Joseph Hwang
1. Interface
Music is composed of sound, both voiced and unvoiced. A musical composition is incomplete if the sounds do not cease after a finite duration. The appropriate coordination and positioning of vocal and mute sounds provide the musical language with a grammatical structure; this is why mute sounds are among music’s most crucial yet often overlooked elements.
The combination of vocalized and unvoiced elements in music engages the listener through the experience of sound, which in turn influences the decision to purchase music. It is challenging to engage with music that is not experienced. Suppose the objective of a musical product is to be consumed. In that case, the minimum condition for that consumption is the experience of sound, which is why music can be considered an experiential good.
Similarly, even if a computer is the most powerful in the world, if the user is not inclined to utilize it, it will not be used. Therefore, for good music to be effective, it must be experienced by the consumer. Similarly, a computer’s potential can be realized when its interface is intuitive and accessible. Even if a musical composition has exceptional technical and aesthetic qualities, its full impact is realized only when the user actively engages with the music. The point of contact between the computer and the user is called the “interface.” In addition, an interface exists between the music and the listener, with metadata serving a significant function in this regard. The collective set of textual data associated with a musical composition is called “metadata.” It directs the listener toward the music, thereby facilitating their auditory experience.
Text and sound are fundamentally different media, yet delivering music to a listener without the collaboration of the two is challenging. Text is, by its nature, a different sensory input than sound. However, it is an extremely efficient way to connect sound to the mind.
2. Differentiating Values
In the consumer market, the economic value of music is contingent upon the consumer’s specific preferences. All music, regardless of its creator, possesses intrinsic value. Creating a new existence out of nothing is valuable in and of itself. It is only when this act exists in the world that it has the potential to be economically valued. However, the economic value of music is not a universal constant, as evidenced by the diverse preferences of the public.
A piece of music is considered a hit when it meets the public’s established aesthetic standards. Not all individuals will inevitably appreciate a particular piece of music. However, the fact that it is a hit indicates that the public’s preferences are sufficiently aligned to have an economic impact. The appeal of a particular piece of music may engender a desire in listeners to obtain it, which may result in purchases.
Before the advent of digital music, albums were typically purchased on an artist-by-artist basis, driven by a single hit song. Subsequently, all the musical pieces that constituted the total duration of the album were bought. The album’s playing time was determined by the artist who created the music and made it available to the consumer; except for listeners’ requirements, it was solely at the artist’s discretion. The prevailing technological context exerted considerable influence on this decision.
The general public amassed musical compositions from LPs and transferred them to cassette tapes for personal recording. Despite being created by the same artist, not all repertoires were of equal value. The general public was acutely aware of this discrepancy, yet the record companies chose to turn a blind eye. The availability of pirated records fulfilled this need, albeit with limitations imposed by the inherent qualities of the analog era. One disadvantage of analog recordings is that they deteriorate with each copy. However, the advent of personal computer storage devices, which progressed from floppy disks to CD writers, enabled overcoming this limitation in sound quality. The emergence of digital recording devices precipitated a profound transformation in the music industry. Technological progress does not allow for a reversal of the passage of time.
The differentiation of the value of music, in conjunction with technological advancements, inaugurated a new era. It became increasingly challenging for record companies to prevent the illicit distribution of CDs. It was an inevitable consequence that legal compilation CDs would be officially released. The advent of the Internet has supplanted the role of music record discs with that of cloud computing systems. The transmission of music data no longer encounters the constraints of geographical distance and physical storage limitations. This marks the emergence of the digital music market.
3. Playlists
It is an inevitable consequence of human nature that possessiveness will persist. Nevertheless, music consumption has shifted from a focus on possession to engagement. Experiencing music is situated within the context of engagement, with the platform interface occupying a central position in the experience. Most platform interfaces are text-based rather than incorporating sound. The economic value of music has become differentiated, with only the highest-quality music surviving in the current market. Rather than attempting to utilize the entirety of the allotted time for an album with music and subsequently sell it, only the songs that will endure are selected and released as singles.
The singles-oriented music market has underscored the significance of playlists on music platforms. Before the advent of the digital music market, radio served a similar function. Playlists can be classified into several different categories. The provided libraries are a fundamental attribute of the music record market; selecting optimal singles for listening purposes necessitates searching through a considerable number of songs. It is not the consumer’s preference to undertake this task; therefore, it is the service provider’s responsibility to complete it on their behalf. The contemporary music consumption paradigm is predicated on engagement rather than possession. Furthermore, the simplicity and convenience of text-based information facilitate the creation and editing of playlists by both the service provider and the consumer. At this juncture, the utility of metadata becomes evident.
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