![]() ![]() ![]() Further examples of co-creation refer to other genres, such as the documentary. Some examples in this section will look at the collective production of a playlist used by music programmes: a number of programmes have been built upon listeners requests and music choices, by different means. The second section will focus on examples in which the radio public not only reacts to the producers’ requests using the technology at hand, but consciously participates in the production of radio content and has some voice in deciding the content being produced. The first section of this work will analyse contemporary forms of interaction between radio and its listeners, using specific case studies to examine all the technological means that are currently involved in these processes: the telephone, short text messages, social network sites. According to the AIP model, in the first section, contributors will analyse processes of participation that allow listeners to produce content (SMS, phone calls, social media messages, etc.) but do not let them take part in the co-creation of radio programmes in any way. The boundary between interactive and productive publics is traced according to the ideal model of audience participation (AIP model – Access Interaction Participation – see Carpentier (2007), where: “this difference between participation on the one hand, and access and interaction on the other, is located within the key role that is attributed to power, and to equal(ised) power relations in decision-making processes.” (Carpentier 2011, 29). In this body of work, interactivity is intended in both its minimal technical meaning, as a sequence of action and reaction, as well as in the wider sense of a social-communicative relationship (listeners that reply to a call by a radio host by either phone, smartphone messaging systems, email or Facebook/Twitter texts listeners that react to a call by a radio host by doing something, such as downloading content or liking/commenting/sharing social media posts radio hosts and authors that reply to questions and content coming from listeners). Here we will show and analyse different innovative practices of interaction and participation. We conceive of audience participation in radio as a process that is articulated along a continuum, moving from interaction (with a low level of activity) to co-creation (Banks and Deuze 2009) and co-production (with a high level of participation). These two sections do not represent two different worlds of practices but, conversely, describe two different moments of the same process: audience participation mediated by radio. ![]() ![]() Introduction This book is divided into two macro-sections: Interactive Publics and Productive Publics. Ramifications for the music industry are drawn, encouraging record labels to embrace streaming, and for music services to improve on the overall user experience to entice greater levels of engagement with the music experience and the music discovery process. The findings of this study demonstrate the significance of Web 2.0 technologies in the process of music discovery, yet acknowledge the importance of offline sources. This study posits five main categories of discovery strategies through which individuals find new music: (1) opinion seeking and word of mouth, (2) independent search, (3) algorithms and computer-based recommendations, (4) chance, and (5) amalgamate strategies which integrate multiple strategies. Six individuals provided data in the form of in- depth interviews, which were followed by second interviews for additional insight. Music discovery plays an integral role in the realm of digital music, and this study explores how music consumers discover new music and what music discovery strategies they adopt, in addition to developing an understanding of how digital and Web 2.0 technologies are utilized in these discovery strategies. Abstract In an era of burgeoning digitization and Internet usage, the ways by which consumers choose to explore, engage with, value, and share music are undergoing rapidly dynamic change, and the music industry endeavors to adapt. ![]()
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