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Editors note: the charts in this article are high resolution images that may be enlarged for detailed viewing on screen or for printing. The print edition of the MEIEA Journal contains monochrome versions of these same images.IntroductionAlong with the shift in the distribution of prerecorded music from retail outlets to online and satellite sources engendered by digital technology came changes in the roles of the various participants and the introduction of new participants. With displacement taking place, the authors wish to assess the relative importance of newly created revenue streams in the digital era. This study focuses on the economic implications of changes in network relationships fostered by digitized music and consequently the method of analysis is Social Network Analysis (SNA). This is the first study of its kind to assess the relevance of the revenue streams from a network perspective. Results show that traditional agents in the music industry (songwriters, artists, music publishers, record labels) have retained their relatively strong positions since the year 2000. However, some new agents (revenue streams) in the digital era are significantly reorganizing the network as a whole. When weighted for economic impact, digital aggregators/interactive service payments, digital performance royalties/ SoundExchange, the YouTube Partner Program, as well as crowdfunding, rank in the top half of economic relationships. The study offers quantifiable validation to its findings and informs us that the "new" revenue sources have not yet achieved their full economic potential but are already well positioned to undermine the dominance of the more traditional revenue streams in the music industry. To understand the significance of these new agents, one needs to understand the role of advances in technology in the digital distribution and consumption of music.Technology drives digital music delivery. Although downloading music from the internet was in theory possible from the start of that medium-since music can be converted into digital formats like any other content and can be distributed accordingly-it was not until the end of the 1990s that four major technological developments changed downloading music and sound from a possibility to a reality. The first and best-known development of compression technology was the MP3.1 The Fraunhofer MP3 reduced sound file size without losing too much quality. A 128KB MP3 version of a CD track is ten to twelve times smaller than the original file. The second development was the introduction of high-speed, flat-rate internet connections. First ISDN, and after that cable and ADSL connections reduced download time to a fraction of what it used to be. Formerly, an MP3 track would take 24 minutes to download with the standard 14.4KB modem while a T1 connection can accomplish the same within 20 seconds. The third development was the introduction of multimedia computers with more storage capacity and sound playback capabilities such as sound cards and speakers. Hard disk capacity moved from 10-20MB, which was only suitable for storing two to five tracks, to 300-500GB. The last and most visible development was the introduction of free, userfriendly software to "rip" CD tracks into MP3 files, to play MP3 tracks, and most of all to download music files from the internet.The importance of internet-downloaded music reached its watershed in the year 2000. Internet file sharing (mostly music) exploded with the introduction of Napster in mid-1999. By 2000 the internet started becoming a fundamental force for change for the music industry. Whether this was constructive or destructive depends in large part on the response of the established players. The issue was recognized early on by Leyshon (2001):Software formats have elicited a conservative, critical response, a discourse founded in the existing social and technological hierarchies of the industry. Meanwhile, on the other hand, software formats have been welcomed by others precisely because they are seen to be a means to dismantle the industry's established hierarchies and power relations. …

Network Perspectives on the Relevance of New Revenue Streams in the Digital Era Music Industry