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New players in the music industry: lifeboats or killer whales? the role of streaming platforms

New players in the music industry: lifeboats or killer whales? the role of streaming platforms New players in the music industry: lifeboats or killer whales? the role of streaming platforms Jean Paul Simon Jean Paul Simon is based rom an historical viewpoint the production, distribution, circulation and consumption at JPS Public Policy of music went through numerous changes and displayed multiple interactions Consulting, Seville, Spain. between artists, instruments and consumers. Music and the music experience are not only universally shared (Seve, 2013; Wolff, 2015) but relies on evolving patterns of consumption, on various forms of production and patronage, as well as on the on-going creation of instruments, around 12,000 (out of which 10,000 non-European) according to the Grove Dictionary of Musical Instruments (Sadie, 1985). Music, like books, has had a very sophisticated network of players and a broad division of labour for an array of different tasks (Becker, 1982). Music publishing, the first segment of the music industry to emerge as such, did not begin on a large scale before the mid-fifteenth century with the development of mechanical techniques for printing music. Prior to this, music has to be copied out by hand. As noted by Leurdjik et al. (2014,p.133), “the music industry began as an industry of publishers who contracted composers and lyricists[...]”. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Digital Policy Regulation and Governance Emerald Publishing

New players in the music industry: lifeboats or killer whales? the role of streaming platforms

Simon, Jean Paul
Digital Policy Regulation and Governance , Volume 21 (6): 25 – Nov 11, 2019
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References (72)

Publisher
Emerald Publishing
Copyright
© Emerald Publishing Limited
ISSN
2398-5038
DOI
10.1108/dprg-06-2019-0041
Publisher site
See Article on Publisher Site

Abstract

New players in the music industry: lifeboats or killer whales? the role of streaming platforms Jean Paul Simon Jean Paul Simon is based rom an historical viewpoint the production, distribution, circulation and consumption at JPS Public Policy of music went through numerous changes and displayed multiple interactions Consulting, Seville, Spain. between artists, instruments and consumers. Music and the music experience are not only universally shared (Seve, 2013; Wolff, 2015) but relies on evolving patterns of consumption, on various forms of production and patronage, as well as on the on-going creation of instruments, around 12,000 (out of which 10,000 non-European) according to the Grove Dictionary of Musical Instruments (Sadie, 1985). Music, like books, has had a very sophisticated network of players and a broad division of labour for an array of different tasks (Becker, 1982). Music publishing, the first segment of the music industry to emerge as such, did not begin on a large scale before the mid-fifteenth century with the development of mechanical techniques for printing music. Prior to this, music has to be copied out by hand. As noted by Leurdjik et al. (2014,p.133), “the music industry began as an industry of publishers who contracted composers and lyricists[...]”.

Journal

Digital Policy Regulation and Governance – Emerald Publishing

Published: Nov 11, 2019

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