자료유형  

 학위논문

Control Number  

0017163482

International Standard Book Number  

9798384012917

Dewey Decimal Classification Number  

780

Main Entry-Personal Name  

Blakeley, Ryan.

Publication, Distribution, etc. (Imprint  

[S.l.] : University of Rochester., 2024

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2024

Physical Description  

275 p.

General Note  

Source: Dissertations Abstracts International, Volume: 86-02, Section: A.

General Note  

Advisor: Mueller, Darren.

Dissertation Note  

Thesis (Ph.D.)--University of Rochester, 2024.

Summary, Etc.  

요약This dissertation investigates how the streaming paradigm, established by companies such as Spotify, has transformed the business and culture of music. Drawing from media and music industry studies, I focus on niche streaming services, which target specific genres, communities, listening practices, and more. To assess how these companies differentiate themselves from their mainstream competitors both practically and ideologically, I analyze their platform design, features, and business strategies. I support my analysis with over thirty interviews conducted with streaming service stakeholders, including executives, music industry professionals, and public librarians. I argue that niche services' alternative approaches to streaming reveal concerns about the streaming paradigm engendering passive listening habits, inequitably remunerating artists, and consolidating power in tech companies.Each chapter approaches niche streaming from a distinct angle. In Chapter 1, I introduce the concept of niche ideology to describe the values and practices that many niche services adopt to distinguish themselves from their competition. I then conduct case studies of three services: Qobuz, The Van, and Catalytic Soundstream. Chapter 2 considers how streaming is affecting a single genre: classical music. I demonstrate that major platforms' metadata frameworks, listening features, and royalty models are not designed with classical music in mind. While dedicated classical streaming services address these issues, they are precarious due to their reliance on investors and competition from massive tech companies. In Chapter 3, I investigate public library streaming services, focusing on the library vendor Rabble's MUSICat service. I argue that these services are designed to cultivate local community and gesture to the potential for a streaming model that is publicly funded and non-profit. Finally, Chapter 4 shifts from consumer services to B2B (business-to-business) background music services to examine how streaming is changing background music's distribution, selection, and economics. I show that streaming may improve the efficiency of background music, but it also reifies concerns about social control, surveillance, and inequitable artist compensation. Ultimately, while most scholarship assumes the hegemony of companies like Spotify, I demonstrate that streaming remains a contested space where businesses, artists, and listeners negotiate how music can and should be listened to, monetized, and controlled.

Subject Added Entry-Topical Term  

Music history.

Subject Added Entry-Topical Term  

Music.

Subject Added Entry-Topical Term  

Film studies.

Index Term-Uncontrolled  

Listening habits

Index Term-Uncontrolled  

Music industry

Index Term-Uncontrolled  

Platform studies

Index Term-Uncontrolled  

Popular music

Index Term-Uncontrolled  

Streaming media

Index Term-Uncontrolled  

Musicology

Added Entry-Corporate Name  

University of Rochester Eastman School of Music

Host Item Entry  

Dissertations Abstracts International. 86-02A.

Electronic Location and Access  

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Control Number  

joongbu:653668