Author Archive for Peter Tschmuck

16
Aug
18

Introducing our guests: Peter Jenner (Sincere Management)

Peter Jenner, © Walter Wobrazek

“Music Life Is Live” is the main topic of the 9th Vienna Music Business Research Days from Sep. 12-14, 2018. In presentations and discussions music business representatives and music business researchers focus this time on the political economy of music festivals and the economics of the international concert and touring business. Find the program here.

Peter Jenner (Sincere Management, London) is a panelist of “The International Concert and Touring Business” panel moderated by Berthold Seliger (Seliger Konzertagentur, Berlin) on September 14 from 16:15-17:30.

Peter is legendary in the music business. He put on a number of free concerts in London’s Hyde Park which included the 1969 concert by The Rolling Stones. He was one time manager to Pink Floyd, The Clash, Ian Dury & Billy Bragg amongst many others. Now Peter is at the forefront of the debates surrounding the digital use of music. He is President Emeritus (IMMF), former Director (UK MMF) and on the advisory board of FAC. He is also a visiting professor for the University of Hertfordshire and the University of Adger in Norway. For more details, see http://en.wikipedia.org/wiki/Peter_Jenner (not all of it accurate).

 

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14
Aug
18

Introducing our guests: Jake Beaumont-Nesbitt (IMMF, London)

“Music Life Is Live” is the main topic of the 9th Vienna Music Business Research Days from Sep. 12-14, 2018. In presentations and discussions music business representatives and music business researchers focus this time on the political economy of music festivals and the economics of the international concert and touring business. Find the program here.

Jake Beaumont-Nesbitt (International Music Managers Forum, IMMF) is one of the discussants of the panel on “The International Concert and Touring Business” moderated by Berthold Seliger (Seliger Konzertagentur, Berlin) on September 14 from 16:15-17:30.

Jake  manages composer Peter Gregson, and advises a number of artists on rights management and career development. He is the policy advisor to The International Music Managers Forum (IMMF), an organisation that brings together artist representative associations from 30 countries. It represents managers and the artists they work with to establish better trading conditions for creators through networking, sharing and discussions.

 

 

 

21
Jul
18

Interview by Peter Tschmuck on ABC’s “The Music Show”: The Future of Music

Today on July 21st, national Australian radio station ABC broadcast a longer interview by Peter Tschmuck on the “Future of Music” in “The Music Show” presented by Andrew Ford. This episode will be repeated on Saturday and Sunday 9pm, Wednesday and Thursday 11pm (Australian eastern time).

http://www.abc.net.au/radionational/programs/musicshow/the-future-of-music/10018986

 

 

30
Jun
18

Could Article 13 Kill Off Music on YouTube?

Mark Mulligan on YouTube’s “value gap”

Music Industry Blog

It was a day of two halves for YouTube. On one side a big press release went out championing a host of impressive new stats – including hitting 1.9 billion logged in users, following an official launch of YouTube Musicthe day before. Meanwhile, on the other side, the European parliament’s legal affairs committee voted in support of Article 13, whichwill overturn some basic premises of the fair use / safe harbour frameworks under which YouTube operates. The question is which half will prove to be most impactful on YouTube’s music strategy.

It’s complicated

If YouTube was to post the status of its relationship with the labels on its Facebook profile it would be ‘It’s complicated’. The whole value gap argument – which posits that YouTube does not pay as much as other streaming services because it does not have to directly license in the way they do…

View original post 766 more words

22
Jun
18

Music Majors in the Streaming Economy: Universal Music Group

Universal Music Group’s parent company Vivendi announced plans to spin-off the world’s largest music major company as a standalone entity on the stock market. It is no incident that the French media and telecommunication conglomerate Vivendi considers such a strategy. Spotify’s public listing early in April this year was a financial success and it seems that investors currently assess music as a good investment. The overall economic climate is positive and Universal Music Group (UMG) performed very well in the past few years – mainly because of significantly increasing revenues from music streaming. In the last annual report for the financial year 2017, UMG posted a total revenue of € 5.67bn (+ 25 percent compared to 2012) and an EBITA of € 761m (+ 45 percent compared to 2012). Music streaming is the main driver of revenue and profit growth. Thus, revenue from streaming increased by almost 33 percent from 2016 to 2017 to EUR 1.97bn contributing more than a third to UMG’s total revenue in 2017.[1]

The further analysis highlights how UMG had to reinvent itself as a comprehensive music service company with a focus on music streaming and providing a wide range of services far beyond the traditional recorded music business.

Continue reading ‘Music Majors in the Streaming Economy: Universal Music Group’

27
Apr
18

International Journal of Music Business Research – April 2018, vol. 7, no. 1

The first article of this issue of the International Journal of Music Business Research (IJMBR), “Exploring bounty and spread: key changes in the Danish music streaming economy” by Rasmus Rex Pedersen examines the structural effects of the transition to the access-based business model of music streaming, at a time when the global music streaming market is growing and developing quickly. The second article is “Blockchain: A new opportunity for record labels” by Opal Gough, which points to the opportunities for the music industry from blockchain technology, especially the chance to develop an international industry database for musical compositions and sound recordings as well as streamline processes, remove inefficiencies and improve cash flow. The concluding article of this issue is “Compulsory licensing in Ecuador’s music industry: A daring strategy within the new intellectual property law in order to regulate music piracy” by Abner Pérez Marín. This paper examines compulsory licensing in relation to the management of music piracy in Ecuador and describes how, in October 2016, Ecuador’s Government replaced its Intellectual Property Code with the Organic Code of the Knowledge’s Social Economy and Innovation, branded as Código Ingenios. Daniel Nordgård’s book review of “Digital Music Distribution: The sociology of online music streams ” by Hendrik Storstein Spilker rounds up the IJMBR’s April 2018 issue.

 

Volume 7, no 1, April 2018

Editorial by Dennis Collopy, pp. 4-5

Rasmus Rex Pedersen: Exploring bounty and spread: key changes in the Danish music streaming economy, pp. 6-25

Opal Gough: Blockchain: A new opportunity for record labels, pp. 26-44

Abner Pérez Marín: Compulsory licensing in Ecuador’s music industry: a daring strategy within the new intellectual property law in order to regulate music piracy, pp. 45-71

Book review by Daniel Nordgård: Digital Music Distribution: The sociology of online music streams by Hendrik Storstein Spilker, pp. 72-74

 

03
Apr
18

Spotify goes public – an economic background analysis

April 3rd 2018 is a historic moment in the digitized music industry, when the Swedish music streaming company Spotify is listed at the New York Stock Exchange. Spotify’s stock exchange listing is not just a touchstone for the music streaming service’s business model, but for the entire recorded music industry that is back on a path of growth. Spotify is the darling of the big music industry players. It provides a legal business model that can be monetized by hefty advances and royalty payments. This allowed the music majors and the indie label licensing agency MERLIN to become Spotify’s shareholders in return for advance payments Spotiy could not afford. Sony Music Entertainment’s Spotify stake of 5.7 percent (Spotify 2018: 148) e.g. is worth US $500m to 1.3bn.[1] The following analysis highlights Spotify’s success story, but also outlines potential risks of going public. It also analysis who benefits from Spotify’s stock exchange listing and assesses the impact on the music streaming market.

Continue reading ‘Spotify goes public – an economic background analysis’




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