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Copyriot: the political economy of digital music streaming
Thesis (MMus)--Stellenbosch University, 2023.
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| Format: | Thesis |
| Language: | en_ZA |
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Stellenbosch : Stellenbosch University
2023
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| _version_ | 1867614050864594944 |
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| access_status_str | Open Access |
| author | Froehlich, Anke Hilde |
| author2 | Froneman, Willemien |
| author_browse | Froehlich, Anke Hilde Froneman, Willemien |
| author_facet | Froneman, Willemien Froehlich, Anke Hilde |
| author_sort | Froehlich, Anke Hilde |
| collection | Thesis |
| dc_rights_str_mv | Stellenbosch University |
| description | Thesis (MMus)--Stellenbosch University, 2023. |
| format | Thesis |
| id | oai:scholar.sun.ac.za:10019.1/127373 |
| institution | Stellenbosch University (South Africa) |
| language | en_ZA |
| last_indexed | 2026-06-10T12:45:52.267Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from SUNScholar — Stellenbosch University Repository |
| publishDate | 2023 |
| publishDateRange | 2023 |
| publishDateSort | 2023 |
| publisher | Stellenbosch : Stellenbosch University |
| publisherStr | Stellenbosch : Stellenbosch University |
| record_format | dspace |
| source_str | SUNScholar — Stellenbosch University Repository |
| spelling | oai:scholar.sun.ac.za:10019.1/127373 Copyriot: the political economy of digital music streaming Froehlich, Anke Hilde Froneman, Willemien Lambrechts, Lizabe Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music. Copyright -- Music Copyright -- Music -- Economic aspects Streaming technology and copyright Copyright -- Broadcasting rights Spotify Streaming audio Music and the Internet Music trade -- Technological innovations Piracy (Copyright) UCTD Thesis (MMus)--Stellenbosch University, 2023. ENGLISH ABSTRACT: This thesis, based on a discourse analysis of recent scholarship in the fields of popular music studies, international legal theory, and economic-political theory, analyses the political economy of online music streaming, focussing on Spotify’s playlist-oriented business approach. By tracing the shift in the digital music industry from ‘scarcity’ to ‘abundance’, I argue – following the work of Eric Drott (2019) – for a revised understanding of music’s commodification in the digital streaming era. The analysis proceeds along two lines. The first asks how, from a Marxist perspective, Spotify’s practices of rentiership, its positioning within the ‘gig’ economy and its relationship to the so-called ‘Big Three’ record companies may be situated within the circuit of capital, while the second, which draws on the work of Robin James (2021), Friedlind Riedel (2020) and William Mazzarella (2017), considers the affective dimensions of Spotify’s streaming business strategy – particularly its curation of ‘vibes’. Additionally, the thesis offers a historical overview of the hierarchical structure of music copyright law that continues to privilege record companies, showing how music copyright is rooted in Mussollini’s Fascist politics. The study concludes that Spotify harnesses what Martin Scherzinger (2016) has termed music’s ‘experiential liveness’ to produce ‘mana’ moments by engaging users in activity-oriented listening. AFRIKAANSE OPSOMMING: Hierdie verhandeling is gebaseer op ‘n diskoersanalise van onlangse werk in populêre musiekstudies, internasionale reg, en politiek-ekonomiese denke en analiseer die politieke ekonomie van aanlyn musiekstroming met die fokus op Spotify se speellys-gedrewe besigheidsmodel. Na aanleiding van die werk van Eric Drott (2019), karteer die projek die verskuiwing in die digitale musiekindustrie van ‘n paradigma van ‘skaarsheid’ na een van ‘oorvloedigheid’, en argumenteer vir ‘n hersiende verstaan van die kommodifisering van musiek in die digitale stromingsera. Die analise word in twee dele aangebied. Die eerste deel ondersoek Spotify se rentmeesterskappraktyke, die maatskappy se posisionering in die vryskut- (of ‘gig’) ekonomie, en sy verhouding met die drie grootste platemaatskappye vanuit ‘n Marxistiese perspektief en in die konteks van die sirkulering van kapitaal. Die tweede deel, in gesprek met die werk van Robin James (2021), Friedlind Riedel (2020) en William Mazzarella (2017), ondersoek die affektiewe dimensies van Spotify se stromingsbesigheidsmodel, en veral hulle kuratoriale strategie met betrekking tot ‘vibes’. Hierbenewens bied die verhandeling ‘n historiese oorsig oor die hiërargiese strukture wat opgestel is deur musiekkopieregwetgewing waarin die belange van platemaatskappy steeds geprioritiseer word, en hoe die definisie van musiekkopiereg vervleg is met Mussolini se Fascistiese politiek. Die studie toon aan dat Spotify, deur gebruikers in aktiwiteit- geörienteerde luisterervarings in te lok, die ervaring van lewendige musiek (Martin Scherzinger (2016) verwys daarna as musiek se ‘experiential liveness’) op só ‘n manier verpak dat dit by luisteraars a ‘mana’-moment veroorsaak. Masters 2023-03-07T11:31:51Z 2023-05-18T07:18:47Z 2023-03-07T11:31:51Z 2023-05-18T07:18:47Z 2023-03 Thesis http://hdl.handle.net/10019.1/127373 en_ZA Stellenbosch University 110 pages application/pdf Stellenbosch : Stellenbosch University |
| spellingShingle | Copyright -- Music Copyright -- Music -- Economic aspects Streaming technology and copyright Copyright -- Broadcasting rights Spotify Streaming audio Music and the Internet Music trade -- Technological innovations Piracy (Copyright) UCTD Froehlich, Anke Hilde Copyriot: the political economy of digital music streaming |
| title | Copyriot: the political economy of digital music streaming |
| title_full | Copyriot: the political economy of digital music streaming |
| title_fullStr | Copyriot: the political economy of digital music streaming |
| title_full_unstemmed | Copyriot: the political economy of digital music streaming |
| title_short | Copyriot: the political economy of digital music streaming |
| title_sort | copyriot the political economy of digital music streaming |
| topic | Copyright -- Music Copyright -- Music -- Economic aspects Streaming technology and copyright Copyright -- Broadcasting rights Spotify Streaming audio Music and the Internet Music trade -- Technological innovations Piracy (Copyright) UCTD |
| url | http://hdl.handle.net/10019.1/127373 |
| work_keys_str_mv | AT froehlichankehilde copyriotthepoliticaleconomyofdigitalmusicstreaming |