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008 210714b2014 xxuo|||fr|||| 00| 0 eng d
040 _aCO-UCAC
_bspa
_cCO-UCAC
041 0 _aeng
082 0 4 _222
_a658.514
_cL192
_d2014
100 1 _aLakhani, Karim R.
_958963
245 1 _aTaylor swift and the economics of music as a service /
_cKarim R. Lakhani and Marco Iansiti
264 4 _aBoston :
_b Harvard Business Review Press,
_c2014
300 _a4 páginas ;
_bfotografías ;
_c21 x 27 cm.
_f1 ejemplar
336 _aTexto
337 _aNo mediado
338 _aVolumen
506 _aIndustrial
520 3 _aLast week we learned that worldwide music sales in Apple’s iTunes Store fell almost 14% in the past year, adding to a 2.1% decline the previous year. The culprits are streaming music services like Spotify and Pandora which enable listeners to consume as much music as they want, supported by ads or by a nominal monthly subscription. On the heels of Apple’s report, Taylor Swift announced that she would not allow Spotify to stream her newly released album (1989) and removed her entire catalog from the service. (We bet she’ll think twice about that when she realizes how much money she’s left on the table.) In the current vacuum, power will go to platforms like Spotify that ease distribution, accumulate network effects, and enable music curation and discovery. But we believe that music is too valuable to offer on the cheap. Maybe another wave of change will create a better alternative. That idea’s not so far-fetched. Digital transformation can connect business components in unprecedented and extraordinary ways, creating new combinations and new value that can, in turn, be captured by measuring the unique outcome created. Can peer-to-peer extend to peer-to-artist? If Nest can link me to my energy company, why can’t a music service link me to my favorite artist in a (semi-) intimate performance? How much would I pay for that? If I don’t have enough money, can I crowdsource the rest? A music service should be able to price quality and uniqueness. A musician should price for the experience he or she can achieve. This chapter is waiting to be written. (Taken from the source).
650 0 7 _2Armarc
_aINDUSTRIA MUSICAL
_958965
650 0 7 _2Armarc
_aINDUSTRIA FONOGRÁFICA
_959068
650 0 7 _2Armarc
_aMÚSICA E INTERNET
_959069
650 0 7 _2Armarc
_aDERECHOS DE AUTOR
_xMÚSICA
_959070
650 0 7 _2Armarc
_aDERECHOS DE AUTOR
_xREPRESENTACIÓN Y EJECUCIÓN
_959071
650 0 7 _2Armarc
_aDERECHOS DE AUTOR Y RADIODIFUSIÓN
_959072
650 0 7 _2Armarc
_aDIFUSIÓN DE LA MÚSICA
_959073
650 0 7 _2Armarc
_aMÚSICA Y GLOBALIZACIÓN
_959074
650 0 7 _2Armarc
_aGRABACIONES SONORAS
_959075
650 0 7 _2Armarc
_aREPRODUCTORES DE MÚSICA DIGITAL
_959076
650 0 7 _2Armarc
_aMÚSICA
_xDISCOGRAFÍA
_959077
650 0 7 _2Armarc
_aARCHIVOS SONOROS
_959078
650 0 7 _2Armarc
_aINTELIGENCIA ARTIFICIAL
_xAPLICACIONES MUSICALES
_959079
650 0 7 _2Armarc
_aMÚSICA CON PARTICIPACIÓN DEL PÚBLICO
_959080
700 1 _aIansiti, Marco
_958964
856 4 0 _uhttps://hbr.org/2014/11/taylor-swift-and-the-economics-of-music-as-a-service
942 _2ddc
_cBK
999 _c77057
_d77057