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The digital music revolution and the rise of piracy cultures has
transformed the music world as we knew it. Digital Music
Distribution aims to go beyond the polarized and reductive
perception of 'piracy wars' to offer a broader and richer
understanding of the paradoxes inherent in new forms of
distribution. Covering both production and consumption
perspectives, Spilker analyses the changes and regulatory issues
through original case studies, looking at how digital music
distribution has both changed and been changed by the cultural
practices and politicking of ordinary youth, their parents, music
counter cultures, artists and bands, record companies, technology
developers, mass media and regulatory authorities. Exploring the
fundamental change in distribution, Spilker investigates paradoxes
such as: The criminalization of file-sharing leading not to
conflicts, but to increased collaboration between youths and their
parents; Why the circulation of cultural content, extremely
damaging for its producers, has instead been advantageous for the
manufacturers of recording equipment; Why more artists are
recording in professional sound studios, despite the proliferation
of good quality equipment for home recording; Why mass media, hit
by many of the same challenges as the music industry, has been so
critical of the way it has tackled these challenges. A rare and
timely volume looking at the changes induced by the digitalization
of music distribution, Digital Music Distribution will appeal to
undergraduate students and policy makers interested in fields such
as Media Studies, Digital Media, Music Business, Sociology and
Cultural Studies.
The digital music revolution and the rise of piracy cultures has
transformed the music world as we knew it. Digital Music
Distribution aims to go beyond the polarized and reductive
perception of 'piracy wars' to offer a broader and richer
understanding of the paradoxes inherent in new forms of
distribution. Covering both production and consumption
perspectives, Spilker analyses the changes and regulatory issues
through original case studies, looking at how digital music
distribution has both changed and been changed by the cultural
practices and politicking of ordinary youth, their parents, music
counter cultures, artists and bands, record companies, technology
developers, mass media and regulatory authorities. Exploring the
fundamental change in distribution, Spilker investigates paradoxes
such as: The criminalization of file-sharing leading not to
conflicts, but to increased collaboration between youths and their
parents; Why the circulation of cultural content, extremely
damaging for its producers, has instead been advantageous for the
manufacturers of recording equipment; Why more artists are
recording in professional sound studios, despite the proliferation
of good quality equipment for home recording; Why mass media, hit
by many of the same challenges as the music industry, has been so
critical of the way it has tackled these challenges. A rare and
timely volume looking at the changes induced by the digitalization
of music distribution, Digital Music Distribution will appeal to
undergraduate students and policy makers interested in fields such
as Media Studies, Digital Media, Music Business, Sociology and
Cultural Studies.
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