In the late 1990s, the MP3 became the de facto standard for digital audio files and the networked computer began to claim a significant place in the lives of more and more listeners. The dovetailing of these two circumstances is the basis of a new mode of musical production and distribution where new practices emerge. This book is not a definitive statement about what the new music industry is. Rather, it is devoted to what this new industry is becoming by examining these practices as experiments, dedicated to negotiating what is replacing an qobject basedq industry oriented around the production and exchange of physical recordings. In this new economy, constant attention is paid to the production and licensing of intellectual property and the rise of the qsocial musicianq who has been encouraged to become more entrepreneurial. Finally, every element of the industry now must consider a new type of audience, the qend userq, and their productive and distributive capacities around which services and musicians must orient their practices and investments.from the iTunes store, iPod users were aclearly not locked into the iTunes store to acquire their music. ... By 2009 the majors relented and had also given up on DRM.3 No doubt the openness of a DRM-less ecosystem would provide a level of datamobility to music purchased from the iTunes service that would make it an even more attractive commodity. ... Other options such as associating a credit card or a PayPal account for future purchasing convenience are offered, but not required.
|Title||:||Popular Music in a Digital Music Economy|
|Author||:||Tim J. Anderson|
|Publisher||:||Routledge - 2013-12-17|