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1. paul dwyer internet radio emma
 

1. paul dwyer internet radio emma

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Presentation about the RadioConnected TSB Research and Development project

Presentation about the RadioConnected TSB Research and Development project

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    1. paul dwyer internet radio emma 1. paul dwyer internet radio emma Presentation Transcript

    • Internet Radio“Radio Connected” ResearchProjectPaul 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/advertis ers 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/advertis ers
    • Audience Research Advertiser sRecord Selection Playlist Niche (format CallCompany Audience(Catalogue) ) Music Knowledg Music e Sales Data
    • Problem: Playlist Selection Music Knowledge - Recommendation1. personal taste/musicology – genre experts search and recommend new/quality music2. „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 shorterand 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 interactwith music databases to select their own playlist reduces radio networks power as gatekeepers between record companies, advertisers and audiences
    • Niche Audience Music MetaRecord Advertiser dataCompany Pull Pull Playlist Audience(Catalogue) Data Music Listenin g Data Music Knowledge
    • Long Tail and Internet Radio From selecting ‘hit’ songsfor 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‟saudioscrobbler 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 providescommunicationand companywhich music streamcannot•entertainment, comfort,security•Moodmanagement– Getting you up orcalming you down• Information – esp.musicOfcom (2004) iPodgeneration
    • DJ Chat (Monologue) Twitter1. “fun atmosphere” (mood 1. “playful self” management) 2. daily chatter2. “what I‟m doing now” (company, communication) 3. reporting news – leaders and followers3. comments on topical issues, pop music, sex and relationships (information) 4. Conversations (peer to peer)4. Phone-ins (interact with celebs)5. Dave says hi to Maggie (peer to peer) Brand &Scannell (1992)  Java et al. (2007)  Ferguson & Greer (2011)