“Download! How the Internet Transformed the Record Business” by music industry journalist Phil Hardy is a detailed analysis how the majors record companies lost control of the value added chain in the music industry in the digital revolution. He tells the story about self-confident and maybe arrogant music business executives, who had profited from the CD revolution in the 1990s, but were outmanoeuvred by industry outsiders who set up a totally new added value network for recorded music. The once highly profitable record business that attracted investors from other industries in the 1980s and 1990s turned into a laboratory of digitalization with declining record sales, job losses and divestments of pressing plants and distribution networks in the 2000s. “Download!” is, therefore, an important contribution to understand the impact of Internet and new media on the transformation of the recorded music industry.
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Tags: Access Industries, Amazon, Apple, Bertelsmann Music Group, BMG, digital revolution, download, Edgar J. Bronfman, EMI, Google, Guy Hands, iTunes, music business, music industry, music major companies, music majors, music piracy, Phil Hardy, SME, Sony Music Entertainment, Terra Firma, UMG, Universal Music Group, Wal-Mart, Warner Music Group, WMG
Tags: 4th Vienna Music Business Research Days 2013, Adolf Dietz, anti-trust law, ARESA, C3S, collecting society, copyright law, creative commons licensing, cultural diversity, Dennis Collopy, EU Copyright reform, Future of Music Licensing, intellectual property rights, International Music Registry, Jim Griffin, Liane Wildpanner, Meik Michalke, music registry, P. Bernt Hugenholtz, right holders, Till Evert
In the 4th Vienna Music Business Research Days the “Future of Music Licensing” was highlighted. The conference, therefore, focused on collective rights management and collecting societies respectively as well as the registration of music rights. However, in a broader perspective also the future of copyright in a digital society was discussed.
In the opening panel of the conference on Thursday the concept of creative commons licensing and the set-up of a collection society for CC-licensing by the C3S initiative in Germany was controversially discussed.
The first conference day, however, was devoted the 3rd Young Scholars’ Workshop. Fourteen young academics from 8 different countries – Australia, Austria, China, Czech Republic, France, Germany, Palestine and Portugal – presented their papers on a wide range of music business research topics.
For a detailed coverage of the whole conference– including all papers and presentation slides as well as audio files of all talks and discussion – please click here.
The scientific collaboration project, ART-e-FACT, will focus on IT-solutions for seamless artefact data process management, free of media discontinuities, in the music industry. The project is sponsored by the Federal Ministry of Education and Research as part of the initiative KMU-Innovativ, for small and medium-sized enterprises (SME), launched on 1st of January 2013.
For the next two years the project will deal with various problems of media discontinuity, particularly in the administration and management of business data within the music industry.
For further information please click on: http://artefact.uni-leipzig.de
Tags: ad-supported, All Access, Amazon, Apple, Cloud Drrive, Cloud Player, Deezer, freemium, Glenn Peoples, Google, Hulu, iCloud, Internet radio, iTunes Match, iTunes Radio, LastFM, Mark Mulligan, music downloading, music licensing, music streaming, Play Music, premimum subscription, Simfy, Slacker, Soundcloud, Spotify, Spotify (UK) Ltd., Spotity AB, subscription, TapeTV, Vevo, Vimeo, webcaster, Xbox Music, YouTube
The music streaming market is currently the most dynamic segment in the music industry. The market entry of Apple with iTunes Radio and Google with All Access underpin the relevance of music streaming. It is just a question of time when Amazon will announce the launch of its rumoured music streaming service. Google, Apple & Co., however, enter a highly contested market. In the relatively small Austrian music market, eight streaming operators offer their services to the consumers (IFPI Austria 2013: 13) – not counted are the myriads of Internet radios, video streaming platforms such as YouTube, TapeTV, Vimeo and Hulu as well as the cloud-based music services of Amazon, Apple and Google.
The 4th Vienna Musis Business Research Days will be held on the “Future of Music Licensing” in Joseph Haydn Hall at the University of Music Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna) from June 20-21, 2013. This international conference gathers scholars from different disciplines, but also business professionals and decision-makers from state and private bodies to discuss the future of collective music licensing as well as the future of copyright in a digital society. In addition young scholars present their recent findings on music business industry topics in an international workshop.
Admission free, but please register under firstname.lastname@example.org
You can follow the 4th Vienna Music Business Research from 19:30, June 20 (CEST until 18.00, June 21, 2013 (CEST) on a live audio stream: http://www.mdw.ac.at/mdwMediathek/livestream/
Media coverage of the 4th Vienna Music Business Research Days 2013
Musikmarkt. Das Branchenmagazin, “Zwischen Theorie und Praxis. Die Wiener Tage des Musikwirtschaftsforschung”, Issue 22/2013, p. 44.
Salzburger Nachrichten, “Ein Ständchen kann teuer werden”, June 14, 2013.
Futurezone, “Experten diskutieren Musiklizenzierung in Wien”, June 17, 2013.
The Gap, “The Next Big Thing”, June 19, 2013.
Tags: access model#, ad-supported streaming, digital music market, German recorded music market, mobile music market, music download, music streaming, music subscription, ownership model, physical sales, SoundExchange, Swedish recorded music market, US recorded music market
After years of recession optimism is back in the phonographic industry. In the current Recording Industry in Numbers by the International Federation of the Phonographic Industry (IFPI 2013) the first but small increase of 0.9 percent in global recorded music sales were reported since 1999.The decreases in CD sales and in other physical formats could be compensated by increases in digital music sales. The revenue streams of music streaming services seem to play a crucial role in the recovery. Spotify, Deezer & Co. report annually growing number of users, which makes streaming the fastest growing segment in the phonographic market.
In a series of blog posts entitled “Is Streaming the ‘Next Big Thing’?” I would like to highlight the boom of music streaming services and their business models. But I also ask whether and how labels and publishers as well as artists benefit from the growing streaming music market. In part 1 the development of the digital music market in different countries with special regard to the music streaming market is analysed in detail.
Tags: Aboriginal music, Andrea Schurmann, Australian music business, Breda McCarthy, chart analysis, content provider, David Salisbury, digital music, experience economy, file sharing, Gianna Moscardo, Guy Morrow, independent music, indies, indigenous music, Jordi McKenzie, Laurie Murphy, music, music branding, music copyrigh, music download, music festivals, music streaming, p2p music file sharing, Peter Tschmuck, Phil Graham, Philipp Peltz, Phlip Pearce, Ryan Daniel, Steven Campbell, tertiary music education, Torres Strait music
“Music Business and the Experience Economy” is the first book on the music business in Australasia from an academic perspective. In a cross-disciplinary approach, the authors deal with a wide-range of topics concerning the production, distribution and consumption in the digital age. The interrelationship of legal, aesthetic and economic aspects in the production of music in Australasia is also highlighted as well as the emergence of new business models, the role of music file sharing, and the live music sector. In addition, the impact of the digital revolution on music experience and valuation, the role of music for sports and branding, and last but not least the developments of tertiary music education, are discussed from different perspectives.
For a more detailed book review please click here for further reading.