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New players in the music industry: lifeboats or killer whales? the role of streaming platforms

机译:音乐界的新参与者:救生艇还是虎鲸?

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摘要

From an historical viewpoint the production, distribution, circulation and consumption of music went through numerous changes and displayed multiple interactions between artists, instruments and consumers. Music and the music experience are not only universally shared (Seve, 2013; Wolff, 2015) but relies on evolving patterns of consumption, on various forms of production and patronage, as well as on the on-going creation of instruments, around 12,000 (out of which 10,000 non-European) according to the Grove Dictionary of Musical Instruments (Sadie, 1985).
机译:从历史的角度来看,音乐的生产,发行,流通和消费经历了许多变化,并表现出艺术家,乐器和消费者之间的多种互动。音乐和音乐体验不仅得到普遍分享(Seve,2013; Wolff,2015),而且还依赖于不断发展的消费模式,各种形式的生产和光顾以及不断发展的乐器,大约有12,000种(根据格罗夫乐器字典(Sadie,1985),其中有10,000个非欧洲国家。

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  • 来源
    《Info》 |2019年第6期|525-549|共25页
  • 作者

    Jean Paul Simon;

  • 作者单位

    JPS Public Policy Consulting Seville Spain;

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  • 原文格式 PDF
  • 正文语种 eng
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