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Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms
\\jciprod01\productn\H\HLS\7-1\HLS101.txt unknown Seq: 1 28-MAR-16 12:46 Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms Loren Shokes* In the age of iPods, YouTube, Spotify, social media, and countless numbers of apps, anyone with a computer or smartphone readily has access to millions of hours of music. Despite the ever-increasing ease of delivering music to consumers, the recording industry has fallen victim to “the disease of free.”1 When digital music was first introduced in the late 1990s, indus- try experts and insiders postulated that it would parallel the introduction and eventual mainstream acceptance of the compact disc (CD). When CDs became publicly available in 1982,2 the music industry experienced an un- precedented boost in sales as consumers, en masse, traded in their vinyl records and cassette tapes for sleek new compact discs.3 However, the intro- duction of MP3 players and digital music files had the opposite effect and the recording industry has struggled to monetize and profit from the digital revolution.4 The birth of the file sharing website Napster5 in 1999 was the start of a sharp downhill turn for record labels and artists.6 Rather than pay * J.D. Candidate, Harvard Law School, Class of 2017. 1 See David Goldman, Music’s Lost Decade: Sales Cut in Half, CNN Money (Feb. 3, 2010), available at http://money.cnn.com/2010/02/02/news/companies/napster_ music_industry/. 2 See The Digital Era, Recording History: The History of Recording Technology, available at http://www.recording-history.org/HTML/musicbiz7.php (last visited July 28, 2015). -
Henri Lefebvre and the Production of Music Streaming Spaces (Doi: 10.2383/82481)
Il Mulino - Rivisteweb Robert Prey Henri Lefebvre and the Production of Music Streaming Spaces (doi: 10.2383/82481) Sociologica (ISSN 1971-8853) Fascicolo 3, settembre-dicembre 2015 Ente di afferenza: () Copyright c by Societ`aeditrice il Mulino, Bologna. Tutti i diritti sono riservati. Per altre informazioni si veda https://www.rivisteweb.it Licenza d’uso L’articolo `emesso a disposizione dell’utente in licenza per uso esclusivamente privato e personale, senza scopo di lucro e senza fini direttamente o indirettamente commerciali. Salvo quanto espressamente previsto dalla licenza d’uso Rivisteweb, `efatto divieto di riprodurre, trasmettere, distribuire o altrimenti utilizzare l’articolo, per qualsiasi scopo o fine. Tutti i diritti sono riservati. Symposium / Other Senses of Place: Socio-Spatial Practices in the Contemporary Media Environment, edited by Federica Timeto Henri Lefebvre and the Production of Music Streaming Spaces by Robert Prey doi: 10.2383/82481 Human reasoning is innately spatial. [W]e are embodied, situated beings, who comprehend even disembodied commu- nications through the filter of embodied, situated experience [Cohen 2007, 213]. This appears to be why we constantly invoke place- and space-based metaphors to describe our online experiences. We visit a website; we join a virtual community in cyberspace, etc. However, to take the spatiality of “cyberspace” for granted is to forfeit any critical questioning of precisely how and why this network of networks has been spatialized. As Christian Schmid puts it, space ‘in itself’ can never serve as an epistemological starting position. Space does not exist ‘in itself’; it is produced [2008, 28]. This is where turning to the late French philosopher Henri Lefebvre becomes particularly useful. -
Apple / Shazam Merger Procedure Regulation (Ec)
EUROPEAN COMMISSION DG Competition CASE M.8788 – APPLE / SHAZAM (Only the English text is authentic) MERGER PROCEDURE REGULATION (EC) 139/2004 Article 8(1) Regulation (EC) 139/2004 Date: 06/09/2018 This text is made available for information purposes only. A summary of this decision is published in all EU languages in the Official Journal of the European Union. Parts of this text have been edited to ensure that confidential information is not disclosed; those parts are enclosed in square brackets. EUROPEAN COMMISSION Brussels, 6.9.2018 C(2018) 5748 final COMMISSION DECISION of 6.9.2018 declaring a concentration to be compatible with the internal market and the EEA Agreement (Case M.8788 – Apple/Shazam) (Only the English version is authentic) TABLE OF CONTENTS 1. Introduction .................................................................................................................. 6 2. The Parties and the Transaction ................................................................................... 6 3. Jurisdiction of the Commission .................................................................................... 7 4. The procedure ............................................................................................................... 8 5. The investigation .......................................................................................................... 8 6. Overview of the digital music industry ........................................................................ 9 6.1. The digital music distribution value -
Securing Javascript Applications Within the Spotify Web Player
Securing JavaScript applications within the Spotify web player Säkra JavaScriptapplikationer i Spotifys webbspelare FREDRIK GUSTAFSSON Master’s Thesis at CSC Supervisor: Sonja Buchegger Examiner: Johan Håstad Project Provider: Spotify AB Spotify Supervisor: Gunnar Kreitz TRITA xxx yyyy-nn Abstract Developing bug free software is extremely difficult and bugs in a web application can easily lead to security vulnerabil- ities. Building APIs and opening up your platform has been proven to add a lot of business value and Spotify has re- cently released a JavaScript API that allows third party developers to develop applications for the Desktop based music player. In this thesis we design new security mechanisms for Spotify’s web-based music player in order to make it more robust against attacks stemming from code injection and, potentially malicious, third party developers. We do this by designing a secure way for transferring third party application metadata via untrusted JavaScript code and implementing the Content-Security-Policy, a rel- atively new web standard, for third party applications and the web player itself. We then propose additions to the Content-Security- Policy web standard that could further improve the security of modern web applications. Sammanfattning Säkra JavaScriptapplikationer i Spotifys webbspelare Att utveckla buggfri programvara är extremt svårt och bug- gar i en webapplikation kan enkelt leda till säkerhetsluckor. Att bygga APIer och öppna upp sin plattform har ti- digare visat sig lönsamt och Spotify har nyligen släppt ett JavaScript API som tillåter tredjepartsutvecklare att utvec- ka applikationer till dess Desktop-baserade musikspelare. I detta examensarbete designar vi nya säkerhetsmeka- nismer för Spotifys web-baserade musikspelare för att göra den mer robust mot attacker som kan uppstå från kod- injicering eller en, potentiellt illasinnad, tredjepartsutveck- lare. -
Beats (Review)
Cleveland State University EngagedScholarship@CSU Michael Schwartz Library Publications Michael Schwartz Library 7-2014 Beats (Review) Mandi Goodsett Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/msl_facpub Part of the Library and Information Science Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Publisher's Statement This is an Author’s Accepted Manuscript of an article published in Music Reference Services Quarterly July/Sept 2014, available online: http://www.tandfonline.com/10.1080/ 10588167.2014.932147. Repository Citation Goodsett, Mandi, "Beats (Review)" (2014). Michael Schwartz Library Publications. 106. https://engagedscholarship.csuohio.edu/msl_facpub/106 This E-Resource Review is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Michael Schwartz Library Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. E-Resources Reviews BEATS MUSIC, http://www.beatsmusic.com For the past decade, the music industry has been attempting to provide lis- teners with legal, convenient ways to access music, competing with sites like Napster and its successors. In an attempt to pull consumers out of the illegal music free-for-all and into a fee-based streaming service, the music industry has fueled a sudden explosion of new mobile and desktop music streaming applications to satisfy the needs of digital-music consumers affordably and conveniently. Moving from streaming radio services like Pandora, the new on-demand music streaming services like Spotify, Rdio, Google Play All Access, and Rhapsody offer listeners a higher level of control and greater ability to curate a listening experience than ever before. -
Why Music Streaming Services Should Switch to a Per-Subscriber Model
DIMONT (MEDRANO_10) (DO NOT DELETE) 2/10/2018 10:11 AM Royalty Inequity: Why Music Streaming Services Should Switch to a Per-Subscriber Model JOSEPH DIMONT* Digital music streaming services, like Spotify, Apple Music, and Tidal, currently distribute royalties based on a per-stream model, known as service-centric licensing, while at the same time receive income through subscription fees and advertising revenue. This results in a cross-subsidization between low streaming users and high streaming users, streaming fraud, and a fundamental inequity between the number of subscribers an artist may attract to a service compared to how much they are compensated. Instead, streaming services should distribute royalties by taking each user’s subscription fee and dividing it pro rata based on what the specific user is listening toknown as a subscriber-share modelor user-centric licensing. Many scholars have focused on creating a minimum royalty rate; however, this does little to solve the inherent inequity. Either the music industry should self-regulate by switching to a subscriber-centric model, or the Copyright Royalty Board should make the switch for them. Under a subscriber-centric model, royalty distribution would more accurately reward artists for generating fans, not streams. Each month, the streaming service should take each subscription fee and apportion it out based on the percentages of artists that unique listeners choose to listen to during the subscription period. This change could come through the industry itself, litigation, or regulation, but will likely face resistance from the major record labels and the services themselves. * J.D. Candidate 2018, University of California, Hastings College of the Law. -
The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry
UCLA UCLA Entertainment Law Review Title The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry Permalink https://escholarship.org/uc/item/7n4322vm Journal UCLA Entertainment Law Review, 22(1) ISSN 1073-2896 Author Richardson, James H. Publication Date 2014 DOI 10.5070/LR8221025203 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry James H. Richardson* I. INTRODUCTION �����������������������������������������������������������������������������������������������������46 II. ILLEGAL DOWNLOADING LOCALLY STORED MEDIA, AND THE RISE OF STREAMING MUSIC ����������������������������������������������������������������������������������������������������������������47 A. The Digitalization of Music, and the Rise of Locally Stored Content. ......47 B. The Road to Legitimacy: Digital Media in Light of A&M Records, Inc. ..48 C. Legitimacy in a Sea of Piracy: The iTunes Music Store. ...........................49 D. Streaming and the Future of Digital Music Service. ���������������������������������50 III. THE COPYRIGHT AND DIGITALIZATION �������������������������������������������������������������������51 A. Statutory Background ................................................................................51 B. Digital Performance Right in Sound Recordings Act ................................52 -
Android App for Free Music Downloads Top 10 Free Music Download Apps for Android to Download Free Music
android app for free music downloads Top 10 Free Music Download Apps for Android to Download Free Music. Along with the rapid development of internet and Smartphone, you can handily enjoy your favorite music on mobile devices at any time, rather than listen to music with your old CD or MP3 player. Just a music app on your phone, can totally replace all your music devices. However, nowadays, you may easily find out that lots of free music download apps for Android no longer enable you to download songs free. No matter how deep you love music, you won't pay money for every song you like and downloaded. Because you like all kinds of music types, you fancy too many singers. So many times, free music download apps for Android can be the biggest saviors for you. In this article, we will show you 10 great Android apps for you to free stream and download mp3 songs. Let's look at the top free music apps for Android to download free music. 1. Gaana Music - One-stop solution music download app for Android. Gaana is an excellent free music downloading app on Android for you to download music for free. It provides you with free and unlimited access to all your favorite songs, no matter where you are. Based on the India's largest online music broadcasting service, Gaana can be the one-stop solution for all your music needs. Gaana carries huge collection of Bollywood movie songs. So if you like listening to Hindi music, it can be your best choice to free download MP3 songs. -
The Infinite Dial 2014
The Infinite Dial 2014 #infinitedial Methodology Overview • In January/February 2014, Edison Research conducted a national telephone survey of 2,023 people aged 12 and older, using random digit dialing techniques. • Survey offered in both English and Spanish languages. • Both landlines and cell phones were called. • Data weighted to national 12+ population figures. • This is the 22 nd study in the series dating to 1998. • These studies provide estimates of digital platforms and their impact on the media landscape based on self-reported consumer behaviors and attitudes. © 2014 Edison Research and Triton Digital Two-thirds of 18-34 Year-Olds Listen to Online Radio Monthly % By Age Group Who Have Listened to Online Radio in Last Month 66% 59% 47% 12+ 18-34 18-49 Online Radio = Listening to AM/FM radio stations online and/or listening to streamed audio content available only on the Internet © 2014 Edison Research and Triton Digital More than half of all 18-34s have listened to Online Radio in the last week % By Age Group Who Have Listened to Online Radio in Last Week 53% 46% 36% 12+ 18-34 18-49 Online Radio = Listening to AM/FM radio stations online and/or listening to streamed audio content available only on the Internet © 2014 Edison Research and Triton Digital 18-34 Year-Olds are Aware of Many Audio Brands % Aware of… Pandora 84% iHeartRadio 63% iTunes Radio 54% Rhapsody 54% Spotify 44% Google Play All Access 30% Slacker 20% Last.fm 16% TuneIn Radio 13% Radio.com 12% Rdio 8% Songza 7% Stitcher 3% Base: 18-34 year-olds © 2014 Edison Research -
Algorithms and Curated Playlist Effect on Music Streaming Satisfaction
ALGORITHMS AND CURATED PLAYLIST EFFECT ON MUSIC STREAMING SATISFACTION by Johny Sanchez Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Business Information Systems Texas Christian University Fort Worth, Texas May 7, 2018 ii ALGORITHMS AND CURATED PLAYLIST EFFECT ON MUSIC STREAMING SATISFACTION Project Approved: Supervising Professor: Jeffrey Stratman, Ph.D. Department of Business Information Systems Wendy Williams, Ph.D. John V. Roach Honors College iii ABSTRACT This research attempts to better understand the use of algorithms by music streaming services Apple Music and Spotify, and determine if their use affects user satisfaction. Both Apple Music and Spotify have integrated algorithms into their service in order to provide individually curated playlist. These playlists are created based on a user’s musical taste gathered by interacting with the service. The playlists allow users to discover new music based on what they enjoy. The more a user provides information on the type of music they like, then the better at predicting the algorithms become. The research attempts to answer: does the use of algorithms, analytics, and curated playlists enhance customer satisfaction and music discovery in Apple Music and Spotify? Both companies have invested heavily into their algorithms and it is important to know if they benefit the user. To find the answer to the question, college aged (18-23) individuals were surveyed on their engagement and satisfaction with Apple Music and/or Spotify. Without access to either company’s algorithms a proxy for an input to them was used. Results show that for a one degree increase in engagement there was a 37.8% increase in user satisfaction. -
Quote Surfing in Music and Movies with an Emotional Flavor
Quote Surfing in Music and Movies with an Emotional Flavor Vasco Serra and Teresa Chambel LASIGE, Faculdade de Ciências, Universidade de Lisboa, Portugal [email protected], [email protected] Keywords: Songs, Lyrics, Movies, Quotes, Time, Memory, Emotions, Explore, Compare, Interactive Media Access, Synchronicity and Serendipity. Abstract: We all go through the situation where we listen to a movie or a song lyrics quote and without giving it much thought, immediately know where it comes from, like an instant and often emotional memory. It is also very common to be in the opposite scenario where we try hard to remember where we know these words from, want to discover, and also find it interesting to see them quoted in different contexts. These situations remind us of the importance of quotes in movies and music, that sometimes get more popular than the movie or song they belong to. In fact, quotes, music and movies are among the contents that we most treasure, for their emotional impact and the power to entertain and inspire us. In this paper, we present the motivation and the interactive support for quotes in As Music Goes By, giving users a chance of searching and surfing quotes in music and movies. Users can find, explore and compare related contents, and access quotes in a contextualized way in the movies or song lyrics where they appear. The preliminary user evaluation results, focusing on perceived usefulness, usability and user experience, were very encouraging, proving the concept, informing refinements and new developments, already being addressed. Users valued most the search, navigation, contextualization and emotional flavor: to be able to access and compare quotes in movies and in lyrics, to navigate across movies and songs, the emotional dimension and representation also for quotes. -
Predicting Song Genre from Song Lyrics Using Deep Learning
Can You Hear Me Now? Predicting song genre from song lyrics using deep learning by Nick DeMasi An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Science Undergraduate College Leonard N. Stern School of Business New York University May 2019 Professor Marti G. Subrahmanyam Professor Panos Ipeirotis Faculty Adviser Thesis Adviser Abstract This paper seeks to evaluate the performance of traditional machine learning classification algorithms (Naïve Bayes, Random Forest, and multiclass logistic regression) against that of deep learning algorithms (a simple single layer ANN) with respect to the task of automatic multiclass genre classification. Feature sets were derived from lyric data sourced from the musiXmatch.com dataset (one of the ancillary datasets attached to the well-known Million Song Dataset) and consisted of various statistical representations of said data such as aggregated metrics, tf-idf calculations, and word vectors. The best performing model proved to be an ANN trained on tf- idf features which achieved accuracy of approximately 41.6%. We note however that this accuracy was indeed not as high as certain blended models (models which were train using both audio and lyric features) already found in the literature. As a result, we recommend that companies wishing to implement this technology (whether it be for the purpose of advertising as outlined here, or something else entirely) employ a blended model and that researchers interested the topic of automatic genre classification explore the possibility of applying deep learning to a blended feature set. 1. Introduction A quick Google search for “music genre classification” brings up a near endless stream of results linking to various research papers, informative blog posts, and GitHub repos addressing the topic.