Music Consumption and Performance
The strategy on musical consumption has for a long time received many appraisals since most people have grown utmost interest unto the benefits that get generated entirely from music and the real vibe that gets adopted from the musical rhythm. Through the globally recorded music, it has become a matter of concern that music has experienced an adverse growth lasting for over a century. Many records have been sold worldwide since the level of music consumption is ultimately high, and the demand as well. On the part of od music performance, the music team members have engaged in activities whose core aims have improved the level at which the stage performance and live recordings are conducted (Knopper, 2011). The intermittent intentions have improved the quality of music and its live airplay since it has gone in line with what the people desire.
The topic of interest concerning music consumption and its encompassed performance is a matter of great concern since the ways through which it gets delivered to us fans is very important for we are the ones to help determine the extent at which it will remain outstanding in the general public (Knopper, 2011). The critical theorists who are directly involved with this topic on music consumption and performance are significant authors. They feel that this genre is highly efficient in promoting an entire social society that ultimately grows through musical art.
They are authors like Bert Weijters, Frank Goedertier and Sofie Verstreken. Their primary intentions get driven in need of online music consumption that highly links with the modern technology that is made available through the media platforms (Weijters and Goedertier et al., 2011). Also, the need for ethical aspects in the musical involvement either in performance or consumption is typically necessary since it includes total consideration for the values and codes of behaviour which are in line with the modern teachings of the society (Goedertier, 2016).
Study 1: Research on online musical consumption using modern technology
The authors have placed critical considerations concerning the need to have online musical circulation, which is highly in line with the core policies and standards acceptable by the music industry. Frank Goedertier relays the fact that the global music industry has received a lot of airplay and roughly accumulated a total of about 240 billion Euros out of the entire population (Goedertier, 2016). Most of the youngsters in the music industry make use of the online technology through social media platforms to communicate either their interests in music or rather post the latest music that has captured their significant attention.
The ultimate research results prove that majority of the consumers from all the age gaps are highly growing interest in the line music that acts as a soothing sensation since they are based on quality terms and video descriptions to appeal the listeners (Weijters and Goedertier et al., 2011). When this is taken into account, it becomes very economically viable that the online technology is quite necessary in enhancing the ways through which the music advertisement takes place to help spread the efficiency in the core themes and lyrical prowess in the words used.
Through in-depth strategies the entire music driving force is situated to operate based on the significant consumer preferences that get availed in the music platforms, specific free and paid business models for music, artist revenues earned periodically, downloaded music versus that which gets streamed and the adverse audio quality which is a popular aspect (Goedertier, 2016). Information adopted by the authors when it comes to the immediate literature reviews and maximum qualitative study in as much as music is concerned the online music consumption covers an in-depth gap.
It is quite typical that it offers significant insights concerning the online music consumer preferences that get relayed to determine whether or not the music performances and consumption levels are legal and ethical in the right manner using the modern technologies (Weijters and Goedertier et al., 2011). Besides the business model for the music industry through the available music platforms is enhanced through the supported advertisement scale, a positive delivery mode that is widely enhanced in the presence of either free or illegal music supply in the industry.
The research findings are significant since they help to portray the extents to which music has reached and also help analyze core methods necessary in establishing a stable profile for us. It also seeks to demonstrate how the music gets presented to us listeners and how we make total use of the online music platforms for the consumption techniques in music delivery that is (Goedertier, 2016). Based on my past lived experiences, the artists must use the online availability platforms to get to share their musical content with their adverse fans; hence it should be taken as a contributing factor towards social fulfilment.
Study 2: Taking into consideration the need for ethics in music
The three authors take into account specific influenced behavioural actions that occur in the art of music where specific individuals engage in musical piracy which is opposite from the required ethical code of behaviour. Their research and keenly based information have triggered certain practices that get conducted by people hence disrupting the entire intention of the musical aspect to the general public (Weijters and Goedertier et al., 2011). It is quite evident that piracy is highly a matter of concern since it disfigures the actual message delivery since the entire message is hindered from reaching the right channel. Even though the actions get operated behind the scenes, it eventually gets known that certain operations that oppose the core ethics in music are carried out periodically hence affecting the fate of the artists in the music industry.
Bert Weijters, Frank Goedertier and Sofie Verstreken’s research point out that the major threat in the entire music industry concerns piracy and its adverse impacts in the global society. Their study has identified core models which prove the significant antecedents linked towards consumer attitudes and an upfront behavioural intention when it comes to the ways things get done for music piracy. Two types of unethical musical piracy behaviour are quite popular in the modern generation (Weijters and Goedertier et al., 2011). They include unauthorized downloads and pirated musical product purchases. The authors conducted an actual field study on Taiwan, where it was quite evident that there occur particular attributive satisfaction procedures that help determine the extents at which the unethical behaviour in music gets relayed.
The other factor is based on the randomly adopted features concerning prosecution risks through which the music pirates intend to cause once they negatively alter with the artist’s music. Also, the plan on social consensus has proved to be of great concern since those involved tend to influence the customer’s attitude and their intermittent behavioural intention in the already existing music piracy across all borders (Weijters and Goedertier et al., 2011). Information based on the perceived proximities highly disfigures how the attitude concerning the need to adopt ethical standards in music is typically required to relay a balanced music industry.
Ethical aspects concerning trust are highly necessary when it comes to all the brand performances to the public for their musical prowess. However, some model parameters when it comes to the consumer willingness in the act of purchasing the entire counterfeit music relays a big question since they should be educated to notice what is considered original and fake quickly. It will easily enhance the way the artist music spreads through the right channels and codes of behaviour hence total strategy (Weijters and Goedertier et al., 2011). Bert Weijters mentions that for the performance expectations it requires individual attitudes which must be in line with the right strategy hence taking into account the need for a balanced music industry less of issues on piracy in the music counterfeit.
The adopted contingent hypotheses have relayed unlimited support on the need to uplift the global brands by giving considerable airplay based on the unique ways that the music gets delivered. My life experience in relations to the ethical aspect, it is quite evident that the voices of the artists need to be heard majorly when it comes to complaints concerning piracy and the need to exercise plans that consider the need for balance in the music industry (Weijters and Goedertier et al., 2011). Through this technique, it will encourage the artists to produce music willfully since an approved ethical system is established to help foresee their interests.
Study 3: Legality of usage in music consumption and performance strategies
The authors have seemingly laid purposeful concern towards the extreme need to have legal measures inflicted in the music consumption levels and the skilled music performance techniques. Their ultimate research wellbeing has considered the need for extreme legality when it comes to the usage of the artist revenues, downloads made for the streaming extensions and all the video quality strategies that get exhibited (Weijters and Goedertier et al., 2011). The literature reviews obtained from the author’s prior research proves that the music consumption and performance prowess securely encourages the typical advancements to help in quantifying the need for online music preferences through the most logically approved legal strategies for developing music.
In the performance techniques, a total inclusion of legal options regards the necessary procedures that secure the operations of the music artists by granting them certain rights to achieve their artistic nature even as they engage in the music performances. Also, the information adopted by the authors when it comes to the immediate legality usages and maximum qualitative study in as much as music is concerned the online music consumption covers an in-depth gap to secure the demands of the artists (Weijters and Goedertier et al., 2011). The research design conducted by the authors should receive much appraisal since it has keenly identified all the demands fit to establish a legal entity to secure the interests of the music industry at large.
From my long-lived experience and adjacent observations through utmost findings in regards to the music entity it is notable that through developed market segmentation, there has existed a powerful insight where the demands of artists have been placed on hold since their presence in the society is taken lightly. It becomes complicated for them to show us their extreme abilities since their actions are not considered necessary. Therefore the activities are undertaken by the authors Bert Weijters, Frank Goedertier and Sofie Verstreken and their related findings outlay core procedures that must be employed to help foresee that the legality usage for the interests of artists are actively engaged to help them adopt a popular entity amongst the consumers hence making the economy viable enough (Weijters and Goedertier et al., 2011).
Strengths of the author’s research
The research focuses on the significant interests of the artists based on their music consumption and their intermittent music performances.
The authors have merged ideas concerning certain matters of global concern such as piracy through counterfeit purchases, need to adopt ethical aspects in music and the total consideration of the legality entities in the music economy.
The authors have pointed out the issue on counterfeit music through the act of piracy which is a matter of global concern since it causes rivalry in the music industry since other people want to destroy the image of individual well-established artists.
The entire research has completely done surveys and real reviews in the general society exceptional view to help identify the critical matters in relations to music consumption and performance.
Limitations of the author’s research strategy
The research has not considered all aspects that occur in the music industry since even as consumption and performance take place, other matters arise in the industry; hence the research covers a small scope.
Future recommendations for research on music consumption and performance
It will be necessary if those who engage in music research studies to include the required fieldwork activities where they should interview a vast number of music artists and listen to their thoughts to help enhance the ways through which they share information in regards to the issues affecting music (Weijters and Goedertier et al., 2011). The topics of interest concerning music consumption and its encompassed performance should be taken as a matter of great concern since the ways through which it gets delivered to the fans is very important for we are the ones to help determine the extent at which it will remain outstanding in the general public. Effective measures should be put in place to enhance the degrees through which music spreads to the dominant society.
Due to this, it is quite necessary to have optimal techniques that favour consumption through online music consumption that takes into account the entire existence of modern technology. An article on Journal of business ethics by Aleassa, H., Pearson considers the need to handle matters such as musical piracy in an accorded manner that considers all the ethical aspects entitled in the legality usage strategies in the music industry (Aleassa, 2011). It is quite evident that information based on the perceived proximities highly disfigures how the attitude concerning the need to adopt ethical standards in music is typically required to relay a balanced music industry. Future research by the involved authors bought to consider the need for having core methods that consider the entire interest of every individual.
References
Aleassa, H., Pearson, J. M., & McClurg, S. (2011). Investigating Software Piracy in Jordan: An Extension of the Theory of Reasoned Action Journal of Business Ethics, 98, 663–676.
Bert Weijters & Frank Goedertier & Sofie Verstreken, 2014. “Online Music Consumption in Today’s Technological Context: Putting the Influence of Ethics in Perspective,” Journal of Business Ethics, Springer, vol. 124(4), pages 537-550, November.
Weijters, B., & Goedertier, F. (2016). Understanding today’s music acquisition mix: a latent class analysis of consumers’ combined use of music platforms. MARKETING LETTERS, 27(3), 603–610.