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Dowload Music History
Napster, originally a centralized system, was the first major file-sharing tool and popularized file sharing for the masses. Napster was a localized index for MP3 files shared by the users logged into the system. It included IRC-like chat and instant messenger features. Many new major clients now follow its example in design. An MP3-only sharing system, Napster was finally shut down by legal attacks from the music industry. It was openly attacked by some artists (notably Dr. Dre, Metallica) and supported by others Motley Crüe, Limp Bizkit, Courtney Love, Dave Matthews, David Crowder Band.
There was widespread media coverage of unreleased Madonna songs leaking out on to the web prior to the official commercial release, but there was no evidence that this injured sales. In fact, a similar leak of Radiohead's album Kid A proved that Napster actually stimulated sales. Tracks from Kid A were released on Napster 3 months before the CD's release and millions had dowloaded the music by the time it hit record stores. The album was not expected to do that well to begin with as it was an artsy endeavor by a band that never hit the Top 20 in the US before. There was very little marketing employed and few radio stations played it so Napster was expected to kill off whatever market was left. Instead, when the CD was released Radiohead zoomed to the top of the charts. Having put the music in the hands of so many people, Napster appears to be the force that drove this success. Nonetheless, the record industry was reluctant to credit a company it was suing.
Even before its legal problems, the community created an alternative: OpenNap. A reverse-engineered version of the Napster protocol, it was released as the open source server alternative for Napster users. These networks continue to exist even after Napster's collapse and many clients using this protocol have appeared, particularly with the help of the Napigator server list - an effort to centralize all of the different servers and networks.
Afterward, a decentralized network known as Gnutella appeared. This service is fully open source and allows users to search for almost any file type; users can find more than just MP3s on these networks. It was created in response to the threat posed toward any centralized body like Napster. The purpose behind decentralization is to prevent any single broken link from compromising the entire network.
Napster and Gnutella continue to define file sharing today, forming the extremes at both ends of the law in the wake of a series of civil lawsuits filed against computer users by the RIAA (which began in September, 2003). Gnutella is an open protocol and service while Napster has been resurrected as a commercial online music service that competes with other commercial services like iTunes and Rhapsody. Most file-sharing systems since have sought to ride the line between these two extremes.
Today a variety of file-sharing programs are available on several different networks. Availability depends partly on operating system, and different networks have different features (for example, multiple-source dowloads, different sorts of search limiting, and so on). It is common for commercial file sharing clients to contain abrasive advertising software, or spyware, while non-commercial ones usually do not.
The preceding article about dowload music development was taken from http://en.wikipedia.org/wiki/File_sharing We provide this article to give guests who are interested in dowloadable music some background information on the dowload music phenomena. Many people turn to the internet to dowload music. Although we have the readily available technology to dowload music, people do not always understand the history of music dowloads and how dowloadable music came into existence.
Dowload Music Copyright Issues
Anonymous Internet file sharing (such as Gnutella and Napster) grew in popularity with the proliferation of high speed Internet connections and the (relatively) small file size and high-quality MP3 audio format. Although file sharing is a legal technology with legal uses, many users use it to dowload copyrighted materials without explicit permission. This has led to counterattacks against file sharing in general from some copyright owners.
There has been great discussion over perceived and actual legal issues surrounding file sharing. In circumstances where trading partners are in different countries with different legal codes, there are significant problems to contend with. What if a person in Canada wishes to share a piece of source code which, if compiled, has encryption capabilities? In some countries, a citizen may not request or receive such information without special permission.
Throughout the early 2000s, the entire file-sharing community has been in a state of flux. In the year 2000, there was speculation over how seriously record companies like the RIAA would strike the file-sharing community because of its limits compared to more traditional forms of media . However, the communities suffered strain as record companies and the RIAA tried to shut down as much of it as possible. Even though they have forced Napster into cooperating against copyright violations, they are fighting an uphill battle since the community has flourished and produced many different clients based on several different underlying protocols. The second generation of P2P protocols, such as Freenet are not as dependent as Napster is on a central server, making it much harder to shut down these systems through court actions. Another attempt (used by the maintainers of KaZaA) is to change the company's organization or country of origin so that it is impossible or useless to attack it legally.
The Electronic Frontier Foundation (EFF) is a donor-supported group which protects users' digital rights. It is one of the most influential online human rights organizations, and it is involved in legislation, court cases, and campaigns to make the public aware of their rights. The EFF has opposed the RIAA in its onslaught of lawsuits against users of file sharing applications. The foundation supports the idea that P2P file-sharing can exist while allowing users to compensate artists for their copyrighted material.
The preceding article about dowload music development was taken from http://en.wikipedia.org/wiki/File_sharing We provide this article to give guests who are interested in dowloadable music some background information on the dowload music phenomena. Many people turn to the internet to dowload music. Although we have the readily available technology to dowload music, people do not always understand the history of music dowloads and how dowloadable music came into existence.
Dowload Music Network Architecture
File sharing is the practice of making files available to other users for dowload over the Internet and smaller networks. Usually file sharing follows the peer-to-peer (P2P) model, where the files are stored on and served by personal computers of the users. Most people who engage in file sharing are also dowloading files that other users share. Sometimes these two activities are linked together. File sharing is distinct from file trading in that dowloading files from a P2P network does not require uploading, although some networks either provide incentives for uploading such as credits or force the sharing of files being currently dowloaded.
There are several major issues surrounding file sharing. Of these, the two most important are centralization vs decentralization and the privacy and anonymity of users. The latter takes on added importance when the legality of file-sharing is challenged by some copyright owners. A third issue is the collection and sale of data about users, using software referred to by its detractors as "spyware".
In the early days, client software was protocol-specific, so one had "Napster" clients, and one had "Gnutella" clients. There is an everpresent push towards making the GUI-side of things capable of using multiple protocols. It is argued: why should a user have to load up several different applications to do what is, in their mind, the same thing?
In cases where there is perceived value in collecting, some people will have lots to share and will find themselves surrounded by eager people. This can cause problems when the collector cannot keep up with demand. Decentralization is one means to alleviate this problem, especially in cases where it is possible to ensure that multiple copies of a popular item are available from multiple sources (even simultaneously, as with multi-source dowloading).
Decentralization has also been pushed as a means of overcoming the threats posed to a centralized network, either by legal disputes or hostile users. A decentralized network has no body to attack; only its individual active members may be targeted, and even if a small portion of them are removed the remaining peers on the network will still be able to function.
Concepts like leeching or hoarding come about where the one centralized person will collect files and later refuse to make those available to others. Trade and ratio systems evolve in order to reduce the impact of leeching. Under these systems, a person shares when he can expect to get something in return. KaZaA, for instance, has a very simple rating system. The client calculates the user's priority and tells the sources what level of dowloading priority they should give that user. Shortly afterward, however, hacked clients were released that told the sources that the user had one of the highest priority levels regardless of his actual sharing.
Another client which has a rating system is eMule. The eMule client, which uses MFTP as its protocol, tracks how much dowloading and uploading has been done from individual sources and if files are dowloaded locally or if other peers dowload files. Sometimes it seems that this rating system does not have a big impact on the dowload speed. A reason could be the size of the upload queue and the chunk size. If there is an available upload slot, the client takes the peer on top, transferes 8 MB to it and moves it to the end of the queue. A peer with rating of x2 would have to wait to get an upload slot for only half of the amount of time of a peer with a rating of x1. Furthermore, after the client has received an 8 MB chunk, it should upload an 8 MB chunk to the other peer as soon as possible if there is a dowload pending for that user. Then the other client would upload one chunk to you and your dowload speed and the one from the other client will increase.
BitTorrent also has a very good share rating system. The dowload speed is slow if a client does not upload, but it can easily be the fastest protocol if the size of the swarm is large enough.
Today we are left with a slew of clients with functionality designed around making sharing files more effective, both in the real sense of uploading and dowloading (like anti-leeching functions) and in the more ethereal sense of being bulletproof toward legal issues (as with anonymity and decentralization).
The preceding articles about dowload music development was taken from the filesharing information area of http://en.wikipedia.org/wiki/File_sharing We provide this article to give guests who are interested in dowloadable music some background information on the dowload music phenomena. Many people turn to the internet to dowload music. Although we have the readily available technology to dowload music, people do not always understand the history of music dowloads and how dowloadable music came into existence.
Popular Music
Popular music is music belonging to any of a number of musical styles that are accessible to the general public and mostly distributed commercially. It stands in contrast to classical music, which historically was the music of elites or the upper strata of society, and traditional folk music which was shared non-commercially. It is sometimes abbreviated to pop music, although pop music is more often used for a narrower branch of popular music.The term "popular music" is used in broader and narrower senses. At its broadest it refers to all music other than classical music, also known as art music. In the early 19th century, the traditional songs of the common people were referred to as "popular song". By the late 19th century these songs were referred to as "folk song" and a distinction was made between folk music and the more recently developed urban popular music. Now popular music is distributed via mass media such as recordings and radio (as classical music is now also). Popular music forms part of popular culture. For varieties of popular music, see the list of genres below.
See the separate article on pop music for the narrower genre of very commercial, light, catchy, melodic music.
Among scholars in the humanities, a broader range of definitions have been proposed.
Frans Birrer (1985, p. 104) gives four conceptions or definitions of "popular" music:
All of these, according to Middleton (1990, p.4) "are interest-bound; none is satisfactory." According to Hall (1978, p.6-7), "The assumption...that you might know before you looked at cultural traditions in general what, at any particular time, was a part of the elite culture or of popular culture is untenable." Thus popular music must be comprehended in relation to the broader musical field (Middleton 1990, p.11).
Bennett (1980, p.153-218) distinguishes between 'primary' and 'secondary' popular culture, the first being mass product and the second being local re-production, discussed further below.
"While repetition is a feature of all music, of any sort, a high level of repetition may be a specific mark of 'the popular', enabling an inclusive rather than exclusive audience." (Middleton 1990, p.139)
Much popular music is the product of the modern business enterprise, disseminated for the purpose of earning a profit. Executives and employees of popular music businesses try to select and cultivate the music that will have the greatest success with the public, and thus maximize the profits of their firm. In this respect, popular music differs from traditional folk music, which was created by ordinary people for their own enjoyment, and from classical music, which was originally created to serve the purposes of the Church or for the entertainment of the nobility. (Today classical music is often subsidized by governments and universities.)
Although the controlling forces of popular music are business enterprises, young people who aspire to become popular musicians are certainly not always driven by the profit motive. Rather, they often want to find an outlet for their sense of expression and creativity, or simply to have fun. Historically, the conflicting motives of business people and musicians has been a source of tension in the popular music industry.
Many people play popular music together with their friends, often in garages and basements, on a casual amateur basis. This activity is one of the most widespread forms of participatory music-making in modern societies. As participatory music, "garage bands" are in a sense a resurrection of the old tradition of folk music, which in premodern times was composed and performed by ordinary people and transmitted exclusively by word of mouth. The difference between the old folk music and modern amateur performance of popular music is that the participants in the latter genre are well acquainted with the expert performances that they hear on recordings, and often try to emulate them.
The older folk music of a society often lives on in a popularized version, which is likewise performed by experts and commercially disseminated. Such updated versions of folk music often have heavy amateur participation
Popular music dates at least as far back as the mid 19th century. Below is a list of genres.
Different genres often appeal to different age groups. These often, but not always, are the people who were young when the music was new. Thus, for instance, Big band music continues to have a following, but it is probably a rather older group, on average, than the audience for rap. For a few of the genres listed below (for instance, Ragtime), the original target generation may have died out almost entirely.
Top 40 is both a record chart and a radio format based on frequent repetition of songs from a constantly-updated list of the forty best-selling singles. The term is also used to refer to the actual list of hit songs, and, by extension, to refer to pop music in general. The term has also been modified to describe Top 30; Top 20; Top 10; Hot 100 and Hot Hits radio formats, but carrying more or less the same meaning and having the same creative point of origin with Todd Storz as further refined by Gordon McLendon.
Although predated by the music marketing concept of the hit parade, the Top 40 radio format was created in response to the drift of USA mass media audiences from radio to television. With the loss of audience came the loss of sponsors and big budget radio productions. Recorded music provided low-cost and fully produced entertainment requiring only segues between presentations. It was the arrangement of the most popular recorded presentations which have variously been known as Top 10; Top 20; Top 10 and which became known as Top 40 radio.
Top 40 was a response to the rise of television. Scheduled block programming could not compete with the new visual medium, so putting something on radio that wasn't available on TV became vital. Although hit music shows such as American Bandstand occasionally appeared, television wouldn't attempt to directly compete with Top 40 radio until many years later with the rise of MTV, the early incarnation of which was a cable television version of Top 40.
The Top 40 format placed less value on genres and artists and concentrated entirely on repetitive play of hits based on research which reported that listeners wanted to "hear all the hits and nothin' but the hits!". Although rock and roll and Top 40 radio grew up together, out-of-genre Top-40 hits include gospel songs ("Oh, Happy Day!" by the Edwin Hawkins Singers), patriotic songs (" Ballad of the Green Berets" by S/Sgt. Barry Sadler), novelties ("The Thing" by Phil Harris), and even the " Battle Hymn of the Republic" as performed by the Mormon Tabernacle Choir. Top 40 also spawned the first generation of star disk jockeys, whose between-song patter and connection with the listeners became as important as the songs themselves.
According to Eberley (1982, p.219) "The driving rhythms of rock fit snugly into the unity and consistency of Top 40. For if it was one thing that Top 40 compounded, it was unity - all components (commercials, public service announcements, the excitement) were compatible with the music. The Gestalt was greater than the sum of the parts."
As a format, Top 40 radio waned in the mid- 1970s with the expansion of FM radio with its superior sound and more varied programming. Much of the popular audience moved to more sophisticated and targeted formats such as Album Oriented Rock. Radio stations began to specialize in particular types of music rather than playing current hits regardless of genre. The all-hits format has never completely died, however, and has experienced sporadic resurgences on the FM band, though seldom under the Top 40 name. However, the concept of a closely controlled overall sound for a station that originated with Top 40 radio is now dominant in all genres, basically unchallenged except by a few on-air broadcasters like WFMU, WNUR, and a number of World Wide Web Internet radio broadcasters.
