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Co-evolution between streaming and live music leads a way to the sustainable growth of music industry - Lessons from the US experiences

机译：流媒体和现场音乐之间的共同进化导致音乐行业的可持续增长 - 来自美国经验的经验教训

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The United States a major player in the global music industry, particularly in digital music. While streaming of music is gaining popularity, live music is also equally preferred. Both streaming and live music have their advantages and disadvantages and have gained popularity as a result of several factors such as downloading services and changes in the consumer preferences. Recent statistics on music download and other services show that there could be parallel paths of sustainable growth in the resurgence of live music and streaming services. Streaming, accompanied by live music sales, may actually be the driving force behind the survival and new growth of the music industry. The article examines how resurgence in live music can largely be attributed to its assimilation of digital music innovations. This assimilation is enabled by the co-evolution between streaming and live music industries. Based on an empirical analysis focused on the US, using the monthly development trajectories of different sectors of the US music industry over a period of the last three decades, the study shows that the co-evolution between streaming and live music has functioned well over the last few years. The live music industry has incorporated a self-propagating function by effectively assimilating the innovations previously initiated by the digital music. Given the co-evolution, the recent resurging trend in the music industry can be sustained. The advancement of digital innovations such as artificial intelligence, machine learning, fin-tech, virtual reality, big data and social media has enabled the above co-evolution and led the transformation of live music into a live-conceit-streaming music industry (LCSMI). The LCSMI enables the participative creativity of its stakeholders. LCSMI corresponds to the historical demand of consumers and also of society. The authors conclude that the current music industry is a trust-based ICT-driven disruptive business model with consolidated challenge for social demand for the development of cultural industries. (36 refs.)
机译：美国是全球音乐行业的主要球员，特别是在数字音乐中。虽然音乐流越来越受欢迎，但实况音乐也同样优选。流媒体和现场音乐都具有它们的优缺点，并且由于诸如下载服务和消费者偏好的变化而导致的几个因素，因此受到了普及。最近关于音乐下载和其他服务的统计数据表明，在现场音乐和流媒体服务的复苏中可能存在可持续增长的平行路径。媒体，伴随着现场音乐销售，实际上可能是音乐行业生存和新增长背后的动力。本文介绍了现场音乐的复兴如何归功于其对数字音乐创新的同化。流动和现场音乐行业之间的共同演进使能实现这种同化。基于专注于美国的实证分析，利用美国音乐行业的不同部门的月发育轨迹在过去三十年的一段时间内，研究表明，流媒体和现场音乐之间的共同进展功能良好最近几年。现场音乐行业通过有效地吸收了以前由数字音乐发起的创新来纳入自我传播的功能。鉴于共同进化，最近音乐行业的复苏趋势可以持续。人工智能，机器学习，Fin-Tech，虚拟现实，大数据和社交媒体等数字创新的进步使上述共同进化并导致现场音乐的转变为现场杂志媒体音乐行业（LCSMI ）。 LCSMI使其利益攸关方的参与创造力。 LCSMI对应于消费者和社会的历史需求。作者得出结论，目前的音乐产业是一家信任的ICT驱动的颠覆性商业模式，为社会需求为文化产业发展巩固挑战。 （36 refs。）

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  • 来源
    《Operations Research》 |2019年第4期|299-301|共3页
  • 作者

    Kashif Naveed; Pekka Neittaanmaki; Chihiro Watanabe;

  • 作者单位

    Faculty of Information Technology University of Jyvaskyla Finland;

    Faculty of Information Technology University of Jyvaskyla Finland;

    Faculty of Information Technology University of Jyvaskyla Finland and International Institute for Applied Systems Analysis Austria;

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