iTake-Over

The Recording Industry in the Digital Era

Inbunden, Engelska, 2014

AvDavid Arditi

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iTake-Over: The Recording Industry in the Digital Era sheds light on the way large corporations appropriate new technologies related to recording and distribution of audio material to maintain their market dominance in a capitalist system. All too commonly, scholars have asserted too confidently, how the rise and reign of digital music has diminished the power of major record labels. In iTake-Over, music scholar David Arditi argues otherwise, adopting a broader perspective by examining how the recording industry has strengthened copyright laws for their corporate ends at the expense of the broader public good, which has traditionally depended on the safe harbor of fair use. Arditi also challenges the dominant discourse over digital music distribution, which has largely adopted the position that the recording industry has a legitimate claim to profitability at the detriment of a shared culture. iTake-Over more specifically surveys the actual material effects that digital distribution has had on the industry. Most notable among these is how major record labels find themselves in a stronger financial position today in the music industry than they were before the launch of Napster. Arditi contends that this is largely because of reduced production and distribution costs and the steady gain in digital music sales. Moreover, instead of merely trying to counteract the phenomenon of digital distribution, the RIAA and the major record labels embraced, and then altered, the distribution system. Throughout the 1990s and early 2000s, the RIAA lobbied for legislation, built technologies, and waged war in the courts in order to shape the digital environment for music distribution. From mp3s to the Digital Millennium Copyright Act (DMCA), from the Audio Home Recording Act (AHRA) to iTunes, the major record labels and the RIAA, instead of trying to torpedo the switch to digital distribution, engineered it to their benefit—often at the expense of the public interest.Throughout, Arditi boldly asserts that the sea change to digital music did not destroy the recording industry. Rather, it stands as a testament to the recording industry’s successful management of this migration to digital production and distribution. As such, this work should appeal to musicians and music scholars, political scientists and sociologists, technologists and audio professionals seeking to grasp this remarkable change in music production and consumption.

Produktinformation

Utgivningsdatum2014-12-11
Mått161 x 236 x 20 mm
Vikt435 g
FormatInbunden
SpråkEngelska
Antal sidor198
FörlagBloomsbury Publishing Plc
ISBN9781442240131

Tillhör följande kategorier

Musikböcker inom Kultur
Media och underhållning inom Ekonomi och ledarskap

List of Figures and TablesAcknowledgmentsPrefacePart I: IntroductionPart II: Transformations in the Recording IndustryRecording Industry in Transition The Expansion of Consumption in the Recording IndustryPart III: The State in MusicCopyright: A Critical ExplorationCritical JuncturesPart IV: The Recording Industry and LaborMusician LaborVictims, Musicians and MetallicaPart V: Digital Distribution and SurveillanceDistribution Then and NowWatching Music ConsumptionPart VI: ConclusionBibliographyNotesIndex

For more than a decade, record companies have warned of the dire consequences of illegal downloading of music and the imminent demise of their industry. Though many mom-and-pop record shops have indeed disappeared, the big record companies have not only survived but, according to Arditi, have strengthened their dominance of music culture. Far from being defensive reactions to widespread digital piracy, the prosecutions of Napster and the passage of legislation by Congress were part of an offensive strategy on the part of record companies to maintain their profits. Arditi divides this book into four main parts: Transformations in the Recording Industry, on the move to digital; The State in Music, on the role of government; The Recording Industry and Labor; and Digital Distribution and Surveillance. In each section the author shows how society has lost as corporations gained advantage. However, as Arditi concludes, despite the efforts by the record companies, the consuming public and performing musicians refuse to acquiesce totally to the industry view of how music should be consumed today. A valuable resource for those interested in the future of music in society. Summing Up: Highly recommended. All readers.