Networks of value in electronic music: SoundCloud, London, and the importance of place

Allington, Daniel; Dueck, Byron; Jordanous, Anna

doi:10.1080/09548963.2015.1066073

Cited by 24 publications

(17 citation statements)

References 10 publications

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“…25. This has been found, for example, in the recent Valuing Electronic Music project http://valuingelectronicmusic.org (Allington, Dueck, and Jordanous, 2015), where some people's endorsements can have a greater influence on the perceived value of an electronic musician and their work. 26. http://www.scopus.com.…”

Section: Downloaded By [University Of Kent] At 02:49 10 March 2016mentioning

confidence: 97%

Four PPPPerspectives on computational creativity in theory and in practice

Jordanous

2016

Connection Science

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Computational creativity is the modelling, simulating or replicating of creativity computationally. In examining and learning from these "creative systems", from what perspective should the creativity of a system be considered? Are we interested in the creativity of the system's output? Or of its creative processes? Features of the system? Or how it operates within its environment? Traditionally computational creativity has focused more on creative systems' products or processes, though this focus has widened recently. Creativity research offers the Four Ps of creativity: Person/Producer, Product, Process and Press/Environment. This paper presents the Four Ps, explaining each in the context of creativity research and how it relates to computational creativity. To illustrate the usefulness of the Four Ps in taking broader perspectives on creativity in its computational treatment, the concepts of novelty and value are explored using the Four Ps, highlighting aspects of novelty and value that may otherwise be overlooked. Analysis of recent research in computational creativity finds that although each of the Four Ps appears in the body of computational creativity work, individual pieces of work often do not acknowledge all Four Ps, missing opportunities to widen their work's relevance. We can see, though, that high-status computational creativity papers do typically address all Four Ps. This paper argues that the broader views of creativity afforded by the Four Ps is vital in guiding us towards more comprehensively useful computational investigations of creativity. ARTICLE HISTORY

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Section: Downloaded By [University Of Kent] At 02:49 10 March 2016mentioning

confidence: 97%

Four PPPPerspectives on computational creativity in theory and in practice

Jordanous

2016

Connection Science

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“…It grew quickly in 2010 and 2011 to become the main way in which amateur and semi-professional musicians share music with potential audiences. SoundCloud is available and used across much of the world (Allington, Dueck, & Jordanous, 2015) and has a "highly shareable, highly social" (Mulligan, 2017) user interface, which easily links to mainstream social media such as Facebook, Twitter, Instagram, and Snapchat. It incorporates many of the hallmark features of social media platforms, allowing for the following of other users, the reposting of tracks posted by other users (akin to Twitter retweets or Facebook sharing of posts), and the liking of tracks.…”

Section: Soundcloudmentioning

confidence: 99%

“…But the platform has proven unable to monetize the vast amounts of freely given content, which is largely obscure and/or unauthorized, thus leaving it at a disadvantage in a market dominated by consumer-oriented platforms such as Spotify and Apple Music. SoundCloud's capacity to earn revenue from the sales of targeted advertising is also limited because the platform does not have demographic (meta)data information associated with individual user behavior (Allington et al, 2015).…”

Section: Soundcloudmentioning

confidence: 99%

SoundCloud and Bandcamp as Alternative Music Platforms

Hesmondhalgh

Jones

Rauh

2019

Social Media + Society

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We examine two “producer-oriented” audio distribution platforms, SoundCloud and Bandcamp, which have been important repositories for the hopes of musicians, commentators, and audiences that digital technologies and cultural platforms might promote democratization of the cultural industries, and we compare their achievements and limitations in this respect. We show that the emancipatory elements enshrined in SoundCloud’s bottom-up abundance are compromised by two elements that underpin the platform: the problematic “culture of connectivity” of the social media systems to which it must remain integrally linked and the systems of intellectual property that the firm has been increasingly compelled to enforce. By contrast, it seems that Bandcamp has been relatively stable in financial terms while being at odds with some key aspects of “platformization,” and we explore the possibility that some of the platform’s apparent success may derive from how its key features makes it attractive to indie musicians and fans drawn to an independent ethos. Nevertheless, we argue that even while in some respects Bandcamp acts more effectively as a cultural alternative than does SoundCloud, Bandcamp is also congruent economically and discursively with how platforms capitalize on the activity of self-managing, self-auditing, specialist, worker-users.

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“…Researchers with appropriate levels of access rely on proprietary industry data via BDS, Billboard, the IFPI, Pollstar, the RIAA, SoundScan, and other services and organizations (see, e.g., Fer and Baarsma 2016). Qualitative methods such as interviewing, oral history, and participant/observation help contextualize these quantitative data (see, e.g., Gamble, Brennan, and McAdam 2017;Allington, Dueck, and Jordanous 2015;Marshall 2015).…”

Section: The Archival Projectmentioning

confidence: 99%

Archival Research Methods and Music Industry Pedagogy

Mall¹

2018

Proceedings of the 2018 International Summit of the Music &Amp; Entertainment Industry Educators Association

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In this article, I discuss the value of archival research and primary document sources to pedagogy in music industry education. I describe the archival methods I have employed in a research project documenting contemporaneous discourse about the corporate consolidation of Christian record labels within (secular) major record labels in the early 1990s. What challenges face music industry scholars conducting archival research? What is the importance of historical documents to music industry educators today? I suggest that historical case studies, including those substantiated by archival research and primary documents, can be used to model and teach strategic decision making to music industry students.

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Networks of value in electronic music: SoundCloud, London, and the importance of place

Cited by 24 publications

References 10 publications

Four PPPPerspectives on computational creativity in theory and in practice

Four PPPPerspectives on computational creativity in theory and in practice

SoundCloud and Bandcamp as Alternative Music Platforms

Archival Research Methods and Music Industry Pedagogy

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