Publication Cover
Popular Communication
The International Journal of Media and Culture
Volume 18, 2020 - Issue 1: The Spotification of Popular Culture
1,222
Views
6
CrossRef citations to date
0
Altmetric
Articles

Promises and Pitfalls: The Two-Faced Nature of Streaming and Social Media Platforms for Beirut-Based Independent Musicians

Pages 48-64 | Received 30 Nov 2018, Accepted 25 Jun 2019, Published online: 02 Jul 2019

References

  • About SoundCloud. (n.d.). Retrieved from https://soundcloud.com/
  • Aguiar, L., & Martens, B. (2016). Digital music consumption on the internet: Evidence from clickstream data. Information Economics and Policy, 34, 27–43. doi:10.1016/j.infoecopol.2016.01.003
  • Allington, D., Dueck, B., & Jordanous, A. (2015). Networks of value in electronic music: SoundCloud, London, and the importance of place. Cultural Trends, 24(3), 211–222. doi:10.1080/09548963.2015.1066073
  • Baade, C. (2018). Lean back: Songza, ubiquitous listening and Internet music radio for the masses. Radio Journal: International Studies in Broadcast & Audio Media, 16(1), 9–27. doi:10.1386/rjao.16.1.9_1
  • Baumann, H. (2017). Citizen Hariri : Lebanon’s neoliberal reconstruction. New York, NY: Oxford University Press.
  • Baym, N. K. (2012). Fans or friends?: Seeing social media audiences as musicians do. Participations, 9(2), 286–316.
  • Beck, A. (Ed.). (2005). Cultural work: Understanding the cultural industries. New York, NY: Routledge.
  • Borja, K., Dieringer, S., & Daw, J. (2015). The effect of music streaming services on music piracy among college students. Computers in Human Behavior, 45, 69–76. doi:10.1016/j.chb.2014.11.088
  • Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste (R. Nice, trans.). Cambridge, MA: Harvard University Press.
  • Carah, N. (2010). Pop Brands: Branding, popular music, and young people. New York, NY: Peter Lang.
  • Chun, W. H. K. (2011). Programmed visions: Software and memory. Cambridge, MA: MIT Press.
  • Deeb, L., & Harb, M. (2013). Leisurely Islam: Negotiating geography and morality in Shi’ite south Beirut. Princeton, NJ: Princeton University Press.
  • Durham, B. (2018). Regulating dissemination: A comparative digital ethnography of licensed and unlicensed spheres of music circulation (Ph.D. Dissertation). University of Oxford.
  • Ellison, N. B., & boyd, D. M. (2013). Sociality through social network sites. In W. H. Dutton (Ed.), The Oxford handbook of internet studies (pp. 151–169). New York, NY: Oxford University Press.
  • Fleischer, R., & Snickars, P. (2017). Discovering spotify – A thematic introduction. Culture Unbound: Journal of Current Cultural Research, 9(2), 130–145. doi:10.3384/cu.2000.1525.1792130
  • Fournet, A. (2019). Women music producers: Sonic innovation from the periphery of a male-dominated industry (Ph.D. Dissertation). New York University, New York.
  • Garland, S. (2014). Music, Affect, Labor, and Value: Late Capitalism and the (Mis)Productions of Indie Music in Chile and Brazil (Ph.D. Dissertation). Columbia University, New York, NY.
  • Glantz, M. (2016). Internet radio adopts a human touch: A study of 12 streaming music services. Journal of Radio & Audio Media, 23(1), 36–49. doi:10.1080/19376529.2016.1155124
  • Hesmondhalgh, D., & Meier, L. M. (2015). Popular music, independence and the concept of the alternative in contemporary capitalism. In J. Bennett & N. Strange (Eds.), Media independence: Working with freedom or working for free (pp. 94–116). New York, NY: Routledge.
  • Hracs, B. J. (2012). A creative industry in transition: The rise of digitally driven independent music production. Growth and Change, 43(3), 442–461. doi:10.1111/grow.2012.43.issue-3
  • Hubbles, C., McDonald, D. W., & Lee, J. H. (2017). F#%@ that noise: SoundCloud as (A-)social media?. Proceedings of the Association for Information Science & Technology, 54(1), 179–188. doi:10.1002/pra2.2017.14505401020
  • Joseph, S. (1983). working-class women’s networks in a sectarian state: A political paradox. American Ethnologist, 10(1), 1–22. doi:10.1525/ae.1983.10.1.02a00010
  • Kim, J. (2012). The institutionalization of YouTube: From user-generated content to professionally generated content. Media, Culture & Society, 34(1), 53–67. doi:10.1177/0163443711427199
  • Kirschenbaum, M. G. (2008). Mechanisms: New media and the forensic imagination. Cambridge, MA: MIT Press.
  • Lee, M., Choi, H., Cho, D., & Lee, H. (2016). Cannibalizing or complementing? The impact of online streaming services on music record sales. Procedia Computer Science, 91, 662–671. doi:10.1016/j.procs.2016.07.166
  • Luvaas, B. (2012). DIY style: Fashion, music and global digital cultures. London, U.K: Berg.
  • Meier, L. M. (2015). Popular music making and promotional work inside the “new” music industry. In K. Oakley & J. O’Connor (Eds.), The Routledge companion to the cultural industries (pp. 402–412). New York, NY: Routledge.
  • Meier, L. M. (2017). Popular music as promotion: Music and branding in the digital age. Malden, MA: Polity Press.
  • Morris, J. W. (2014). Artists as entrepreneurs, fans as workers. Popular Music and Society, 37(3), 273–290. doi:10.1080/03007766.2013.778534
  • Negus, K. (2002). The work of cultural intermediaries and the enduring distance between production and consumption. Cultural Studies, 16(4), 501. doi:10.1080/09502380210139089
  • O’Reilly, T. (2005). What is web 2.0. n.p.: O’Reilly Media, Inc. Retrieved from https://www.oreilly.com/pub/a/web2/archive/what-is-web-20.html
  • On SoundCloud - Pro. (n.d.). Retrieved from https://on.soundcloud.com/pro
  • Prey, R. (2018). Nothing personal: Algorithmic individuation on music streaming platforms. Media, Culture & Society, 40(7), 1086–1100. doi:10.1177/0163443717745147
  • Salloukh, B. F., Barakat, R., Al-Habbal, J. S., Khattab, L. W., & Mikaelian, S. (2015). Politics of Sectarianism in Postwar Lebanon. London, U.K.: Pluto Press.
  • Scott, M. (2012). Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilising and converting Bourdieu’s alternative capitals. Poetics, 40(3), 237–255. doi:10.1016/j.poetic.2012.03.002
  • Sprengel, D. (2017). ‘Postponed Endings’: Youth music and affective politics in post-uprisings Egypt (Ph.D. Dissertation). Los Angeles, CA: University of California, Los Angeles.
  • Sterne, J. (2012). MP3: The meaning of a format. Durham, NC: Duke University Press. doi:10.1215/9780822395522
  • Traboulsi, F. (2016). Social classes and political power in lebanon. Beirut, Lebanon: Heinrich Böll Stiftung - Middle East Office.
  • Wlömert, N., & Papies, D. (2016). On-demand streaming services and music industry revenues — Insights from Spotify’s market entry. International Journal of Research in Marketing, 33(2), 314–327. doi:10.1016/j.ijresmar.2015.11.002
  • Wright, D. (2005). Mediating production and consumption: Cultural capital and ‘cultural workers.’. The British Journal of Sociology, 56(1), 105–121. doi:10.1111/bjos.2005.56.issue-1
  • Young, S., & Collins, S. (2010). A view from the trenches of music 2.0. Popular Music & Society, 33(3), 339–355. doi:10.1080/03007760903495634

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.