디지털 음악 플랫폼에서 창발하는 음악 생산과 수용의 새로운 모델 : 에이펙스 트윈의 사운드클라우드 계정 ‘user18081971’을 중심으로

This study addresses the complex relationship between copyright and digital music platforms in the digital era. As digital platforms become the primary means of music distribution, significant challenges arise concerning the protection and fair compensation of authors. The article explores the evolution of the music industry, from the early days of the phonograph to modern streaming platforms, highlighting the technological changes that have shaped the relationship between music and technology. The copyright system in Brazil is also discussed, influenced by the French dual protection model, encompassing both economic and moral rights. The text also analyzes the role of the Central Office for Collection of Copyright (ECAD) and its seven Associations in the collective management of copyright, as well as the issue of transparency in the distribution of economic rights. One point of debate is whether music transmission through streaming platforms should be considered public or private performance, directly impacting copyright revenue collection. Therefore, this study aims to present the relevant panorama of this new context of copyright associated with digital music platforms (streaming). Adopting a deductive methodology with exploratory research, the article concludes that the landscape of copyright in Brazil and its relationship with digital music platforms is a complex and challenging topic that requires careful consideration and appropriate regulation to ensure authors are adequately protected in a constantly evolving digital environment. It emphasizes the need for greater transparency and clarity in the collection, calculation, and distribution system of economic rights by digital music platforms.

In modern conditions of development, digital platforms in small and medium-sized businesses began to be widely used during the development of Industry-4.0 globalization. Modern studies define digital platforms as an electronic environment that includes a general set (list) of goods and services with a corresponding digital configuration. Examples of digital platforms are: digital music platform "Spotify" or "iTunes", digital movie platform "Netflix", etc. The article established that from the point of view of the economy, digital platforms are auxiliary electronic environments (markets) on which sellers and buyers buy and sell goods. And digital entrepreneurship is also considered as the process of creating a new Internet business. In the process of research, it was established that thanks to the spread of digital platforms, entrepreneurs have opportunities to stimulate innovation to create new products or services. In the framework of Industry 4.0, globalization and digitalization have created some benefits for participants based on digital platforms. First of all, through digital platforms, manufacturers can assess buyers and end consumers without going through intermediaries. Also, digital platforms allow sellers to display their products in virtual shopping centers through a website, and consumers can view product information at a time and place convenient for them. It has been proven that small and medium-sized enterprises are one of the main engines of the modern economy, which contribute to the development of the country's economy, the creation of income, employment and innovation in various fields. Small and medium-sized enterprises are the key to economic growth and market competition in most developed economies due to their flexibility and ability to innovate. According to the results of the conducted research, it is confirmed that the use of digital tools and platforms helps small and medium-sized businesses to determine the right direction for improving the efficiency of small and medium-sized enterprises within the framework of Industry 4.0 and digitalization trends. After all, the activity of small and medium-sized business enterprises directly affects the total GDP of the country. Thus, the subject of further research is the study of factors that can increase the productivity of small and medium-sized business enterprises, which is important in determining the directions of the future development of small and medium-sized business enterprises. In addition, within the framework of Industry-4.0. SMEs must take advantage of globalization and digitalization to perform better and achieve greater competitive advantages.

In the era of disruption, digitalization has replaced traditional culture due to technological developments. One form is distributing music or songs which was all on cassettes or CDs (compact discs) to digital music platforms. Currently, there are many digital music platforms such as Apple Music. One of the problems outlined in this paper is regarding the moral rights of songwriters on Apple Music, while moral rights are rights inherent in the Creator. This paper aims to: (1) find out the protection of the moral rights of songwriters in Indonesian positive Law; (2) discuss how to protect and fulfill the moral rights of songwriters on the Apple Music digital music platform. Through legal research with a normative juridical approach, research results that there is an imbalance in the moral rights of songwriters in Apple Music where their moral rights are not evenly accommodated for all songwriters and tend only to accommodate certain groups (singers, songs, songwriters, and/or big music labels only).

At present, music is readily accessible through various streaming platforms. Even digital technology has revolutionized the concept of music creation by enabling the use of generative Artificial Intelligence (AI), marking a new phase in the evolution of contemporary music. Currently, the use of generative AI is one of the issues being debated, particulary concerning copyright ownerhip of AI generated works. This study aims to investigate the regulation of copyright and the commercialization of music generated through generative AI in Indonesia. The research adopts a normative juridicial method with a literature based approach,focusing on the anyalysis of secondary legal materials. The Indonesian Copyright Law (ICL) does not explicitly regulate copyrighted works generated through generative AI. However, the ICL does contain provisions that accommodate the assistance of other parties or the use of aids in producing a copyrighted work, as stated in Article 34 of the ICL. Referring to the provisions of Article 34, a person who creates music using generative AI and has their music included on a digital music platform is entitled to royalties as a creator. However, the absence of specific rules related to the use of generative AI in music in the ICL should have received serious attention from the government to regulate this matter.

The purpose of this study is to investigate the determination of the formation of singing skills of future music teachers through digital resources. The quantitative research method was used in the study, and the research was conducted in the fall semester of 2021–2022. 376 volunteer music teachers who continue their studies in Kazakhstan participated in the study. In the study, 4 weeks of online training was provided to music teachers. In the study, the ‘digital music platform’ measurement tool developed by the researchers and compiled by experts in the field was used. The measurement tool was delivered and collected by the online method of music teachers. The analysis of the data was carried out using the SPSS programme; frequency analysis was carried out using the t-test; and the results obtained were added to the study accompanied by tables. According to the survey results, in live lessons, music teachers use the songs with the formation and this takes place where digital content is also very low. In the event of very frequent use, it was seen that by projecting courses in distance education systems the music rates are quite high.
 
 Keywords: Music Teachers, Digital Content, Live Lesson, Teachers of the Future;

API integration and organisational agility outcomes in digital music platforms: A qualitative case study

Music has held an important place in human life throughout history and has continued to exist as a significant form of expression in cultural, social, and artistic contexts. With the advancement of technology, the ways in which music is produced, distributed, and consumed have undergone substantial transformation. In particular, with the widespread adoption of digital technologies, music listening platforms have evolved, and a vast number of musical works have become accessible in digital environments. In addition, the use of digital tools and software in music production processes has increasingly expanded. The large volume of music data available in digital environments has made processes such as analyzing and classifying these data, discovering new music, and developing recommendation systems based on listener preferences increasingly important. In this context, machine learning methods play a significant role in the processing and interpretation of music data. Especially on digital music platforms where Western music is predominantly represented, numerous studies in the literature focus on topics such as the identification of musical genres, the analysis of song popularity levels, and the automatic classification of musical works. In this section, the structure and representation methods of music data are examined from the perspective of machine learning (ML). Furthermore, recent research and example studies on the application of machine learning techniques in music analysis are reviewed. In this regard, the section aims to provide guidance for both researchers and practitioners by presenting a theoretical conceptual framework as well as practical examples. In conclusion, this section serves as a concise resource that provides both theoretical knowledge and practical guidance for researchers and practitioners aiming to achieve specific research objectives using music data. By demonstrating how machine learning methods can be effectively applied in music research and applications, it also establishes a fundamental reference framework for future studies.

The corporate rhetoric of streaming platforms often assumes a tight link between their scale-making ambitions on the one hand and the creative interests of musicians on the other. In practice, most musicians recognise that claims of musical ‘democratisation’ are deeply flawed. The creative ambivalence this produces is an understudied pillar in scholarship on digital music platforms and suggests that these systems can be more creatively constrictive than empowering. Based on ethnographic research among Spotify engineers, record labels and musicians, this article explores how music recommendation systems become inculcated with a corporate rhetoric of ‘scalability’ and considers, following Anna Tsing, how this impacts musical creativity further down the value chain. I argue that the ‘creative ambivalence’ that these technologies produce should be more fully understood as woven into a complex web of social relations and corporate interests than prevailing claims of technological objectivity and ‘democratisation’ suggest.

Digital music platforms have transformed the listening experience through curated playlists and transitions, yet many transition creating systems primarily serve professional DJs with many manual features to be set while overlooking amateur performers and everyday listeners. In this study, we introduce DJ-AI, a novel framework that bridges this gap by analyzing detailed musical features to optimize song sequences and create harmonic transitions between those songs. Our approach employs graph based optimization techniques to efficiently arrange playlists by mapping song relationships and determining the best transition paths. Additionally, we integrate MusicGen—a generative model for generating coherent musical continuations—and MERT audio embedding model, which capture nuanced musical attributes, to enhance the smoothness of transitions. Experimental evaluations reveal that DJ-AI outperforms traditional crossfade methods in generating smooth and coherent transitions. This framework paves the way for AI-driven adaptive mixing solutions, making seamless music transitions more accessible to a broader audience.

This article presents a theoretical framework called the Nexus of Cultural Entrepreneurship and Digital Musicality (CEDM) to explore the intersection of migratory entrepreneurship, Afro-Diasporic music entrepreneurship, and emerging digital music platforms. The framework integrates concepts from cultural studies, entrepreneurship, musicology, and intercultural communication to analyze the entrepreneurial processes and cultural dynamics within the evolving landscape of digital music. The framework sheds light on the factors influencing migratory entrepreneurship and Afro-Diasporic music entrepreneurship within the digital music industry through its examination of these entrepreneurial endeavors. Key concepts such as migratory entrepreneurship, Afro-Diasporic music entrepreneurship, entrepreneurial opportunity recognition, cultural dynamics, and the role of technology and digital platforms are discussed, providing operationalized definitions for terms relevant to the study, such as music multimedia production, intercultural empathy, translatability, and Afro-Diasporic music entrepreneurship. Furthermore, the article explores the challenges faced by Afro-Diasporic musicians in the music multimedia production industry and proposes innovative approaches to overcome these challenges. Opportunities discussed include embracing cultural authenticity, collaborating across borders, harnessing technological advancements, engaging with online communities, leveraging social media platforms, and building sustainable business models. The study aims to contribute to the understanding of migratory entrepreneurship, Afro-Diasporic music entrepreneurship, and cultural exchange within the digital music industry by analyzing theoretical perspectives and practical approaches. It seeks to guide researchers, practitioners, and policymakers in fostering inclusive and innovative entrepreneurial ecosystems. In addition, the article presents an overview of nine compelling suggestions for future research in the field of empowering Afro-Diasporic musicians within the music multimedia production industry. These research directions aim to shed light on various aspects of the industry, addressing gaps in knowledge and providing valuable insights into the challenges faced by Afro-Diasporic musicians. The study aims to develop effective strategies, policies, and interventions that foster inclusivity, equality, and opportunities for Afro-Diasporic musicians in the rapidly evolving music multimedia landscape by exploring various areas such as socio-economic factors, representation and diversity, cultural preservation and innovation, digital platforms and technology, collaborative practices, the impact of social media, and more. The proposed research methodologies ensure robustness and validity in investigating these important topics, enabling researchers to contribute to the development of an empowering and supportive ecosystem for Afro-Diasporic musicians in the music multimedia production industry.

Reviewed by: Toward the Geopolitical Novel: U.S. Fiction in the Twenty-First Century by Caren Irr Jerry Varsava IRR, CAREN. Toward the Geopolitical Novel: U.S. Fiction in the Twenty-First Century. New York: Columbia University Press, 2014. 264 pp. $90.00; $30.00. Over the last few decades, the term “geopolitical” has gained increased currency as a growing amount of human endeavor has spilt over the borders of the local and the national, operating in a space that is, variously, international, transcultural, and, most broadly, globalized. Inevitably, a great deal of contemporary fiction occupies, and indeed helps to configure, this realm of transgressed borders. For Caren Irr, the twenty-first-century geopolitical novel “presents detailed descriptions of ordinary, dedicated people wrestling with the problems of the new millennium” and, in the process, reveals “some key features of contemporary political experience” (3). It is noteworthy that this definition does not explicitly cite a key feature of the geopolitical that constitutes geopolitics as a sub-disciplinary field within political science, which has pursued this line of inquiry for a very long time. For example, the research published in the journal Geopolitics, founded in 1998, investigates “the intersection of geography and global politics from various disciplinary and methodological perspectives, and from vantage points embedded in diverse locations.” This “intersection” clearly points to something that exceeds the national in important ways and that involves relations of one sort or another between bordered realms. Many of the novels that Irr explores in Toward the Geopolitical Novel do indeed cross national jurisdictional lines, but some actually do not do so in the way posited, sensibly enough, by political scientists. As Irr develops in considerable detail in her introduction, definitions matter a good deal here. Part of Columbia University Press’s “Literature Now” Series, Toward the Geopolitical Novel seeks to define its subject as an “emerging” genre and, beyond this, to examine five “genre clusters” within it, along with various types in each: the migrant novel, peace corps fiction, national allegories, the revolution novel, and expatriate fiction (9, 10). The book is, then, a taxonomy of taxonomies operating within a domain [End Page 517] that Irr calls “U.S. fiction.” As construed here, the latter is a new and by no means unproblematic construct centered on the reception of literary works that aims to subvert the conventional designation of “American fiction,” which is based on a production model wherein the producer/author of an “American” literary work is one who was born in the United States or who then has immigrated to it. So, conventionally, certainly, Jonathan Safran Foer and Dave Eggers write American fiction, but so too do Ha Jin and Gary Shteyngart. For Irr, “U.S. fiction” is a much broader category than we typically envision. It includes all of those Anglophonic works that have been read by American readers, or at least by the (small group of) literary cognoscenti that review for major print and digital media or who adjudicate major American literary prizes. So, through a methodical and painstaking survey, Irr arrives at a “broad sample of international novels addressed to an American audience” (10). Over 125 novels come to constitute her canon of “U.S. fiction,” and which she engages in her discussion of the five noted “genre clusters.” Consequently, inevitably, we have works—admittedly highly regarded ones—that are deemed to be “U.S. fiction” that are neither produced by Americans nor that deal with American subject matter whatever: for example, historical novels like James Meek’s The People’s Act of Love (2005), set in early twentieth-century Siberia; Tahmima Anam’s A Golden Age (2007), about Bangladesh’s War of Independence in the early seventies; Hilary Mantel’s Wolf Hall (2009), set in England in the early Reformation period; and so on. Although based on a reception model, Irr does not fulsomely engage this approach in either her genre theorizing or her critical readings. One wonders if something like Stanley Fish’s old notion of “interpretive communities” might have provided a serviceable theoretical point of departure. One does not always get a sense of how the critical interpretations of Irr, and those of others that she cites...

Imagining the Book offers a snapshot of current research in English manuscript study in the pre-modern period on the inter-related topics of patrons and collectors, compilers, editors and readers, and identities beyond the book. This volume responds to the recent development and institutionalization of ‘History of the Book’ within the wider discipline. Scholars working in the pre-printing era with the material vestiges of a predominantly manuscript culture are currently establishing their own models of production and reception. Research in this area is now an accepted part of twenty-first century medieval studies. Within such a context, it is frequently observed that scribal culture found imaginative ways to deal with the technological watersheds represented by the transition from memory to written record, roll to codex, or script to print. In such an ‘eventful’ environment, texts and books not infrequently slip through the semi-permeable boundaries laboured over by previous generations of medievalists, boundaries that demarcate orality and literacy; ‘literary’ and ‘historical’; ‘religious’ and ‘secular’; pre- and post-Conquest compositions, or ‘medieval’ and ‘Renaissance’ attitudes and writings. Once texts are regarded as offering indices of community- or self-definition, or models of piety and good behaviour (and the codices holding them statements of prestige and influence), the book historian is left to contemplate the real or imagined importance and status of books and writing within the larger socio-political, often local, milieux in which they were once produced and read.

The development of digital economy implies not only deep transformation processes for individual enterprises, but also the need for adaptations to new economic conjucture of those stakeholders, who are not ready for full-scale changes in their management and production models. Thus, managing digital transformation of tourist destination require detailed and systematic study of the needs in digitalization and the search for tools for stakeholder's adaptation to new socio-economic conditions. The qualitative research methodology “Grounded theory” is able to provide tools to resolve this problem, which approbation is the main subject of the study. This method allows to form inductively a logical concept that would describe the phenomenon and directly confirm theoretical conclusions in observations. The study resulted in key categories of needs, their interconnections and corresponding digital solutions in form of different modules of digital platform, comined by the central key category - “need to increase the involvement of all stakeholders through a collaborative digital service”. The pilot study conducted according to the proposed methodology confirmed its effectiveness in studying the needs of stakeholders of tourist market and in developing the architecture of a digital industry platform. At the same time, the subsequent prototyping of the proposed digital solutions should be carried out in accordance with the strategy of implementing the industry platform and its integration into the digital ecosystem of the Krasnodar Territory.

Digitalisation and the proliferation of online music listening platforms have led to the exponential growth of music data on the Internet, thus necessitating the development of automated systems for data organisation and analysis. In this context, automatic genre classification practices have become a significant approach for the efficiency of music discovery and recommendation processes. While significant progress has been made in genre classification, subgenre classification remains an under-researched area, despite its potential to provide more personalised listening experiences. This study aims to address this gap by focusing on the classification of hip-hop music subgenres, namely boombap, jazzrap and trap, utilising a comprehensive dataset comprising 750 audio files. The study extracts a total of 31 features, encompassing both spectral and psychoacoustic characteristics. Machine learning models such as Logistic Regression, K-Nearest Neighbours, Decision Tree and Random Forest are employed, along with the Artificial Neural Network, which attains the highest accuracy of 85%. The findings reveal that subgenre classification poses challenges, especially for categories such as jazzrap and boombap, which share overlapping musical characteristics. In contrast, trap with different timbral characteristics was classified with higher accuracy. This study contributes to the scant research on subgenre classification by underscoring the viability of employing deep learning techniques to enhance the precision of comprehensive datasets and intricate subgenre categorisations. Moreover, this research underscores the pivotal role of subgenre classification within the ambit of digital music platforms. The accurate identification of subgenres not only elevates the overall auditory experience for users but also facilitates the discovery of music selections that resonate closely with their individual preferences.

Determining the causal factors influencing college students’ willingness to consume digital music in China is crucial given the rapid integration of digital technology with the traditional music industry. Chengdu, as a rapidly developing city in China with a thriving youth culture and a significant presence of higher education institutions, provides an ideal setting to explore the factors influencing college students’ willingness to consume digital music. Using a mixed-method approach and a sample of 431 college students from various universities in Chengdu, this research examines the impact of perceived value, behavioral attitude, subjective norms, user participation, user stickiness, and psychological needs on digital music consumption intention. The empirical results show that these factors jointly affect consumption intention, with user stickiness and psychological needs serving as mediators. Specifically, perceived value, behavioral attitude, subjective norms, and user participation have a significant positive impact on consumption intention. These findings provide valuable insights for digital music platforms and the music industry to develop targeted marketing strategies and services tailored to the demands and behaviors of college students in Chengdu.