Streaming Music, Streaming Capital

Eric Drott

ISBN 10: 1478025743 / ISBN 13: 9781478025740

Published by Duke University Press, US, 2024

About this Item

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.

Seller Inventory # LU-9781478025740

Bibliographic Details

• Title: Streaming Music, Streaming Capital
• Publisher: Duke University Press, US
• Publication Date: 2024
• Language: English
• ISBN 10: 1478025743
• ISBN 13: 9781478025740
• Binding: Paperback
• Condition: New
• Dimensions: 15.24W x 2.01H x 22.86D centimeters 15.24 centimeters width by 2.01 centimeters height by 22.86 centimeters depth
• Weight: 445 grams

About this title

Synopsis

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.

About the Author

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.