Digital Music Research Articles

Dynamics of Chart Success in Korean Digital Music Industry : Is It Different from Traditional Physical Music Records Industry?

본 연구는 국내 대중음악 산업의 디지털 음원 제작에 있어 제작시스템, 제작주체의 역량 및 초기 성공이 음원의 흥행성과에 미치는 영향에 대해 분석하였다. 국내 대중음악 산업은 2000년대 이후 전통적인 음반 시장이 축소되는 반면 디지털 음원 시장이 급성장하는 급격한 환경 변화에 직면하고 있다. 따라서 국내 음반 산업에서 검증되었던 성과 결정요인 및 대중음악 소비 메커니즘이 변화된 디지털 음원 중심의 산업 환경에서도 동일하게 유의한지를 검증하는 것은 의미있는 시도가 될 수 있다.BR 본 연구의 분석 대상은 한국의 대중음악 공인 차트인 가온 디지털 종합차트에 집계된 2012년 12월에서 2013년 12월 차트 주간 순위 100위에 진입된 1,428곡이다. 구체적으로 본 연구에서는 음원흥행에 영향을 미치는 변수로서 기존 국내 음반 산업을 대상으로 분석한 임성준과 윤문수(2008), 임성준과 백운선(2004)의 선행연구를 바탕으로 제작시스템의 차이, 제작사의 역량, 유통사의 역량, 스타파워, 차트진입 첫 주의 상위권 여부, 신인가수 여부를 도출하였다. 음원 흥행은 ‘음원의 차트상주기간’과 ‘첫 주 음원차트 진입순위’로서 각각 전체흥행성과와 초기 흥행성과를 측정하였다.BR 분석결과, 제작시스템, 제작사 및 유통사의 역량이 흥행요인으로 분석되었던 국내 음반 산업 대상 선행연구의 결과와는 상이한 결과가 도출되었다. 구체적으로 제작시스템, 제작사의 역량, 유통사의 역량은 디지털 음원의 전체 흥행성과에 유의한 영향을 미치지 못하는 것으로 나타났고 진입 첫 주 상위권 여부와 스타파워가 유의한 영향을 미치는 요인으로 나타났다. 이는 음원의 초기 성공여부가 편승효과(Bandwagon Effect)에 기인하여 디지털 음원 전체 흥행성과에 가장 큰 영향을 주는 요인임이 검증된 결과이며, 이러한 영향 정도는 기성가수 및 신인가수에 따라 차별화되는 경향이 나타났다. 차트진입 첫 주 순위로 측정된 디지털 음원의 초기 흥행성과에 있어서는 제작시스템과 유통사의 역량이 영향을 미치는 것으로 나타났지만 그 효과는 음원의 차트 상주기간으로 측정된 전체 흥행성과로는 연결되지 않았다.BR 연구결과를 종합하면 디지털 음원 중심의 음악산업 환경에서는 그동안 음반산업에서 성공방식으로 가정되고 시도되고 있는 제작시스템과 메이저 제작사 및 유통사의 영향력은 예상과는 달리 흥행요인이 되지 못하였다. 따라서 새롭게 전개되고 있는 디지털 음원 중심의 산업 환경에 대한 깊은 이해와 음원을 성공으로 이끌기 위한 새로운 접근전략이 요구된다고 할 수 있다.

Gender, Creativity and Education in Digital Musics and Sound Art

This special issue examines the politics of gender in relation to higher education, creative practices and historical processes in electronic music, computer music and sound art. The starting point is a summary of research findings on the student demographics associated with the burgeoning of music technology (MT) undergraduate degrees in Britain since the mid-1990s. The findings show a clear bifurcation: the demographics of students taking British MT degrees, in comparison to traditional music degrees and the national average, are overwhelmingly male, from less advantaged social backgrounds, and slightly more ethnically diverse. At issue is the emergence of a highly (male) gendered digital music field. The special issue sets these findings into dialogue with papers by practitioners and scholars concerned with gender in relation to educational, creative and historical processes. Questions addressed include: What steps might be taken to redress gender inequalities in education, and in creative, compositional and curatorial practices? How can we combat the tendency to focus exclusively on the ‘problem of women’ while at the same time ignoring the challenges posed by the marked styles of masculinity evident in these fields? Is the gendering of electronic and digital musics and sound art evident in certain aesthetic directions? And what musical futures are augured by such imbalances?

Mothers of Invention: An Afterword

This paper offers a personal perspective on exchanges at the 2014 New Interfaces for Musical Expression panel entitled Gender, Education, Creativity in Digital Music and Sound Art, and also draws on discussion at the Gender Roundtable held in July 2013 as part of the MusDig international conference, St. Anne’s College, Oxford University. Neither anachronistic institutional positions in a fast evolving cultural environment, nor opportunistic promotion of market-driven education programmes doomed to swift obsolescence, is likely to foster the diversity needed to sustain new creative energies in digital music and sound art. Class and race barriers are often indissociable from those that characterise gender discrimination, but this is not just a question of intersectionality. It also concerns thinking specifically about the gendered constructions of the objects and concepts we employ, and about the objectification of gender itself. This overview of a decidedly heterogeneous array of projects and initiatives endeavours to reflect our panel’s emphasis on the imperative to uphold diversity and otherness.

CHALLENGES OF CLIMATE CHANGES AND DIGITAL TECHNOLOGIES DEVELOPMENT TO ART SUBJECT TEACHERS

The purpose of this article is to evaluate the impact of both climatechange and digital aesthetics on art subject teachers and to discuss theprospects of curriculum. The article provides the reflection of humandependence on the effects of climate change as well as drastic development ofmusical technologies which are understood as a meansof consolidating creative pedagogy. Theoretical considerations areillustrated by the results of empirical research, on the one hand, invalue-based attitudes of primary school teachers, students of 9-12thclasses to climate change and, on the other hand, case studies of digital musicteaching in schools as well as the digital divide problem which still presentsamong Lithuanian teachers. Case study of secondaryschool has demonstrated that the teacher can learn from their students ifthey work in synergy; great results can be achieved when teachers work inpartnership with the students. The impact of human activity on climatechange seems more ominous for both the teachers and the students comparing itto other forms of threats. The creatively orientedcurriculum appears to meet the needs of 21st century learners,offering opportunities for multitasking, problem solving, trial and errorlearning, logical thinking, and peer to peer learning. KEYWORDS: climate change, education, art subject teachers, digital music curriculum, creative education.

Regional Innovation Systems and Revolutionized Sectors: The Mobile Gaming and Digital Music

Mobile gaming and digital music industries’ dynamics and growth show high potential of value network and induce new ways of designing and developing competitive value propositions throughout disruptive innovation processes. These innovative processes have the potential to lead to design and development of new products and services, by combining games with music contents and revolutionizing the current media entertainment sector. In view of that, mobile gaming sector and market analysis were conducted throughout competitive analysis frameworks, analysis of regional innovation systems and online surveys to support the blue ocean opportunities and corroborates its market potential. Hence, the analysis involved the study of the competitive environment and technological convergence of both industries and the impact of this new game in industry dynamics. Moreover, the key drivers and trends influencing the business environment were analysed and competitive strategies were discussed as new trends for the sector, as well as new value chain rearrangements and potential players’ competition models. Finally, there were discussed vertical and horizontal integration processes, industrial clustering and agglomeration economics to lead regional innovation systems, higher knowledge investments and R&D spillovers to support blue ocean opportunities benefiting customers through new and innovative value propositions. Major sectorial changes and societal impacts for the future are also discussed.

Digitization, Unbundling, and Piracy: Consumer Adoption amidst Disruptive Innovations in the Music Industry

Digitization of music and the Internet have fundamentally disrupted the music industry by altering the way music is packaged, distributed, and consumed. These disruptive innovations have enabled music to be purchased as an individual song (digital single) or as an album (digital album) or to be enjoyed without paying for it (unlicensed digital music). Prior to these innovations, music was primary distributed as an album using a physical format such as CD. The migration of demand for music from CD to the newer consumption options and migration among these newer consumption options have different implications for the music industry. Building on multi-generation diffusion models, we identify and quantify the different types of migration of demand for music: (i) from CD to digital album (generation substitution), (ii) from CD to digital single (unbundling), (iii) from CD to unlicensed digital music (attrition from CD), (iv) from digital album to unlicensed digital music (attrition from digital album), and (v) from digital single to unlicensed digital music (attrition from digital single) as well as the sampling effect of unlicensed digital music on digital album and digital single. We then, by comparing these different types of migration, examine (i) the relative impacts of factors (digitization vs. unbundling vs. piracy) that drive each migration type, (ii) the role of the introduction of licensed digital music – digital album and digital single – in the dynamics of demand migration in the music industry, and (iii) the overall impact of unlicensed digital music on the music industry. We find that the introduction of licensed digital music has weakened the attrition effect of online music piracy (unlicensed digital music) on the demand for CD. Since the introduction of licensed digital music, the attrition effect of unlicensed digital music on the demand for CD has decreased about 11 percent every year. Cannibalization due to unbundling, rather than attrition due to piracy, is now a greater factor that contributes to the decline in industry revenue. However, attrition effect of unlicensed digital music is emerging as a challenge for digital single and, more importantly, for digital album. In recent years, the attrition effect of unlicensed digital music on digital single has increased by 3 percent and that on digital album has increased by 16 percent.

Understanding and predicting the motivators of mobile music acceptance – A multi-stage MRA-artificial neural network approach

The adoption level of digital music is still at its formative stage although the adoption renders advantageous to consumers. Therefore, the study develops a model to predict on the motivation leading to consumer’s intention to adopt mobile music services by extending Perceived Cost (PC), Perceived Credibility (PCr), Social Influence (SI), and Personal Innovativeness (INNO) with Technology Acceptance Model (TAM). 160 Respondents were tested using a multi-stage Multiple Regression Analysis (MRA) and Artificial Neural Network (ANN) approach. A non-linear non-compensatory Multi Layer Perceptron (MLP) ANN with feed-forward back-propagation algorithm and ten cross-validation neural networks was deployed in order to capture the motivators of mobile music adoption. All predictor variables were found to have relevance to the output neuron based on the non-zero synaptic weights connected to the hidden neurons. The RMSE values indicated that the ANN models were able to predict the motivators with very high accuracy. The ANN models have out-performed the MRA models as they are able to capture the non-linear relationships between the predictor and criterion variables. While the study found that TAM is a significant predictor, the insignificance linear relationships of PCr and INNO requires further investigation. The music industry can use the findings from this study beneficially to the development of mobile music adoption.

Capability Search and Redeem across Digital Ecosystems

Prior research on digital ecosystems focuses on the focal firm (e.g., a platform owner) and its ecosystem governance. However, there is a dearth of literature examining the non-focal actor, that is, an ecosystem participant who is at the periphery of a digital ecosystem. This paper proposes a theoretical perspective of the non-focal firm's participation across digital ecosystems for cultivating its innovation habitat through capability search and redeem. Capability search involves the location of external capability deemed valuable for extending the firm's innovation habitat. Capability redeem refers to the firm's use of external capability to develop, distribute, and/or monetize its products and services. We generate and sensitize the proposed perspective in the context of Sony Ericsson's innovation habitat by interpreting the mobile device manufacturer's participation across four digital ecosystems (Visual Basic, Java, Digital Music, and Android). Our findings suggest that the non-focal actor cannot rely on a single ecosystem for addressing all relevant layers of innovation. It benefits from pursuing a pluralistic strategy, operating across digital ecosystems to avoid investing all efforts in the same ecosystem. The model of ecosystem capability search and redeem, which is a result of ideographic research explanation, extends current perspectives on digital ecosystems and contributes to the emerging literature in the digital age.

Music business handbook and career guide

Foreword - Stan Cornyn Part I MUSIC IN THE MARKETPLACE 1. Overview More Than Pop Art Versus Commerce Historical Development: Finding a Paying Audience Influence of Mass Media The Arts and Entertainment Industry 2. The Music Business System Getting Through the Maze Music Business Studies in Higher Education Help Wanted! Part II SONGWRITING, PUBLISHING, COPYRIGHT 3. Professional Songwriting The Market Predictors of Success The Craft The Business of Writing Income Sources Publishing Options Evaluating Publishers The Songwriters Guild of America Contract Reassignment or Default Breaking In 4. Music Publishing Types of Publishers Administration Contracts With Writers Split Copyrights, Copublishing Copyright Protection: Sampling Promotion, Advertising Income Sources Trade Associations 5. Music Copyright Background Essential Provisions Key Terms Coverage Exclusive Rights Fair Use of Copyrighted Material Copyright Ownership Transfer or Assignment Work Made for Hire Musical Arrangements Sound Recordings Compulsory Mechanical License Royalty Payments Duration of Copyright Formalities Infringement, Remedy Record Counterfeiting, Penalties Changing Laws Rights in Names and Trademarks A Final Note on Law Part III BUSINESS AFFAIRS 6. Music Licensing Music Rights: An Overview Performing Rights Organizations Keeping Track of the Music Membership Options Mechanical Licenses Synchronization Licenses Cable Television Licenses Video Licenses Transcription Licenses Jukebox Licenses Dramatic Music Rights 7. Agents, Managers, and Attorneys Agents Managers Attorneys Business Management Techniques 8. Artists' Recording Contracts AFTRA Agreements AFM Agreements 9. Unions and Guilds American Federation of Musicians American Federation of Television and Radio Artists American Guild of Musical Artists American Guild of Variety Artists Actors' Equity Association Screen Actors Guild International Alliance of Theatrical Stage Employees Other Unions and Guilds Part IV MANAGING, PRODUCING, AND MERCHANDISING 10. Artist Management Discovering Each Other The Financial Relationship Manager's Commission Advancing the Career Personal Management Agreement 11. Record Production Record Producers Matching Producer to Artist Production Deals The Recording Studio: Operation and Selection The Five Stages of Record Production Getting Started as a Producer Professional Associations 12. Concert Promotion Getting Started Booking the Artist Making an Offer The Art of the Deal Contracts Marketing Publicity and Public Relations Sponsorships Ticketing 13. Arts Administration The Classical Music Market Perspective Representative Organizations Symphonic Music Funding the Arts State Arts Councils Administration 14. Music Products Music Retailers Sales Leaders Promotion of Musical Products Financial Management in Music Retail New Trends in Music Retail Trade Associations Opportunities for Employment Part V THE RECORDING INDUSTRY 15. Scope of the Recording Industry Perspective Major Labels Independent Labels Specialty Labels Do-It-Yourself Recording Recording Company Structure National Academy of Recording Arts & Sciences 16. Record Promotion, Distribution, and Retailing The Marketing Plan The Elements of a Marketing Plan Record Distribution Retail Merchandising 17. Record Markets Research Methods The Charts Data Collection Market Research Record Categorization Stylistic Preferences 18. The Digital Age The Double-Edged Sword Internet Synergy Labels Lay Seeds of Self-Destruction Smaller, Cheaper, Faster, Better (?) The Economics of Digital Distribution: Change and Evolution The New Economic Order The Digital Future Part VI MUSIC IN BROADCASTING AND FILM AND THEATER 19. Music in Radio Types of Stations Audience Identification and Market Research Spectrum of Formats How Commercial Radio Stations Work 20. Music in Television Variety and Talk Shows Music Specials/Events/Awards Shows Theme Songs Background Music and Foreground Spotlights The Singer/Actors The Commercials The Evolving TV Picture TMTV and the Rise of the Music Video Producing Short-Form Videos 21. Dramatic Scoring for Motion Pictures and TV Background The Craft Music Scoring for TV Library Music Hiring Practices 22. Music in Advertising Influences on Style Jobs Music Uses Budgets Station Logos The Agency Role Spot Production 23. Music and Theater Types of Musical Theater Broadway Musicals Theater Associations Production Components 24. Business Music Foreground and Background Music Service Companies Production Music Libraries Part VII CAREER PLANNING AND DEVELOPMENT 25. Career Options Creative Careers Producing/Directing Careers Performing Careers Teaching Careers Broadcasting/Film/Video Game Careers Music-Related Careers Entrepreneurs/Starting Your Own Business 26. Starting Your Own Business Getting the Process Started Choosing a Name Forms of Ownership Permits and Legalities Raising Funds Marketing Web Promotion Accounting and Finance Keeping Track of the Money Operations Management Management Where to From Here? 27. Career Development Defining Goals Climbing the Ladder Finding Work Part VIII CANADIAN MUSIC INDUSTRY AND INTERNATIONAL COPYRIGHT What You Need to Know About Canada's Music Scene - Richard Flohil International Copyright: The World Market Outside the United States - Phil Hardy and Dave Laing Appendix A: Membership and Copyright Forms Appendix B: Selected Readings Appendix C: Professional Organizations Glossary Index About the Author and Editor

The Indian Copyright (Amendment) Act of 2012 and American Digital Music Exports: Why the United States Should Make Stricter Anti-Circumvention Laws in India an American Diplomatic Priority

India presents the American music industry with a new frontier. Thanks to the wide distribution of cell phones, an expanding digital infrastructure, and a growing appetite for music entertainment, India has become an important digital music export market for the United States. However, widespread digital piracy has hampered India's potential as a digital music market. In the United States, anti-circumvention laws have established a legal infrastructure that defends a digital access right independent of copyright. As a result, the United States has witnessed the emergence of services that offer low priced digital music that has managed to curb piracy. This article argues that the Indian Copyright (Amendment) Act of 2012 fails to provide for the independent access right that serves as the legal backbone of America's digital music marketplace. In order to unlock the gateway to India's expanding digital music consumer base, this article advocates that the United States make the adoption of stricter anti-circumvention laws in India an American diplomatic priority.

A Pricing Equilibrium Model for Digital Music Market

Given the degrees of freedom on the internet and the ease of obtaining perfect replicates of digital music files, internet piracy of digital music is a serious free-riding problem that has become a social phenomenon. We argue that using the pirated digital music as a promotional tool could be beneficial to the record labels by increasing consumers' brand premium value. In this paper, we present the preliminary design of a self-selection model on optimal pricing of digital music. The model provides strategies to the recording industry to effectively price its products with the co-existence of piracy.

Digital Audio Effects

1Dipartimento di Elettronica e Informazione (DEI), Politecnico di Milano, Milano, Italy 2Department of Signal Processing and Communications, Helmut-Schmidt-University—University of Federal Armed Forces Hamburg, Germany 3Music Technology Group, Department of Information and Communication Technologies & Audiovisual Institute, Universitat Pompeu Fabra, Barcelona, Spain 4Centre for Digital Music (C4DM), School of Electronic Engineering and Computer Science, Queen Mary University of London, UK 5Department of Engineering, University of Cambridge, UK

Seeking Out the Spaces Between: Using Improvisation in Collaborative Composition with Interactive Technology

This article presents findings from experiments into piano and live electronics undertaken by the author since early 2007. The use of improvisation has infused every step of the process—both as a methodology to obtain meaningful results using interactive technology and as a way to generate and characterize a collaborative musical space with composers. The technology used has included pre-built MIDI interfaces such as the PianoBar, actuators such as miniature DC motors and sensor interfaces including iCube and the Wii controller. Collaborators have included researchers at the Centre for Digital Music (QMUL), Richard Barrett, Pierre Alexandre Tremblay and Atau Tanaka.

Trend of Global Music Industry and Strategy of Korean Companies for Domestic and Global Digital Music Markets

Trend of Global Music Industry and Strategy of Korean Companies for Domestic and Global Digital Music Markets

Música e Cibercultura

O desenvolvimento das tecnologias digitais muda as formas de produzir informação e o que se produz. A convergência tecnológica elimina limites entre mídias, tornando-as solidárias em termos operacionais, e erodindo relações com produtores e usuários. A Internet permite que qualquer um funcione como produtor, mediador e usuário de conteúdos. A música está vivendo profundas mudanças nos seus modos de produção, difusão e uso. A cena musical moderna era vinculada às séries da indústria cultural e a cultura de massas. A música popular moderna tem a forma de canções reproduzidas pelo fonógrafo, que se difundem pelo rádio, já a música na cibercultura está vinculada às novas tecnologias. A música digital tem a forma potencial de obra aberta, compactada sob a forma de arquivo MP3, fluindo nos MP3 players, celulares e Internet.

The need to touch: Exploring the link between music involvement and tangibility preference

Amid the increasing consumption of digital music and generally declining sales of recorded music, physical formats persist as the preferred means of storing and listening to music for many consumers. The purpose of this paper is to increase the understanding of the relationship between music involvement and preference for tangible music formats. To achieve this, we test a research model and perform a segmentation analysis based on music involvement. Findings indicate that high music involvement is positively correlated with subjective music knowledge, tangibility preference, and portable player use. Quite naturally, involvement increases music consumption in all formats, including digitized forms, but high involvement appears connected to a perception of tangible records as more valuable. The behavior of highly involved consumers suggests that digital music is not necessarily eradicating physical formats but possibly fulfilling different needs; for example, sampling and complementing vs. collecting and displaying.

Understanding Interaction in Contemporary Digital Music: from instruments to behavioural objects

Throughout the short history of interactive digital music, there have been frequent calls for a new language of interaction that incorporates and acknowledges the unique capabilities of the computational medium. In this paper we suggest that a conceptualisation of possible modes of performance–time interaction can only be sensibly approached in light of the ways that computers alter the social–artistic interactions that are precursive to performance. This conceptualisation hinges upon a consideration of the changing roles of composition, performer and instrument in contemporary practice. We introduce the termbehavioural objectto refer to software that has the capacity to act as the musical and social focus of interaction in digital systems. Whilst formative, this term points to a new framework for understanding the role of software in musical culture. We discuss the potential for behavioural objects to contribute actively to musical culture through two types of agency:performative agencyandmemetic agency.

Incorporating Network Externalities into the Technology Acceptance Model*

Research on network externalities has identified a number of product categories in which the market performance of an innovation (e.g., unit sales and revenues) is an increasing function of that innovation's installed base and the availability of complementary products. Innovation scholars have attributed these findings to the positive impact of network externality variables on consumer perceptions of innovation attributes. This paper provides the first empirical examination of these perceptual linkages by extending the Technology Acceptance Model to include consumer perceptions of network externality variables. The authors hypothesize that, when direct and indirect network externalities exist, consumer purchase intentions and consumer perceptions of an innovation's usefulness and ease of use will positively reflect perceptions of installed base size and the availability of complementary products. To test this reasoning, the authors developed new measures of consumer perceptions of network externality variables. These measures were incorporated into a survey that explored the attitudes in Japan of potential adopters toward digital music (DM) players at an early stage in the product life cycle. Findings reveal a direct positive relationship between ease of use and the perceived availability of digital music. The authors also find positive and significant relationships between both purchase intention and perceived usefulness and (1) the perceived size of the DM player installed base and (2) the perceived availability of digital music. An application of the Baron‐Kenny test for mediating variables reveals that (1) ease of use partially mediates the relationship between the perceived availability of digital music and perceived usefulness and (2) perceived usefulness partially mediates the relationship between the perceived availability of digital music and purchase intention. The research has important implications for future research on new product adoption and for the management of innovations that involve network externalities. The conceptual model provides a framework for testing alternative explanations of observed variations in the impact of network externalities within and across product categories. The empirical analysis provides guidance for managers who wish to manage the impact of network externalities on adoption. In addition to stimulating the size of the installed base and the variety of complementary products, executives must also manage consumer awareness of network externality variables and consumer understanding of the relationship between those variables and innovation attributes. Finally, traditional adoption models link consumer adoption decisions to perceptions of innovation attributes. The findings provided here imply that predictive accuracy of these models can be improved by including consumer perceptions of network externality variables.

Podcasting in the Classroom: A Case Study

The world is changing. Many students now fi ll their world with mobile phones, text messaging, MP3 players and computers that they use for social networking. They have really become the iPod generation. Due to the ubiquitous nature of iPods, and other mp3 players, digital music is everywhere and podcasting has become a mainstream activity of the web 2.0 age.

Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture

Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.