As we see today, based on computerised society, the emergence of new media, digital media and Internet culture shows redefining of an area we’ve never been faced before. The redefinition is not only uncovered the shifting changes of medium, but also it suggests that one new way to contact with technologies, the transversality discipline (Murphie, 2006).
Simply put here, transversal means a line splits up with two or more lines, and brings them together in a new way to recreate them as something new else. (Murphie, 2006). And today, we are focusing on talking about transversal feature of music industry.
It won’t be newsworthy to you that the digitalisation and mobilisation transforms the music to the Internet and Smartphone, which has challenged the position of traditional music industry. A number of music artists believe that the album music had died for a long time. At the mean time, most of them concerns online music piracy will also negatively impacts on copyright holders and album sales in the digital era. However, a charged music app is a new and more effective way to protect the copyright holders. The REWORK_ is an interactive tour app through amazing new REWORK_ album that remixes Philip Glass’ music. In the Cyber culture age, when artists are struggling to look forward a new way to survive in a digital and mobile world, the apps like REWORK (Philip Glass Remixed) offers a few hints about how the music as an app model could work better. The basic idea of Rework is protecting the copyrights of the music producers. Because an experience like this would be much harder for people to pirate due to the higher cost of designing. Surprisingly, there might be a real opportunity here for a smart start-up to sell app-based tools to name the artists in a new way (Titlow, 2012).
(The interactive feature of the REWORK_, from Apple Store)
Nevertheless, a new research published by European Commission’s Joint Research Center says that the digital piracy such as illegal downloading should not be regarded as an increasing concern that negatively impacts on the creative industry. And the reason might be that majority of the music that is consumed illegally by the individuals in research sample state that they won’t purchase the music if illegal downloading websites were no longer available to them.
Aguiar, L. & Martens, B., 2013, Digital Music Consumption on the Internet: Evidence from Clickstream Data, Joint Research Center, European Commission,
http://www.scribd.com/doc/131005609/JRC79605 (Last accessed on 24 April, 2013)
Murphie, A 2006, ‘Editorial’, Fibre Culture Journal, vol. 9, accessed 8 May 2013,
Murphie, A.,(Edited) 2009, General issues, The Fiberculture Journal,
http://nine.fibreculturejournal.org/ (Last accessed on 24 April, 2013)
Titlow, J.P., 2012, Philip Glass, Music apps and the music of the future,
https://www.diigo.com/bookmark/http%3A%2F%2Freadwrite.com%2F2012%2F12%2F23%2Fphilip-glass-music-apps-and-the-future-of-the-album%3Futm_source%3DReadWrite%2BNewsletters%26utm_medium%3Demail%26utm_campaign%3D16c41b9019-RWWDailyNewsletter?tab=people&uname=andersand (Last accessed on 24 April, 2013)