1. paul dwyer internet radio emma
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Internet Radio
“Radio Connected” Research ProjectPaul DwyerCAMRI, University of Westminster
Internet & Radio
Being the gatekeeper was the most profitable place to be, but now we’re in a world half without gates. Digital distribution gives everyone worldwide, instant access to music. And filters are replacing gatekeepers Courtney Love (2000)
“radio in the digital era will produce new forms, battles over gateways and increased interactivity on the part of listeners … rather than a fundamental reorientation: a limited increase in choice for the listener, and greater industry concentration among producers” David Hendy (2000)
• substitution mass audiences/advertisers switched from radio to TV as main medium
• Radio delivers a continuous linear stream of live (real-time) or pre-recorded music audio
• differentiation Costs of operation enables tailoring services to niche audiences/advertisers
Record Company (Catalogue)
Advertisers
Sele
ctio
nNiche Audience
Playlist(format)
Audience Research
Music Sales Data
Music Knowledge
Targe
tData
Call
Problem: Playlist Selection
Music Knowledge - Recommendation
1. personal taste/musicology – genre experts search and recommend new/quality music
2. ‘professional’ – search & recommend on tastes of ‘typical listener’ Ahlkvist (2001)
Problem: Standard Formats
economies of scale (share marketing, audience research and advertising sales) and scope (developing standardized music formats and playlists (for stations in different markets) favour networks over stations
Target most profitable demographic groups
networks succeed vs independents/small groups
standard formats succeed vs diverse or niche content.
Many case studies Canada (Berland, 1990, 1993; Grenier, 1993), Sweden (Wallis and Maim, 1993), Britain (Bamard, 1989), France (Miller, 1992), and Australia (Tumer, 1993)
Playlist (chart)
Established music selection was responsibility of network management
music selection based on audience research/advertising sales not music knowledge
DJs/presenters (at best) responsible for the non-music elements
reduce diversity by reducing the number of different songs played
Select songs with big sales (hits) or airplay or industry promotion
Tendency for playlists to become shorter and more similar to other stations/the charts (Alkhvist and Fisher 2000)
Internet & Digitisation
Reduce economies of scale and scope
technical and 'on air' staff costs are low, presenter costs can be nil
cost efficient to serve very small niche musical tastes
Server logs provide instant, free 100% accurate audience research is (e.g. songs/playlists with biggest audience )
enables the listener to interact with music databases to select their own playlist
reduces radio networks power as gatekeepers between record companies, advertisers and audiences
Record Company (Catalogue)
Advertiser
Mu
sic
Meta
d
ata
Niche Audience
Playlist Audience Data
Music Listening Data
Music Knowledge
Fan
Data
Find
Pull Pull
Long Tail and Internet Radio
From selecting ‘hit’ songs for playlists to making all music available for listeners to create customized continuous music playlists of almost unlimited diversity
A niche of one – last.fm
internet radio stations compete on:
‘findability’/discovery
control/customisation
cost (amount of ads/subscriptions)
size of songs database
Findability & Customisation
Music metadata (e.g. pandora 400 music genes – find ‘genetically similar’ songs)
Fan metadata (e.g. folksonomies “love/ban”)
Audience metadata (e.g. last.fm’s audioscrobbler which tracks your music habits across devices – PC, ipod etc.)
Supplier Power
Big Four record companies want new royalty stream but don’t want ‘radio’ to compete with ‘music download’
Only cooperate with internet stations which mimic functionality of radio – live streaming not free ‘on demand’
Limits to skip and pause functions
• Live radio provides communication and company which music stream cannot• entertainment, comfort, security• Mood management– Getting you up or calming you down• Information – esp. music
Ofcom (2004) iPod generation
DJ Chat (Monologue)
1. “fun atmosphere” (mood management)
2. “what I’m doing now” (company, communication)
3. comments on topical issues, pop music, sex and relationships (information)
4. Phone-ins (interact with celebs)
5. Dave says hi to Maggie (peer to peer)
Brand & Scannell (1992)
1. “playful self”
2. daily chatter
3. reporting news – leaders and followers
4. Conversations (peer to peer)
Java et al. (2007)
Ferguson & Greer (2011)