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Study of the advanced music model for the digital age
https://edo.repo.nii.ac.jp/records/175
https://edo.repo.nii.ac.jp/records/1756d85cb8c-4bd8-439b-8362-577364b30e63
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
Study of the advanced music model for the digital age (3.2 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2014-09-05 | |||||||||||
| タイトル | ||||||||||||
| タイトル | Study of the advanced music model for the digital age | |||||||||||
| タイトル | ||||||||||||
| タイトル | Study of the advanced music model for the digital age | |||||||||||
| 言語 | en | |||||||||||
| 言語 | ||||||||||||
| 言語 | eng | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | illegal copy｜piracy rate｜ opposite approach | |||||||||||
| 資源タイプ | ||||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||
| 資源タイプ | departmental bulletin paper | |||||||||||
| 著者 |
植田, 康孝
× 植田, 康孝
× UEDA, Yasutaka
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| 抄録 | ||||||||||||
| 内容記述タイプ | Abstract | |||||||||||
| 内容記述 | In the past, Japan’s music business viewed live performances as a means for advertising CDs, and although it was considered okay for live performances to record a deficit, the current way of thinking may actually be the exact opposite. Accompanying the conversion of information and recordings to digital media, although methods for purchasing music continue to expand from CDs to cellular telephones and the Internet (on-line music distribution), the value of analog contents (such as live concert performances and merchandise sales) is increasing.For example, in 2008 Madonna terminated her contract with the record giant, Warner Music, and instead concluded an agreement with an event production company known as Live Nation. Many of her major recordings were released free of charge over the Internet as a means of attracting fans to her concerts. As a result,Madonna’s income in 2008 moved to the top of list among music artists at 240 million dollars due to the sales of tickets for concerts held in Europe and throughout the U.S. starting in the summer of that year. This indicates a shift in the emphasis of music activities from CD sales to live performances and sales of T-shirts and other merchandise. This model that adopts the opposite view of generating a profit with analog contents (such as live concerts and merchandise) by using digital contents (such as CDs and on-line music distribution) as publicity means has already become established in countries having high piracy rates where CD sales cannot be expected to generate income, and although we perceive such countries to be backward nations, we have developed a hypothesis by which these countries actually indicate an advanced music model for the digital age. Although we tend to think that advanced nations are more advanced, Vietnam is an advanced nation in terms of having constructed a business model that generates earnings from live performances instead of packaged software. Field surveys were conducted on six occasions in New Zealand, which has a low piracy rate, and in Vietnam and China, which have high piracy rates, after which this hypothesis was verified by discussing a music business model for the digital age based on the data obtained from those surveys. | |||||||||||
| 書誌情報 |
情報と社会 en : Communication & Society 号 21, p. 335-346, 発行日 2011-03-11 |
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| 出版者 | ||||||||||||
| 出版者 | 江戸川大学 | |||||||||||
| ISSN | ||||||||||||
| 収録物識別子タイプ | ISSN | |||||||||||
| 収録物識別子 | 1341-5832 | |||||||||||
| 論文ID（NAID） | ||||||||||||
| 識別子タイプ | NAID | |||||||||||
| 関連識別子 | 40018786714 | |||||||||||
