A01=Eric Drott
Age Group_Uncategorized
Age Group_Uncategorized
attention economy
Author_Eric Drott
automatic-update
Category1=Non-Fiction
Category=AVX
Category=JBCT
Category=JFD
Category=KNT
cheap music
click fraud
click workers
consumer surveillance
COP=United States
data brokers
data collection
data sharing
decommodification
Delivery_Delivery within 10-20 working days
digital capitalism
digital platforms
eq_art-fashion-photography
eq_bestseller
eq_business-finance-law
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
fake streams
Georgina Born
intellectual property
labor activism
Language_English
monetization
multi-sided markets
music platforms
music streaming
music streaming services
music unions
musical labor
musical spam
PA=Available
platform cooperatives
political economy
Price_€20 to €50
PS=Active
public utilities
social reproduction
softlaunch
Spotify
surveillance
Product details
- ISBN 9781478025740
- Weight: 499g
- Dimensions: 152 x 229mm
- Publication Date: 06 Feb 2024
- Publisher: Duke University Press
- Publication City/Country: US
- Product Form: Paperback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
In Streaming Music, Streaming Capital, Eric Drott analyzes the political economy of online music streaming platforms. Attentive to the way streaming has reordered the production, circulation, and consumption of music, Drott examines key features of this new musical economy, including the roles played by data collection, playlisting, new methods of copyright enforcement, and the calculation of listening metrics. Yet because streaming underscores how uneasily music sits within existing regimes of private property, its rise calls for a broader reconsideration of music’s complex and contradictory relation to capitalism. Drott's analysis is not simply a matter of how music is formatted in line with dominant measures of economic value; equally important is how music eludes such measures, a situation that threatens to reduce music to a cheap, abundant resource. By interrogating the tensions between streaming’s benefits and pitfalls, Drott sheds light on music’s situation within digital capitalism, from growing concentrations of monopoly power and music’s use in corporate surveillance to issues of musical value, labor, and artist pay.
Eric Drott is Associate Professor of Music Theory at the University of Texas at Austin and author of Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981.
