Control, curation and musical experience in streaming music services
Bibliographic Data
| ID | 21192003 |
|---|---|
| Authors | Jeremy Wade Morris (0000-0002-6419-0398, University of Wisconsin–Madison, corresponding author), Devon Powers (Drexel University) |
| Year | 2015 |
| Volume | 8 |
| Issue | 2 |
| Pages | 106-122 |
| Publication date | 2015-07-03 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Creative Industries Journal (JOURNAL) |
| Journal identifiers | ISSN: 1751-0694 • E-ISSN: 1751-0708 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/17510694.2015.1090222 |
| OpenAlex | W2238404295 |
| Language | EN |
| Citations received | 73 |
| References cited | 26 |
The growth and popularity of music streaming are generally seen as win for music consumers, giving them greater freedom and virtually limitless access to musical content. This article offers a different view. It examines how four prominent music streaming services position themselves in the marketplace, based on their interfaces, the quality of their curatorial devices, the identity projected for users and the control users have over their music (or, lack thereof). We argue that, ultimately, streaming services are in the business of creating branded musical experiences, which appear to offer fluid and abundant musical content but, in reality, create circumscribed tiers of content access for a variety of scenarios, users and listening environments
Active listening · Aesthetics · Art · Internet privacy · Multimedia · Musical · Popularity · Sociology · Visual arts · Cinema and Media Studies · Communication · Computer Science · Copyright and Intellectual Property · Music History and Culture · Psychology · Social Psychology
Popular Music, Technology, and the Changing Media Ecosystem
From listening to curating
Datafication and the push for ubiquitous listening in music streaming
Punch Cards and Playlists
The Campus Radio Music Library in the Streaming Music Era
Audiences’ Coping Practices with Intrusive Interfaces
Towards streaming as a dominant mode of media use? A user typology approach to music and television streaming
Universal Spotification? The shifting meanings of “Spotify” as a model for the media industries
Müzi̇koloji̇ Ve İcra Prati̇kleri̇ni̇n Yeni̇den Yapilandirilmasinda Di̇ji̇talleşmeni̇n Geti̇rdi̇ği̇ Yeni̇ Perspekti̇fler
Hybrydowe praktyki muzyczne jako fenomen współczesnej kultury
“Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming
The learning potential of streaming media
Digital platforms and the identity construction of Billie Eilish
Digital platforms and the shifting landscape of transnational cinema
How to approach collecting music on streaming services
What Can Popular Music and Library Music Learn from Each Other
The streaming network
Talking About Audio
Musik im Überfluss
Religious Jewish Mothers as Music Mentors
From CDs to MP3s
The working life of musicians
The impact of disruptive innovation on creative workers
Paradox of celestial jukebox
The tension between podcasters and platforms
Revenue, access, and engagement via the in-house curated Spotify playlist in Australia
Music and discovery
Lost in spotify
The foundation and transformation of the Turkish rap field (2002-2023)
Press play for pride’
The promise of personalisation
An algorithmic event
Cultural production and platform mediation
Streaming the news away? Video and audio streaming entertainment and news use in the United Kingdom and Brazil
Serendipity on radio and streaming
Beyond the platform
Rising tides? Data capture, platform accumulation, and new monopolies in the digital music economy
On streaming-dating convergence
Copying, copyright and originality
Curating the urban music festival
The challenges and limits of big data algorithms in technocratic governance
Stages, Platforms, Streams
The Streaming Paradox
Independent Canadian Music in the Streaming Age
Stories and Data
Platform pop
What the digitalisation of music tells us about capitalism, culture and the power of the information technology sector
Taste in the platform age
Ubiquitous tunes, virtuous archiving and catering for algorithms
A computational analysis of the platformization of music
Music in the Work of Social Reproduction
Mirroring the inequalities of mainstream music platforms
DIY or die? A typology of DIY careers in the Portuguese independent music scenes
Everyday artificial intelligence unveiled
New currents, old boundaries
NPR Music
From creator to data
I’m also slightly conscious of how much I’m listening to something’
Your Wrapped doesn’t lie”
Hip-hop music producers’ labour in the digital music economy
Being a 'Global Music Platform
Make-Do-With Listening
Locating Power in Platformization
Poverty among riches
From selling songs to engineering experiences
More of the Same - On Spotify Radio
If the Song has No Price, is it Still a Commodity
Música na era do streaming
Online musicking for humanity
Every time I dress myself, it go motherfuckin' viral
Spotify (Un)wrapped
Rethinking Materiality of Music
The editorial playlist as container technology
The political economy of communication
Popular culture and high culture
The Routledge Companion to Advertising and Promotional Culture
iSpy
The Relevance of Algorithms
Distinction
Blowing up the brand
Distinction
Sounds in the cloud
Personal Web searching in the age of semantic capitalism
From Music Publishing to MP3
Radio’s New Wave
Putting Consumers to Work
Branded Spaces
Curation by code
Promotional Ubiquitous Musics
Music in the Cloud and the Digital Sublime
Critical Questions for Big Data
| Unique citing works | 73 |
|---|---|
| Citations per year | 7,3 |
| Citation span | 2016 - 2026 (11) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 70 |