Digital Music Platforms Research Articles

AI is the New DJ

Artificial intelligence in the realm of digital music platforms is changing the cultural ecosystem. Technological developments and music streaming platforms, aided by machine learning and algorithms, influence cultural trends, listener engagement, and music creation on a global scale. With references to Marshall McLuhan and his exponents, this article discusses the medium of music in past, current, and future contexts, and considers the impact of assigning AI as the cultural curator.

Combination of Blockchain and AI for Music Intellectual Property Protection

In the last two years, due to the pandemic and restrictive measures, the dependence of music creators and artists on the Internet, where they could promote their work, organize live streaming concerts, and talk to the public, has increased and expanded even more and seeks higher revenue from digital music platforms. An important issue that arises from the above statement is protecting the authors' copyright regarding the uses and sharing in the digital services of their works with protected content. Although circulated in digital information, the protected content is not information but a product of ethical and commercial value. While it has an intangible owner and it owes its existence to the creative idea of its creator, it is not an idea. The imposition of legal and commercial conditions on its movement cannot be associated with any restrictions on the free movement of information, as it is not related to them. In general, the unauthorized exchange of digital music files via peer-to-peer violates copyright law. The exchange of files is unauthorized, as it does not have the relevant permission from the creators and beneficiaries and is therefore illegal. With this in mind, this paper proposes a highly effective way of protecting the copyright of music technology, which is based on the widespread use of artificial intelligence, blockchain, and cryptography technologies. Specifically, an advanced blockchain model based on Hyperledger Fabric is introduced, which, however, uses Quantum Homomorphic Encryption and Quantum Zero-Knowledge Arguments. Music files are implemented as Nonfungible Tokens (NFTs), which activate smart contracts. Finally, an advanced collaborative filtering algorithm provides recommendations for effectiveness in securing the copyrights of music industry creators. A specialized scenario was built to model the proposed system to verify the degree of protection on music intellectual property in developing a security simulation with an innovative consensus-based zero knowledge and the quantum fully homomorphic encryption technique. Experiment results show that this technique can aid in implementing a technologically aware system capable of providing a powerful answer to a current real-world problem.

“Preserve our culture”: The use of digital music platform in the ethnic music community

<p><em>The use of digital music platforms can become effective media in ethnic music especially Betawi music, Pop music , RnB and Jazz genre. This digital music Platform can be used to preserve Indonesian ethnic songs.</em><em> </em><em>The purpose of this research is to find out the motives for the preservation of </em><em>B</em><em>etawi </em><em>M</em><em>usic in the </em><em>utilization</em><em> of digital music platforms in Gambang Kromong Community. The study of the theory used uses and gratification and new media. In addition, the study of concepts used derivatives of the </em><em>uses </em><em>and grat</em><em>ification</em><em>, digital music platforms used and the distribution of Musi</em><em>c. </em><em>This research is different from previous research existing to utilize digital music platform as an effective medium to preserve ethnic music, previous research utilizing digital music platform for promotional media. This research methodology uses a post-positivism paradigm with a qualitative approach and the type of this descriptive research, the analytical unit used by the organization, the research data collection techniques through interviews and documentation studies. This research Instrument researchers themselves, the data analysis techniques in the study of data collection, data reduction, data presentation and withdrawal of conclusions. Furthermore,</em><em> validity of data used by the source of the sources by interviewing 5 informant</em><em>. Based on the results of the study found that the utilization of digital music platform that is found by the work of </em><em>Setia Muda</em><em> foundations managed by G</em><em>ema Nada Pertiwi </em><em>tself become effective and preserve Betawi music in a digital way without using CDS and tapes </em><em>t</em><em>o</em><em> </em><em>m</em><em>aintain its existence in the Betawi Music Foundation with a touch of Gambang Kromong on digital music platform. </em></p><p><strong><em>Keywords: </em></strong><em> </em>Betawi music, Community media, Digital music platform, and Gambang Kromong.<em></em></p>

Formation of singing skills of future music teachers through digital resources

The purpose of this study is to investigate the determination of the formation of singing skills of future music teachers through digital resources. The quantitative research method was used in the study, and the research was conducted in the fall semester of 2021–2022. 376 volunteer music teachers who continue their studies in Kazakhstan participated in the study. In the study, 4 weeks of online training was provided to music teachers. In the study, the ‘digital music platform’ measurement tool developed by the researchers and compiled by experts in the field was used. The measurement tool was delivered and collected by the online method of music teachers. The analysis of the data was carried out using the SPSS programme; frequency analysis was carried out using the t-test; and the results obtained were added to the study accompanied by tables. According to the survey results, in live lessons, music teachers use the songs with the formation and this takes place where digital content is also very low. In the event of very frequent use, it was seen that by projecting courses in distance education systems the music rates are quite high.
 
 Keywords: Music Teachers, Digital Content, Live Lesson, Teachers of the Future;

THE ROLE OF DIGITAL TECHNOLOGY IN SUPPORTING STUDENTS’ LISTENING SKILLS THROUGH DIGITAL MUSIC PLATFORMS AND PODCASTS: A LITERATURE REVIEW

The collaboration of Digital Technology and learning has become one great topic recently. Many people try to search for good ways to support their teaching and learning process through digital technology. Technology has offered many kinds of applications that can help students and teachers. The Music platforms and podcasts consist of many things that can help the students improve their English, especially their English skills. In this literature review, I would like to find and share the role of Digital Technology in supporting students’ Listening through music platforms and podcasts. And the methodology that I would like to use is the qualitative method in which there will be some interviews and videos in collecting the data. And reading through all the results of the interviews and drawing some connections between digital technology and the learning process to analyze the data, the participants are from X Grade students of Makassar Adventists Senior High School. As a result, those students who are active with digital technology, especially the music platforms and podcasts, have better listening skills than those who are not. Here the writer found out that digital music platforms and podcasts can support students’ listening skills.

Shifts in Authenticity: Electronic Dance Music as Environment for Contemporary Folklore Forms

The article discusses the most prominent creators of the Lithuanian post-folklore electronic music and their stylistic uniqueness, mainly focusing on the Electronic Dance Music (EDM) branch. An important fact is that the authors tend to create full-length music albums rather than single songs, thus emphasizing their conscious choice, constant and consistent activity. The two fields – modern and old – expand each other, attracting regular listeners with new expressions, thus continuing the development of folklore and enriching electronic music with cultural values and identity. Authentic folklore and its modernized forms do not overshadow each other and are often practiced in parallel.Electronic post-folklore music could be stylistically divided into EDM, ambient, and experimental subgenres. All of them often intertwine and shall be assigned to a genre depending on what prevails in the sound. Typically, folksongs are used in electronic dance music in two ways: by including an authentic sound recording or a folksong performance by contemporary singers. The second direction prevails, with the folklore content reaching the listener with a slightly altered timbre, depending on whether the singer is practicing authentic folklore or not.The stylistics of electronic music in each case reflects the author’s musical inclinations. The majority of the above-mentioned composers consistently work with at least one or more other musical styles, play more than one live instrument, often have their own recording studios. Due to its stylistic and structural agility, the only obligatory elements being the percussion and bass lines, electronic dance music can be very easily combined with basically any other material, in this case, folksong, without disrupting its integrity.The folksong is usually performed unchanged, maintaining its structure, melody, and text, with a minimum of “stretching” the rhythm, so that the song can be “loaded” into the aligned structure of the contemporary music. Harmony and the rhythm of EDM are essential factors (and thus variables) that point the direction and surprise the listener with new outcomes.Post-folklore dance music is expressed in various genres, combining folklore with dub, techno, house, trance, triphop, big-beat, and other styles, emphasizing the rhythmic and bass part, and improvising with the ethnic material. The works are usually based on consistent internal development, rather than on specific song forms typical of, for example, modern popular dance music, without overloading the pieces with sound layers, allowing each of them to unfold. Folksongs or their motifs appear as the main material, but instrumental folklore music or its recordings are not used – sometimes the whole of electronic music is supplemented with folk instruments while performing contemporary music part.Such music is especially welcome at festivals, intellectual music parties, listened to on digital music platforms, thus bringing the old culture closer to a modern human, creating conditions both for experiencing new expressions of folklore and becoming interested in authentic ethnic culture, returning to the roots, and learning the “pure” folklore.

Spotify and the democratisation of music

AbstractThe corporate rhetoric of streaming platforms often assumes a tight link between their scale-making ambitions on the one hand and the creative interests of musicians on the other. In practice, most musicians recognise that claims of musical ‘democratisation’ are deeply flawed. The creative ambivalence this produces is an understudied pillar in scholarship on digital music platforms and suggests that these systems can be more creatively constrictive than empowering. Based on ethnographic research among Spotify engineers, record labels and musicians, this article explores how music recommendation systems become inculcated with a corporate rhetoric of ‘scalability’ and considers, following Anna Tsing, how this impacts musical creativity further down the value chain. I argue that the ‘creative ambivalence’ that these technologies produce should be more fully understood as woven into a complex web of social relations and corporate interests than prevailing claims of technological objectivity and ‘democratisation’ suggest.

IMPLEMENTASI SPOTIFY BAGI GRUP MUSIK INTHESKY BAND DI MEDAN SUMATERA UTARA

This study aims to find out about the implementation of spotify for the band Inthesky Band in Medan, North Sumatra. This study uses theories related to research topics such as the meaning of implementation, the meaning of spotify, social media theory, the meaning of applications, the meaning of musical groups, and theory of results. The population in this study are eight music groups consisting of Inthesky Band, Garside, Shadowplay, Psychotic Villager, Boxquitos, Pesawat Sederhana, Moove, and Equaliz. Based on the results of research conducted, the Inthesky Band music group uses Spotify to introduce their musical works to the public. Spotify is one of the most widely known digital music platforms and is used in the digital era today, especially by young people and music lovers who love indie music. In implementing Spotify, the Inthesky Band music group started by compiling the concept of a song that they wanted to make, then producing it into a song that is ready to be played through Spotify by using one of the service providers, namely Netrilis. The results of the implementation of spotify for the Inthesky Band music group have a good impact on the music group itself as well as for connoisseurs, including Exposure which is how the songs of the Inthesky Band music group are increasingly heard by people and spread widely through social media networks that Share songs from Inthesky Band, Inthesky Band music groups can see the development of their own music groups, can get royalties and Inthesky Band music groups are able to be in the same playlist as National musicians. For music lovers, it's easier to access songs from Inthesky Band through Spotify which are available in paid or free form and for others musicians to be motivated to do the same, create music using Spotify.

Circulatory Maintenance: The Entailments of Participation in Digital Music Platforms

Circulatory Maintenance: The Entailments of Participation in Digital Music Platforms

DIGITAL MUSIC USE AS ECOLOGICAL THINKING: METADATA AND HISTORICISED LISTENING

In claiming that metadata possess the power to put historical awareness into the act of listening, this article examines digital music use as an aesthetic situation driven by potentialities of becoming. Working from a theoretical foundation amalgamating digital music archives and metadata as environments the article discusses Georgina Born’s notion of musical assemblages alongside the concept of virtuality, and by letting these meet the article argues for a musical assemblage built from sensibilities of becoming rather than layers of mediation. The inner workings of digital music use constitute an ecology in which recorded music history moves and reconnects, and this makes the historicity of recorded music be fluid, thus turning listening into a historicised action. In exemplifying this, the article discusses some of the strategic programming of metadata on the digital music platform Diskoteket, and through an analysis of sampled music, the prospects of recorded music’s historicity are shown as affective capacities.

Peer Recommendations, Consumption Variety, and Product Performance: Evidence from a Digital Music Platform

Users and suppliers of complementary products on digital platforms routinely face several non-trivial challenges due to an overload of information and fierce competition for attention. As such, effective management and governance mechanisms facilitating network effects and value co-creation with suppliers are an important determinant of a platform's competitive advantage. In the present study, we analyze a peer-based recommendation system on a digital music platform, arguing that it can facilitate the match between products' horizontal characteristics and users' idiosyncratic tastes or encourage users' exploration of new varieties, leading to an increase in products' performance. We derive predictions from a simple theoretical model of peer recommendations which we subsequently test at two levels of analysis. Our results provide strong evidence that peer recommendations indeed lead to increased performance of complementary products, and that they encourage users to extend the scope of the varieties they consume.

A survival analysis of songs on digital music platform

This study explores and compares what factors are critical for music to succeed in download and streaming services. The weekly top 100 songs listed on the Korean music ranking charts for three years were used as the sample, and the factors affecting success on the download and streaming ranking charts were examined using the survival analysis. The results indicate that being the title track is the most critical factor for songs’ survival on the charts for both services. While songs released by major labels survived longer on the download chart, major labels are no longer superior to minor labels in streaming services. The results also indicate the impact of the superstar was positive to the survival on the streaming chart, but it was effective only in the interaction with being title track on the download. As expected, piracy showed a negative influence on the survival of songs for both download and streaming service. Theoretical and practical implications for the digital music industry were suggested.

Los artistas colombianos y las plataformas de música digitales: algunas dificultades

Internet brinda nuevas oportunidades de negocios legales para la industria musical y en especial para artistas o discográficas independientes. Lo anterior se debe a la gran proliferación y crecimiento de plataformas de música digitales. No obstante, contrario a las estadísticas, los artistas no han podido beneficiarse de la manera esperada de dichas oportunidades. El desarrollo académico de este tema se encuentra en sus inicios, especialmente respecto del panorama colombiano, así que, por primera vez en la literatura, se busca abarcar algunas dificultades a las que se enfrentan los artistas colombianos en el mundo de la música digital.

Changing Their Tune: How Consumers’ Adoption of Online Streaming Affects Music Consumption and Discovery

Instead of purchasing individual content, streaming adopters rent access to libraries from which they can consume content at no additional cost. In this paper, we study how the adoption of music streaming affects listening behavior. Using a unique panel data set of individual consumers’ listening histories across many digital music platforms, adoption of streaming leads to very large increases in the quantity and diversity of consumption in the first months after adoption. Although the effects attenuate over time, even after half a year, adopters play substantially more, and more diverse, music. Relative to music ownership, where experimentation is expensive, adoption of streaming increases new music discovery. While repeat listening to new music decreases, users’ best discoveries have higher play rates. We discuss the implications for consumers and producers of music. Data and the online appendix are available at https://doi.org/10.1287/mksc.2017.1051 .

디지털 음악 플랫폼에서 창발하는 음악 생산과 수용의 새로운 모델 : 에이펙스 트윈의 사운드클라우드 계정 ‘user18081971’을 중심으로

디지털 음악 플랫폼에서 창발하는 음악 생산과 수용의 새로운 모델 : 에이펙스 트윈의 사운드클라우드 계정 ‘user18081971’을 중심으로

Network[ed] Listening—Towards a De-centering of Beings

In this paper, I question modes of listening in network music performance environments, and specifically draw on my experience as a performer listening in these scenarios. I situate network listening within the context of current music making, and refer to changes in compositional practices that draw specific attention to listening. I argue that some of these compositional developments play a determining role in articulating a new discourse of listening. Eric Satie's concept of Furniture Music, Schaeffer's ideas on reduced listening, Oliveros' deep listening practices as well as digital music platforms all serve to show a development towards a proliferation in listening experiences. I expand this narrative to listening practices in network performance environments, and identify a specific bodily fragility in listening in and to the network. This fragile state of listening and de-centered kind of performative being allow me to draw parallels to the Japanese art form Butoh and Elaine Scarry's metaphor of beauty. My own performance experiences, set within the context of several critical texts, allow me to see network[ed] listening as an ideal corporeal state, which offers a rethinking of linear conceptions of the other and a subject's own relation with her world. Ultimately, network[ed] listening posits listening as a corporeal and multi-dimensional experience that is continuously being re-shaped by technological, socio-political and cultural concerns.