Digital music distribution: the sociology of online music streams
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2019
|
| Ausgabe: | First issued in paperback |
| Schriftenreihe: | Routledge advances in sociology
227 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | x, 207 Seiten Illustrationen, Diagramme |
| ISBN: | 9780367877521 |
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Datensatz im Suchindex
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| adam_text | Contents List of illustrations Acknowledgments 1 Introduction: Digital dramas Music on demand? 1 The folding of technologies 4 Into and beyond “the piracy wars ” 9 An overview of the chapters 11 2 Not only about listening: Understanding the new everyday life of music Perspectives on the appropriation of digital music 16 Analyzing youth 20 The omnipresence and omni-interest in music 21 Top ten music-related practices 24 You can always get what you want? 29 3 The value of access: Negotiating file-sharing and streaming among young people and with parents Domesticating controversial technologies 33 Piracy as morality and rebellion 35 Digital music technologies as generational boundary markers and asymmetries 38 Reflections on piracy and legality 40 Together in crime? 43 Music in context ֊ negotiating other ICTs 47 An access culture? 48
S vi Contents 4 In search of the “hacker-punk”: Digital music technologies for countercultural measures? 52 The promises ofpunk style do-it-yourself 52 The quest for the hacker punk 54 What is so punk about punk? 57 The digitalized underground 59 In search of the hacker punk 61 The gap between near and bin(e)ary things 64 The unruliness of technology 65 5 Pre-distribution networks and professional networks: Becoming an artist in the age of “piracy cultures” 68 Of network studios and piracy cultures 68 Assembling work 71 A visit to the network studio 74 Being within or without the music industry? 79 The pre-distribution network and the professional network 82 Hail to the album! 85 6 The irony of virtuality: The production of music and news in “the new economy” 87 The contents of “the new economy ” 87 Network society or Internet society? 90 A prehistory of digital news and music 91 Ensure control over the resources 95 Gain entry to the networks 98 Gain entry to the networks #part 2 101 Ensure control #part 2 104 The new economy: a parasitic economy? 106 The irony ofvirtuality 108 7 The making of “piracy standards”: Assessing the interplay between commercialism and idealism in technology development (with Svein Høier) The interplay between idealism and commercialism 114 The movement of technologies across time and space 117 MP3’s route to dominance 118 DivX: the MP3 ofvideo? 122 The power of the piracy-entrepreneur nexus 127 114
Contents 8 Media kills music? An analysis of the newspaper coverage of the Piracy Kills Music campaign vii 132 The fourth music estate? 132 Understanding the role of the media in the piracy controversies 133 Identifying frames 136 Qualitative framing analysis 137 Quantitative framing analysis 142 “Wasn’t much help to get 143 9 The regulation of digital music distribution: Assessing the states and futures of the field 149 Introducingfive regulatory models 149 1 The partial obviation of the ownership model 150 2 The hope and health of the access model 154 3 The professionalization of the alternative revenue model 157 4 The remix model as ideology and practice 160 5 The radical and the limited compensation model 163 The manifold roles of music, musicians and music users 166 10 The music welfare state 170 Folding revisited 170 Programs, antiprograms, circumventions, ramifications ... 172 The old and the new divide 174 The triumph ofpiracy 176 The technological empire 179 A state ofbalance? 181 References Index 185 205
Digital Music Distribution The digital music revolution and the rise of piracy cultures have transformed the music world as we knew it. Digital Music Distribution aims to go beyond the polarized and reductive perception of “piracy wars” to offer a broader and richer understanding of the paradoxes inherent in new forms of distribution. Covering both production and consumption perspectives, Spiiker analyses the changes and regulatory issues through original case studies, looking at how digital music dis tribution has both changed and been changed by the cultural practices and poli ticking of ordinary youth, their parents, music countercultures, artists and bands, record companies, technology developers, mass media and regulatory authorities. Exploring the fundamental change in distribution, Spiiker investigates para doxes such as: • • • • The criminalization of file-sharing leading not to conflicts but to increased collaboration between young people and their parents; Why the circulation of cultural content, extremely damaging for its produc ers, has instead been advantageous for the manufacturers of recording equipment; Why more artists are recording in professional sound studios, despite the proliferation of good quality equipment for home recording; Why mass media, hit by many of the same challenges as the music industry, has been so critical of the way it has tackled these challenges. A rare and timely volume looking at the changes induced by the digitalization of music distribution, Digital Music Distribution will appeal to undergraduate stu dents and policy makers
interested in fields such as Media Studies, Digital Media, Music Business, Sociology and Cultural Studies. Hendrik Storstein Spiiker is associate professor in media sociology at the Insti tute for Sociology and Political Science at the Norwegian University of Science and Technology in Trondheim.
|
| adam_txt |
Contents List of illustrations Acknowledgments 1 Introduction: Digital dramas Music on demand? 1 The folding of technologies 4 Into and beyond “the piracy wars ” 9 An overview of the chapters 11 2 Not only about listening: Understanding the new everyday life of music Perspectives on the appropriation of digital music 16 Analyzing youth 20 The omnipresence and omni-interest in music 21 Top ten music-related practices 24 You can always get what you want? 29 3 The value of access: Negotiating file-sharing and streaming among young people and with parents Domesticating controversial technologies 33 Piracy as morality and rebellion 35 Digital music technologies as generational boundary markers and asymmetries 38 Reflections on piracy and legality 40 Together in crime? 43 Music in context ֊ negotiating other ICTs 47 An access culture? 48
'S vi Contents 4 In search of the “hacker-punk”: Digital music technologies for countercultural measures? 52 The promises ofpunk style do-it-yourself 52 The quest for the hacker punk 54 What is so punk about punk? 57 The digitalized underground 59 In search of the hacker punk 61 The gap between near and bin(e)ary things 64 The unruliness of technology 65 5 Pre-distribution networks and professional networks: Becoming an artist in the age of “piracy cultures” 68 Of network studios and piracy cultures 68 Assembling work 71 A visit to the network studio 74 Being within or without the music industry? 79 The pre-distribution network and the professional network 82 Hail to the album! 85 6 The irony of virtuality: The production of music and news in “the new economy” 87 The contents of “the new economy ” 87 Network society or Internet society? 90 A prehistory of digital news and music 91 Ensure control over the resources 95 Gain entry to the networks 98 Gain entry to the networks #part 2 101 Ensure control #part 2 104 The new economy: a parasitic economy? 106 The irony ofvirtuality 108 7 The making of “piracy standards”: Assessing the interplay between commercialism and idealism in technology development (with Svein Høier) The interplay between idealism and commercialism 114 The movement of technologies across time and space 117 MP3’s route to dominance 118 DivX: the MP3 ofvideo? 122 The power of the piracy-entrepreneur nexus 127 114
Contents 8 Media kills music? An analysis of the newspaper coverage of the Piracy Kills Music campaign vii 132 The fourth music estate? 132 Understanding the role of the media in the piracy controversies 133 Identifying frames 136 Qualitative framing analysis 137 Quantitative framing analysis 142 “Wasn’t much help to get" 143 9 The regulation of digital music distribution: Assessing the states and futures of the field 149 Introducingfive regulatory models 149 1 The partial obviation of the ownership model 150 2 The hope and health of the access model 154 3 The professionalization of the alternative revenue model 157 4 The remix model as ideology and practice 160 5 The radical and the limited compensation model 163 The manifold roles of music, musicians and music users 166 10 The music welfare state 170 Folding revisited 170 Programs, antiprograms, circumventions, ramifications . 172 The old and the new divide 174 The triumph ofpiracy 176 The technological empire 179 A state ofbalance? 181 References Index 185 205
Digital Music Distribution The digital music revolution and the rise of piracy cultures have transformed the music world as we knew it. Digital Music Distribution aims to go beyond the polarized and reductive perception of “piracy wars” to offer a broader and richer understanding of the paradoxes inherent in new forms of distribution. Covering both production and consumption perspectives, Spiiker analyses the changes and regulatory issues through original case studies, looking at how digital music dis tribution has both changed and been changed by the cultural practices and poli ticking of ordinary youth, their parents, music countercultures, artists and bands, record companies, technology developers, mass media and regulatory authorities. Exploring the fundamental change in distribution, Spiiker investigates para doxes such as: • • • • The criminalization of file-sharing leading not to conflicts but to increased collaboration between young people and their parents; Why the circulation of cultural content, extremely damaging for its produc ers, has instead been advantageous for the manufacturers of recording equipment; Why more artists are recording in professional sound studios, despite the proliferation of good quality equipment for home recording; Why mass media, hit by many of the same challenges as the music industry, has been so critical of the way it has tackled these challenges. A rare and timely volume looking at the changes induced by the digitalization of music distribution, Digital Music Distribution will appeal to undergraduate stu dents and policy makers
interested in fields such as Media Studies, Digital Media, Music Business, Sociology and Cultural Studies. Hendrik Storstein Spiiker is associate professor in media sociology at the Insti tute for Sociology and Political Science at the Norwegian University of Science and Technology in Trondheim. |
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| series2 | Routledge advances in sociology |
| spelling | Spilker, Hendrik Storstein Verfasser (DE-588)1140953346 aut Digital music distribution the sociology of online music streams Hendrik Storstein Spilker First issued in paperback London ; New York Routledge, Taylor & Francis Group 2019 x, 207 Seiten Illustrationen, Diagramme txt rdacontent n rdamedia nc rdacarrier Routledge advances in sociology 227 Gesellschaft Sound recording industry Music and the Internet Sound recordings Pirated editions Social aspects Internet (DE-588)4308416-3 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Technologie (DE-588)4059276-5 gnd rswk-swf Urheberrecht (DE-588)4062127-3 gnd rswk-swf Streaming Kommunikationstechnik (DE-588)4614855-3 gnd rswk-swf Marketing (DE-588)4037589-4 gnd rswk-swf Musik (DE-588)4040802-4 s Internet (DE-588)4308416-3 s Streaming Kommunikationstechnik (DE-588)4614855-3 s Technologie (DE-588)4059276-5 s Urheberrecht (DE-588)4062127-3 s Marketing (DE-588)4037589-4 s DE-604 Äquivalent Druck-Ausgabe, Hardcover 978-1-138-67390-8 Erscheint auch als Online-Ausgabe 978-1-315-56163-9 Routledge advances in sociology 227 (DE-604)BV013741699 227 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032360354&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032360354&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Spilker, Hendrik Storstein Digital music distribution the sociology of online music streams Routledge advances in sociology Gesellschaft Sound recording industry Music and the Internet Sound recordings Pirated editions Social aspects Internet (DE-588)4308416-3 gnd Musik (DE-588)4040802-4 gnd Technologie (DE-588)4059276-5 gnd Urheberrecht (DE-588)4062127-3 gnd Streaming Kommunikationstechnik (DE-588)4614855-3 gnd Marketing (DE-588)4037589-4 gnd |
| subject_GND | (DE-588)4308416-3 (DE-588)4040802-4 (DE-588)4059276-5 (DE-588)4062127-3 (DE-588)4614855-3 (DE-588)4037589-4 |
| title | Digital music distribution the sociology of online music streams |
| title_auth | Digital music distribution the sociology of online music streams |
| title_exact_search | Digital music distribution the sociology of online music streams |
| title_exact_search_txtP | Digital music distribution the sociology of online music streams |
| title_full | Digital music distribution the sociology of online music streams Hendrik Storstein Spilker |
| title_fullStr | Digital music distribution the sociology of online music streams Hendrik Storstein Spilker |
| title_full_unstemmed | Digital music distribution the sociology of online music streams Hendrik Storstein Spilker |
| title_short | Digital music distribution |
| title_sort | digital music distribution the sociology of online music streams |
| title_sub | the sociology of online music streams |
| topic | Gesellschaft Sound recording industry Music and the Internet Sound recordings Pirated editions Social aspects Internet (DE-588)4308416-3 gnd Musik (DE-588)4040802-4 gnd Technologie (DE-588)4059276-5 gnd Urheberrecht (DE-588)4062127-3 gnd Streaming Kommunikationstechnik (DE-588)4614855-3 gnd Marketing (DE-588)4037589-4 gnd |
| topic_facet | Gesellschaft Sound recording industry Music and the Internet Sound recordings Pirated editions Social aspects Internet Musik Technologie Urheberrecht Streaming Kommunikationstechnik Marketing |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032360354&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032360354&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV013741699 |
| work_keys_str_mv | AT spilkerhendrikstorstein digitalmusicdistributionthesociologyofonlinemusicstreams |