Delivery and Distribution

Music Delivery and Distribution Before the Advent of the Digital Era

Throughout history, music has been a social ritual and a force of social cohesion. As social rituals, musical activities were (and still are) performed in special places, with listeners following a formal code of behavior within such places. Special places are typically isolated, and their size and capacity has varied. For instance, in the early baroque period, music events were performed in the courts, and only invited guests had access to these performances. As a consequence, music's delivery and distribution were carried out in small-scale facilities.

In 1637, the first public opera house opened in Venice for the benefit of those who could pay admission. Since then, the buildings used for music performances, such as theaters and concert halls, experienced tremendous growth, accommodating an increasingly wider audience.

Sharing the same music experience in the same place and at the same time, audience members feel a sense of community that enhances the ritual aspect of the performance. In both ancient rituals and modern concerts, audience members often engage in a kind of mass celebration. This celebration may be centered on a specific event, for instance a music festival, or on the work of admired artists, performed in a recital.

At concerts, listeners may learn about a performer's character and his or her music. Listeners are especially appreciative when a performance includes known pieces performed in an innovative way and new pieces that have not yet been released. In both cases, attending the concert may have a strong influence on the audience's subsequent listening behavior, which, in turn, may affect the subsequent delivery and distribution of the performed works.

However, audience members attending concerts do not select the place in which they listen to music, nor the works that will be performed, nor the number or order of performed works. These decisions are made by performers and organizers, [Page 326]and potential listeners are faced with a “take it or leave it” offer, with no room for individual choice.

From the beginning of the 20th century, technologies have been developed to broadcast music by radio and television. These developments allowed listeners to participate in music rituals without being physically present, often without even leaving their own homes. These innovations gave listeners the choice of where to listen to music, widening the range of delivery and distribution options. However, most listening experiences were dictated by radio or television programmers, who decided how often music programs were broadcast, in which time slot, and in which genres composers and specific pieces would be inserted into the programs. Programmers could manipulate not only the listening habits of the audience, but also their music preferences, reflected in purchasing trends and influencing subsequent music delivery and distribution services.

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