1. The digital music business has grown significantly since 2003, with the number of licensed music services increasing from less than 50 to around 400 and digital revenues for the music industry growing from $20 million to $4.2 billion.
2. Download sales of single tracks and digital albums increased in 2009, but overall music sales declined around 30% since 2004 despite digital growth, partly due to piracy reducing investment in major music markets like France and Spain.
3. Graduated response laws began to be implemented in 2009 in countries like France and South Korea, and were being considered in other countries, with some studies finding they may reduce illegal downloading and correlate with increased legal music sales.
London School of Economics: Copyright & Creation A Case for Promoting Inclusi...Stéphane M. Grueso
London School of Economics: Copyright & Creation A Case for Promoting Inclusive Online Sharing
Bart Cammaerts
Robin Mansell
Bingchun Meng
The London School of Economics and Political Science
Department of Media and Communications
London School of Economics: Copyright & Creation A Case for Promoting Inclusi...Stéphane M. Grueso
London School of Economics: Copyright & Creation A Case for Promoting Inclusive Online Sharing
Bart Cammaerts
Robin Mansell
Bingchun Meng
The London School of Economics and Political Science
Department of Media and Communications
Radio Futures 2010 provides a strategic overview of the evolving audio landscape for broadcasters, webcasters and other industry stakeholders.
This report looks at the following issues:
<ul>
<li>the extent to which the role that broadcast radio plays in listeners’ lives
is changing</li>
<li>the impact of new audio alternatives on this role</li>
<li>the types of Internet-only audio services that are gaining traction</li>
<li>the relative use of Internet-only and broadcast radio applications on the
mobile platform, and</li>
<li>the impact of HD radio in the US</li>
</ul>
By surveying online consumers in the US, Canada and the UK, the
study observes changes in the audio landscape through the lens of
different regulatory and competitive environments.
In one of the biggest acquisitions of 2016 Yahoo has been taken over by Verizon for 4.83 million dollars so as to increase there digital and social marketing share in the market.
This is a piece I wrote on the strong cluster of music technology start up companies coming out of Ireland. Ireland is renowned for launching many successful international music careers such as U2, The Script and The Frames and it is also home to some of the most exciting and forward thinking technology companies that are focused on driving opportunity and addressing the challenges faced by the music industry.
Radio Futures 2010 provides a strategic overview of the evolving audio landscape for broadcasters, webcasters and other industry stakeholders.
This report looks at the following issues:
<ul>
<li>the extent to which the role that broadcast radio plays in listeners’ lives
is changing</li>
<li>the impact of new audio alternatives on this role</li>
<li>the types of Internet-only audio services that are gaining traction</li>
<li>the relative use of Internet-only and broadcast radio applications on the
mobile platform, and</li>
<li>the impact of HD radio in the US</li>
</ul>
By surveying online consumers in the US, Canada and the UK, the
study observes changes in the audio landscape through the lens of
different regulatory and competitive environments.
In one of the biggest acquisitions of 2016 Yahoo has been taken over by Verizon for 4.83 million dollars so as to increase there digital and social marketing share in the market.
This is a piece I wrote on the strong cluster of music technology start up companies coming out of Ireland. Ireland is renowned for launching many successful international music careers such as U2, The Script and The Frames and it is also home to some of the most exciting and forward thinking technology companies that are focused on driving opportunity and addressing the challenges faced by the music industry.
Privacy of patient data versus patient safety. HIMSS Europe, Nov 6, 2014Arjen Noordzij
(inter)national privacy regulations may have a negative impact on patient care, especially safety and efficiency. This presentation shows the measures taken by the Spaarne Hospital, Hoofddorp (NL)
The Asia Women's Conference on Environment
-by Irene Dankelman
Recommendations:
(a) Recognize and protect the human right to water.
(b) Ensure women’s access to and control of safe water and land.
(c) Ensure gender mainstreaming in all water and sanitation policies and institutions.
(d) Promote women’s participation and empowerment.
(e) Ensure corporate social and environmental accountability in water and sanitation.
College Students Say the Darnedest ThingsAndy Carswell
This is a tongue-in-cheek presentation that is given to some of my classes at the very beginning of the semester. The presentation basically addresses some of the most consistently asked questions and statements by students that educators face from students, and serves as a good ice-breaker for students with whom I am not familiar. While being barraged by such statements/questions can get tedious over time, the author provides some (hopefully) helpful responses that when applied consistently across classrooms and cohort groups, can inject a little bit of common sense and a reality check to students when necessary. For veterans of the classroom, these statements/questions have all been heard before. For new professors/educators, this is a primer on just some of the things that you can expect students to ask/say over time...sometimes again and again. Cover art work by Ross Schmidt.
GateIn - Presented at Atlanta JUG on 1/19/2010Wesley Hales
This presentation is an overview of the GateIn Platform. Most of the presentation was done using live demos, so links to videos of similar demos are in their respective slides.
From Students for Students at English Language Teaching & Learning Internatio...Jarod Yong
Here are the slides to a workshop I conducted at the English Language Teaching & Learning International Seminar on 18 May 2013 at the Four Points by Sheraton in Kuching. It was organised by IPG Batu Lintang & Brighton Education
Read about the workshop here: http://www.jarodyong.com/2013/06/ELTLInternationalSeminar.html
Presentation on Dutch urban wind technology by Paul Vosbeek, Real NewEnergy. The presentation was part of the Urban Wind Roundtable at the Consulate General of the Netherlands in San Francisco, March 16, 2011.
Music revenues are declining for more than ten years. But we are not listening less music. Digital revolution, piracy, streaming and mostly customers behaviors are affecting heavily the monetization of the entire industry. Define a new business model is key to grow.
Music Ally's roundup of key digital music industry stats and data from July 2010, including: sales figures, cloud music predictions, the success of Justin Bieber on Vevo and Lady Gaga on Facebook, stats on teenagers and social networks, the rise of Foursquare, iPhone 4 and Apple revenues, and the growth of mobile apps.
Digital Music Report es un reporte de la IFPI que se entrega anualmente y analiza el comportamiento de esta industria en Estados Unidos. La toma actual corresponde al 2014.
IPFI Digital Music Report 2015
Welcome to the latest edition of IFPI’s annual Digital Music Report. It sets out how the music industry has adapted in the digital age and the challenges and oppor- tunities it faces today.
Sony husic Entertainment and theEvolution of the Music Indu.docxwhitneyleman54422
Sony h/usic Entertainment and the
Evolution of the Music Industry
A. J. Strickland
The Ilniversitg of Alabama
Andrew Pharaoh
2015 Undergraduate,
The Universitg of Alabama
d d A t such a pivotal time for music, it's more
ffi imRortant than ever to develop a fertile,d \ creative environment that generates the
highest quality of artists and music, while seeking to
fully exploit the many opportunities that new digital
services and products provide in reaching audiences
around the world."r
The remarks of Sony Music Entertainment CEO
Doug Morris in 2011 illustrated an accurate under-
standing of the environment of music sales. Morris,
a globally influential executive and music innovator,
agreed to join Sony Music Entertainment as chief
executive officer effective July 1, 201l. In a time of
great change in the music marketplace, it was abso-
lutely necessary that Sony take active steps to remain
competitive. Morris took the job graciously, but he
placed himself into a business whose margins were
becoming thinner and thinner. With a declining
industry that had been made less lucrative by the
wide availability of substitutes, Morris was forced to
develop a strategy to contend with industry change
and unfavorable competitive forces in 2014.
F"$$ST#ffiV #ffi S#NY f'1U$$*
ffiNTKreT&!Iq P--$ffiNY
American Record Company, the company that would
laterbecome Sony Music Entertainment, was founded
in 1929 and then acquired by Columbia Broadcasting
Company in 1938. In March 1968, Sony, at that rime
Seth Kennedg
2014 Llndergraduate,
The Universitg of Alabama
a Japanese company, began a joint venture with the
American company CBS to form CBS/Sony Records
Inc. In September 1976, Sony introduced the optical
digital audio disc, now known as the compact disc
(CD). In 1983, CBS Inc., as an American company,
allowed introduction of the CD to American markets.
In January 1988, CBS Records Inc. was absorbed,
and in January 1991, the new company was renamed
Sony Music Entertainment Inc.
In August 2004, Sony BMG Music Entertain-
ment was established as a new joint venture with Ber-
telsmann AG. Later, in August 2008, Sony acquired
BMG's 50 percent stake in Sony Music Entertain-
ment and began operation once again as Sony Music
Entertainment, a wholly owned subsidiary of Sony
Corporation. In July 2012, Sony/AIV Music Publish-
ing, a joint venture between Sony and the Michael
Jackson Family Trust, along with a consortium of
other investment firms, bought the publishing arm of
the EMI Group, which solidified Sony's position as
the world's largest music publisher.
#VffiRV!HW ffiT THffi ML,}$$T
il N,EM M$TruV
Before the 1900s, music and entertainment media had
a strong emphasis on performance. If theater, magic,
or music was wanted in a certain venue, individuals
Copyright O 2014 by A. J. Strickland. All rights reserved.
who could perform the arl personally were found and
paid to do so. At the beginning of the 20th century,
music began to become ownership-driven. .
A power point presentaion discussing the question 'Despite seeming evidence to the contray, the major players in the global music industry continue to claim that piracy is 'killing' new music, to what etent is illegal copying either, a criminal act ,or, a democratising of popular culture?
A powerpoint presentation discussing the points surrounding the question 'Despite seeing evidence to the contray, the major players in the global music industry continue to claim that piracy is 'killing' new music, to what extent is illegal copying either, a criminal act,or, a democratising of popular culture?
1. 1
IFPI DIGITAL MUSIC REPORT 2010 – KEY HIGHLIGHTS
The advance of the digital music business, 2003-2009
2003 2009
Licensed music services Less than 50 Around 400
Catalogue available 1m tracks 11m tracks
Industry’s digital revenues US$20 million US$4.2 billion
% of industry’s revenues Negligible 27%
from digital channels
Download sales of single tracks increased by an estimated 10% in 2009 to more than
1.5 billion units. Digital albums grew more strongly, up by an estimated 20%.
Music companies’ revenues from digital channels (27%) are proportionately more
than double that of films (5%), newspapers (4%) and magazines (2%) combined.
Diverse new ways to access music are developing rapidly: They include
subscription services; devices and broadband bundled with music; streaming services
with applications for mobile devices; advertising-supported services that upgrade
users to paid-for premium offerings; and online music video. In the last year, music
companies have partnered with advertising-supported services such as Spotify,
Deezer, MySpace Music and We7; ISPs such as TDC in Denmark, Terra in Brazil and
Sky in the UK; mobile operators such as Vodafone; handset makers such as Nokia
and Sony Ericsson; and online video channels such as Hulu and VEVO.
The digital music business has huge growth potential. In the US, only 18% of
internet users aged 13 and over regularly buy digital music (NPD Group, 2009). In
Europe, digital adoption is even less widespread – only 8% of internet users in the top
five EU markets frequently buy music digitally (Jupiter Research, 2009).
The best selling track of 2009 was Poker Face by Lady Gaga, selling a total of 9.8
million units. By comparison, the best-selling single track in 2008, Lil Wayne’s
Lollipop, sold 9.1 million units and in 2007 Avril Lavigne’s Girlfriend sold 7.3
million units (IFPI).
2. 2
Despite the successes, digital is not offsetting the overall decline. Digital sales
grew 940% since 2004, but the overall music market fell by around 30% in that
period. Sales were down 12% in the first half of 2009 and the full year figure is likely
to show a similar trend.
Piracy is reducing investment in major markets. In France, 107 local artist albums
were released in the first half of 2009, 60% down on the same period of 2003. New
signings of French artists also fell by 60%, from 91 in the first half of 2002 to 35 in
the same period of 2009. Overall investment in marketing and promotion by the
French music industry fell 9% in the first 6 months of 2009. 25% of the French
internet population currently download music illegally from P2P networks or other
sources on a monthly basis (Jupiter Research, 2009).
In Spain, a culture of state-tolerated apathy towards illegal file-sharing has
contributed to a dramatic slump in the music market. Spain has the worst piracy
problem of any major market in Europe. In 2009 no new Spanish artist featured in the
top 50 album charts, compared to 10 in 2003. Overall, unit sales of Spanish artist
albums fell by an estimated 65% between 2004 and 2009. Today, illegal file-sharing
in Spain, at 32% of internet users, is more than double the European rate of 15%
(Jupiter Research, 2009). The Spanish market fell by an estimated 17% in 2009.
In Brazil, music sales fell by 43% between 2005 and 2009, with a disastrous impact
on investment in local repertoire. In 2008 there were only 67 full priced local artist
album releases by the five major companies in Brazil – just one tenth of the number
(625) a decade earlier in 1998. This has been particularly damaging in a market
where 70% of music consumed is domestic repertoire.
Illegal file-sharing has a negative net impact on music purchasing. In the UK,
research from Harris Interactive in 2009 highlighted that nearly one in four P2P file-
sharers (24%) typically spend nothing on music, while finding an overlap of legal and
illegal downloading among some file-sharers. A Jupiter Research study in five
European countries in 2009 found that, although there is an overlap between online
music buyers and file-sharers, the net effect of illegal file-sharing is negative.
P2P network file-sharing remains the most damaging form of piracy, but the last
two years have also seen a sharp rise in non-P2P piracy, such as downloading from
hosting sites, mobile piracy, stream ripping, instant message sharing and downloading
from forums and blogs. According to Jupiter Research in 2009, about one in five
3. 3
internet users across Europe’s top markets (21%) are engaged in frequent
unauthorised music-sharing. P2P piracy is still the biggest source of this.
Piracy threatens creative industries. For years, digital piracy has been a problem
most associated with music. Today, however, creative industries including movie,
publishing and television, regard “monetising” the online world and addressing digital
piracy as their greatest challenges. Illegal streaming and film downloads now account
for 40% of the movie piracy problem by volume (MPAA). Illegal distribution of TV
content is growing faster than music and movie piracy (Big Champagne).
Governments adopt or propose graduated response laws. Graduated response
legislation arrived on the statute books in 2009 with France, South Korea and Taiwan
passing laws that turned the concept into reality. Other governments, from the UK to
New Zealand, are proceeding with the introduction of legislation.
South Korea saw an improved legal environment coinciding with strong growth in
legitimate music sales. The government began to publicise its new graduated
response law ahead of implementation in July 2009. Music sales increased by 18%,
with digital sales up by 32% on the same period in 2008. Preliminary research by the
South Korean government suggests consumers are aware of and being influenced by
the new law. In an indicative survey based on 1,000 interviews, 45% said they were
illegally downloading less content.
Sweden saw a strengthening of the legal environment in 2009. The music market in
Sweden was up by more than 10% in 2009, driven by a 98.6% increase in the digital
market and a 1.9% rise in physical format sales. Research by GfK in June 2009 found
that 60% of infringing file-sharers had stopped or reduced their activity as a result of
the introduction of new laws. However, it remains to be seen if this will be a long
term trend.
Education is key, but not alone the solution. The music industry has been involved
in more than 70 education campaigns across the world over the last six years.
Independent research confirms education alone is not sufficient to change consumer
behaviour. Harris Interactive in the UK in 2009 found that music file-sharing among
those “very familiar with the law” (33%) was far more common than among the
general population (23%).