highandmedium would to reconsideringtheslidermetricsintermsof The waythatthesliderwasinteractedwithled received bytheparticipants. possible; Highandlow. Thechangewaspositively simulation onlytwomodesofthesliderweremade without makingitoverlycomplicated,duringthe However, tosimulatetheinteractionwith slider expressed inpercentages,rangingfrom0to100. (Nicolaes, personal communication, 22 March a sentenceor twoaboutwhattheymeant byit.” playlists; Coffee andchill.Thereisnoroomfor in playlists.Thereistherefore lessfuninthose little roomforsmallpieces of personalinformation Furthermore, aswasremarked byPitou:“Thereis (Meijer, personalcommunication,12March2021). join a groupand we will all exchange playlists.” goodindie areally alternative playlist,Iwillthenfollowthemand with someone find might I yoursituation In of music. genre specific very a groups wherepeoplereallygeektogetheron “I amremindedofRedditandprivateFacebook personal communication,17March2021). the personwhocreatesplaylists.”(Os,van, That shitisfuckingdope.Reallyafacebehind And thathetellsastoryeveryweekwithplaylist. records everyweekendinawarehouseDetroit. but whenhewasouragejustspinning came up in Detroit. He is now an accountant, “Maybe thereisadudewhogrewupwhen house brainstorming aboutthisfuturewithtwoartists.: discovery. Thesubscriptionideacametolifewhen means thatthereisanopportunityfornichemusic Selector willenable“playlistercommunities”.This The inclusionofasubscriptionfeatureforthe PLAYLISTER COMMUNITY will rangefrom1-15. control theSpotify Player. 2. Web Playback API,thisAPI can beusedto information fromSpotify, albums, playlists,etc. 1. Web API,thisAPIcanbeusedtorequest At SpotifytheyhavetwoAPIs: and inwhatformatyouget itback. system; howtorequestdata,getitback of agreements on how to communicate with a Programming Interface(API)isessentiallyaset Firstly though, what is an API? An Application was considered. worked with Spotify’s API before, that specific API interviewed. BecauseofthefactthatGerardhad owner ofMillionPieces,GerardvanEnk,was feasibility partoftheconcept,developerand To beabletomakerecommendationsforthe (API) INTEGRATION APPLICATION PROGRAMMINGINTERFACE personal communication,17March2021). Artist journeymustbeaddedtoUserB.”(Benders, palette fortheAusers.To achievethis,partofthe etc. Thenyoucreateaveryinterestingselection DJs, theartists,connoisseurs,radiohosts the so it, in people interesting find you if because floating, quite is B user the concept the for that to makeitattractivegrowaplatform.Ithink become followers.ForuserB[selector]youhave Benders: “Withmanyplatforms,thecurrencyhas discovery mode users, as is explained by Colin which inturnmakesitmoreinterestingforthe This makesArtistsmoveintotheSelectorrole, the artists cantrackthenumbersbehindtheirmusic. towards more moves background. Thiswillbeaninsightspagewhere profile artist’s the As aresultoftheselectormodebeingupgraded, BACKGROUND ARTIST PROFILEMOVESMORETO THE concept willalsoallowspaceforthis. or twolinesdescribingtheplaylistwillevolve.The personal touchessuchasasmallstoryorjustone with the developmentofsuch niche playlists, 2021). By enabling playlister communities and be noproblem atall. and comparing themamongsteachother should playlists, extractinginformation fromeachtrack importing fine; just it build could you technology biggest barriertoyour platform. Intermsof The termsandconditions oftheAPIare 5. 4. possibility. playlists, thereareinfactsystemsthatoffer this Or, rovidetheoptionofcreatingin-platform 3. 2. 1. proof-of-concept. was thoughtuptobeableintheory, builda bottleneck. So,withGerardshelpa5stepprocess playlists basedonthat.Thatcouldbeanimportant your owndatabasesothatuserscanthencreate have requestedaboutatrackandcopyitinto may not,forexample,takeinformationthatyou cannot createyourownplatformwithit.Soyou information thatyouhaverequested,but You maycache(temporarilystore)certain from Spotifyasmuchpossible. Although thebestthingisifyouusedata of thedatayouhaverequestedfromatrack. or atrack, of fingerprint a create could You do thematchingbasedonyourowndata. system/platform. Sothatyoucanthenalso yourself andstorethedatainyourown I wouldchoosetoperformthatanalysis Submit theselectedplaylistfordiscovery. of interactions. platform, youwillsoonreachthelimitinterms song tothenadditaplaylistonyourown let someone search Spotify for everysingle interactions withSpotifytoaminimum.Ifyou here, butabovealltokeepthenumberof Spotify, becausepeoplealreadyhaveplaylists I wouldprioritizeimportingplaylistsfrom users canlogintotheirSpotifysubscription. Getting the authorization flow in order, so that keeps acloseeyeonthelimitsofAPI. detection system in place from the start that You needtohaveagoodmonitoring/

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PAGE 8 CHAPTER PAGE CHAPTER 8 72 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL LISTER

CREATOR USER B USER A Access platform “Disovery” mode “Selector” mode through artists User Aopts for User B opts for profile how artists’ music Get insights into User Acreates User B creates is spreading playlist(s) playlist(s) overlap percentage to set preferred See community grow as users Adjust slider subscribe discovered by User Abased on percentage ofoverlap Playlist ofUser B is User B’s playlist is a match, based on subscribers overlap Locate Target subscribers playlist ofUser B User Adiscovers new music in personalised directly with content User B receives insights about audience intimately and authentically Engage with User Aadds subscribers new music to playlist User Asubscribes subscribers with to discovered exclusive Provide content User B subscribers with User B provides content formed and

Community

sustained

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PAGE 8 CHAPTER CONCLUSION 9 CHAPTER CHAPTER 9 C9

CONTENT 9.1 RECOMMENDATIONS 9.2 DISCUSSION 9.3 REFLECTION In this final chapter the project is wrapped up and con- cluded. During the first part recommendations are made for further research and development of Lister. This is followed by discussing the project on the premises of the design brief and the initial assignment. Lastly, a personal AIM To review the project and its outcomes and look ahead reflection on the project and the ambitions. towards possible continuation. DESIGN INTERVENTIONS AT LEVEL A SYSTEMIC DESIGN INTERVENTIONS CONCLUSION

CHAPTER 9 PAGE 75 PAGE CHAPTER 9 76 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL CONCLUSION FURTHER RESEARCH further researchanddevelopmentofLister. After that,recommendationswillbemadefor be discussedforMaak,thegraduationcompany. Firstly, thecommercialvalueofprojectwill the researchordesignsectionsofthisreport. and certaintopicsthatwerenotdiscussedin This subchapteradvisesonfurtherresearch 9.1 various stakeholders (creators,usersand DSP’s) Understanding the“value”through eyesof development ofLister. continued, thereisscopefor furtherresearchand have beenmoretimeor theprojectwouldbe concept oranidea.Notsurprisingly, iftherewould a remain always would concept final the weeks, For this graduation project spanning roughly 20 Maak canusetotailortheirserviceoffering. during theroundsofvalidation,theyarewhat combined withtheinformationthatwasgathered and principlesarewidelyapplicableand,when that formthefoundationforLister. Theseinsights however, is in the insights and design principles the subjectofindependentmusic.Therealvalue starter thatdemonstratestheirinvolvementwith For Maak,Listerisashowpiece,itconversation could thenadapttheirofferings appropriately. it isthatindependentartistsneedsuchMaak expectation was for the project to help define what the independentmusicbusiness.Maak’s broad insights in howthey might play a (new) role in to take on this graduation project was to gain be mentioned.ThebusinessreasoningforMaak said, thecommercialvalueofprojecthasto out underthesupervisionofMaak.Withthatbeing relatively unconstrained,yettheprojectiscarried This projectandthechosenapproachare COMMERCIAL VALUE RECOMMENDATIONS they decidetokeepalotofpowerthemselves. profit). Their competitive position might just be that maximising market-share(leadingtorevenueand artists. However, foralotofDSP’s thegoalislikelytobe independent empowering, and for, field advantage intermsofmakingitalevelplaying provides forDSP’s isseenasbeingacompetitive stakeholder willbetheDSP. ThevaluethatLister are creatorsandusers.Akey(andpowerful) As for now the stakeholders that have been heard to itsexpectations. Lister andwillleadtoaplatformwhichcanliveup stakeholders isquintessentialtothesuccessof and aligningthevaluesdriversforthese would beaveryimportantnextstep.Uncovering ability ofaconcept tosucceedorbesustained in Within the faculty of IDE, viability is defined as the however theviabilitycriterion wasnevertested. were thoroughly researched and validated, Desirability, Feasibility and Viability. Two of these To validateLister, threemaincriteriawerechosen; selling theconcepttoDSP’s. of Listerandexpectationmanagementarekeyto in oftheDSP. Henceboth controllingthenarrative not onlytheknowledgetobuilditbutalsobuy- successful DSPplatformintegration.Thisrequires for Spotify. Lister, asitisproposed, hinges on only specified and theory all is this yet concept, have been made as to building the proof of technical sideofLister. Sofarrecommendations Further researchshouldalsobeconductedintothe existing DSP. can bebestlaunchedandrunasanadd-onto there isanopportunity-andthatthe talks. Whathasbecomeclearinthisthesisisthat made awareofListerandbeengagedinvalidation involved. Besidesresearch,DSP’s have to be and Bandcampallhavetobeconsidered adjustments to Lister. Deezer, Apple Music, Tidal utilise different approacheswhichwouldrequire parts oftheworldotherDSP’s prevailandthey Spotify hasbeentheprimaryfocus,yetinother has tobedoneonthedifferent DSP’s. Inthisthesis (singularly andcollectively),alotmoreresearch To understandfullywhatdrivestheDSP’s

aims atthatgroup. including amarketingcampaigndrawnupthat defined, be to has adopters early of group target that the content is present and functional. Also the ensuring testing), (beta launch official the before the trendsetters that will start using the platform a viableconcept.Thisstrategyshouldinclude strategy would bethenextstepafterturningListerinto go-to-market well-defined A platform. as itstands,isaproperlaunchstrategyforthe but never made it into the Lister concept proposal Something thatwasmentionedduringvalidation, Lister willhavetobedefinedinmoredetail.. this, moreresearchwillhavetobeconductedand and carryaresponsibilityforthem.To achieve which example, parties ownandorganisecertainpartsofLister for specified, been clearly not “shareable vision”.Inthissharablevisionithas - whereasnowListerrepresentsmoreofa would requireafurtherdevelopedproduct To beabletotestaconceptlikeListerforviability terms ofitsbusinessproposition.

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PAGE 9 CHAPTER PAGE CHAPTER 9 78 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL CONCLUSION this research thesis. With reference to the main of thedefinition on value andhow thisisunderstoodinthe lightof 6.2.1 chapter read first to Before answeringthisobjective, itisimportant streams?” we redesignthemusicindustry tobalancevalue with the main research question of: “How can value streams.Thisobjectiveisverymuchinline be re-thoughtatasystemiclevelandtobalance show stakeholdershowthe music industry can Secondly, theobjectiveofconceptitself;to and critiqued,byindustryprofessionals. as its development thus far has been supported, such astheslider. Listerhascredibilityinasmuch systems proposalincorporatinguniqueelements (Wetter-Edman Etal.,2018).Listerexistsasa central catalyst for changing habitual action.” existing assumptionsaboutasituation,as as “asensoryexperiencethatchallengesactors’ notion ofanaestheticdisruptorischaracterised a term defined by Wetter-Edman et al. (2018). The form Listerhasvalueasan“aestheticdisruptor”, product oraservice.Nevertheless,initscurrent asa becategorised to enough well-defined not itis proposal; athought-provoking be as could classified Lister fulfilled. be cannot service a or the promise of developing a conceptproduct the processasdescribedinthisthesis.However, throughout reflected clearly is and realised been supported byinsightsanddesignprincipleshas partly realised.Thepartofthedesignbeing product orservice.Thisobjectivehasbeen Firstly, theobjectiveofdevelopingaconcept obtained? The question is: have these objectives been autonomy andhowtheycanbeapartofthis. value streams.ForMaak,thefocusisonartist be re-thoughtatasystemiclevelandtobalance to showstakeholdershowthemusicindustrycan design principles”.Theobjectiveoftheconceptis or servicewhichisbasedongainedinsightsand design thesiswasto“developaconceptproduct evaluated. Theinitialobjectiveofthisresearchand brief (asset-outinchapter1),willberevisitedand For thissecondpartoftheconclusion,design 9.2 DISCUSSION to beenrichedbyLister. however, certainvaluestreamswouldbeexpected start rebalancingvaluestreams.Forthemoment future Lister, ifimprovedintherightareas, could something thatdoesnothappenovernight.Inthe But, asdiscussedinchapter6,rebalancingis quite alongwayfromrebalancingvaluestreams. value streams?Theanswer to thisisno.Lister research question;HasListerindeedrebalanced lot harderfor me. without these peoples’inputitwouldhave beena for supplying me with their contacts, because project. IcannotthankOmar andJeroenenough were totaketimeout talktomeaboutmy energised me.Iwasamazed howwillingpeople of speakingwith.These interactionsreally were allthedifferent peopleIhadtheopportunity What reallykeptmegoingduringtheproject project, butIenjoyedthischallenge. within thescopeandthosecontributingto it wastoughtokeepanoverviewofstakeholders the numberofpeoplethatIinterviewed.Attimes more complexthanIhadinitiallyexpected,dueto scope ofthisproject.Theprojectitselfbecame complexity andisveryrelevantbecauseofthe multi-stakeholder processesandhighlevelsof involves design Systemic fit. good a quite have graduation. The other two competencies however, Business modelinnovationwasnotafeatureofmy Systemic designandStakeholderengagement. on thecompetenciesofBusinessmodelinnovation, My personalambitionsweretofocusandimprove of theprocess. there, notleastbecauseIwastheoneincharge doubtful whethertheprocesswasgoingtogetme things wouldfallintoplaceeventually, butIwas down I had faith in myself and I was confident that approach ofhavingtotrusttheprocess.Deep me. Istruggledquiteabitwiththatindividualist or attheuniversity, thistimerounditwasjust place orasharedresponsibility, beitatacompany where theremightbesomekindofseniorrolein challenged inmultipleways.However, normally about andthereforehavealottolearnam project involving a subject which I know very little I knowthatamatmybestwhenstepintoa personal thoughtsandlearnings. in thissubchapterIwouldliketosharesomeofmy and decision right the made indeed I that confirm project inthemusicindustry. Lookingback,Ican out wasMaakandtheprospectofworkingona with numerouscompanies,buttheonethatstood to focuson.WhilstorientingmyselfIhadtalks mind, notknowingexactlywhatitwasIwanted I wentintomygraduationprojectwithaveryopen 9.3 REFLECTION

essence. best whenthepressureisonandtimeof time andthatofothersIthinkperform go aboutprojects.Ienjoyedmanagingmyown Lastly, Ilearnedalotaboutmyselfandhow through theprocess. gave meusefulreferencepointsandguided the project.Adoptingstage-gatedapproach attimes the project; I wasoverwhelmedbythesheermagnitudeof and me benefited hugely The decisiontonarrowdownmysolutionspace me tojustspeakoneortwopeopleatatime. needed morepersonalfeedbackanditworkedfor I realisedthatthiswasnotworkingforme. weeks weresetup,onlyafteracoupleofthose meetings withallthreesupervisorseverytwo out whatworkedbestforme.Fromthestart, figure to while a me took it online, moving for As sometimes mergedintoagreyarea. project, whereasinmyroomstudyandrelaxing to thefacultydecidedhoursyouworkedona together withyourpeers.Itusedtobethatgoing is verymuchasocialoccasioninthemainhall longed forthefacultyofIDE,wheregraduating different thanIhadexpectedittobe.Attimes circumstances madethegraduationexperience to peopleandstealanhouroftheirtime. The project. Thismadeitaloteasiertoreachout with everythingmovingonlineformygraduation ironically, one of the positive effects of COVID-19 Being abletospeaksomanypeoplewas, very personaltouch. interactions andtheyprovidedmyprojectwitha not touseit.Icertainlythrivedoff thesepersonal knowledge atyourdisposalyouwouldbefoolish by myself, yet when you have such a wealth of reasonably stubborninthinkingthatIcangetthere is somethingIstillhavetogetusedto.am that Inoticedduringmyinternshipaswelland The willingnessofpeopletohelpissomething

79 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN CONCLUSION

PAGE 9 CHAPTER PAGE REFERENCES 80 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL REFERENCES Willem Bijleveld [Personalcommunication] Bijleveld, W. (2020,November 27) Interview with Blom [Personalcommunication] Blom, E.(2021,March25) InterviewwithErwin Blom [Personalcommunication] Blom, E. (2021 January 6) Interview with Erwin Van SocialeNetwerken.Bruna,2010. Blom, Erwin. Handboek Communities: De Kracht music/?sh=2f24298964ca. spotifys-daniel-ek-the-most-important-man-in- forbes.com/sites/stevenbertoni/2012/01/04/ Forbes Magazine.Retrievedfromwww. Ek: TheMostImportantManInMusic.”Forbes, Bertoni, S.(2012,4January)“Spotify’s Daniel Benders [Personalcommunication] Benders, C.(2021,March17)InterviewwithColin Colin Benders[Personalcommunication] Benders, C.(2021February1)Interviewwith Elverum. for athrivingmusicindustry. Kunnskapsverket, in thedawnof21stcentury-Networking Álvarez Vásquez,R.R.(2017)Themusicindustry recording%20music%20and%20vocals. first%2Dever%20recording%20studio,for%20 evolution-of-recording-studios/#:~:text=The%20 https://cosound.com/recording-studios/the- Recording Studios.Cosound.Retrievedfrom Allinson, S.(2020,July15).TheEvolutionOf albinis-keynote-address-at-face-the-music-in-full www.theguardian.com/music/2014/nov/17/steve- – infull.TheGuardian.Retrievedfromhttps:// the surprisinglysturdystateofmusicindustry Albini, S.(2014,November17)SteveAlbinion Madelon Acket[Personalcommunication] Acket, M.(2020,December3)Interviewwith Aalberts [Personalcommunication] Aalberts, N.(2021,March10)InterviewwithNiels Niels Aalberts[Personalcommunication] Aalberts, N. (2020,November 17) Interview with van Enk[Personalcommunication] Enk, G.van(2021,April1)InterviewwithGerard apple-music-weekly-mixtape-playlist theguardian.com/technology/2015/jul/20/spotify- user. The Guardian. Retrieved from https://www. Apple Musicwithweekly‘mixtape’playlistforeach Dredge, S.(2015,July20)Spotifybitesbackat SquawkStreet/status/1255610762074210305 Ek interview. Retrievedfromhttps://twitter.com/ CNBC (2020,29April)SquawkontheStreet.Daniel Breunesse [Personalcommunication] Breunesse, E.(2021,April12)InterviewwithEva 500K Spotify listeners withoutplaylists. Retrieved Herstand, A. (2021, January6).Howan artistgot Sean Stuart. The RiseandFallofTower Records.Produçãode Hanks, C.,director(2015) AllThingsMustPass: streaming. dynaudio-academy/2018/may/a-history-of-music- Streaming. Retrieved from www.dynaudio.com/ Grannell, C.(2018,May16)AHistoryofMusic [Personal communication] Graeff, T. (2021, April 12) Interview with Tim Graeff au/article/22380/requiem_napster/. PC World. Retrievedfromwww.pcworld.idg.com. Gowan, M.(2002,May18)“RequiemforNapster.” Marinus deGoederen[Personalcommunication] Goederen, M.de(2021,March19)Interviewwith view/3770 https://firstmonday.org/ojs/index.php/fm/article/ Retrieved from of therecordingindustry. FirstMonday, 17(7). Galuszka, P. (2012).Netlabelsanddemocratization Feijen [Personalcommunication] Feijen, J.(2020,December1)InterviewwithJos Groningen, NL.Retrievedfromhttps://esns.nl/ Eurosonic Noorderslag. (2021, April29). Moore, James F. The Death of Competition: Meijer [Personalcommunication] Meijer, R(2021, March12)InterviewwithRoos Roos Meijer[Personalcommunication] Meijer, R(2020, November21)Interviewwith and Space,33(1),49-77.doi:10.1068/a3360 Industry. EnvironmentandPlanningA:Economy Networks, andtheReorganisationofMusic Compression: SoftwareFormats,Musical Leyshon, A.(2001).Time–Space (andDigital) unique-plan-244404/ spotify-album-creator-talks-strategy-behind- www.rollingstone.com/music/music-news/silent- Album’ CreatorSpeaks.Retrievedfromhttps:// Knopper, S.(2018,June25).‘SilentSpotify https://blog.landr.com/music-formats-history The OddHistoryofMusicFormats.Retrievedfrom Kendal, J, (2017, October 2) From Discs to Digital: concert-33-million-views com/2020/11/16/21570454/lil-nas-x-roblox- times. Retrieved from https://www.theverge. X’s Robloxconcertwasattended33million Kastrenakes, J.(2020,November16).LilNas 1977-2012. OveramstelUitgevers. Jonker, L.(2012).Nofuturenu:PunkinNederland Dago Houben[Personalcommunication] Houben, D(2020,November11) Interviewwith with LiekeHeusinkveld[Personalcommunication] Heusinkveld, L.(2020,November21)Interview stable/853045 255-274. Retrievedfromhttp://www.jstor.org/ and FailureofRoughTrade. PopularMusic,16(3), to DemocratisetheMusicIndustry:TheSuccess Hesmondhalgh, D.(1997).Post-Punk’s Attempt London: SagePublications. Hesmondhalgh, D. (2002). The Cultural Industries. promotion/spotify-success-without-playlists/ from https://diymusician.cdbaby.com/music-

9e3e38b1bb1d the-democratization-of-the-music-industry- from https://medium.com/@shelrochaleal/ Democratization oftheMusic Industry. Retrieved Rocha Leal,S.(2020, October02).The Era, BuenosAires. Diversity of CulturalExpressions in TheDigital Richieri Hanania, L.and Norodom, A.-T. (2016) cambridge.org/dictionary/english/playlist Playlist. (2021).Retrievedfromhttps://dictionary. van Os[Personalcommunication] Os, P. van(2021,March 17)InterviewwithPim 10.1080/15405702.2019.1627548 artists, PopularCommunication,18:1,65-77,DOI: the impact of recommendation systems upon music streaming: O’Dair, M., Fry, A. (2020) Beyond the black box in Nicolaes [Personalcommunication] Nicolaes, P. (2021,March22)InterviewwithPitou Wilbert Mutsaers[Personalcommunication] Mutsaers, W. (2020,December15)Interviewwith bb6c11b1b0-e5bcf72552-523270397 COPY_01&utm_medium=email&utm_term=0_ PROGRAMMING_INVITE_21_10_2020_ campaign=e5bcf72552-PANDEMIC_ era-growth?utm_source=Press+List&utm_ reports/recorded-music-market-2020-pandemic- Retrieved fromhttps://midiaresearch.com/ music market2020Pandemic-eragrowth. Mulligan, M.(2021,11 March)Recorded growth%20of%20Amazon. the%20standout%20leader,the%20stellar%20 q1-2020#:~:text=Spotify%20remains%20 com/blog/music-subscriber-market-shares- Retrieved fromhttps://www.midiaresearch. Market Shares Q1 2020.” MIDiA Research. Mulligan, M.(2020,23June)“MusicSubscriber Ecosystems. JohnWiley&Sons,1996. Leadership andStrategyintheAgeofBusiness

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REFERENCES PAGE PAGE REFERENCES 82 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL pp. 5–26.,doi:10.1016/j.destud.2017.11.007. Service Innovation.” DesignStudies,vol. 55,2018, Aesthetic Disruptionthrough DesignMethodsfor Wetter-Edman, Katarina, et al. (2018) “Staging van derWerf [Personalcommunication] Werf, T. vander(2021,April12)InterviewwithTon Ton vanderWerf [Personal communication] Werf, T. vander(2021, March9)Interviewwith with Ton vanderWerf [Personalcommunication] Werf, T. vander(2020, November30)Interview social-discovery/?europe=true from https://mashable.com/2012/12/06/spotify- to MakeMusicDiscoveryTruly Social.Retrieved Warren, C. (2012, December 6). Spotify Wants communication] with GuillaumeWarmerdam [Personal Warmerdam, G.(2020,December12)Interview Patrick vanThijn[Personalcommunication] Thijn, P. van (2021, March 3) Interview with, Stulp [Personalcommunication] Stulp, A(2021,March24)InterviewwithAnneke concert-fortnite-more-than-12m-players-watch theguardian.com/games/2020/apr/24/travis-scott- The Guardian.Retrievedfromhttps://www. players watchTravis ScottconcertinFortnite. Stuart, K. (2020, April 24) More than 12m from https://newsroom.spotify.com/company-info/ Spotify CompanyInfo.(2021,April28).Retrieved terms-streaming https://artists.spotify.com/blog/glossary-of-music- Streaming –SpotifyforArtists.Retrievedfrom Spotify (2020) Glossary of Music Terms: Report-on-Form-20-F.pdf financials/2019/ar/Spotify-2020-AGM-Annual- https://s22.q4cdn.com/540910603/files/doc_ over 2019. Retrievedfrom statement financial Spotify (2020) Spotify Selma Schellings[Personalcommunication] Schellings, S. (2020,November 27) Interviewwith Wouters [Personalcommunication] Wouters, M.(2021,April12) InterviewwithMarisa

Wouters, Marisa; StudentHKU HKU) Werf, Ton vander;EndewerfManagement&Teacher Music Warmerdam, Guillaume;ManagingDirector LAB Thijn, Patrickvan;RegionalManagerBeneluxFUGA Stulp, Anneke;GeneralManagerBeneluxFUGA) Schellings, Selma;MarketingEpitaphRecords Proper Os, Pim van; Artist/DJatOperator Radio, Pim and Nicolaes, Pitou;Artist,Pitou Mutsaers, Wilbert;HeadofSpotifyBenelux Meijer, Roos;Artist,RoosMeijer&MaidaRose Houben, Dago;CEOEurosonicNoorderslag Heusinkveld, Lieke;Artist,LaLoye Graeff, Tim; StudentHKU Goederen, Marinusde;Artist,Aballadeer Feijen, Jos;DirectorDeEffenaar Enk, Gerardvan;Developer/OwnerMillionPieces Breunesse, Eva;StudentHKU Group Bijleveld, Willem;A&RMangagerUniversalMusic Blom, Erwin;OwnerFastMovingTargets Benders, Colin;Artist/DJ,ColinBenders Acket, Madelon;FirstpunkerintheNetherlands Aalberts, Niels;Editor-in-chief3voor12VPRO I. INTERVIEWEES APPENDIX

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APPENDIX PAGE PAGE APPENDIX 88 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL IV. SURVEY ANSWERS 12 11 10 9 8 7 6 5 4 3 2 1 Participant

DIY onderzoek DIY Spotify op 'browse' envia demedia in Recensies soundcloud op sets dj Via film Boutique, Paul's St. podcast Spotify, op playlists via Twitter, Via recensies socials, op tips Weekly), Discover radar, (Release tips Streaming Radio Spotify Bandcamp, recensies Spotify, vrienden spotify, houden. te bij om interessant wel ik vind maar compleet, van verre is lijstje vind. Dat ze interessant ik dat denkt dienst de waarvan uitgekomen van artiesten zijn die zien laten singles en platen je waarin Releases" " zijn in Apple heeft Daarnaast playlists. eigen mijn van een aan toe wel ook regelmatig dan ik voeg ontdek, iets dan ik wanneer en aanstaan heb opdeshuffle regelmatig playlists aantal een ik waar Music Apple via gaat "ontdekkingen" mijn van Reddit via toevallig of een nieuwsbrief Twitter, via nieuws ik ontdek Soms l van nieuwsbrieven platforms, muziekjournalistieke Tv en Bandcamp (muziekjournalist promo's Via muziek? nieuwe moment het op je ontdek manier(en) voor wat Op Listen Now" een item "New "New item een Now" Listen - programma’s

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89 LEVEL SYSTEMIC A AT INTERVENTIONS DESIGN

APPENDIX PAGE PAGE APPENDIX 90 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL FUGA) Patrick van Thijn (RegionalManager Benelux enthusiastic aboutthesekinds ofinitiatives. That canbeveryinteresting indeed.Ialwaysget to peermarketingbased onsharedinterests. possible solution.Thatpeople doakindofpeer story yousketch[withyour concept]couldbea these [majordominated/owned]playlists.The But as an independent artist you can not get into Colin Benders(Artist) things thatway. other sidewhohearsthingsandletsyouhear The veryfactthatthereissomeoneelseonthe I thinkthehumanaspectofthiscanbeappealing. Colin Benders(Artist) hybrid, butinahumanway. You almostcreateakindofSpotify/Instagram Colin Benders(Artist) get suggestionsbasedonthatoverlap. control overhowyoudealwiththatoverlapand crazy howthatis done here.Andthatyouhave how wediscoveredmusicinthepast.Thatisquite to soundlikearealboomer, howIcanremember music witheachother. And,Jesus,nowI’mgoing overlap principle,becausethatishowyoushare with something very human and I really like the I likeit.You actuallyreplacethealgorithmelement FUGA) Patrick vanThijn(RegionalManagerBenelux is still not enough of and that I find truly interesting. are nowautomatingthat,issomethingthatthere And thiscreatesastrongbond.Thefactthatyou are listeningtoandwhatshouldIbeto. guaranteed willyoustartlookingintowhatthey with acommoninterestandonlyifthathasbeen concept, becausethereyoualsosearchforpeople go tothebookstore.Thisissamewithyour whom Isharemutualintereststhenwillactually when mybestfriendrecommendsittome,with 100 peoplecanrecommendabooktome,yet Niels Aalberts(Editor-in-chief3voor12VPRO) who stilldonotfindeachothereasily. to bringtogethertwopartiesinthemusicindustry With thisconcept,youareusinganinnovativeway FEEDBACK QUOTES V. REINFORCING to yourplatformislisteners also like. But forme Something Spotifyalsohasthatcomesclose Pim vanOs(DJatOperatorradio) it isstillquiteunderexposed. things. AndIthinkthatinmyscene[theDJscene] become apatreonandthereforeallgetexclusive for thatcase,ismanypeoplesubscribeor What younowseeintheyoutubescene,orTwitch Anneke Stulp(GeneralManagerBeneluxFUGA) onto something. to doanything.Andthatiswhyyoumightjustbe because Idon’twantthosepeopletofeelobliged business andthatmakesmyheartbeatfaster, I think this is very supportive of the independent Anneke Stulp(GeneralManager BeneluxFUGA) would certainlyfindthatinteresting. Digster butfromuserswho havelargenumbers,I party playliststhatarenot fromFiltr, Topsify or that willmakethemappearmoreofteninthird If wecouldoffer somethingdifferent [toourartists] Marinus deGoederen(Artist) a-kind, butIsimplycan’tfindit. that find playlist basedonthattitle.Itisprobablyaone-of- to able be not will I that exists chance have aZoommeetingwithMarinus”.Thenthe If you create a playlist and you literally call it: “I Marinus deGoederen(Artist) to dothataslittlepossible. much dataaspossibleandIthinkSpotifyprefers Artists andplaylistmakersjustwanttoreceiveas Pitou Nicolaes(Artist) can capitalizeonandconvinceartistswith. a sourceoffrustrationthatyouasnewplatform for thesmallerartists.Atleastartists,thisis are linkedtogether. Really notfacilitatingatall that artistsofthesamesize(followers,streams) too. Italsohastodowiththesizeofartists,and bothers me a lot. And with me a lot of other artists This issomethingthatIdon’tunderstandand or onlyhalfofmylistenersareintheNetherlands. these areonlyDutchartists,whileaquarter QUOTES VI. ADJUSTINGFEEDBACK just havinguser Bdeliver. Iwould liketoseemore followers. So you can make it interesting by not want somecredits for thaton the basisofplaylist really like my taste in music. Then you actually I canimaginethatwhen I amuserBandyou Colin Benders(Artist) for userB. The communityelementisalsoveryinteresting Pim vanOs(DJatOperatorradio) valuable. distribute their music. I think that would be very who makethemusicandpeoplereally facilitate akindofconnectionbetweenthepeople contact withartiststheyplayalot.Indoingsoyou could reward them in turn bybringing them into vehicle tothemasses,discoverers.You That middleman,thedistributor, isinfactthe Pim vanOs(DJatOperatorradio) something coolthatmotivatessomeone. B] andtaketheroleofdistributor, theremustbe If atsomepointyougofullcircle[userAtouser Erwin Blom(OwnerFastMovingTargets) the platform. make sureyouhavegoodusersbeforelaunching It isveryimportantforthebeginningthatyou Niels Aalberts(Editor-in-chief3voor12VPRO) users become. and thecross-connectionsbetweendifferent the right,morequestionableassumptions about it.AndasIjustsaid,thefurtheryoumoveto My first point of view is that I am extremely curious Niels Aalberts(Editor-in-chief3voor12VPRO) they goingtowork?Idonotknow. suggest anumberofthingsverycleverly, butare exactly what makes it so interesting. I think you work, butitcouldalsofailaltogether. But that’s the moreassumptionsyoumake.Itcouldindeed The moretotherightwegoonyourvisualization, & Teacher HKU) Ton vanderWerf (OwnerEndewerfManagement You havethemodel,butforwhoisthis? Define thetargetaudienceforusersegment

Pim vanOs(DJatOperatorradio) of aconnectionwiththemusic. background. Thismeansthatyoumakealotmore made bythesepeople,withthismindsetand a playlistofthisisjazzfromandthatregion, about jazz.Whomakesaweeklyblogpostwith distributor onyourplatformwhoreallyknowsalot is the best jazz of the 80s”, there might be a Instead ofhavingaplaylistonSpotify“this Colin Benders(Artist) curator orselector. insights. Whetherthedistributorshouldchangeto I think you need to broaden the distributor’s Pieces) Gerard vanEnk(Owner, DeveloperatMillion overlap ornot. new playlistscreatedbythemindependentof Subscribing to a user B will get you updates about Pieces) Gerard vanEnk(Owner, DeveloperatMillion to beincludedfordiscoverypurposes. tracks, sosomemorewell-knowntrackswillhave to bearinmindthatoverlapiscreatedbasedon Human factorliesinthefactthatusersBhave Erwin Blom(OwnerFastMovingTargets) elements givepeoplereasonstokeepdoingit. when theyonlyhad1000plays...Thosetypesof discovered abandandincludeditintheirplaylist example theexplorersleaderboard;peoplewho I thinkyoualsoneedthingslikeleaderboards,for Anneke Stulp(GeneralManagerBeneluxFUGA) clearly; what’s initforuserb?

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