Archive for the 'Uncategorized' Category

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

20
Jun
17

Spotify Earnings: Growth Comes At A Cost

An excellent analysis by Mark Mulligan on Spotify’s economic fortune.

Music Industry Blog

spotify metrics

Spotify has published its much anticipated 2016 revenues. Because the company is under so much analytical scrutiny, there is little that is particularly surprising but there is still plenty we can learn from the results:

  • Growth maintains momentum: Spotify recorded revenues of €2.9 billion in 2016, up 51% from €1.9 billion in 2015. Although that was a lower growth rate in % terms (80% for 14/15), it was a bigger net add in revenue terms (€989 million net new revenue in 2016 compared to €863 million in 2015). Spotify still has some way to go before it challenges Netflix’s $8.2 billion streaming revenue, but it is making clear progress.
  • Spotify is getting ready for public reporting: The 2016 accounts featured heavy restating of previous year figures and many line items from last year’s accounts were no longer reported. All of which points to an organization getting its reporting structures in…

View original post 890 more words




November 2018
M T W T F S S
« Oct    
 1234
567891011
12131415161718
19202122232425
2627282930  

Archive

Twitter

Categories

RSS Music Business Worldwide

Blog Stats

  • 449,944 hits
Advertisements