Digitalization transforms organizations, professions, politics, education and even the cultural sector, for instance the music industry where this study belongs to. Digital disruption, collaboration and change have affected the music distribution process. But how exactly? And did it influence the balance of power among the actors involved?
The study uses Actor-Network Theory to represent the distribution networks of two artists before and after the start of the digital age: Michael Jackson, as the most successful artist of the 80s; and Macklemore, as the first artist being No.1 without label-backing.
The tracing of their socio-technical networks shows that labels controlled the distribution channels in the past, but digitalization has shifted some power from the label to the artist. It enabled him to handle the distribution process largely on his own. Due to streaming services distributing music is way more efficient nowadays and artists can reach a huge community of streaming users. Social media enables collaboration and new partnerships in the music industry, which are not restricted to an artist's familiar environment. Additionally, it is a platform for viral marketing enabling a closer relationship between artists and their fans. Overall, digitalization has broken up the enduring domination of the major labels and empowered artists to become successful without the backing of them.
Table of Contents
1 Introduction
2 Topic and Area of Focus
2.1 Research Question
2.1.1 Scope and Level
2.2 Context and Background
2.3 Phenomenon of Digital Disruption and Change
3 Literature and Popular Perspectives
4 Actor-Network Theory – Conceptual Perspective
4.1 Motivation and Suitability
5 Method of Qualitative Research
6 Analysis
6.1 Choice of Artists for the Case
6.2 Case: Application of Actor-Network Theory
6.2.1 Michael Jackson’s Actor-Network
6.2.1.1 Emergence
6.2.1.2 Development
6.2.1.3 Stabilization
6.2.2 Macklemore’s Actor-Network
6.2.2.1 Emergence
6.2.2.2 Development
6.2.2.3 Stabilization
6.3 Findings and Discussion
7 Conclusion
Objectives and Core Topics
This thesis examines how digitalization has disrupted the music industry, specifically focusing on shifts in music distribution channels and the resulting changes in the balance of power among industry actors. By applying Actor-Network Theory (ANT), the research compares the career trajectories of Michael Jackson and Macklemore to illustrate the evolution from traditional label-dominated models to artist-led, digitally-enabled distribution.
- The impact of digital disruption on traditional music distribution.
- Application of Actor-Network Theory (ANT) to compare historical and contemporary artist career paths.
- The shifting balance of power between record labels and independent artists.
- The role of social media and streaming services in enabling independent success.
- Analysis of professional versus home recording environments in the digital age.
Excerpt from the Book
6.2.2.3 Stabilization
Macklemore and Ryan Lewis got so successful “that they could have been signed by a major label. Instead, they went a different route. Macklemore and Ryan Lewis took the money they'd made from touring and made their own album — a process that digital technology has made much cheaper.” (Chace 2013) The album’ The Heist’ was released in 2013 and “[its] lead single, ‘Thrift Shop,’ eventually reached the top of the Billboard Hot 100 chart, with eventual sales of more than 6 million downloads. The video for ‘Thrift Shop’ has become a phenomenon as well, receiving tens of millions of YouTube views.” (A&E Television Networks 2016) Furthermore, streaming services became more popular, so that Macklemore had an additional platform to reach his follower and ‘Thrift Shop’ got to be the most streamed song in 2013. (Richter 2017)
However, further background research has shown that the story the two have been telling is not entirely true. They clearly achieved a lot on their own, but to get radio plays they hired a company called Alternative Distribution Alliance (ADA), an arm of Warner Music Group, which is one of the major labels. Gary Trust from Billboard commented: “You really cannot get a radio hit at this point without major label backing.” (Chace 2013) “Only promotional dollars can give you access to a radio audience of over 200 million people like Macklemore has received.” (Porter 2013)
To sum up, Macklemore and Ryan Lewis did a lot on their own in terms of marketing and distributing their music on social media and streaming services, but at a certain point a last push was needed to get to the top and ADA offered this opportunity. These actors have been added accordingly to the network shown in Fig. 7.
Summary of Chapters
1 Introduction: Introduces the scope of the thesis, defining digital disruption within the music industry and outlining the research approach.
2 Topic and Area of Focus: Formulates the research question regarding how new media changed distribution channels and actor power dynamics, setting the temporal focus between 1980 and 2018.
3 Literature and Popular Perspectives: Reviews existing theories on paradigm shifts in the music industry, emphasizing the interdependency between technology, society, and artists.
4 Actor-Network Theory – Conceptual Perspective: Details the theoretical lens of ANT, explaining its utility in mapping human and non-human actors and network stages.
5 Method of Qualitative Research: Describes the methodological framework, focusing on case study analysis through biographies and secondary literature.
6 Analysis: Executes the comparative case study of Michael Jackson and Macklemore, analyzing their networks through emergence, development, and stabilization stages.
7 Conclusion: Summarizes the key findings, confirming that while digitalization empowered artists, major labels retain significant power in specific areas like radio.
Keywords
Music Industry, Digitalization, Distribution, Actor-Network Theory, ANT, Digital Disruption, Streaming, Social Media, Michael Jackson, Macklemore, Music Labels, Power Shift, Music Marketing, Independent Artists, Technology.
Frequently Asked Questions
What is the primary focus of this research?
The research explores how digital technology and new media have disrupted the music industry, specifically looking at how distribution channels have changed and how this has altered the power balance between artists and record labels.
Which theoretical framework is applied?
The thesis utilizes Actor-Network Theory (ANT) to treat both humans (artists, managers) and non-humans (technology, streaming platforms) as equal actors within a network.
Who are the case study subjects?
The study compares the career paths of Michael Jackson, representing the pre-digital era, and Macklemore, representing the modern, independent digital era.
How does the author define the power shift?
The author argues that while digitalization has enabled artists to handle production and marketing independently, traditional labels still maintain control over crucial distribution channels like radio.
What is the significance of the "stabilization" phase?
The stabilization phase represents the point where a musician's network becomes established, often marked by a breakthrough success, such as a number one single or album.
What methodology was used?
The work employs a qualitative research method, drawing upon biographies, secondary literature, and internet articles to perform a comparative case analysis.
Did Macklemore truly achieve success without any label backing?
While Macklemore utilized social media for organic growth, the analysis reveals that he eventually utilized the Alternative Distribution Alliance (ADA), a subsidiary of a major label, to gain necessary radio exposure.
What role does radio play in the current music environment?
According to the thesis, radio remains a dominant force for mass-market reach, acting as a gatekeeper that forces even successful independent artists to collaborate with major labels.
How does social media influence collaboration?
Social media allows artists to connect with partners, such as producers, outside of their local or traditional network, significantly lowering the barriers to entry for professional collaboration.
- Citation du texte
- Tobias Riegel (Auteur), 2018, The Digitalization of the Distribution Process in the Music Industry, Munich, GRIN Verlag, https://www.grin.com/document/449003
