The rise of streaming was meant to help diversify music, but new research shows this hasn’t been the case in Australia.
L’expertise universitaire, l’exigence journalistique
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With Harris and Trump locked in a dead heat, getting their supporters to sing, scream and dance can cultivate an aura of inevitable electoral triumph.
Over a third of Australians read audiobooks. Spotify’s audiobook offering means more choices for listeners – but those who make both music and books are concerned about the impact on incomes.
Since rap’s emergence, artists have boasted about themselves in ways that were funny and sometimes violent, vulgar and sexist. The popularity of the music and its exploitation can be dangerous.
Commentators have been asking for years when the streaming giant will turn profitable – that time may now have come.
My research found that people experience a weaker sense of ownership over their digital possessions and perceive them as less meaningful than physical ones.
In the past, adolescents’ musical palettes were dominated by the Top-40 artists, creating a widely shared – if perhaps narrow – repertoire of musical knowledge.
Feminist podcasts are having a moment. An expert reflects on 12 of them, from The Guilty Feminist and Feminist Book Club to podcasts that explore women’s lives and stories.
Thanks to algorithms, our music choices have gone from being informed by radio, music press, magazines and TV shows to a fine-grained level of personalisation.
To understand the changing nature of music listening, I interviewed users of streaming services about how they listen to music.
Soundtrack music is a big part of the video game experience and is now being celebrated in popular musical concerts that reach new audiences.
Not just a great jazz singer, Sylvia Mdunyelwa was also an activist, educator, broadcaster and actress.
AI can streamline the painstaking work of mixing and editing tracks. But it’s also easy to see how AI-generated music will make more money for giant streaming services at the expense of artists.
From majors to indies to artists, the industry is in the unusual position of facing a common enemy.
The Online Streaming Act is set to soon become law in Canada. The act is a step in the right direction, but more needs to be done to support BIPOC content.
The five Iranian teenagers were arrested and forced to apologise – but the dance challenge continues to go viral.
Their popularity can’t be explained by the nostalgia of baby boomers or superior sound quality. So what’s going on?
Here’s how radio Canadian content policy started, and how Canadian legislation, C-11, could contribute to supporting and growing home-grown music in the digital era.
With their back catalogue finally being made available on streaming services, a new generation of rap lovers will get to enjoy their groundbreaking work.
She doesn’t have the most streams or biggest sales figures but she does have a die-hard fan base.
Les contributeurs les plus fréquents
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Dalla Lana Fellow in Global Journalism, University of Toronto
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Associate Professor in Social Sciences, University of Canberra
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Senior Lecturer in the Department of Culture, Media & Creative Industries, King's College London
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Associate Professor Popular Music and Media Studies, University of Alberta
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Postdoctoral Research Fellow, University of Leeds
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Senior Lecturer, Canberra School of Politics, Economics and Society, University of Canberra
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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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Lecturer in Media and Communication, University of Essex
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Adjunct Professor and Industry Fellow, UNSW Sydney
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Associate Professor, English, Communications and Performance Studies, Monash University
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Senior Lecturer in Multimedia, Macquarie University
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Reader in Marketing, Cardiff University
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Research Lead at Rhythm Obscura / Lecturer in the School of Art, Design and Architecture, University of Plymouth
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Honorary Associate Professor, Journalism, Consulting Producer, The Greatest Menace, Walkley-winning podcast, University of Wollongong
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Director of UWA Centre for Software Practice, The University of Western Australia
