This paper examines interactive, online and planned communication theories, building on a structural sociological field of science, with the focus of exploring how the structures of the rising network information society has changed the way individuals discover, share and buy recorded music today. Technology in this economic age makes it easy to share free music files and it has changed the way ordinary individuals create, share and consume media content. These tendencies in society have led to a lot of discussion on a global scale, both in the music industry as well as in the media. People may be putting less of a value on music, and so are less likely to pay for it. If the decline in recorded music sales continues, the concern is that it may be impossible for those in the recording industry to earn a living. I will examine how individuals use and value music in general, when and why people choose to pay for recorded music, and explore which new communication technologies are used to successfully spread new music. The research results show that people increasingly are turning from music piracy and buying more music within music streaming services. The services also help them to explore new music that is then circulated through private online networks or music blogs, often through word-of-mouth. This evidence shows that the music industry’s prophecies of doom over the last decade may well have been without merit. The current road to profit is much longer as it takes a different type of effort to get to the audience’s money, but the evidence is that people still value musicians highly and want to pay them. There’s just a tendency that they wont pay for their old work – the recordings of the music. One of the biggest discoveries made in this research is the audience’s increasing tendency towards a new paradigm in recorded music. In the past, the recording industry was driven by the creation and sales of recorded music. More recently, we have found that the audience has an investment in the future work of the musician in mind when they pay for the recorded music; they are less likely to see payment solely as going towards an album or piece of music, perhaps not as the recording industries would have wanted it to be. The research also showed that the audience wanted to buy music from two archetypes of musicians. The great musicians – old stars, who had touched them, and who they felt a relation to. They were also drawn to new musicians – still poor and struggling - whose values they liked, and music they believed could be great in the future. Most importantly, they were willing to pay for it. According to these research results, the perspective of these two archetypes, could be an important thesis to remember when planning the marketing of a new artist. In summary, the results showed that the industry’s attitude, that modern music users devalues recorded music, was contrary to the audience’s actual perception of the value of recorded music. Tendencies shown in the research indicate that the audience wants to support the artists in a broader way, than wanting a single piece of recorded music. Musicians who expect to earn a living must be aware of this change and generate more opportunities of advances in technology, to make use of this fundamental shift in the audience’s habits.
|Uddannelser||Kommunikation, (Bachelor/kandidatuddannelse) Kandidat|
|Udgivelsesdato||31 aug. 2012|
- The new Musicculture, social media, streaming and the value of music