Archive for the 'Uncategorized' Category

10
Sep
19

Introducing our guests: Cliff Fluet (copyright lawyer, London)

In the 10th anniversary Vienna Music Business Research Days on the “Future of the Music Business” at the University of Music and Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna/Austria) music business researchers and music business professionals look into the recent past of the music industry to learn more about its future. Find the program here.

Cliff Fluet (Lewis Silkin LLP, London, UK) holds a keynote on “The Music Business & Technology – How Their Past and Present will Dictate Their Future” in mdw’s Joseph Haydn-Hall on Sep. 13, from 9:15-10:00 and will then join the panel discussion on “The Future of Music Copyright” with Karl Ryan (Government Affairs and Public Policy, Google UK), Ros Lynch (Intellectual Property Office, London, UK) and Steve Stewart (vezt, Los Angeles, USA) moderated by Sally Gross (University of Westminster, London, UK).

Cliff Fluet has operated in the world of digital music for well over two decades. He has a dual role as a partner at the law firm, Lewis Silkin, focussing on digital media and leads an advisory firm, Eleven, for clients operating at the cutting edge of where content and context meet technology.

 

 

 

10
Sep
19

Introducing our guest: Chris Carey (CEO Media Insight Consulting, London)

In the 10th anniversary Vienna Music Business Research Days on the “Future of the Music Business” at the University of Music and Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna/Austria) music business researchers and music business professionals look into the recent past of the music industry to learn more about its future. Find the program here.

Chris Carey stepped in for Pete Downton to talk about “What Are the Key Drivers of Growth in Music Streaming? – Past, Present and Future” in mdw’s Joseph Haydn-Hall on Sep. 13, 2019 from 14:45-15:30. He will then join the panel discussion on the “Future of the Music Business – What’s Next after Music Streaming?” with Rebecca Brook (music industry consultant, London, UK), Phil Graham (University of the Sunshine Coast, Australia) and Michael Smellie (Start-up investor, Brisbane, Australia) moderated by Dennis Collopy (University of Hertfordshire, UK).

Chris is an entrepreneur, strategist and data expert. He founded FastForward in 2015 and he is founder and CEO of boutique research company, Media Insight Consulting, specialising in Consumer Surveys, and Big Data Analytics, with a focus on the music industry. Clients include Spotify, Sony Music, The O2 and BMG Music.

He previously worked as Global Insight Director at Universal Music Group and at EMI, and Senior Economist at PRS for Music. He has been quoted in The Financial Times, The Economist, Forbes, The New York Times, The Independent as well as BBC Breakfast, Sky News, BBC 4’s Today Programme, BBC 5 Live, BBC World Service and music industry press.

 

 

 

07
Sep
18

Introducing our guests: Beate Flath (University of Paderborn)

“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.

Beate Flath gives the morning keynote on “The Political Economics of Music Festivals” on September 14 from 9:15-9:45 in Joseph Haydn-Hall at the University of Music and Performing Arts Vienna and then moderates a panel discussion with Axel Ballreich (LiveKomm, Hamburg) Hannah Crepaz (Osterfestival Tirol, Austria), Peter Smidt (Eurosonic Noorderslag Festival, Netherlands), Martin Cloonan (University of Turku , Finland), Detlef Schwarte (Reeperbahn Festival Hamburg, Germany)

Jun.-Prof. Dr. Beate Flath studied musicology, art history and business administration at the University of Graz, Austria. Since 2015 she is junior professor for event management at Paderborn University, Germany; Current publication (in progress): Beate Flath, Martin Cloonan & Adam Behr (eds.) IASPM-journal – Special Issue: Pop music festivals and (cultural) policies (9/1, 2019), More information: www.beateflath.net.

 

 

28
Aug
18

State of the YouTube Music Economy 2.0: A Turning Point for All Parties

Another contribution by Mark Mulligan on the endless story of You Tube’s “value gap”.

Music Industry Blog

YouTube is the most widely used streaming music app globally but it is also the most controversial one, locked in a perpetual struggle with music rights holders, with neither side quite trusting the intent of the other. 2018 has already seen YouTube’s renewed focus on subscriptions as well as a European Parliament vote that could potentially remove YouTube’s safe harbour protection. Meanwhile, oblivious to these struggles, and despite the rise of audio streaming services, consumers are flocking to YouTube in ever greater numbers and, crucially, using it for music more than ever before. Back in 2016, at the height of the value gap / grab debate, MIDiA published its inaugural State of the YouTube Music Economy report. Now two years on we have just released the second edition of this landmark report. MIDiA clients have immediate access to the ‘State of the YouTube Music Economy’ report, which is also…

View original post 893 more words

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

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

 

24
Nov
17

This Is What Post-IPO Life Will Look Like For Spotify

Some thoughts of Mark Mulligan on Spotify’s expected stock listing next year …

Music Industry Blog

With a fair wind, Spotify’s long-anticipated public offering should happen before the end of Q2 2018 (and yes, probably a direct listing rather than an IPO but ‘IPO’ worked better in the title!) . The music industry will be watching with keen interest as it is going to be the bellwether for the streaming music sector. Posting three or four successive quarters of well-received earnings will be key to Spotify’s life as a public company. Note my careful use of words, ‘well-received earnings’, not ‘strong earnings’. Spotify’s currently challenged underlying financials are not going to change in any fundamental sense over the course of nine to 12 months, so it will need to construct a series of narratives and targets that Wall Street will buy into. The only problem is, Wall Street often has very high expectations for growth stage tech stocks, and falling short of those expectations can result…

View original post 969 more words




November 2019
M T W T F S S
« Oct    
 123
45678910
11121314151617
18192021222324
252627282930  

Archive

Twitter

Error: Twitter did not respond. Please wait a few minutes and refresh this page.

Categories

RSS Unknown Feed

  • An error has occurred; the feed is probably down. Try again later.

Blog Stats

  • 486,617 hits