Technology Business Processes
Technology Mediated Organizational Improvement: Spotify's Marketing Mix
The proliferation of the personal computer, the high speed internet connection and the personal listening device have all have a dramatic change on the way that consumers acquire and use music. The inception of digital media and file compression has changed the rules of music acquisition for the artist, the consumer and the retailer alike. For the consumer, the acquisition of music is now mediated by the web, which features a wide range of avenues both free and on a subscription fee basis through which consumers can acquire songs and albums. For the artist and the retailer, this has created a new and pressing demand to find ways of distributing its output while still maintaining profitability. And after a period of steady economic decline, the recording industry has seen a technology-driven shift in hierarchy, with web and computer-based firms like Apple leading the charge both in terms of commercial robustness and innovation. Still, as the research conducted hereafter will show, there are yet tremendous gains to be made by new entrants in the field. With a proper emphasis on the types of technological and business processes required to compete in a constantly shifting market, a company such as the Swedish-based Spotify may be in a position to challenge the dominance of Apple's iTunes and related iPod device.
Part I:
Business Problem:
Before proceeding to a discussion specifically on Spotify, it is appropriate to identify the current business problem that drives not just this discussion but the very relevance of services such as Spotify. Namely, today, the music industry is in a state of reinvention, with those technology-based firms such as Spotify representatives of the next phase in the evolution of our music usage. It does so, however, in the context of a highly unstable industry which is also notoriously resistant to change. It is this very orientation of resistance that has delivered the music industry to its current state of decline. Since the innovation of Napster, the music industry has been in something of a financial free fall. According to the study by Hong (2011), "systematic file sharing began with Napster. After its introduction in June 1999, Napster quickly became popular among Internet users. The number of users grew extraordinarily, and numerous music files were exchanged via Napster. Though only minor file sharing programs appeared during the Napster period, Napster was undoubtedly the dominant file sharing service until early 2001." (Hong, p. 4)
This program not only facilitated the massive exchange of digitized music files through a single shareware program, but it also fundamentally altered the supply chain in the music industry. The role of middle men such as distributors and stores were being undermined by this new technology. And eventually, because the record industry worked so hard to resist said technology, the role of the record companies and recording artist associations would also be significantly undermined. The consequence was a rapid decline in the once robust marketplace. According to Hong, Napster suddenly allowed for unfettered, free access to digital music. Hong reports that "this event coincided with the start of the ongoing slump in recorded music sales. According to the Recording Industry Association of America (RIAA), the total real value of shipments in the United States had reached its peak of $14,270 million in 1999. After Napster appeared, the total real value of record sales decreaed by 5% in 2000, 6.7% in 2001 and 9.6% in 2002, and continued to decline through the 2000s. Accordingly, the recording industry concluded that this decline was largely a result of file sharing. Subseqent legal action the recording industry based on these grounds succeeded in closing Napster in 2001 and other file sharing services later in the 2000s." (Hong, p. 5)
However, these lawsuits and legal precedents could do nothing to change the fundamental new business problem for participants in the music industry. Traditional participants are still being forced to recast themselves even as new entrants emerge as pacesetters in the field. Today, the primary objective for firms prospecting new fortunes in the music industry is to find ways to offer something greater than simple access to digital music files. Following the iTunes model, companies have worked to craft the kinds of acquisition and consumer experiences that listeners will be willing to pay for, just as they were once willing to walk into a store and pay for a compact disc. This is the business problem that companies such as Rhapsody, Pandora and others have struggled with, navigating a host of copyright laws and...
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