Musicians, record labels and listeners could all be affected by sweeping changes to the music streaming industry.
Academic rigour, journalistic flair
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Podcasting exploded due to the lack of gatekeepers. Now big tech companies are starting to act like traditional media networks, signing popular hosts to exclusive contracts and establishing paywalls.
Most of your Spotify subscription fee goes to pop stars in curated playlists – even if you never listen to them.
Spotify is offering to boost artists’ position on its playlists in return for paying them lower royalties. Can struggling musicians afford to say no?
Musicians and songwriters are struggling to survive while record labels are reporting record profits – here’s why this is happening.
Podcasts were once a niche hobby of the internet. Now (thanks to Spotify), Michelle Obama is joining the fray.
Aspiring singers can now use apps to record professional-sounding songs from their phones. This has the potential to disrupt the recording and publishing industry.
Even though the way we access pop music has changed and gone digital, hitmakers lag behind other industries in terms of globalisation.
Desperate fans may have to settle on paying exorbitant amounts for a cassette tape.
In an era when all sorts of music seems to be at our fingertips through streaming services for under $10 a month, who is spending their hard-earned cash on vinyl?
Movie studios are launching their own streaming apps but record labels aren’t about to do the same.
Tech giants like Facebook are at risk of joining the ranks of Compuserve and MCI Mail to be replaced with the next generation of organizing designed for new models of distributed trust.
When you buy a film, eBook or song, you might assume that you own it outright, but that’s not always the case, meaning companies may have a right to take it back from you.
Greenhouse gas emissions from plastic production in the vinyl era is not a patch on the equivalent from running giant servers today.
Sexual abuse in the music industry is a systemic, ongoing problem that won’t be resolved by just hacking away at the canon.
Some of our favourite music formats might not be as environmentally friendly as we think.
In a time of an overwhelming amount of music available, discerning consumers have to be even more strategic.
In ten years, Netflix has built up a streaming business with a staggering 125m subscribers. Here’s what it needs to do next.
Music streaming services have stopped promoting R. Kelly as part of a crackdown on musician’s alleged conduct. But we should separate the art from the artist.
The emotions associated with trends in popular music and lyrics can predict economic sentiment.
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Top contributors
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Dalla Lana Fellow in Global Journalism, University of Toronto
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Director of UWA Centre for Software Practice, The University of Western Australia
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Associate Professor, English, Communications and Performance Studies, Monash University
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Head of School of Psychology and Speech Pathology, Curtin University
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Senior Lecturer in Multimedia, Macquarie University
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Adjunct Professor, UNSW
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Lecturer in Media and Communication, University of Essex
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Regents Professor of Law and Communication and Director of the Center for Law and Intellectual Property, Texas A&M University
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Associate Professor, University of Canberra
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Senior Lecturer, Canberra School of Politics, Economics and Society and NATSEM, University of Canberra
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Director, Centre for Employee and Consumer Wellbeing; Senior Lecturer, Deakin Business School, Deakin University
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PhD student/ researcher - food marketing to children and adolescents, Deakin University
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Senior Lecturer, Music Industry, RMIT University
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Professor of Music, University of Newcastle
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Dean of External Engagment and Executive Director of the Hawke EU Jean Monnet Centre of Excellence, University of South Australia
