Is the Music in the Cloud Concept Changing the Music Industry Business Model?

ACKNOWLEDGMENT

I would like to take this chance for thanking my research facilitator, friends & family for the support they provided & their belief in me as well as guidance they provided without which I would have never been able to do this research.

DECLARATION

I, (Your name), would like to declare that all contents included in this thesis/dissertation stand for my individual work without any aid, & this thesis/dissertation has not been submitted for any examination at academic as well as professional level previously. It is also representing my very own views & not essentially which are associated with the university.

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ABSTRACT

In this study, we try to explore the concept of “music industry's business model” in a holistic context. The main focus of the research is on “music industry's business model” and its relation with “artists and audience”. The research also analyzes many aspects of “music industry's business model” and tries to gauge its effect on “artists and audience”.

TABLE OF CONTENT

ACKNOWLEDGMENTii

DECLARATIONiii

ABSTRACTiv

CHAPTER 01: INTRODUCTION1

Objectives2

Research Questions2

CHAPTER 02: METHODOLOGY4

Literature Overview4

Case Study5

CHAPTER 03: RESEARCH7

Today's Changing Music Industry7

CHAPTER 04: ANALYSIS8

CHAPTER 05: CRITIQUE9

CHAPTER 06: CONCLUSION10

REFERENCES11

APPENDICES14

Interview Questions14

CHAPTER 01: INTRODUCTION

The research questions for this thesis are in relation to the tone of the discussion of digital music in the media. Unfortunately, much of the debate is over digital music becoming pirated and disputes about it. Major record labels and industry associations like the Association of Independent Music and British Phonographic Institute (BPI) have traditionally applied the term large-scale piracy of business operations that are dedicated to bulk copy and manufacturing of popular music in compact discs and tapes. Following the trend, were quick to label a person involved in the online file-sharing files with copyright pirates, as well (Wark 2006 pp. 165). This particular drawing of battle lines were created with the earth heating up of rhetoric in the arguments about digital music will be performing. One is for the pirates, or against them.

Controversial developments and laws as the technology (DRM), Secure Digital Music Initiative (SDMI) and Digital Millennium Copyright Act (DMCA), and the ongoing litigation by the Association of Independent Music (AIM) against individual users have polarized debate. As a result, the discussion in the conferences of the music industry and in the press about music is limited to concerns about how to curb piracy, how to "monetize" digital music files, or how to digital files more securely using technologies and policies that protect intellectual property rights owned by penalizing undesired behaviour. However, piracy and the availability of "free" music is only one factor in changing the music industry today (Venkatesh 1996 pp. 54). There are big changes that occur in the form and function of cultural products, in the present.

On the contrary, this research will not be the argument that they focus on the needs of the piracy that is complemented by the broader discussion of the creativity of artists and industries, technologies and aesthetics, along with the role of ...