In our digital network community, sound recording distribution poses a variety of challenges to music publishers and recording labels alike. New practices reveal a substantial array of possibilities, but additional options and devices do exist, albeit somewhat network-specific. They include renouncing a specialized content-oriented approach; a lack of emphasis related to specific sound solution, and attacks pointed towards the institutional establishments in the field. This study presents a critical review of some already settled institution practices.
Keywords: media, network, recording company, music, institution, intellectual piracy