Syllabus / Achievement requirements

Books

• Katz, Mark (2004). Capturing Sound. How Technology Has Changed Music. London: University of California Press. (235 s.)
• Wikstr?m, Patrik (2013). The Music Industry (2nd edition). Cambridge, UK: Polity (203 s.)

Compendium

• Gillespie, Tarleton (2014). "The relevance of algorithms" in Gillespie, T., Boczkowski, P., &  Foot, A., (eds). Media Technologies: Essays on Communication, Materiality and Society. Cambridge, MA: MIT Press, pp. 167-193 (26 s.)
• Sterne, Jonathan (2012). "Is Music a Thing?" in MP3 - The Meaning of a Format, Durham: Duke University Press, pp. 184-226 (42 s.)
• Frith, S (2015) The popular music industry. In The Cambridge Companion to Pop and Rock. http://universitypublishingonline.org/ref/id/companions/CBO9781139002240

Articles online

• Baym, Nancy (2012) "Fans or friends?: Seeing social media audiences as musicians do" Participations, Journal of Audience & Reception Studies, vol. 9, issue , pp. 286-314 (28 s.)
• Baym, Nancy K. (2011) The Swedish Model: Balancing Markets and Gifts in the Music Industry. Popular Communication, 2011 vol. 9 (1) pp. 22-38.
• Bj?rnskov, Christian (2012) How Does Social Trust Affect Economic Growth? SSRN Journal, 2012 vol. 78 (4) pp. 1346-1368.
• Danielsen, Anne and Maas?, Arnt (2009) Mediating Music: materiality and silence in Madonna¡¯s ¡®Don¡¯t Tell Me¡¯. Popular Music, 2009 vol. 28 (2) pp. 127-142.
• Gillespie, Tarleton (2016): #trendingistrending: when algorithms become culture. (preprint).
• Hagen, Anja N. (2015) "The playlist experience: personal playlists in music streaming services", Popular Music and Society 38(5), pp. 625-645. (20 s.)
• Hagen, A. N. and L¨¹ders, M. (2016): Social streaming? Navigating music as personal and social. Convergence 2016 DOI 10.1177/1354856516673298
• Huber, Michael (2014) Music reception in the digital age ¨C empirical research on new patterns of musical behaviour. International Journal of Music Business Research, 2014 pp. 1-30.
• Johansson, Daniel (2009) From Products to Consumption.
• Kaplan, Andreas M and Haenlein, Michael (2012) The Britney Spears universe: Social media and viral marketing at its best. Business Horizons, 2012 vol. 55 (1) pp. 27-31.
• Kjus, Yngvar (2015). Reclaiming the Music: The Power of Local and Physical Music Distribution in the Age of Global Online Services, New Media and Society. doi:10.1177/1461444815580414, pp. 1-16 (16 s.)
• Kjus, Yngvar (2016): Musical exploration via streaming services: The Norwegian experience. Popular Communication, 2016 vol. 14 (3) pp. 127-136.
• Kjus, Yngvar and Danielsen, Anne. (2014) Live Islands in the Seas of Recordings: The Music Experience of Visitors at the ?ya Festival. Popular Music and Society, 2014 pp. 1-20.
• Maas?, A (2016). Music Streaming, Festivals, and the Eventization of Music. Popular Music and Society, 2016 pp. 1-22.
• Maas?, A. (14 March 2014): User-centric settlement for music streaming. Report presented at SXSW 2014, Panel: Distribution of Income in a Streaming Economy. Austin Texas.  Online: (10 s.)
• Marshall, Lee (2015) ¡®Let's keep music special. F¡ªSpotify¡¯: on-demand streaming and the controversy over artist royalties. Creative Industries Journal, 2015 pp. 1-13.
• Nowak, Rapha?l (2014). "Investigating the interactions between individuals and music technologies within contemporary modes of music consumption", First Monday, vol 19(10). doi:10.5210/fm.v19i10.5550 (10 s.)
• Sterne, J (2006) The mp3 as cultural artifact. New Media and Society, 2006 vol. 8 (5) pp. 825-842.
• Striphas, T. 2015. Algorithmic culture. In European Journal of Cultural Studies, 2015 vol. 18 (4-5) pp. 395-412.
• Zott, Christoph and Amit, Raphael (2013) The business model: A theoretically anchored robust construct for strategic analysis. Strategic Organization, 2013 vol. 11 (4) pp. 403-411.