音頻壓縮格式和網(wǎng)路技術(shù)的成熟應(yīng)用打破了傳統(tǒng)音樂行業(yè)以唱片公司為核心的格局。自從Napster網(wǎng)站的出現(xiàn),層出不窮的免費(fèi)點(diǎn)對(duì)點(diǎn)的文件傳輸和共享網(wǎng)絡(luò)在不顯著影響音樂欣賞質(zhì)量的前提下大大降低了復(fù)制和傳輸?shù)倪呺H成本,此外,匿名的系統(tǒng)減少了下載者可能需要承擔(dān)的侵權(quán)的法律風(fēng)險(xiǎn)和懲罰成本。當(dāng)消費(fèi)者享受免費(fèi)音樂和便利下載的時(shí)候,傳統(tǒng)的音樂行業(yè)卻經(jīng)歷了唱片銷售量的大幅下降。唱片公司失去了對(duì)音樂制品的分銷的控制權(quán),基于版權(quán)保護(hù)的商業(yè)模式受到了嚴(yán)峻的挑戰(zhàn)。唱片公司和行業(yè)協(xié)會(huì)采取各種方式反對(duì)“非法下載”和“電子盜版”,主要通過法律和技術(shù)兩種途徑來實(shí)現(xiàn),包括向侵權(quán)的公司和個(gè)人用戶提起訴訟,向政府積極游說加強(qiáng)版權(quán)法規(guī)和執(zhí)行,實(shí)施電子版權(quán)管理（DRM）保護(hù)等。然而,寬帶的普及和電子技術(shù)的發(fā)展同時(shí)也為音樂行業(yè)創(chuàng)造了新的利潤(rùn)增長(zhǎng)點(diǎn)和發(fā)展空間（主要是在線音樂和移動(dòng)業(yè)務(wù)）。從蘋果的iTUNES Music Store和iPod的暢銷,諾基亞Ovi手機(jī)音樂下載門戶網(wǎng)站的出現(xiàn),標(biāo)志著音樂數(shù)字化時(shí)代的到來,技術(shù)讓消費(fèi)者隨時(shí)、隨地享受到音樂成為一種可能。本文試圖通過企業(yè)、市場(chǎng)和技術(shù)三者之間動(dòng)態(tài)的作用與關(guān)系為視角,以iTUNE Mu... 

【文章來源】：復(fù)旦大學(xué)上海市 211工程院校 985工程院校 教育部直屬院校

【文章頁(yè)數(shù)】：67 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
中文摘要
ABSTRACT
PART Ⅰ INTRODUCTION
    1.1 Music Industry Overview
        1.1.1 Digital Technology: Double-Edged Sword for Music Industry
        1.1.2 Fighting Back: from Protective to Innovative Initiatives
    1.2 Structure and Methodology
PART Ⅱ LITERATURE REVIEW
    2.1 The Magnitude and Effects of Peer to Peer File Sharing on Record Sales
    2.2 Digital Music Business Model Evolution
        2.2.1 Business Model Definition, Taxonomies, and Components
        2.2.2 Digital Music Business Model
PART Ⅲ THE INTERACTION BETWEEN DIGITAL TECHNOLOGY, MARKET AND BUSINESS
    3.1 Digital Technology, Consumer Satisfaction & Behavior
    3.2 Digital Technology Reshaped the Value Chain
        3.2.1 Copyright Rationale
        3.2.2 Traditional Music Value Chain
        3.2.3 Disintermediation and New Intermediate
PART Ⅳ CASE STUDY: APPLE'S ITUNES STORE
    4.1 Position in new digital online distribution value chain
        4.1.1 Digitization & DRM encoding
        4.1.2 Jukebox
        4.1.3 Online music store
        4.1.4 Playing devices
        4.1.5 Three pillars
    4.2 iTunes business model
        4.2.1 Value proposition
        4.2.2 Target customer
        4.2.3 Customer relationship
        4.2.4 Partnership
    4.3 Summary
PART Ⅴ CONCLUSION
APPENDIX
REFERENCES
后記



本文編號(hào)：3372947