No Cap: ASCAP and the fragmentation of music publishing

IF 2.4 2区 文学 Q1 COMMUNICATION
Ediz Ozelkan, Emmanuel Billias
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引用次数: 0

Abstract

The internet was originally conceptualized as a frontier within which creative and cultural output could thrive, bereft of the gatekeeping influence of major corporations in the analog era. As that digital era unfolded, the narrative shifted amid a concentration of media power and the precarity of digital labor, prompting questions about the democratization that the internet was purported to bring about. This project takes the music publishing industry as a case study of this democratization thesis, using network analysis to examine publishing data from ASCAP’s ACE Repertory to better understand the fragmentation or centralization of key social actors in the music industry. The study finds that the industry is greatly fragmented based on the total number of music licenses, pointing to a decentralization of music publishing. However, this does not provide a glimpse into how revenue is distributed in this network. These findings have implications for media studies, music industry analysis, cultural economics, and technology studies as technology continues to transform content creation.
没有上限ASCAP 与音乐出版业的分化
互联网最初被认为是一个前沿领域,在这个领域里,创意和文化成果可以蓬勃发展,而不受模拟时代大公司把关的影响。随着数字时代的到来,媒体权力的集中和数字劳动力的不稳定性改变了人们的看法,引发了人们对互联网所宣称的民主化的质疑。本项目将音乐出版业作为这一民主化论题的案例研究,利用网络分析法研究 ASCAP 的 ACE Repertory 的出版数据,以更好地了解音乐行业中主要社会参与者的分散或集中情况。研究发现,从音乐许可证的总数来看,音乐产业非常分散,这表明了音乐出版的分散化。然而,这并不能让我们了解收入在这个网络中是如何分配的。随着技术不断改变内容创作,这些发现对媒体研究、音乐产业分析、文化经济学和技术研究具有重要意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
5.80
自引率
7.10%
发文量
98
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