Spotify Case Study

The ever-changing landscape of music distribution, due to constant advancements in technology, is sometimes hard to keep up with for artist, producer, and consumer alike. New editions of textbooks in Music Business classes are issued each year, and changes are made in the industry before the semester is even over. Because of this, it is vital for the industry to not only not only be aware of what is currently going happening, but also be able to foresee the direction that the music business is heading in. In this aspect, it seems that we are at a turning point where consumers and artists are taking

In order for a firm to create competitive advantage, it needs to create a set of activites that can deliver value to the specific product and services it offers to its customers. To start talking about my life as a “value chain”, I may need to compare it to a specific product”. This is going to take precedence both in my personal life and professional life.

The music industry is an oligopoly. Since the late 1800’s people like Thomas Edison have been buying up patents in communication technology, forming monopolies, leading to a non-competitive entertainment industry. With only a handful of corporations controlling all aspects of acquisition, distribution and marketing of music, harsh business principles create an exploitative industry that takes the best of what artists have to offer and leaves many of them unable to support themselves. Beginning in the 1950’s with payola and white cover music and ultimately evolving into iTunes and Spotify, the music industry has grown into a billion dollar industry with far-reaching influence and control. Contracts rarely serve the artists’ best interest and many are left out to dry when their usefulness has expired.

After a rapid development over the past 10 years, the music market is currently undergoing significant changes. These changes are caused not only by marketing competition but also by the challenges from external marketing environment.

Spotify was started to provide commercial music streaming services with facilities to search and browse music as well as download. Spotify has various opportunities in increasing the size of the company to a wide area. There are also opportunities in creating interactive websites and providing the customers with extra games and offers. However, there are various challenges to meet these opportunities which may include investments and customer issues. There are two recommendations for Spotify, first is to develop a mobile application for smart phones and second is to create new offers along with online gaming. This will foster growth in the Spotify’s reputation in the market.

The popular music industry in the late 1990s was dominated by a small number of integrated corporations with headquarters in Europe, the United States and Japan. This music market starts simply with an artist and moves along through many steps to the consumer. Everything has its start when a musician presents his music to a music manager, and if he/she finds the music promising, a contract is signed between the two, recordings are made and a marketing plan is drafted for the

This paper aims to improve Spotify’s strategies in order to make its business more profitable.

The evolution of digital music has created an obvious and drastic shift in the way consumers and producers view and use the music industry. The introduction of digitally compressed music files has made music so easily attainable to all for a small fee or to download illegally for free. This has made the music industry reevaluate how they are to make a profit off their art form. Social media websites have also created a visible demand from consumers for artists to maintain a consumer-artist digital relationship, making the Internet not only a promotional vehicle for artists, but also a necessity for profit. These new means of

This research looks deeper into the mechanics of how a digital music streaming, namely Spotify, works in the music industry. Spotify is a combination of both non-interactive and interactive service, and it is therefore important to understand how this combination model uses different licensing schemes for each in order to avoid any intellectual property right abuse or copyright infringement. The focus for this paper is more based on the economic model of Spotify, which includes how Spotify can be classified as network good, the licensing schemes that Spotify uses, how royalty payment is determined and the effect Spotify has in combating piracy. The growth of Spotify is also discussed in this paper,

When speaking economically, the digital music sector of the international music industry is undoubtably the most important sector in the industry. Within the last decade, music has seen cardinal changes in the way both major and independent labels distribute their products. An industry that once relied on Payola 's and mass distribution of physical records and CD 's now relies heavily on the power of the internet. The first instance of mass distribution of music through the internet was by the service Ritmoteca.com in 1998 [1]. Ritmoteca had a library of over 300,000 songs, offering individual songs for 99 cents each and albums for $9.99. After signing distribution deals with many major music labels such as Warner

3-4). While these statistics provide a look into the numerical growth of the streaming industry, it is also important to discuss the power that these streaming services have generated—over both the music industry and over established/aspiring artists. Subscriptions are on the rise, having increased significantly over the past ten years, but as is the amount of users streaming music on a free-trial or ad-supported basis—ultimately undercutting the music industry and artists alike. Blewett and Gollogly (2017) elaborate on this point, stating that, by the end of 2016, paid music streaming subscriptions drove a revenue growth of 60.4%—this growth more than offsetting a “20.5% decline in downloads” and a “7.6% decline in physical revenue” (Blewett & Gollogly, 2017, para. 4). Moreover, Borja and Dieringer (2016) explore the concept of streaming even further in their academic article, positing that the decline in paid digital downloads may be a direct result of streaming—as, music streaming can be perceived as a “complement” for music piracy, in which listeners can freely sample music to pirate later on (Borja & Dieringer, 2016, p. 1). The authors also suggest that streaming can provide a “venue for discovering and listening to new releases”; and after completing their 1052 surveys, conclude that streaming increased the likelihood of piracy by

Apple Music, Spotify, Soundcloud, and Tidal, What do all of these have in common? They are all currently leading the industry in streaming music from big name artists and even all the way down to up and coming artists. Another similarity between these companies, is that they will all charge you around $15 a month for their full-service subscription. Unfortunately, these companies also have too much power and sway which gives them the chance to charge these outrageous monthly prices. Here at mYOUsic, we feel that customers shouldn’t have to drain their bank account just to listen to their favorite songs. Music should be less about the money and more about the enjoyment that comes with it when you find a new favorite song. We are

Due to their unwillingness to see the opportunity to evolve and change as the trends began to foreshadow the concept of file sharing within the music industry, music labels were forced to transfer their power into the consumer's hands. One of the commonly cited causes for the lack of success of organizational change is “resistance to change.” (Palmer) Streaming music also known as downloading music are common legal terms used in today's age to describe how to acquire music, however in less than twenty years ago the idea of file sharing was deemed a no-no. The introduction of MP3 files, file sharing networks such as Napster and Kazaa, and the widespread practice of illegally downloading copyrighted music files constituted a

Over the past decade, the use of CDs has been replaced with online streaming and retailing. This has eliminated much of the record companies revenues as they were used to making most of their profit off of distribution and promotion of physical copies of artists albums (Niemen). This has caused for a major shift and remodeling of major players in the music industries business models. Companies such Sony, Warner Music Group and Universal Music Group have started to completely rethink the way they conduct business (Forbes). In the past record labels were not only responsible for production, distribution and promotion of an artist and his/her music, but they also acted as a bank (Forbes), funding the artists tours and recording sessions. Recently, these music giants have been moving towards becoming more of a modular network organization. What this means is that they are less occupied with the nitty gritty, and more focused on what they do best which is distribution and promotion. This also allows for more freedom of creativity for the artist as well as fairer split of profits (Forbes). This adaption of new business models clearly shows the versatility of the music industry in adapting to new times and technologies.

The evolution of the music industry follows the familiar pattern of digitization. Innovation began with the introduction of the vinyl record, transitioned from the cassette tape to the compact disc and landed us in an era of digital downloads. The emergence of music streaming services like Spotify has progressed the industry even further, giving consumers the ability to access music on demand using download-free online platforms. Spotify faces criticism from artists as a result of the overlap of creativity and commerce. They argue that business activities corrupt creativity, transforming it into a tool for profitability rather than an outlet for expression. Artists insist that Spotify deters album sales, favors established artists and fails to support them financially. However, Spotify was created for consumers. It delivers an accessible alternative to purchasing and downloading music. The interplay between creativity and commerce is changing the nature of the music industry. Spotify has adapted to this change, providing a platform that supports both artists and consumers. Through analysis of the market, artist’s revenue, record labels and consumers, I will argue that artists should accept the evolution of the industry and support Spotify.