Joseph Hwang
1. Media Files and Metadata
Is it sufficient to categorize music as digitally recorded music if it is recorded digitally rather than analog? “Digital music” encompasses a comprehensive ecosystem of digital technologies, extending beyond the mere recording method to encompass the entire transmission, networking, and playback environment.
To construct a digital music environment, two principal resources must be obtained. The first is the media files that record the audio data, and the second is the metadata that connects the media files to the database and provides the necessary instructions for their operation at any given time. The term “metadata” refers to a collection of text.
In the nascent stages of the K-pop industry’s transition to digital music, internet music portals were eager to procure these two resources. The swifter and more straightforward the construction of media files encoding music data and their metadata, the greater the competitive advantage. It is crucial to acknowledge that the K-pop market was predominantly driven by CD sales, which included compilation albums featuring hits from various artists.
Technological advancement can facilitate market transformation and be shaped by evolving consumer preferences. As the music market transitioned from a model centered on selling artist albums to one focused on compilation albums of popular hits, consumers came to recognize a key insight: they had learned through experience that the majority of economic benefits for music consumers derived from collections of individual hits.
The concept of collection libraries resulted in a decline in profits for the major labels, yet this did not deter them from releasing compilation CDs. The market had already transformed. Subsequently, the advent of networked digital download streaming services precipitated a profound transformation in the industry.
2. Music Library
The concept of a library is that of a collection of materials in one place, a place where one can find the desired material and obtain information. The term encompasses the functions of storage, accumulation, retrieval, and output.
It is nearly impossible to categorize all art, including music, according to a single style, expression, or format. Art devoid of diversity is typically rejected by the public and, consequently, not consumed. Under this condition, artists may become less inclined to engage in creative endeavors, which could ultimately lead to stagnation in cultural development.
The act of creating art is a function of the artist’s personality. The diversity of human creativity results in a vast array of artworks, each unique and reflective of the artist’s individuality. In other words, the act of creation can be understood as the embodiment of difference. Consequently, art-based industries are inherently decentralized and devoid of organization, as the act of creation originates from individuals with distinct personalities.
Consolidating disparate findings on personality-based production into a single repository streamlines the consumption process. This facilitates the consumption of art, providing creators with greater motivation to produce. The public’s preference for a particular creation rewards the creator for the effort expended in its creation. However, if individuals curate only their preferred works and collect them in a single location, the public is likely to show even greater enthusiasm. The music industry is characterized by a high degree of inclusivity. Consumers derive utility from music consumption when they can select from multiple songs representing diverse musical personalities rather than being confined to a limited selection. A diversity of musical creations fosters the formation of a market where consumers feel assured of the availability of music that aligns with their preferences. Only when this occurs will consumers be willing to continue consuming. Without guaranteed continuity of supply and consumption, market formation is unlikely. If the musical offerings are homogeneous, the public will lose interest in this comprehensive industry, and the music library will fail. Therefore, libraries must be efficient and convenient; if they are not, they will be shunned by the public, who are finding more convenient alternatives.
3. Importance of Text
Digital music can be defined as the consumption of media files that contain digitally encoded sound data. In the nascent stages of digital music, individuals were driven to obtain these media files. The greater the number of media files they possessed, the more they were embraced and consumed by the public.
As the quantity of available media files increased, the convenience of their use became a significant factor. The benefits and inconveniences of using the service depended on how the information matched with the media files was processed and utilized. From this point onward, the importance of text information that guides and describes media files became evident. How this information was stored and organized significantly influenced the efficiency of system operation and the revenue structure of digital music providers. This set of textual data is referred to as “metadata.”
The initial focus of music providers was on the media files containing the music. However, it became evident that this approach was insufficient for sustaining a viable business. At this juncture, the digital music industry was compelled to address the challenge of acquiring and organizing metadata. Metadata encompasses a plethora of information, including the title of the musical composition, lyrics, the artist or ensemble responsible for the performance, the individual or entity responsible for the composition, any additional contributors to the lyrics, and any accompanying commentary. Furthermore, as media files are made available for consumption, data on consumer usage is generated and stored on data servers in the form of extensive digital records. The acquisition and processing of user data represent the core value of the digital music industry.
Even before the digital music industry began, metadata was recognized as a crucial element. Such entities included those engaged in the manufacture of karaoke machines and the administration of copyrights. The textual information of lyrics became a valuable commodity with the advent of karaoke machines. It was not merely the audio data that mattered; rather, the video and lyric subtitles displayed on the karaoke machine's screen ultimately determined the fate of karaoke machine usage. From its inception, the digital music industry has demonstrated the economic value of metadata.
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