The aim of this paper is to indicate that structure of recording industry based on analogue sound recording technology has transformed as a consequence of digitization, a technological innovation. In this study, it is considered that digitization in sound recording technology has formed two paths: the one is a way to strengthen existing market of recording industry and to form prosperity, the other is a way to expand Do-It-Yourself music production and “prosumer” related with diffusion of computer, ICT and the like. Both paths of digitization have been accelerating in the mid-1990s. In the latter half of 1990s, digitization in music creation has enabled to reduce production cost and to integrate industrial organizations: record production, artist management, and music publishing. It used to be reasonable for music companies to divide and assign property rights of their music into mass media companies, and each music copyright used to be joint-ownership in many cases.

 “The fourth step” of recording industry evolution is shown as mixed situation with both digitization paths. This study relies on the evolutionary model developed by Kabashima (2009) that explains transformations of content industry. Furthermore, this research attempts to improve on the model. “The fourth step” is added to the three steps of the content industry’s evolutionary theory shown by previous study. “The fourth step” of recording industry is characterized by things as follows: partial integration in industrial organization, creation by consumers, and shift of platform. It is suggested that digitization has led the change of recording industry system since around 1995 in this study. Thus, it is possible to perceive dynamics of recording industry by indicating “the fourth step” of the evolutionary model.

 The aim of this paper is to clarify characteristics of music prosumers through quantitative analyses mainly focusing on their purposes and digitized tools of production. The term “prosumer” coined by Toffler (1980) means consumer who produces something. Consumers’ productions in content industries have been suggested in previous studies. However, it has not quantitatively revealed what has led consumers’ creations. This paper contributes to suggesting a correlational relationship between digi- tized tools and productions and to understanding intrinsic motivations of the prosumer, which have not clarified in previous studies.

 This research reconsiders on a prosumer construct and its scale items based on Katsumata and Ichikoji (2010), Ikuine, Katsumata and Ichikoji et al. (2011), and collects both quantitative and qualitative data from a questionnaire survey. First, using Mann-Whitney’s U test, differences between prosumers and non-prosumers are examined to reveal some characteristics of the prosumers. Second, a free de- scriptive answer text is analyzed to reveal what are the purposes of creative activities. Third, a cor- relation analysis is conducted to examine the correlational relationship between each instrument and each production activity.

 Consequently, it is indicated that the purposes of consumers’ productions are mostly for self-con- tented and/or self-satisfying through analyzing answer data of the open-ended question in this research. For the music prosumers, creations are neither for sharing with the others nor for progressing in their skills and/or quality of the works. Distinguished from the non-prosumers, people who make creations prefer to others’ works released from not only major labels but also independent labels, individuals, and amateurs. Also, the prosumer has forwardness in listening, watching, and viewing other people’s works and learning from them. The prosumer seems to seek the contents of his/her own motion without much influence from mass-media appeals. This paper also clarifies the usage of digitized instruments has correlation with production activities such as arrangement of content, publishing the works, and making profits from them.

 Based on this research, it is thought that “production itself” and “acquisition of knowledge or skills” can be an object for consumption and/or be an experience good. Thus, business models should be designed based on those facts indicated in this paper. As further issues, it might be necessary to reconsider a construct of production, because technological developments have realized easy production without recognition of producing. Also, it is required to develop the scale items and to conduct more precise researches regarding the prosumer.

全天球や半天球映像のインタラクティブ視聴に合致した音場の選択的合成手法として，音場のズーム合成技術を提案し，スマートフォン上で単体動作するアプリケーションソフトウェアを開発した．提案手法は，複数チャネル間のスペクトル変形に基づき，円状マイクロホン

筆者らはこれまでに，360度動画のインタラクティブ視聴向けに，指定した任意の角度範囲の音場を合成する音場の選択的合成手法を提案し，提案手法を組み込んだモバイルデバイス向けの「新音楽視聴体験 音のVR」と呼称する360度動画再生アプリを開発，公開した．提案手法は，円状または球状マイクロホン

There has been an increase in the number of Japanese people who disagree with traditional gender roles which has resulted in diversified male roles. Based on a nine-male-roles model, this study examined the chronological changes and differences in male characters as per their ages and relationships with the heroine in NHK’s morning drama serials known as “asadora,” which is a Japanese TV drama. Results indicated that the roles of middle-aged men evolved from “high communion” in the ’60s and ’70s, to “high social status” in the ’80s and ’90s, to “commitment to household responsibility” in the ’00s and ’10s. Meanwhile, young men’s roles evolved from “high agency” in the ’90s to “attentiveness to women” in the ’10s. Additionally, the heroines’ husbands, ex-husbands, male friends, and romantic partners demonstrated “low effeminacy,” “superiority to women,” and “attentiveness to women.” Conversely, the heroines’ brothers, sons, and neighbors demonstrated “psychological and physical strength” and “emancipation from emotional restriction and toughness.” Based on social changes in Japan, implications of this study and future prospects were discussed.