This article argues that K-pop producers, with no alternative channels for distributing their music to global audiences for profit, actively chose YouTube for its free music distribution despite its low-profit margins from royalty fees. The emergence of the digital economy powered by PCs and smartphones, ushered in a new era of business-to-business music distribution, thus minimizing transaction costs of the global music business for Korean entertainment firms. The emergence of Internet-based music stores and music video streaming sites, particularly YouTube, has a strong connection to Korean content as it allows Korean artists to bypass conventional music distributors who control business-to-customer music distribution channels in the United States and Europe. They also failed to predict K-pop's global success via YouTube and iTunes. However, these studies have not fully explained the business structure of new media and new popular music. Sociological studies of the music industry emphasize the importance of mass media technologies in the birth of a new popular music genre. These findings can support recording companies to address the challenge of signing newcomers and thereby further enable the innovation system of the industry. In sum we find that crowd-based mechanisms are especially suited to forecast the performance of novel songs from unknown artists, which makes them a powerful yet very affordable decision support instrument for very uncertain contexts with limited historical data available. However, this forecasting relevance is bound to certain conditions, namely the composition of theĬrowd, the underlying chart and market mechanisms, and the novelty of the musical material. Our model indicates that the wisdom of the crowd can improve forecasting chart success by almost 30% relatively to factors that have been earlier identified in the literature.
We track 150 song positions in reported music charts and also evaluate these songs via the crowd. Therefore, we draw on the literature of hedonic and experiential goods to investigate the relationship between crowd evaluations based on listening experience and popular music chart success. With respect to the ongoing digital transformation and shift in power from organizations to consumers, we leverage digitally mediated wisdom of the crowd to build a forecasting model for better understanding chart success. However, the specifics of a creative industry such as the hedonic nature of music, socio-network effects, and ever fastening fashion cycles in combination with digitalization have made the recording industry even more competitive and these initial decisions even more crucial. Recording companies, especially when it comes to innovative newcomer singers without any chart history. However, the total organic carbon measurements of the investigated solutions show better mineralization of the dye treated with the anatase 75 % catalyst sample.ĭeciding which artist or song to sign and promote has always been a challenge for The apparent rate constants of the process generally increase with the anatase content in the composite samples. Faster and total discoloration of 20 ppm Orange II suspensions with Degussa P 25 is observed comparing the photocatalytic activity of the prepared anatase/rutile composites to the commercial catalysts. The photocatalytic destruction of Orange II was determined by spectroscopic and total organic carbon analysis. The photocatalysts samples are characterized by SEM and XRD analysis. The variation of the pH values during the experiments is reported. Comparative experiments with the commercial anatase, rutile and Degussa P 25 are provided. The investigation is focused to clarify photocatalytic discoloration and purification of Orange II water solutions under UV irradiation with anatase/rutile composite powder catalysts samples.