Against the Stream: Niche Music Streaming Services and the Streaming Paradigm
Against the Stream: Niche Music Streaming Services and the Streaming Paradigm
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211152714
- ISBN
- 9798384012917
- DDC
- 780
- 저자명
- Blakeley, Ryan.
- 서명/저자
- Against the Stream: Niche Music Streaming Services and the Streaming Paradigm
- 발행사항
- [Sl] : University of Rochester, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 275 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 86-02, Section: A.
- 주기사항
- Advisor: Mueller, Darren.
- 학위논문주기
- Thesis (Ph.D.)--University of Rochester, 2024.
- 초록/해제
- 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.
- 일반주제명
- Music history
- 일반주제명
- Music
- 일반주제명
- Film studies
- 키워드
- Listening habits
- 키워드
- Music industry
- 키워드
- Platform studies
- 키워드
- Popular music
- 키워드
- Streaming media
- 키워드
- Musicology
- 기타저자
- University of Rochester Eastman School of Music
- 기본자료저록
- Dissertations Abstracts International. 86-02A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■00520250211152714
■006m o d
■007cr#unu||||||||
■020 ▼a9798384012917
■035 ▼a(MiAaPQ)AAI31488906
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aBlakeley, Ryan.▼0(orcid)0009-0001-3348-6217
■24510▼aAgainst the Stream: Niche Music Streaming Services and the Streaming Paradigm
■260 ▼a[Sl]▼bUniversity of Rochester▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a275 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 86-02, Section: A.
■500 ▼aAdvisor: Mueller, Darren.
■5021 ▼aThesis (Ph.D.)--University of Rochester, 2024.
■520 ▼aThis 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.
■590 ▼aSchool code: 0188.
■650 4▼aMusic history
■650 4▼aMusic
■650 4▼aFilm studies
■653 ▼aListening habits
■653 ▼aMusic industry
■653 ▼aPlatform studies
■653 ▼aPopular music
■653 ▼aStreaming media
■653 ▼aMusicology
■690 ▼a0208
■690 ▼a0900
■690 ▼a0413
■71020▼aUniversity of Rochester▼bEastman School of Music.
■7730 ▼tDissertations Abstracts International▼g86-02A.
■790 ▼a0188
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17163482▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
