MP3s Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly1.
The phrase “home taping is killing music”—a slogan invented and heavily promoted by major labels to combat the unauthorized duplication of music in the early-1980s—now sounds quaint after the rise of digital distribution. Because the legal arguments surrounding the trading of copyrighted music on fi...
| Publicado en: | Popular Music & Society Vol. 28; no. 4; pp. 521 - 532 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Oct2005
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=18021485&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 18021485 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007766 POA jtl: Popular Music & Society issn: 03007766 maglogo: Y pubinfo: dt: Oct2005 vid: 28 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 18021485 10.1080/03007760500159062 ppf: 521 ppct: 11 formats: fmt: – @attributes: type: T – @attributes: type: P size: 179KB tig: atl: MP3s Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly1. aug: au: McLeod, Kembrew su: MP3 (Audio coding standard) Digital audio standards Digital music Computer sound processing Music sug: subj: MP3 (Audio coding standard) Digital audio standards Digital music Computer sound processing Music ab: The phrase “home taping is killing music”—a slogan invented and heavily promoted by major labels to combat the unauthorized duplication of music in the early-1980s—now sounds quaint after the rise of digital distribution. Because the legal arguments surrounding the trading of copyrighted music on file-sharing networks have been extensively debated elsewhere, this article primarily focuses on the way this alternative distribution system poses a very real challenge to major labels. That music monopoly, which has been in place for a century, was able to secure its dominance because it controlled the means of production—something that is no longer the case, because recording, production and distribution costs have radically dropped in price since the 1990s. This article, which operates in a journalistic mode, places into historical context the 1990s compact disc boom and the subsequent rise of digital distribution. The consumer-led file-sharing explosion forced an unwilling music industry into the online marketplace, something that this article argues has been a boon for those working outside of the major label system. This has opened the door for small labels and independent artist-entrepreneurs to use these relatively inexpensive technologies to disseminate their music and circumvent the clogged, payola-drenched playlists of corporate radio. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Popular Music & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Popular Music & Society holder: Taylor & Francis Ltd dt: @attributes: year: 2005 holdings: @attributes: islocal: N |
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