Life is full of questions; so this article was written with the intention of solving the question on Music Downloading. Sure do hope that your questions have been answered.

Current Music Downloading News
Marketplace drama The 7year war on downloading in 4 acts Marketplace drama The 7year war on downloading in 4 acts Bonimes Law As Hardware Improves Software Degrades True in Music TV and Movies As Well

Wed, 13 Feb 2008 12:04:28 +0000
Markus Giesler York University uses a performance ethnography approach studying the music marketplace as a cultural stage on which consumers and producers interact as dramatic players to reach their conflicting goals. As a record producer during Napster s emergence in the late s Giesler had first hand experience dealing with several issues How does market evolution change price value relationships for music Will this fundamentally new way of music consumption herald the end of the music market Was there a common pattern of historical transformation at work that once revealed could be used to better understand other instances of market evolution To answer these questions he sought to identify both the fundamental cultural tensions that drive the performances of downloaders and producers on the market stage and the dramatic plot structure that integrates the war on music downloading into a historical narrative of market evolution. These findings yield some novel theoretical insights for the study of market system dynamics Giesler says. This study has argued for more attention to the idea that markets are staged compromises between sharing and owning. Giesler argues that between and the music market moved through a process of structural change that involved much unusual drama. The drama unfolded over an enduring cultural tension the conflict between utilitarian and possessive ideals as they applied to music as a cultural resource. These ideals influenced the behavior and statements of music consumers and producers. Giesler then divides this dramatic conflict into four historical acts In the first act a breach was made visible by the violation of market norms the emergence of Napster . The second act was a crisis or extension of the breach during which each of the antagonists took a more radical stance towards the other camp and the breach widened publicly the expansion of music downloading . The corporate response led to the third act the application of redressive mechanisms to restore normalcy the music industry s anti downloading campaign and the prosecution of individual downloaders . The fourth act was a reintegration the commercialization of downloading through Apple s iTunes and other corporate players . The profound implication here is that marketplace dramas can take place in every market from music to organic food. The cast changes every time but the story is more or less the same. These findings not only can be used to understand and predict other instances of market evolution they also reveal the stuff that heroes are made of and the reasons why some of them fail Giesler explains. Giesler points out that managers consumers and public policy makers can use the idea of marketplace drama to better understand and manage similar market conflicts. For example the idea of markets as dramatically acquired compromises between sharing and owning informs the ongoing war between the Youtube community and the motion picture industry. Marketplace drama can also be used to better understand and explain the commercial cooptation and ideological reclaiming of market countercultures such as the organic food movement. Markus Giesler Conflict and Compromise Drama in Marketplace Evolution. Journal of Consumer Research April About the Journal of Consumer Research Founded in the Journal of Consumer Research publishes scholarly research that describes and explains consumer behavior. Empirical theoretical and methodological articles spanning fields such as psychology marketing sociology economics and anthropology are featured in this interdisciplinary journal. The primary thrust of JCR is academic rather than managerial with topics ranging from micro level processes e.g. brand choice to more macro level issues e.g. the development of materialistic values . About the University of Chicago Press Founded in the University of Chicago Press is the largest American university press. The Journals Division publishes periodicals and serials in a wide range of disciplines including several journals that were the first scholarly publications in their respective fields. Online since the Journals Division has also been a pioneer in electronic publishing delivering original peer reviewed research from international scholars to a worldwide audience. E mail Article Skip directly to Search Box Section Navigation Content . Text Version . NEWS MYCAREER DOMAIN DRIVE FINANCE MOBILE RSVP TRAVEL member centre login register www.smh.com.au GADGETS GAMES ATHOME BIZTECH SECURITY CONNECTIVITY TECHTIPS ITJOBS The future is here but is the music industry in it Email Printer friendly version Normal font Large font Saved Graeme Philipson February Next THE music industry is in big trouble. It may not be an exaggeration to say it is dying. CD sales are way down and both legal and illegal music downloads are way up. The concept of the album is disappearing. The Economist magazine in a story on the phenomenon in an article last month recounts an interesting little tale from . Music company EMI keen to hear the views of some of its customers invited a group of teenagers into its London headquarters to ask them about their music consumption habits. At the end they were thanked and asked to help themselves to a big pile of EMI CDs on the table. None of the teenagers took any. They didn t want them. That s when we realised the game was up says one of the EMI executives. The game is indeed up though many in the music industry don t realise it. Years of price gouging market manipulation and the artificial creation of hits and artists have come finally caught up with them. Digital technology and the internet have brought them undone. Their business models their industry structures their very reason for being are as anachronistic as slide rules and telegrams and other technologies made redundant by the triumph of digital computation and digital communications. Stop for a moment and think why the music is even an industry . First what exactly is an industry The Macquarie Dictionary s first definition is a particular branch of trade or manufacture . That will do. The music industry s problem is that its monopoly on both trade and manufacture has disappeared. Anybody with a few thousand dollars worth of equipment can record and mix music of equal quality to that which once needed an expensive recording studio. And anybody with an internet connection can promote and distribute the stuff. The music industry made past tense its money by finding musicians recording them promoting them and distributing the product records and in latter years CDs. They managed past tense every phase of the cycle. They could past tense control every one of these phases. It was past tense impossible for a musical artist to find an audience big enough to provide an income without the music industry. To be discovered and awarded a recording contract was the dream for every struggling young artist. That model has changed so much in recent years that it is already unrecognisable. Every link in the chain has been broken. People can record themselves publicise themselves and distribute their output with no input from the music industry. The final distribution phase has been under attack for years ever since people discovered the power of the internet for peer to peer sharing and music downloading. Now artists are going direct to consumers reverting to the same sort of pay for performance model that existed before the perversions of copyright law changed the natural process. The music industry s response to these changes is to resort to bastardised technologies such as so called digital rights management DRM which prevents people from transferring music from one medium to another. Or suing individuals for downloading or sharing music in one case in the US last year a woman was fined US A for downloading and sharing songs . As many are coming to realise such actions are doomed to failure. One does not adapt to the future by shoring up the past. A couple of years ago when I wrote about the inevitable death of copyright I received a barrage of emails from people who worried about their livelihoods under the new regime. They needed to adapt I told them. A few of them said that I as a journalist was benefiting from the very regime I was criticising. Not true said I as a freelancer I write once get paid once by the word and move on the time honoured and natural pay for performance model. In Cannes last month at a major music industry conference a company called Qtrax announced a free online music sharing system from all major music studios. It was forced into an embarrassing backdown when the record companies said that no deals had been done. Qtrax jumped the gun. It s pretty obvious that agreements had been reached but were torpedoed by senior management. It will happen soon. Now here s another thought. Everything I have said above about the music industry also applies to the film industry. It s harder to make films than it is to record music and the content is a lot bulkier in terms of storage capacity. But the principles are the same. And the film industry is putting up the same outdated arguments employing the same self defeating bullying tactics and being just as myopic as the music industry. Something has to give. The absurd star system under which a few select individuals are paid an enormous proportion of the movie s production costs is doomed. Corner video shops will not be around a decade from now the chains are already looking at how they can get into the download business . The music industry and the film industry have atrocious track records when it comes to understanding the future and the way technology changes business models. They are inherently conservative. They try to hold on to the past rather than look for ways they can use changing technology to embrace the future. Quite simply they refuse to evolve. 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As a record producer during Napster s emergence in the late s Giesler had first hand experience dealing with several issues How does market evolution change price value relationships for music Will this fundamentally new way of music consumption herald the end of the music market Was there a common pattern of historical transformation at work that once revealed could be used to better understand other instances of market evolution To answer these questions he sought to identify both the fundamental cultural tensions that drive the performances of downloaders and producers on the market stage and the dramatic plot structure that integrates the war on music downloading into a historical narrative of market evolution. These findings yield some novel theoretical insights for the study of market system dynamics Giesler says. This study has argued for more attention to the idea that markets are staged compromises between sharing and owning. Giesler argues that between and the music market moved through a process of structural change that involved much unusual drama. The drama unfolded over an enduring cultural tension the conflict between utilitarian and possessive ideals as they applied to music as a cultural resource. These ideals influenced the behavior and statements of music consumers and producers. Giesler then divides this dramatic conflict into four historical acts In the first act a breach was made visible by the violation of market norms the emergence of Napster . The second act was a crisis or extension of the breach during which each of the antagonists took a more radical stance towards the other camp and the breach widened publicly the expansion of music downloading . The corporate response led to the third act the application of redressive mechanisms to restore normalcy the music industry s anti downloading campaign and the prosecution of individual downloaders . The fourth act was a reintegration the commercialization of downloading through Apple s iTunes and other corporate players . The profound implication here is that marketplace dramas can take place in every market from music to organic food. The cast changes every time but the story is more or less the same. These findings not only can be used to understand and predict other instances of market evolution they also reveal the stuff that heroes are made of and the reasons why some of them fail Giesler explains. Giesler points out that managers consumers and public policy makers can use the idea of marketplace drama to better understand and manage similar market conflicts. For example the idea of markets as dramatically acquired compromises between sharing and owning informs the ongoing war between the Youtube community and the motion picture industry. Marketplace drama can also be used to better understand and explain the commercial cooptation and ideological reclaiming of market countercultures such as the organic food movement. Source University of Chicago Next Article in General Science Other Chameleons and copycats How mimicry affects interpersonal persuasion would you recommend this story User Rating vote s so far rank not shown not at all highly Leave a Comment Breaking news Most popular Editorials You need to have JavaScript and cookies enabled to use all the features of this website. 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In those days the killer apps were word processors like Wordstar later WordPerfect from Satellite Software Incorporated Spreadsheet database combos like Lotus and no graphics. The text based screens were command line driven the mouse was a furry little varmint that lived behind the fridge and our screens came in two gorgeous colors Matrix Green and Awesome Amber. I m happy today with my amazing iMac mostly happy with my iPhone and couldn t live without email the Web streaming videos and WiFi. But although computing power has increased exponentially and Moore s Law has so far kept up the number of transistors on a chip doubles every eighteen months something has been lost Code has gotten sloppy and inefficient. In order to deal with the constraints the hardware placed on the software design code needed to be kept lean and efficient. WordPerfect s entire application used to fit on a single . floppy disk. But as hard drive space has now increased to the terabyte level and the speed and power of CPUs is gathering increased momentum the software has gotten more buggy less reliable and code has gotten more spaghetti like programmer speak for endless lines of bloated code . But software is not just computer code. After all most folks simply don t care about how many lines of code it takes to perform an operation as long as it doesn t slow them down. A long time ago software was defined as what hardware runs. So in the broader sense software is movies music games interactive content and all forms of general entertainment and information. In short if hardware runs it then it is software. With this definition hardware is not limited to computers. Your TV is hardware and the shows we watch or choose not to constitute the software that runs on it. Similarly your radio or mp player CD player or any box that delivers music is hardware that plays software we call music or some people call music . So while the hardware on the computer side has enabled programmers to write sloppy code as long as it gets the job done what accounts for the degradation in other forms of software While you can always point to exceptions the generality is that while we now have high definition TV what we have to watch on it is mostly garbage. Similarly while we have made enormous strides in music technology the music is generally so bad that the entire industry is fighting for its survival. Free and illegal downloading is as much a function of the technology as it is the degradation of the software so that the music has no perceived value. Young people who steal music online don t generally have a criminal mindset. They are acting on their perception that they are paying for what they are downloading based on its worth. The music industry no longer makes albums of any perceived value so for a CD is not perceived as matching value to cost. I am not by any means justifying theft. It is simply a way of illustrating that the technology has improved to the point where the lack of quality software can now be dealt with in a manner that is consistent with the audience s sense of its worth. As a record label owner and publisher I am very disturbed by this. But as a consumer of movies music and television programming I am put off and confused by the fact that I can see every hair on the head of a contestant on a reality show that I don t care about and has no value to me. Bonime s Law has this rationale if the hardware cannot adequately supply the bells and whistles surround sound detailed picture interactivity etc. then the burden of creative development falls upon the writers and other creative people to craft the story develop characters write music with a melody line etc. This is because they cannot count on the techno dazzle to make up for the deficiencies in the core product. But as we get hi def in everything watch out for the disappearance of quality where it counts In the software. Posted in marketing media music sociology technology Tagged CD code computers computing power creativity downloading hardware hi def high definition illeagl movies mp music programmer quality screen software surround sound TV No Comments Trackback URI Comments RSS Leave a Reply Name required Mail will not be published required Website XHTML You can use these tags Archives February January December Categories controversial marketing media music philosophy politics sociology technology Pages About AndrewBonime Links Blog at WordPress.com . Theme Mistylook by Sadish .