SOF0904202120 word-3300.
docx
keyboard_arrow_up
School
Kaplan University *
*We aren’t endorsed by this school
Course
MISC
Subject
Information Systems
Date
Nov 24, 2024
Type
docx
Pages
18
Uploaded by manishapul
Spotify Music App
Name of the student
Student ID
Author note
Executive summary
This assignment is consisting of design thinking approach of spotify, and the process of
redesign of the product protype. The assignment also describes about the background
research to elicit unmet user needs.
Introduction
................................................................................................................................
4
Product prototype
.......................................................................................................................
5
Design thinking approach
...........................................................................................................
6
Conclusion
................................................................................................................................
15
Reference
..................................................................................................................................
17
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
Introduction
Spotify Technology S.A is a holding company headquartered in Luxembourg owned by the
Swedish audio and video content company Spotify AB, founded by Daniel Ek in 2006. Has
branches across 17 countries, Spotify has its headquarters in Stockholm, Sweden. As of
December 2020, it is one of the leading providers of music streaming content worldwide,
with more than345 million monthly users, with 155 million paid subscriptions. Spotify
provides streaming copyrights from recording labels and publishing firms with restricted
licensed music and podcasts from over 70 million tracks (Eriksson et al. 2019). Basic
capabilities such as offline audio listening and commercial free listening are free of charge
with paying subscriptions as a freemium service with advertising and selective monitoring.
Users can browse and build, edit and upload playlists based on artist, song, or genre.
Spotify
accounting major, as a proportion of total tracks, as opposed to the sales of physical or
downloads, that pay artists a set cost per song or album sold, based on the number of artist
streams. It distributes about 70 percent of its net sales to the holders of copyright (often
record labels), who then compensate musicians on the basis of individual deals. In the year
2020, approximately 13,000 of seven million artists received $50,000 or more in payments,
according to Ben Sisario from the New York Times Spotify (Schwind et al. 2019).
Figure 1: Spotify Logo
(Source: http://www.wehavebest.com/june-2020multifunctional-bin-for-netflix-spotify-much-
more/)
Product prototype
Figure 2: Product Prototype structure
(Source: https://www.product-frameworks.com/Spotify-Product-Development.html)
Spotify is developing a new method for seeing what colleagues, dubbed "tastebuds," heard
from. Despite how socially exploring Music, after axing your own box in 2017 and leaving
your Buddy Activity ticker still on the desktop, Spotify has no function for specifically
communicating with friends in your smartphone app (Eriksson et al. 2019). Spotify appeared
and deliberately limit social characteristics to compel consumer to focus on their own
playlists and surfaces to be discovered. Spotify offered him the power to play the monarch,
influences greatly which musicians were included. That in turn helped him exploit his
combative dealings with record labels, which concerned his artists that playlists would be
dropped because they play well with Spotify in terms of sustainable rates of royalties and
access to exclusive products.
Design thinking approach
Figure 3: Design Thinking Approach
(Source: https://www.interaction-design.org/literature/article/5-stages-in-the-design-thinking-
process)
The mission at hand was both very simple and wide-ranging: to build a social network where
people would use their phones and other gadgets to handle songs (Schwind et al. 2019). In
this sense, the following fundamental functions were distinguished:
To import and merge media files from other online and social networking sites like
YouTube, SoundCloud, etc.
To download files from the media file desktop library
To quickly and easily build playlists
To arrange the stream in a radio station's picture and manner.
The researcher also considered the additional features, one of which was to simultaneously
broadcast from various devices, such as when people come together or choose to listen to
music (Skog et al. 2018). The designer had to take two essential requirements into account
while working on the task:
High level of competition because a number of popular music services are already
advertised on the internet and the app
The highest adaptability and reaction standard for all application variants which were
supposed to be used on any kind of gadget. To retain a high usability standard it was
important to have 100% adaptability of all features.
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
User needs
Music access device design provides an appreciation of users' varied requirements and system
success goals. These requirements include mood-setting, social status or nostalgia (Anderson
et al. 2020). However, in the last decade, the development of streaming services also
reshaped consumer experiences with access mechanisms. Users have access to vast audio file
archives of just a tiny fraction of the content they know on streaming sites. This requires a
new approach to the exploration of music which we describe as the ending and listening
experience of contents previously ignored by the consumer (Skog et al. 2018). Currently,
there has been a rising number of streaming music users, with survey findings from Daily
Social 2018 showing users streaming music reaching 88 percent in Indonesia. The presence
of streaming media is inseparable from technological progress. So people will still and
anywhere access music. The introduction of streaming music is supposed to improve the
music business more effectively. The survey indicates that the program use drops to 4 percent
over 90 days after downloading. Such data demonstrate that after uploading, people are not
actually using a program. For application providers, this is an adverse situation. A plan is then
expected to maintain the long term retention of device consumers.
The growth in the number of music subscription service providers depending on applications
would of course increase competition as the customer faces a great many choices. Having
consumers not turn to other apps is the main issue to work with (Anderson et al. 2020). In this
respect, the behavior of their customers must be understood by music Streaming platform
provider services (Besseny, 2020).
Music, unlike Amazon's Prime Music, Apple Music, and Google Play Music, is a main
company in the world. In India, where people are unable to pay and competition are able to
subsidize their music apps, which brings more pressure to monetize the downloading of
music. "Spotify cannot neglect this demand and would thus have to join (India) and make the
right noises and display the numbers of customers," says UTV founding member Ronnie
Screwball and Unlazier Ventures investment company. "But in terms of sales, India won't
shift the needle internationally for them – for ten or 20 years to come" (Coffey, 2016).
The
terrible image also relates to India's competitive scenery. In India, the top three music apps
are owned by big companies, with oil, media and entertainment and telecommunications as
the main businesses. According to AppAnnie info, JioSaavn, Gaana and Wynk have been
leading the music app charts in India (Besseny, 2020).
User interviews
I began the design process by speaking to people who use such music applications daily. I
interviewed 2 of my friends who are using Spotify as their primary music app by telling them
and looking at them with the app. I posed the key issues:
How do you want to build playlists / hate it?
How many playlists do you use?
How are the playlists organized?
Edit your playlist anyway?
Watch the playlists of others?
And I requested them to do any of the following scenarios:
Create an additional playlist
Edit a Playlist current
Because Spotify has a web and tablet app, during the user interviews I have made sure to look
at the two models.
Surprisingly, these people didn't enjoy Spotify all the time. They felt it was not as intuitive to
edit playlists because it included how many measures and didn't like how the mobile app was
so overwhelmed. However, an immersive part of your friends' activities and their music
collections was a function they really liked (Fleischer and Snickars, 2017).
Process
User Experience
Music is an important part of human life because, at the same time, it is not the field in which
people want to go any further. In most cases, music is used for relaxation or energy for most
listeners — not for physical work that requires complex skills. Vice versa. The bigger the
music service's target demographic, the smoother and easier it has to be. What the users need
here is easy navigation and quick work. Given the number of rivals on this market, however,
anything unique in nature must also be considered to enable service to distinguish itself from
the crowd.
The designer began to work at the site from the study of current goods and the development
of the user interface model, taking all these questions into account. The decision was taken to
start with developing the mobile edition, which was to be more popular for target users and
easier to use. The next production step was to introduce the smartphone edition onto the
internet (Fleischer and Snickars, 2017).
Competitive analysis
Then we analyzed different music applications competitively to see which applications have
done the most in these scenarios to narrow down what functionality we want to bring to our
overhaul.
Managing list
Spotify's interface needs to uninstall tracks from a set by modifying the whole playlist in
order to remove songs from an existing playlist. In needless moves, this user flow has been
introduced, as the "Edit" function has been added to delete, change and add tracks. To render
any process a single phase in order to reduce user load would have been much more effective.
Google Play Music is far improving (Vonderau, 2019). The removal of a song is as simple as
the finger swipes. Any consumer has to slide the song to the right, and the delete button
appears.
Creating playlist
In the other hand, it was difficult to find applications with comparatively stronger interface
flows to build playlists. The same number of screens passed by Jio Music and
YouTubeMusic, and the buttons on either screen, with different wording, were exactly the
same. However, we were able to find best practices by looking at how the screens designed
the content.
YouTube Music did a little bit different with this particular comparison, showing the song
playing the soundtrack to the production of the playlist. It does not produce a brand new
pages like Jio Music and uses modals for creating a playlist. It is better to see which song
they were listening to in YouTube Music so it's already physically available for them. They
may have forgotten it at Spotify.
We wanted to incorporate this model idea in our redesign in order to alleviate the consumer
pressure (Vonderau, 2019).
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
Site map
In order also to see what hierarchy of pages and genres was more comprehensive, but not
daunting, we also comparted the web maps for every application.
Figure 4: Site map of Sootify app
(Source: https://help.shopify.com/en/manual/promoting-marketing/seo/find-site-
map#:~:text=All%20Shopify%20stores%20automatically%20generate,pages%20appear
%20in%20search%20results.)
Redesign
Paper Prototype
We began with paper-based prototyping of every screen we needed to build our redesign.
However, how any page interacts with one another was difficult to determine (Gomes et al.
2021). We want to ensure that the interface experience follows the applications that do our
comparative research best, but we still want to ensure that the flows around each website and
every button are reliable (Chodos, 2019). By drawing out and checking a lot of different
flows with users we have been able to see which screens are the most important:
Home — this page will provide users with an action stream to view and engage with
friends' activities
Library — the music list will include this entry.
Playlists - the playlist user list will be on this page.
Modern playlists — the user can make a new playlist on this page
Launcher screen
Figure 5: Launcer screen
(Source: https://www.techrepublic.com/article/my-top-five-android-home-screen-launchers/
The introduction of the app began with the slides that animated the scroll and the user
received the simple service summary (Man et al. 2016). The login/sign in screen with the
simple set of normal operational features appeared after the last slide. The service was
merged into all widespread social networks so that the accounts on Facebook, Twitter and so
on were linked directly. Once the application was registered, all user accounts on social
networks were linked and streams could be shared and the streams of friends viewed.
Therefore the user is offered to follow the friends from other accounts, or to discover new
friends in accordance with musical preferences after registration (Gomes et al. 2021).
User main screen
The profile has been developed in 3 ways:
DJ Mode - allows you to import audio files, build playlists, and submit invites for a
small number of people to playlists.
Home Mode — enabled the playlists to play songs remotely within a room's radius on
various devices
Listener Mode — allowed all own and friends' playlists to be downloaded and
listened to.
Setting screen
This screen has regular configurations: add or reconnect to social networks, change the
password, disable the account, log out (Man et al. 2016).
Since a large number of screens were expected and the easy transformation necessary, the
designer decided to build the framework using the slide menu. The Hamburg button on the
left allows you and open the menu panel and switch to various parts. A registry of users for
the following was also suggested. These suggestions were focused on musical pleasures,
venue, friendship circles, etc. In comparison, a special update panel reflects the user posts'
presence on the service or on social networks.
The divided view was introduced in the iPad edition. On the left side of the screen was placed
the sandwich menu and the slide menu. Tablet-adjusted the height of the entries. The
distinction between Android and iOS in mobile applications is that there are distinct technical
capabilities in designing the upper bar (iOS navigation bar and Android action bar).
Generally, an Android action bar contains filters, sharing, and current screens information in
addition to navigation. In view of these UI characteristics of the Android action panel, the
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
content of slide menus has been mirrored as a suitable controller for mobile apps, in both
models. The design was done according to the material design manuals for the Android
edition so the slide menu layout was the same as the iOS structure, but it looked different
(Siles et al. 2019).
The designer employed a typical structure for the mobile website of the service while the
header and slider menu duplicated the application's features by making changes to the screen
size of the Web version. More posts were therefore visible in the feed when the mobile
application was adapted to the internet.
All the above suggests that the designer did not try to innovate and was inspired by the need
to provide the maximum usefulness and utility. In the light of the user interface, any
experiment or extreme developments in the standard scheme of the social network may cause
users to be frightening, cause them to be confused with the application and lead to bad user
experience, as was explained previously.
The key field in which the program was designed to differentiate was UI.
User Interface (UI)
The Blur effect was taken as basis: the bottom was blurred by the bars with data or
comments. The animation was seen on the player screen: the backdrop displayed the piece of
art, which showed the cover of the song. The backdrop of the screen was fluttered with the
circular central portion, around which traditional visual details were provided for the effect of
the spinning record. The graphic architecture of the displays was clearly marked by
versatility. The exciting character screens were equipped with a broad application of blurred
effect: they were dimmed and the text data were displayed in a white color. However, a
typical screen like configurations, profile edits, and light backgrounds were modelled in a
simple format (Holtz et al. 2020).
The feed-back screen reflects friends and the artwork is the album covers for playback, avatar
and username, the venue, the name of the track, the playlist and the number of likes, views
and on-line hearing. An additional screen has been installed here. By clicking on or taping the
stream the user will access extensive information, including any feed-screen information
mentioned above, along with comprehensive feedback analysis, the ability to leave notes,
repost or participate in any social network linked to the application.
Digital Mockup
The main navigation was formed by a mix of all applications during the final interactive
mockup. However, we took the largest design choice on the home page. The app will begin
with a Jio Music and SoundCloud friend activity feed on the home page. They will
communicate through love, posting and communicating with these activity posts. We have
developed these acts by integrating friend feed with the "about you" page of Apple Music.
Users liked to explore the music preferences of other users so that they could hear other
tracks.
Hard decision
What we'll do for the homepage was one of the toughest decisions. Jio Music on the
homepage had a mixture of the components "Browse" and "Library." We have opted not to
include this combination on our homepage because we needed to take a social element into
account. We added a "News Feed" instead. In the background we have also included the latest
songs which people hear so that we can introduce users to new songs in such a way rather
than using Spotify's homepage for the components of "Browse." On the library board, we
wanted to model the organisation, with playlists, artists, albums, songs and downloads, of the
hierarchy of the Apple Music site. However, the newly played Jio Musics segment has
provided users with a feature that is simple to navigate to their latest favourites (Vroom and
Boquet, 2019).
Either recently played, or recently added, was difficult to determine. Recently Jio Music
played during a Recently Added Apple Music. In the end, though, we have decided to
'Recently Played' because our application is focused on current activities. That will make it
easy for a person to find the music they've discovered or had the most. One of our hardest
sites to build was the Playlist tab. Many applications didn't have a "create" button, so we
wanted to ensure this was the functionality of our programme.
We agreed to create modal pop-up versions for each stage of development after clicking to
ensure the user can remain on the same tab. In addition, we have added a "collaborative"
toggle alternative with the more social emphasis for our redesign. Users may either opt to
make the playlist an exclusive playlist, or allow their friends to participate in the set. When
this "Collaborative" feature is turned on, a modal pops up for which friends the user should
select.
There were several different factors during this entire phase that we had to include in our
application that we did not know were so significant. Many times when we use these music
apps, we don't really think about what user flow or hierarchy will be best, which means that
we're not necessarily the most user-friendly experience, only because something is trendy!
Testing
The testing of an application or website is one of the major stages of UX/UI architecture.
Practique reveals that proposals that seem genius at first sight are often totally ineffective for
intended consumers. This happened with the previously mentioned first iteration of the Echo
project.
Since analysing usability research outcomes, the writer received evidence that the initial
concept would not perform as expected and collaborated with focus groups. Blurry in the
expanded feed screen was the thing that got the most negatively feedback from users. The
computer looked dusty and the text looked illegible. Long charge, which is inacceptable for
such simple operations, was needed in animation and non-standard effect In the feed screen,
the stream was too small and the functionality of the controller was overcharged (Vroom and
Boquet, 2019).
Thus, the decision was taken to adjust the configuration of the displays on the basis of
customer input. The solution for them was as follows: the blurred effect has been completely
removed because it is completely different in PSD from what is seen on actual screens of
particularly low resolution. Both displays have been designed with a smooth backdrop and
sleek, laconically designed icons to ensure optimum cleanliness and simplicity. There were
less details in the feed screen, and the posts were larger. Extended feed was much easier
though it saved the animation concept (Vroom and Boquet, 2019).
The transformation from feed to expanded feed was done by tapping the artwork on the feed
screen or pressing the artwork: it was given to a feed in smaller sizes, and it grew when
transitioning proportionally to the entire screen.
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
Learning activity
Work was a valuable opportunity in this project. It demonstrates that modern UI / UX
designers should always take into account user needs and desires which are crucial for
delivering a good experience. In addition, a designer must always be prepared to upgrade or
even reinvent his work and this determination must be focused on actual product tests.
Conclusion
Spotify is a leading innovator in the world of music listening in the quickly evolving Internet
economy. Starting in a wide range of competition, Spotify rapidly increased to become a
leading provider of music streaming to millions of people. This was done by a user-focused
business model which focused on the economic value of the music it delivered or the
monetary gains that could be earned by millions of users. It was this move away from a
business model based upon profit that allowed Spotify to develop a network economy and
gain value for advertisers and music performers alike.
Spotify has been able to succeed by understanding the importance of the network and power
that can be seen by concentrating the spotlight on the network and drawing a wider library of
music to deliver its customers. This in turn enhanced Spotify's network and power.
However, in a changing modern environment, Spotify's network of customers exists where
technology evolves rapidly and rivals regularly. Spotify must actively refine its offerings and
innovative technologies to meet the increasing demands of the public if it is to remain the
market's leading competitor. You only retain your status as the Top Music Streaming Provider
because you have improved the provision of updated content and innovated goods to the
broad network, while concentrating your business plan on the needs of consumers.
Reference
Anderson, I., Gil, S., Gibson, C., Wolf, S., Shapiro, W., Semerci, O. and Greenberg, D.M.,
2020. “Just the Way You Are”: Linking Music Listening on Spotify and Personality. Social
Psychological and Personality Science, p.1948550620923228.
Besseny, A., 2020. Lost in spotify: folksonomy and wayfinding functions in spotify’s
interface and companion apps. Popular Communication, 18(1), pp.1-17.
Chodos, A.T., 2019. What does music mean to Spotify? An essay on musical significance in
the era of digital curation. INSAM Journal of Contemporary Music, Art and
Technology, 1(2), pp.36-64.
Coffey, A., 2016. The impact that music streaming services such as Spotify, Tidal and Apple
Music have had on consumers, artists and the music industry itself. Interactive Digital Media.
University of Dublin.
Eriksson, M., Fleischer, R., Johansson, A., Snickars, P. and Vonderau, P., 2019. Spotify
teardown: Inside the black box of streaming music. Mit Press.
Fleischer, R. and Snickars, P., 2017. Discovering Spotify-A thematic introduction. Culture
Unbound, 9(2), pp.130-145.
Gomes, I., Pereira, I., Soares, I., Antunes, M. and Au-Yong-Oliveira, M., 2021. Keeping the
Beat on: A Case Study of Spotify. In Trends and Applications in Information Systems and
Technologies: Volume 2 9 (pp. 337-352). Springer International Publishing.
Holtz, D., Carterette, B., Chandar, P., Nazari, Z., Cramer, H. and Aral, S., 2020, July. The
Engagement-Diversity Connection: Evidence from a Field Experiment on Spotify.
In Proceedings of the 21st ACM Conference on Economics and Computation (pp. 75-76).
Man, Y., Gao, C., Lyu, M.R. and Jiang, J., 2016, October. Experience report: Understanding
cross-platform app issues from user reviews. In 2016 IEEE 27th International Symposium on
Software Reliability Engineering (ISSRE) (pp. 138-149). IEEE.
Schwind, A., Haberzettl, L., Wamser, F. and Hoßfeld, T., 2019, October. QoE Analysis of
Spotify Audio Streaming and App Browsing. In Proceedings of the 4th Internet-QoE
Workshop on QoE-based Analysis and Management of Data Communication Networks (pp.
25-30).
Siles, I., Segura-Castillo, A., Sancho, M. and Solís-Quesada, R., 2019. Genres as social
affect: Cultivating moods and emotions through playlists on Spotify. Social Media+
Society, 5(2), p.2056305119847514.
Skog, D., Wimelius, H. and Sandberg, J., 2018, January. Digital service platform evolution:
how spotify leveraged boundary resources to become a global leader in music streaming.
In Proceedings of the 51st Hawaii International Conference on System Sciences.
Vonderau, P., 2019. The Spotify effect: Digital distribution and financial growth. Television
& New Media, 20(1), pp.3-19.
Vroom, G. and Boquet, I.S., 2019. Spotify: Face the Music (Update 2019). IES739, IESE
Business School, University of Navarra.
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help