دانلود کتاب ظهور صنایع موسیقی پلتفرمی

In September 2024, the female pop artist Chappell Roan – who rapidly rose first to prominence and then fame following the release of her debut album the Rise and Fall of a Midwest Princess in 2023, and especially following her performances as a support act on Olivia Rodrigo’s 2024 world tour – cancelled two festival appearances in the United States. Cancelations are not unusual in the live music industry, which can occur for a range of reasons, such as artists being physically unwell, security concerns, or unforeseen scheduling or logistical problems, for example. In this case, the reason given for cancelation was the artist’s concerns with her own mental health, and a need to take a break to focus on her own wellbeing. What might have appeared to dispassionate observers as a relatively innocuous act of cancelling a mere two shows for health reasons in fact served to generate a significant and emotive online response from those fans that had already booked tickets and, in many cases, also paid upfront for travel and accommodation, to see the artist perform live. While some responses were supportive, the majority were negative – and some openly hostile – which served to reignite recent debates regarding the relationship between fans and artists and exactly what it is that artists “owe” their fans in return for their support. the situation in which Chappell Roan found herself, is, we would argue, an insight into some of the changes wrought to the economics of the contemporary music industries by processes of platformization; that is, the penetration of economic processes and cultural practices associated with digital platforms which have become increasingly powerful and ubiquitous in the contemporary music industries. For example, live music is now an activity of critical financial value both to the music industries and to musicians themselves. the revalorization of live performances, through the now significant revenues it generates through ticket sales, began with the MP3 file sharing crisis beginning in the late 1990s, which saw a huge reduction in the income received from recorded music. As a result, live music necessarily became an important alternative source of income for musicians, record labels, and music publishers, as well as a range of other intermediaries. Music streaming platforms (MSPs) such as Spotify would eventually stabilize the market for recorded music, returning music corporations to profitability, but the value generating qualities of recorded music would never fully return, especially for artists. this fact, together with the way in which the MSPs made recorded music ubiquitous and accessible as never before, meant that live music gained and retained importance in terms of revenue generation. Even those artists responsible for large volumes of streams on MSPs, and that capture the majority of the revenue pools generated by the MSPs, earn a large proportion of their income from live performance. Whereas prior to the crisis live music was seen largely as a mechanism for exposing audiences to music to drive record sales, in the early twenty-first century there was an inversion of this model which now means that for many artists new recordings are less a way of generating income and more a source of new musical material and media interest which could then be exploited through the sale of concert tickets and related merchandise. As the music industries sought to extract the maximum value of live music, ticket prices increased dramatically: by as much as 82 per cent in the period between 1996 and 2003 alone (Krueger 2005). the result is that, to see artists perform live, fans are often required to make significant financial investments. the two performances that Chappel Roan cancelled were part of the All things Go music festival, which played concurrently at the end of September 2024 in New York and in Columbia, Maryland (near to Washington, DC), with tickets ranging from $119 to $199 per person. While it was some consolation for those fans that had bought tickets that there were at least other artists playing, it also meant that, unlike cancelled performances within conventional tour schedules, there was no opportunity to seek a refund as most festivals operate an “all sales are final” policy.