“We have real understanding of what these artists are trying to accomplish both aesthetically and commercially,” Mr. Iovine said. At Apple, “We’re really getting there in merging these cultures — tech and the arts,” he added. “And we’re trying to prove that we are the best place for an artist to fulfill their vision.”

In interviews this month, Mr. Iovine and Mr. Jackson, the quietly influential pair behind the delivery of some of pop music’s most notable 2016 moments, discussed Apple’s place in the music ecosystem and what the future of streaming may hold. These are edited excerpts from those conversations.

What did you learn in 2016 that you didn’t realize at the beginning of the year?

LARRY JACKSON On an overall philosophical level, it was about finding our footing with regards to how you can deconstruct genre classifications, making these certain odd juxtapositions work that shouldn’t. A year ago, I don’t think anybody would have expected Taylor Swift and Drake to work with each other. What we’re trying to do is create a clubhouse where these artists can come and play together in the same sandbox and take advantage of each other in a mutually beneficial way. It’s been tough to do that at certain other places.

Image Frank Ocean, whose “Blonde” debuted at No. 1 on the Billboard chart as an Apple Music exclusive, ditched his label to work directly with the streaming service.

Why have we seen such a huge surge in streaming for hip-hop and R&B artists, and how does that affect who Apple Music chooses to work with?

JACKSON The shift happened before our arrival in the marketplace. It was something that I’d definitely taken note of when I was working as an A&R at Interscope, with artists like Chief Keef, who was doing so well [streaming]. It’s almost blasphemous for me to say it, but rap has almost taken the place of rock ’n’ roll for a young audience. With hip-hop assuming a rock ’n’ roll brashness and attitude, it just made it more of a powerful juggernaut.

From my perspective and from Jimmy’s, we’ve always had a very strong knack for signing and nurturing hip-hop and R&B acts. The thing I find more interesting now is: What’s the new pop? Pop has always been considered to be one thing, if you know what I’m saying. But when I look at the top albums of the year — it’s Drake, Beyoncé, J. Cole, Frank Ocean and the Weeknd — all black artists. How is that not pop? You don’t really hear Frank Ocean or J. Cole on pop radio, but streaming has ushered in what the new pop is.