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Music and the Broadcast ExperiencePerformance, Production, and Audiences$
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Christina Baade and James A. Deaville

Print publication date: 2016

Print ISBN-13: 9780199314706

Published to Oxford Scholarship Online: September 2016

DOI: 10.1093/acprof:oso/9780199314706.001.0001

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Music Radio Goes Online

Music Radio Goes Online

Chapter:
(p.259) Chapter 11 Music Radio Goes Online
Source:
Music and the Broadcast Experience
Author(s):

Tim Wall

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199314706.003.0012

This chapter explores the history of the development of music radio and its translation into online simulcasting, archive listen again services, and music services that dispense with live listening experiences, localized content, and presenter personalities. The purchase of the radio-like music service Last.fm in 2007 by CBS signaled a shift from traditional over-the-air radio to new Internet radio and audio distribution technologies. While over-the-air services continue to capture over 85 percent of US and UK listening, the entrepreneurs who established Last.fm understood that the global reach and interactive nature of the Internet would recast the relationship between radio listener and music and offer an alternative to older broadcast models. Focusing on the political economy and the cultural experience of these new Internet services, and drawing on the examples of Last.fm, Pandora, and Spotify, this chapter reveals significant changes in the sense that radio is a public good that can serve the public good.

Keywords:   Internet radio, Last.fm, music radio, Pandora, political economy, radio listening, Spotify

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