An experimental study of client-side Spotify peering behaviour

Spotify is a popular music-streaming service which has seen widespread use across Europe. While Spotify’s server-side behaviour has previously been studied, little is known about the client-side behaviour. In this paper, we describe an experimental study where we collect packet headers for Spotify traffic over multiple 24-hour time frames at a client host. Two distinct types of behaviour are observed, when tracks are being downloaded, and when the client is only serving requests from other peers. We also note wide variation in connection lifetimes, as seen in other studies of peer-to-peer systems. These findings are relevant for improving Spotify itself, and for the designers of other hybrid peer-to-peer and server-based distribution architectures

Mobile Music Business Models in Asia\u27s Emerging Markets

In the telecom business, there has been a heavy competition from Internet, media and handset vendors companies. These over-the-top (OTT) players offer compiling telecom services, cause a transformation in the telecom business ecosystem, and the most challenging services posed here are media services. China, India and Indonesia, as world’s emerging markets in Asia, are predicted to take the largest share in the global mobile traffic explosion by 2015. It is critical for mobile network operators (MNOs) in this region to explore strategy for mobile media services, as mobile broadband is likely preferred compared to fixed broadband. In this paper, we analyze and compare mobile music business models used in these markets and structure the relation models between the key actors, using Actors, Relations and Business Activities (ARA) model. We present the economic models that are emerging, and an insight of why and how these multitudes actors are betting on currently. We found that the MNOs generally have a much stronger position compared to their counterparts in the developed markets, and the personalization services, like ring-back tone, are still a huge success. The actors tend to deliver the services by their own, rather than to collaborate in a horizontal business setting

User-Centric Quality of Service Provisioning in IP Networks

The Internet has become the preferred transport medium for almost every type of communication, continuing to grow, both in terms of the number of users and delivered services. Efforts have been made to ensure that time sensitive applications receive sufficient resources and subsequently receive an acceptable Quality of Service (QoS). However, typical Internet users no longer use a single service at a given point in time, as they are instead engaged in a multimedia-rich experience, comprising of many different concurrent services. Given the scalability problems raised by the diversity of the users and traffic, in conjunction with their increasing expectations, the task of QoS provisioning can no longer be approached from the perspective of providing priority to specific traffic types over coexisting services; either through explicit resource reservation, or traffic classification using static policies, as is the case with the current approach to QoS provisioning, Differentiated Services (Diffserv). This current use of static resource allocation and traffic shaping methods reveals a distinct lack of synergy between current QoS practices and user activities, thus highlighting a need for a QoS solution reflecting the user services. The aim of this thesis is to investigate and propose a novel QoS architecture, which considers the activities of the user and manages resources from a user-centric perspective. The research begins with a comprehensive examination of existing QoS technologies and mechanisms, arguing that current QoS practises are too static in their configuration and typically give priority to specific individual services rather than considering the user experience. The analysis also reveals the potential threat that unresponsive application traffic presents to coexisting Internet services and QoS efforts, and introduces the requirement for a balance between application QoS and fairness. This thesis proposes a novel architecture, the Congestion Aware Packet Scheduler (CAPS), which manages and controls traffic at the point of service aggregation, in order to optimise the overall QoS of the user experience. The CAPS architecture, in contrast to traditional QoS alternatives, places no predetermined precedence on a specific traffic; instead, it adapts QoS policies to each individual’s Internet traffic profile and dynamically controls the ratio of user services to maintain an optimised QoS experience. The rationale behind this approach was to enable a QoS optimised experience to each Internet user and not just those using preferred services. Furthermore, unresponsive bandwidth intensive applications, such as Peer-to-Peer, are managed fairly while minimising their impact on coexisting services. The CAPS architecture has been validated through extensive simulations with the topologies used replicating the complexity and scale of real-network ISP infrastructures. The results show that for a number of different user-traffic profiles, the proposed approach achieves an improved aggregate QoS for each user when compared with Best effort Internet, Traditional Diffserv and Weighted-RED configurations. Furthermore, the results demonstrate that the proposed architecture not only provides an optimised QoS to the user, irrespective of their traffic profile, but through the avoidance of static resource allocation, can adapt with the Internet user as their use of services change.France Teleco

Music and Digital Media

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of anextra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory. Praise for Music and Digital Media ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, Communication Studies and Art History, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, Anthropology, University of California at Santa Cruz 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication, musician and writer ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, Music, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, Media and Communication, University of Leeds ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, Anthropology, University of Texas, Austi

Harnessing Technology: analysis of emerging trends affecting the use of technology in education – October 2009

Research to support the delivery and development of Harnessing Technology: Next Generation Learning 2008–1

Music and Digital Media: A planetary anthropology

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of an extra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory

Static Web content distribution and request routing in a P2P overlay

The significance of collaboration over the Internet has become a corner-stone of modern computing, as the essence of information processing and content management has shifted to networked and Webbased systems. As a result, the effective and reliable access to networked resources has become a critical commodity in any modern infrastructure. In order to cope with the limitations introduced by the traditional client-server networking model, most of the popular Web-based services have employed separate Content Delivery Networks (CDN) to distribute the server-side resource consumption. Since the Web applications are often latency-critical, the CDNs are additionally being adopted for optimizing the content delivery latencies perceived by the Web clients. Because of the prevalent connection model, the Web content delivery has grown to a notable industry. The rapid growth in the amount of mobile devices further contributes to the amount of resources required from the originating server, as the content is also accessible on the go. While the Web has become one of the most utilized sources of information and digital content, the openness of the Internet is simultaneously being reduced by organizations and governments preventing access to any undesired resources. The access to information may be regulated or altered to suit any political interests or organizational benefits, thus conflicting with the initial design principle of an unrestricted and independent information network. This thesis contributes to the development of more efficient and open Internet by combining a feasibility study and a preliminary design of a peer-to-peer based Web content distribution and request routing mechanism. The suggested design addresses both the challenges related to effectiveness of current client-server networking model and the openness of information distributed over the Internet. Based on the properties of existing peer-to-peer implementations, the suggested overlay design is intended to provide low-latency access to any Web content without sacrificing the end-user privacy. The overlay is additionally designed to increase the cost of censorship by forcing a successful blockade to isolate the censored network from the rest of the Internet

Exploring the Financial Management Skills of Independent Rock Bands

In the post-Napster era of disruptive innovations, independent artists are managing more nonmusical roles and more revenue streams to remain competitive and earn a living wage from their music. The purpose of this single case study was to explore the financial management strategies that one independent rock band needed to understand music royalties. Disruptive innovation was the conceptual framework used to guide the study. The sample was comprised of 4 members of an independent rock band based in Northeast Ohio. The selected band met the criteria for the study as members who earned revenue from copyrighted works, merchandise, and CD sales. The multiple data sources included face-to-face interviews with band members; public document review of ReverbNation standard policy, Fox licensing agreement, and the IRS W-9 Form; and direct observations of band members during a rehearsal and live performance. Member checking was used to strengthen the credibility and trustworthiness of interpretations. Four themes emerged from the data analysis: organizational governance of band member responsibilities, financial management education and skills, developing multiple revenue streams from royalties, and financial strategies to manage all revenue streams. Social change from this study might include college-level financial training certificate programs designed for artists given their time constraints, mobility, and need to attract financing sources other than major labels

Music and Digital Media

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of anextra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory. Praise for Music and Digital Media ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, Communication Studies and Art History, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, Anthropology, University of California at Santa Cruz 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication, musician and writer ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, Music, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, Media and Communication, University of Leeds ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, Anthropology, University of Texas, Austi