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Does digitization lead to the homogenization of cultural content?

Author

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  • Marc Bourreau

    (ECO-Télécom Paris - Equipe Eco Economie - I3 SES - Institut interdisciplinaire de l’innovation de Telecom Paris - Télécom Paris - IMT - Institut Mines-Télécom [Paris] - IP Paris - Institut Polytechnique de Paris - I3 - Institut interdisciplinaire de l’innovation - CNRS - Centre National de la Recherche Scientifique, SES - Département Sciences Economiques et Sociales - Télécom Paris - IMT - Institut Mines-Télécom [Paris] - IP Paris - Institut Polytechnique de Paris)

  • François Moreau

    (CEPN - Centre d'Economie de l'Université Paris Nord - LABEX ICCA - UP13 - Université Paris 13 - Université Sorbonne Nouvelle - Paris 3 - CNRS - Centre National de la Recherche Scientifique - UPCité - Université Paris Cité - Université Sorbonne Paris Nord - CNRS - Centre National de la Recherche Scientifique - Université Sorbonne Paris Nord, LABEX ICCA - UP13 - Université Paris 13 - Université Sorbonne Nouvelle - Paris 3 - CNRS - Centre National de la Recherche Scientifique - UPCité - Université Paris Cité - Université Sorbonne Paris Nord)

  • Patrik Wikström

    (QUT - Queensland University of Technology [Brisbane])

Abstract

Using weekly music charts data in ten countries over the period 1990 to 2015, we analyze whether digitization leads to a trend of homogenization of music content or conversely to a greater acoustic disparity within music charts. Acoustic diversity measures the variance of a set of songs calculated across the following acoustic attributes: danceability, speechiness; valence; liveness; acousticness; energy; instrumentalness; loudness; tempo; duration. We consider the pre-digitization period (1990-1999) and split the digitization era in four periods: (1) the period characterized by unsanctioned music distribution via filesharing networks; (2) the launch of iTunes Music Store; (3) the emergence of social network services as powerful tastemakers; and (3) the emergence of global music streaming services, such as Spotify, as the dominant model for online music distribution. Our main result is that while acoustic diversity decreased during the iTunes and the YouTube periods, the period that begins with the introduction of audio streaming services, such as Spotify, represents a turning point and is marked by a significant increase in acoustic diversity.

Suggested Citation

  • Marc Bourreau & François Moreau & Patrik Wikström, 2022. "Does digitization lead to the homogenization of cultural content?," Post-Print hal-03861868, HAL.
    • Handle: RePEc:hal:journl:hal-03861868
    DOI: 10.1111/ecin.13015
    Note: View the original document on HAL open archive server: https://telecom-paris.hal.science/hal-03861868v1
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    1. François Moreau & Patrik Wikström & Ola Haampland & Rune Johannessen, 2024. "Alternative payment models in the music streaming market: A comparative approach based on stream-level data," Post-Print hal-04679366, HAL.
    2. Alexandre Chirat, 2022. "Consumer sovereignty in the digital society," EconomiX Working Papers 2022-25, University of Paris Nanterre, EconomiX.

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