Are You Hooked on Paid Music Streaming?

2018 ◽  
Vol 14 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Charlie C. Chen ◽  
Steven Leon ◽  
Makoto Nakayama

The proliferation of free on-demand music streaming services (e.g., Spotify) is offsetting the traditional revenue sources (e.g., purchases of downloads or CDs) of the music industry. In order to increase revenue and sustain business, the music industry is directing its efforts toward increasing paid subscriptions by converting free listeners into paying subscribers. However, most companies are struggling with these attempts because they lack a clear understanding of the psychological and social purchase motivations of consumers. This study compares and contrasts the two different phases of Millennial generation consumer behaviors: the alluring phase and the hooking phase. A survey was conducted with 73 paying users and 163 non-paying users of on-demand music streaming services. The authors' data analysis shows two separate behavioral dynamics seen between these groups of users. While social influence and attitude are primary drivers for the non-paying users in the alluring phase, facilitating conditions and communication control capacity play critical roles for the paying users in the hooking phase. These results imply that the music industry should apply different approaches to prospective and current customers of music streaming services.

2018 ◽  
Vol 280 ◽  
pp. 65-75 ◽  
Author(s):  
F.P. Kalaganis ◽  
D.A. Adamos ◽  
N.A. Laskaris

2021 ◽  
Vol 42 (1) ◽  
pp. 35-57
Author(s):  
Marika Lüders ◽  
Vilde Schanke Sundet ◽  
Terje Colbjørnsen

AbstractMusic and television streaming services present users with abundant catalogues of content available on demand. We investigate whether users respond by narrowing or widening the diversity of content they consume. Further, we examine how the different logics characterising music and television streaming are mirrored in the number of streaming services people use. To do so, we compare non-, sporadic, regular, and frequent users of television and music streaming services. Findings from a cross-sectional survey in Norway show that frequent streamers consume a wider variety of genres and rely on more services. Our results also indicate that streaming has gone from a first-mover activity to a standard consumer mode. This study indicates that we can expect continued growth in television streamers, whereas the music streaming industry seems more consolidated.


Per Musi ◽  
2018 ◽  
Author(s):  
Rodrigo Fonseca e Rodrigues ◽  
Astréia Soares Batista

This paper discusses the listening experience provided by on-demand music streaming services and some of its aesthetic, cultural, technological, and economic implications. It also presents the concerns of performers and authors regarding the changes introduced to listening habits since modern times, the coexistence of analog media under the auspices of the content production industry, and the contemporary omnipresence of digital music. On-demand music streaming services stand as the hallmark of this era, by offering convenient access to music collections, customized playlists (scrobbling) integrated with social media, intuitive user interfaces, and, in some instances, the possibility of searching for and posting original content. Nonetheless, implicit constraints such as controlling for and blocking unlicensed files and supposedly restricting amateur musical creations and interventions have been implemented. The convenient, yet heavily mediated, listening experience provided by on-demand music streaming services should be rethought as a potentially creative instance of the “micropolitics of experimentation.”


2020 ◽  
Vol 42 (7-8) ◽  
pp. 1461-1478
Author(s):  
Ruth Towse

The intervention of digital service providers (DSPs) or platforms, such as Spotify Apple Music and Tidal, that supply streamed music has fundamentally altered the operation of copyright management organisations (CMOs) and the way song-writers and recording artists are paid. Platform economics has emerged from the economic analysis of two- and multi-sided markets, offering new insights into the way business is conducted in the digital sphere and is applied here to music streaming services. The business model for music streaming differs from previous arrangements by which the royalty paid to song-writers and performers was a percentage of sales. In the case of streamed music, payment is based on revenues from both subscriptions and ad-based free services. The DSP agrees a rate per stream with the various rights holders that varies according to the deal made with each of the major record labels, with CMOs, with representatives of independent labels and with unsigned artists and song-writers with consequences for artists’ earnings. The article discusses these various strands with a view to understanding royalty payments for streamed music in terms of platform economics, offering some data and information from the Norwegian music industry to give empirical support to the analysis.


India is a very vast market for internet services as it has over 480 million active internet users in the country. Music streaming services in India is emerging day by day. The competition in the market is so high that even two giants Jio Music and Saavn join their hand in 2018 to provide a combine service all across the globe. In, 2019 a global giant Spotify entered into music streaming market in India and affected the each music service in India. Gaana owned by Times Internet have over 150 million active monthly users in the country while JioSaavn reported 100 million active monthly users as per a website. This research is going to study the market capture of various music streaming services in India. Currently, as per the research, Spotify is the most popular streaming service. As per the literature available on various platforms other streaming services were holding the major proportion of the Indian market but after the launch of Spotify, it became most loved streaming service. The research is being done to find out the existing music streaming services are affected by the entrance of Spotify or not


2021 ◽  
pp. 146144482110278
Author(s):  
Jack Webster

Not only do music streaming platforms offer on-demand access to vast catalogues of licensed music, they are actively shaping what and how it finds us through personalisation. While existing literature has highlighted how personalisation has the potential to transform the part that music taste and consumption play in the performance of class identities and distinction, little is empirically known about its sociological consequences. Drawing on 42 semi-structured interviews with a combination of key informants and Spotify users, this article demonstrates that personalisation is undermining opportunities to achieve social distinction by taking over the labour of music curation and compressing the time needed to appreciate music for its own sake. It demonstrates that those with cultural capital at stake – in the case of this study, young, (primarily) male cultural omnivores – experience personalisation as a threat, highlighting how particular claims to social distinction are being contested in the platform age.


2017 ◽  
Vol 19 (3) ◽  
pp. 241-256 ◽  
Author(s):  
Ramon Lobato

This article considers how established methodologies for researching television distribution can be adapted for subscription video-on-demand (SVOD) services. Specifically, I identify a number of critical questions—some old, some new—that can be investigated by looking closely at SVOD catalogs in different countries. Using Netflix as an example, and drawing parallels with earlier studies of broadcast and cinema schedules, I ask what Netflix’s international catalogs can tell us about content diversity within streaming services, and how this can be connected to longer traditions of debate about the direction and intensity of global media flows. Finally, I describe what a research agenda around Netflix catalogs might look like, and assess the utility of various kinds of data within such a project (as well as some methodological pitfalls).


2021 ◽  
Vol 29 (6) ◽  
pp. 0-0

This study investigates the causes impacting the consumers' intention of the premium music streaming services' subscription in China. An integrated model called the Theory of Streaming Service Acceptance (TSSA) is proposed to explain and predict premium music streaming service subscription behaviors. The TSSA consists of four constructs: attitude, descriptive norm, injunctive norm and perceived behavioral control. The research data was collected in the form of an online survey in China with 120 respondents. Then, interviews were conducted to collect qualitative data from 20 participants. An explanatory sequential mixed method was implemented and the PLS-SEM technique was used to analyze the survey data. The results showed that all constructs in modified research mode, including attitude, injunctive norm and perceived behavioral control except descriptive norm, are indicative predictors for a person’s intention toward premium music streaming services’ subscription. Significant practical inspirations from the perspective of music streaming services providers are also summarized.


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