UNSIGNEDPH Music Lounge: Promoting Unsigned Artist Thru Online Music Distribution Portal

2018 ◽  
Author(s):  
Randy Joy Magno Ventayen ◽  
Amy Paneda-Balcita ◽  
Josephine Dela Cruz
Keyword(s):  
Online Music ◽  
Music Distribution ◽  
Online Music Distribution

Contextual Marketing

2021 ◽  
pp. 118-140
Author(s):  
Willem Strank
Keyword(s):  
Digital Age ◽  
Status Quo ◽  
The Status ◽  
Online Music ◽  
Online Environments ◽  
Music Distribution ◽  
Cultural Connections ◽  
The Way ◽  
Online Music Distribution

The online distribution of music has altered its materiality, its presentation, and the practices of its interpretation. Participatory online environments empower listeners to rank, review, and classify music, adding new layers of meaning and context to the works in question. At the same time, popular streaming platforms provide the means for compilations by listeners, once again creating new and often arbitrary connections. This approach to music is accompanied by the concept of “contextual marketing” introduced in this chapter. The professional online contextualization of music complements the amateur approaches, leading to a new network of references and pop-cultural connections. The chapter shows how some of these labeling techniques work and how some of the related platforms are organized to provide a snapshot of the status quo of online music distribution and the resulting consequences for the way we perceive and construct musical affiliations in the digital age.

scholarly journals Digital Music Distribution: The Sociology of Online Music Streams

2019 ◽  
Vol 7 (1) ◽  
pp. 51-52
Author(s):  
Raphaël Nowak
Keyword(s):  
Digital Music ◽  
Online Music ◽  
Music Distribution

Reviewed by Raphaël Nowak, Griffith University 

Napster and beyond: How online music can transform the dynamics of musical production and consumption in DIY subcultures

First Monday ◽  
2014 ◽  
Author(s):  
Jhessica Reia
Keyword(s):  
Sao Paulo ◽  
Straight Edge ◽  
The Internet ◽  
Special Focus ◽  
São Paulo ◽  
Youth Cultures ◽  
Musical Production ◽  
Production And Consumption ◽  
Online Music ◽  
Music Distribution

Online music distribution has been changing since Napster first appeared in 1999, and it certainly caused several impacts on musical production, distribution, consumption and sharing dynamics, particularly among those subcultures that are notoriously active at the margins of the music industry. This paper aims to discuss how the emergence of Napster opened a way for producing, sharing and consuming music that has benefited DIY youth cultures in Brazil, with a special focus on the straight edge community in the city of São Paulo. This article is based on ethnographic fieldwork carried out between 2011 and 2013, which had online music as a permeating analytical subject. Even after three decades of existence, straight edge still has significant activities around music festivals and DIY musical production, affirming that the Internet — from Napster to social networks — improved their access to the international scene and bands (mainly through downloads, authorized or illicit), as much as it has served as a window for showing their own work to the world. Online music has a crucial role in São Paulo straight edge: some bands cannot release an LP, but they can put it on the Internet to share with potentially interested people and with friends. Moreover, the simultaneity of distributive forms is also interesting, since both digital music and vinyl records co-occur among them. Furthermore, discussions around piracy and ‘illegal’ digital file sharing are an important feature of this context, stressing the perspectives straight edgers have on copyright — whether it belongs to them or to other parties.

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