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1.
According to the Nielsen Music 360 Research Report, 67% of all music consumers in the United States used digital music streaming services to listen, discover, and share music online in 2014 (The Nielsen Company, 2014). As such, communications scholars and music industry professionals are beginning to recognize the importance of understanding the factors that influence digital music listener behavior. Therefore, this study proposes an expanded theory of planned behavior model (TPB) by incorporating social identification into the original TPB model framework in an effort to gain a better understanding of people’s intentions to use digital music streaming services as well as the amount of time spent listening to them.
Results suggest that both the original TPB and expanded TPB models can be successfully applied within the context of digital music streaming service use. Specifically, attitudes emerged as positive contributors to intention to use digital music streaming services, while social identification and behavioral intention emerged as positive contributors to streaming behavior. Both models also explained a larger percentage of intention to use digital music streaming services as compared to streaming behavior operationalized as total time spent listening. Thus, this study implies the practical importance of understanding the differences between what drives listener intentions as compared to what drives the actual amount of time listeners spend using digital music streaming services. 相似文献
2.
Brian Fauteux 《Journal of Radio & Audio Media》2020,27(1):8-24
The aim of this article is to assess whether and how the CBC’s music radio programming reflects the corporation’s mandate of showcasing a diversity of music and culture. I argue that a program logic that privileges an international corporate music industry strategy persists (particularly during the peak morning and afternoon drive time programs) and limits the capacity for public radio to imagine and project alternative musical trajectories. My aspiration is to imagine CBC Music’s over-the-air radio as a residual broadcast service, one that presents novel opportunities at a time when digital and online streaming music is dominant. 相似文献
3.
Jennifer Eltringham 《Journal Of Archival Organization》2017,14(3-4):128-138
In July of 2017, music streaming platform Spotify reached 60 million paid subscribers, nearly doubling from the year before and continuing to grow after the launch of rivals Apple Music and Tidal. Users of these services are creating large amounts of data, including tracks played and playlists curated. If properly managed, this data could enrich collections by illuminating the habits and inner lives of archival donors. However, the limits of proprietary software pose a challenge. This article presents methods for collecting data created by users of Spotify and other similar platforms, which empower archivists to proactively manage music streaming data. 相似文献
4.
A set of representative consumer surveys shows that in the Netherlands unauthorized file sharing of music has declined substantially between 2008 and 2012. It decreased slightly for games, but almost doubled for films and TV series. Overall, file sharing dropped from 38% to 27% of the population. The empirical evidence presented supports the hypothesis that adequate legal services for downloading and streaming music helped to reduce file sharing, whereas a lack of good digital audiovisual services made consumers turn to illegal alternatives. 相似文献
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6.
Rebekah E. Moore 《亚洲交流杂志》2013,23(4):368-385
In Indonesia, the Internet has reshaped music industry praxis, particularly artist marketing and promotion. It is also a primary resource for artistic inspiration, providing musicians and producers with unprecedented access to recording artists worldwide. Finally, for the nation's top musicians, the Internet can lead to national and even international recognition, by means independent of – and even superior to – the production, distribution, or promotional support Indonesia's major record labels can provide. Answering Lysloff's call that examinations of digital media should consider how and why they are meaningful,this qualitative analysis examines the Internet practices consultants believe have radically reshaped Indonesia's national music industry and advanced its global impact. Particularly among the nation's self-described non-mainstream or independent music professionals, the Internet has revolutionized professional and social communication. Furthermore, through online intellectual critique, individual contributors also debate artistic ideals, as well as broader social and political problems. The Internet, thus, circumscribes a network of musically and socially likeminded individuals who engage in thoughtful debate about the arts and society in a presumably safe and egalitarian environment. There are limits to the Internet's equanimity and its users’ abilities to secure artistic and intellectual independence; however, spatial proximity to the music industry's epicenter in Jakarta, rhetorical dexterity in Internet correspondence, and Internet legislation all pose particular challenges to the democratization of Indonesia's independent music industry network and the professional and social relationships that happen through its channels. 相似文献
7.
Michelle Rodino-Colocino 《Critical Studies in Media Communication》2013,30(5):375-390
This essay investigates key moments in the history of personal digital assistant (PDA) marketing to women. Analyzing promotional texts for three PDAs that received considerable press coverage from 1999 to 2001, this essay explores the cultural significance of the convergence of anxieties about women's place in the gendered division of labor with the computer industry's changing marketing imperatives. Drawing on an array of promotional texts, including news articles, press releases, promotional Web sites, and ads appearing in newspapers and magazines, this paper tells the story of how the computer industry aimed to sell smaller, faster computing devices to women while promising to mediate and thus reproduce women's overwork as paid and familial laborers. After experimenting with the PDA as a sexy fashionable gadget for working women, marketers approached women as mothers with “Audrey,” an Internet appliance designed for the kitchen. 相似文献
8.
ABSTRACTThis article explores the University of Colorado (CU) Libraries’ experiences with evaluating a patron-driven (PDA) program with Kanopy and an evidence-based (EBA) program with Alexander Street for streaming videos. The article includes a thorough comparison of EBA and PDA models, workflows, and outcomes. Three separately administered libraries within the CU system support campuses of different budgets, student and faculty demographics, programs, and exposure to streaming collections. Lessons in implementing and assessing streaming videos at each library and across the consortia are shared along with details on how to implement similar analysis at other libraries. 相似文献
9.
乐谱作为一类特殊文献,其著录规则有自身的规律和特征,从国际标准和国家标准来看,国际标准书目著录(ISBD)中设有专门的部分规定乐谱的著录,而我国的文献著录国家标准(GB3792)中则未对乐谱著录作出规定。中国高等教育文献保障系统(简称CALIS),在其著录规则中特别设立了中文、西文乐谱著录章节。文章从乐谱著录国际标准(ISBD(PM))的规定入手,对CALIS制定的中文、西文乐谱著录原则进行分析,并着重从各个著录项目的角度出发提出了乐谱著录在实践中的若干问题。 相似文献
10.
ABSTRACTThe University of Northern Colorado (UNC) Libraries have experienced a surge in streaming video requests in the past few years. Like others, UNC’s Technical Services department has found new ways to manage procedures and workflows associated with this format. This session covered the experiences and strategies of the presenters for handling streaming video databases, licensed content ripped from DVD, firm orders, and multiyear streaming licenses. 相似文献
11.
Data on everyday music listening obtained via the Experience Sampling Method indicated that selection method was related to liking for and emotional response to the music, attention paid to the music, and perceived consequences of hearing the music. Individual listener's characteristics (e.g., age and level of engagement with music) were associated with selection behaviors. Negative effects resulted when individuals perceived they did not have control over music selection. In contrast, possessing control led to positive consequences such as enjoyment and motivation. These results indicate that control is an important aspect of one's everyday music experiences. 相似文献
12.
Audrey LaplanteAuthor Vitae J. Stephen DownieAuthor Vitae 《Library & information science research》2011,33(3):202-210
This qualitative study focuses on what contributes to making a music information-seeking experience satisfying in the context of everyday life. Data were collected through in-depth interviews conducted with 15 younger adults (18 to 29 years old). The analysis revealed that satisfaction could depend on both hedonic (i.e., experiencing pleasure) and utilitarian outcomes. It was found that two types of utilitarian outcomes contributed to satisfaction: (1) the acquisition of music, and (2) the acquisition of information about music. Information about music was gathered to (1) enrich the listening experience, (2) increase one's music knowledge, and/or (3) optimize future acquisition. This study contributes to a better understanding of music information-seeking behavior in recreational contexts. It also has implications for music information retrieval systems design: results suggest that these systems should be engaging, include a wealth of extra-musical information, allow users to navigate among music items, and encourage serendipitous encountering of music. 相似文献
13.
《Journal of Web Librarianship》2013,7(1):5-31
With the emergence of social networking and Web 2.0 applications, libraries have the means to reach users through interactive Web-based tools patrons already use in their personal lives, such as Facebook and YouTube. In this study the authors aim to understand the ways that libraries are using YouTube for outreach purposes. Using a methodology adapted from studies in medical literature, the authors identified and analyzed library promotional videos on YouTube, both in relation to other works depicting libraries and librarians and as a unique category of content. In order to analyze the viewership of library promotional videos and its growth over time, view counts were compared at three points in time over a period of sixteen months. Using data made available by YouTube, the authors analyzed the top five referring Web sites to each video, thus allowing a basic understanding of the viewership of library promotional videos and their abilities to reach intended audiences. The authors also analyzed the many interactive features supported by YouTube to gain insight into the ways viewers were responding to and interacting with videos, including comments and the ability to mark videos as favorites. Finally, three examples of promotional videos created by libraries were selected as case studies. The creators of each video were interviewed about the creation processes and their insights into the effectiveness of their videos. A key finding was that while library professionals comprise a significant portion of viewers for library promotional videos, creators can increase viewership by the intended audience if they frequently and strategically feature online video content in Web sites, local or campus communication vehicles, and social media environments. The quantitative and qualitative measures developed for this study are offered as possible metrics for the assessment and evaluation of online library video content, and for libraries’ use of social media forms. Based on these measures, and following the review of hundreds of videos with library-based content, the authors have derived a set of evidence-based best practices for the use of online video as a promotional tool by libraries. 相似文献
14.
[目的/意义]针对电子舞曲数字资源急剧增长带来的资源组织与检索需求匹配度低的问题,尝试构建电子舞曲信息资源检索需求模型,以指导新网络环境下的电子舞曲信息资源组织实践活动。[方法/过程]通过对国内主流电子舞曲音乐平台的检索实验,得出电子舞曲检索需求访谈提纲,进而运用扎根理论探究电子舞曲听众的音乐信息检索需求并建构相应的信息检索需求模型。[结果/结论]研究发现,电子舞曲听众的需求具有"成长性",这种"成长性"连接了听众音乐信息检索需求的审美主体（听众）和审美客体（音乐）两个维度,而促生该"成长性"的内因是信息需求的马太效应。研究指出电子舞曲的资源组织需兼顾主观感受、外部描述、内容要素和生产过程等核心维度,为新网络环境下电子舞曲信息资源组织提供了参考依据。 相似文献
15.
BMCC Library is using streaming video technology to extend the electronic reserves service to include audio and videos. We have found that a streaming video project can be managed by non-technical staff with results that empower staff and impress students and faculty with their ease of use. The role of technical services in the library has evolved considerably, a process driven in part by technology. Consistent with this trend, our technical services department was asked to manage an electronic reserves program a few years back. Adding streaming video to its portfolio will invigorate a vital service department in the library. This article will illustrate the process we undertook from start to finish, demonstrating the major concern of streaming media is copyright consideration, not technology. 相似文献
16.
Although many factors affecting a movie's success lie outside a television network's control, on-air promotion is produced by the network and can be utilized to varying degrees of effectiveness. This study measured the impact of 10 promotional variables on broadcast movie ratings by analyzing 813 prime-time promos for 137 televised movies. Results showed how the effectiveness of promotion differed according to a movie's familiarity, popularity, and compatibility. The ratings for made-for-television movies were most affected by the promotion's audience reach, frequency of exposure, and close distance in time to movie airdates; in contrast, theatrical movies aired on television were more affected by promotional reach and the construction of the promotional spot. The findings supported the general salience model of on-air program promotion but also demonstrated that the factors affecting television movie promotion differ markedly from those affecting dramatic and comedy series promotion. 相似文献
17.
《资料收集管理》2013,38(3-4):92-94
A researcher with wide interests in the field of music and the music librarian at the same institution describe their separate views of collection development for university and college music libraries. Typically, articles on collection development are written from the perspective of the librarian/subject speclalist. This piece incorporates the viewpoints of two persons with differing academic functions and differing approaches to academic music libraries. One is an eclectic faculty member with a broad spectrum of research interest. The other is an experienced music librarian who manages the music library at the faculty member's institution. Two separate essays briefly outlining the views of the faculty member/consumer and the music librarian/supplier are given below. The essays were independently conceived, and were not coordinated or cross-checked prior to their joining here. 相似文献
18.
Harald Fivelsdal 《媒体管理杂志》2013,15(3-4):121-126
Peer-to-peer file sharing of music over the Internet is perceived as a major threat to the international recording industry. This article proposes a novel response to this issue and contrasts this proposed approach with the response of the recording industry to date. The author suggests that piracy could be reduced by changing the distribution of music to an application service provider (ASP) model. Consumers would pay to use software residing on a remote server to play downloaded files but would not possess a complete copy of a physical product that could be reproduced. By selling music as an application, the industry could exercise tighter control over the security of its product without attempting to secure every computer, music player, and CD manufactured. The ASP approach would also limit infringement to the much more serious crime of hacking a corporate server and would eliminate the need to sue large numbers of otherwise law abiding consumers. 相似文献
19.
Julianne Treme 《Journal of Media Economics》2013,26(1):5-16
This article examines the relation between box-office performance and celebrity media exposure, as measured by appearances in the celebrity magazine, People. This study employs variables that capture different time periods to test whether People magazine appearances were merely part of a general promotional effort by a studio or whether appearances reflected the popular appeal of the actor. The results indicate that promotional appearances do not significantly affect box-office revenues. In fact, it is the star's popular appeal reflected in appearances prior to the promotional push that significantly affect box-office success. 相似文献
20.
–The illusion of life rhetorical perspective increases our understanding about how discursive linguistic symbols and non-discursive aesthetic symbols function together to communicate and persuade in didactic music. We argue that lyrics and music work together to offer messages comprised of both conceptual and emotional content through the constructs of virtual experience (lyrics) and virtual time (music). Both virtual experience and virtual time must exist for music to function rhetorically. For songs without lyrics, virtual experience must be derived from some other source. Emotional content is progressively articulated in music and is understood by considering intensity and release patterns both individually and contextually. Music's rhetorical significance lies in the degree of congruity or incongruity that exists between virtual experience and virtual time. Congruent messages make the meaning more poignant, but could come at the expense of listener appeal. Incongruent messages transform the message in some way, making the holistic message more than, and perhaps different from, the message depicted in the lyrics alone. Incongruity could result in misinterpretation, an emotional message devoid of conceptual content, or subtle and systematic persuasion. 相似文献