The music industry in Britain has seen significant changes over the past two decades. Recording artists now rely primarily on live performances and merchandise for income rather than recorded music sales. Record companies have introduced "360 deals" where they take a percentage of artists' revenues from all sources in order to benefit from their entire income stream. While digital singles sales are rising, digital and physical album sales continue to decline in the UK due to high levels of illegal downloading. More than three-quarters of downloaded music in Britain is obtained illegally, costing the music industry over £1 billion since 2007.
Christopher Sabec is an entertainment lawyer specializing in the music industry. He has herd many people talk about the music industry, and a lot of it has no basis for truth. Here are some common lies told about the music industry.
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?
Universal Music Group - SWOT, PEST, Porter AnalysisKevin Zi Liu
An in-depth analysis exploring Universal Music Group's (UMG) internal and external forces: SWOT, PEST, Porter's Five Forces.
We look at the current the current market share and cultural shifts and provide recommendations that align with their mission statement.
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
Lesson Slides for G322b Institutions & Audiences - The Music Industry
Slide background image taken from: http://evolver.fm/wp-content/uploads/2011/01/youtube_music_service_google.png
In this slide deck, I summarize and discuss the history of Spotify as told by the researchers and authors behind the book "Spotify Teardown: Inside the Black Box of Streaming Music" by Maria Eriksson, Rasmus Fleischer, Anna Johansson, Pelle Snickars and Patrick Vonderau (published by MIT Press).
Lyrics, music, recordings and production - Jack Mason
Mixed and mastered by Latin Grammy winner - Ale Gaiotto
Video production - Berto Ortiz, Patricia Lobo, Patty S, Jack Mason
all rights reserved:
Jack Mason Live LLC
Jackmasonlive.com
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. .
Christopher Sabec is an entertainment lawyer specializing in the music industry. He has herd many people talk about the music industry, and a lot of it has no basis for truth. Here are some common lies told about the music industry.
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?
Universal Music Group - SWOT, PEST, Porter AnalysisKevin Zi Liu
An in-depth analysis exploring Universal Music Group's (UMG) internal and external forces: SWOT, PEST, Porter's Five Forces.
We look at the current the current market share and cultural shifts and provide recommendations that align with their mission statement.
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
Lesson Slides for G322b Institutions & Audiences - The Music Industry
Slide background image taken from: http://evolver.fm/wp-content/uploads/2011/01/youtube_music_service_google.png
In this slide deck, I summarize and discuss the history of Spotify as told by the researchers and authors behind the book "Spotify Teardown: Inside the Black Box of Streaming Music" by Maria Eriksson, Rasmus Fleischer, Anna Johansson, Pelle Snickars and Patrick Vonderau (published by MIT Press).
Lyrics, music, recordings and production - Jack Mason
Mixed and mastered by Latin Grammy winner - Ale Gaiotto
Video production - Berto Ortiz, Patricia Lobo, Patty S, Jack Mason
all rights reserved:
Jack Mason Live LLC
Jackmasonlive.com
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?
The Art of the Pitch: WordPress Relationships and SalesLaura Byrne
Clients don’t know what they don’t know. What web solutions are right for them? How does WordPress come into the picture? How do you make sure you understand scope and timeline? What do you do if sometime changes?
All these questions and more will be explored as we talk about matching clients’ needs with what your agency offers without pulling teeth or pulling your hair out. Practical tips, and strategies for successful relationship building that leads to closing the deal.
UiPath Test Automation using UiPath Test Suite series, part 4DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 4. In this session, we will cover Test Manager overview along with SAP heatmap.
The UiPath Test Manager overview with SAP heatmap webinar offers a concise yet comprehensive exploration of the role of a Test Manager within SAP environments, coupled with the utilization of heatmaps for effective testing strategies.
Participants will gain insights into the responsibilities, challenges, and best practices associated with test management in SAP projects. Additionally, the webinar delves into the significance of heatmaps as a visual aid for identifying testing priorities, areas of risk, and resource allocation within SAP landscapes. Through this session, attendees can expect to enhance their understanding of test management principles while learning practical approaches to optimize testing processes in SAP environments using heatmap visualization techniques
What will you get from this session?
1. Insights into SAP testing best practices
2. Heatmap utilization for testing
3. Optimization of testing processes
4. Demo
Topics covered:
Execution from the test manager
Orchestrator execution result
Defect reporting
SAP heatmap example with demo
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
Connector Corner: Automate dynamic content and events by pushing a buttonDianaGray10
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Create a campaign using Mailchimp with merge tags/fields
Send an interactive Slack channel message (using buttons)
Have the message received by managers and peers along with a test email for review
But there’s more:
In a second workflow supporting the same use case, you’ll see:
Your campaign sent to target colleagues for approval
If the “Approve” button is clicked, a Jira/Zendesk ticket is created for the marketing design team
But—if the “Reject” button is pushed, colleagues will be alerted via Slack message
Join us to learn more about this new, human-in-the-loop capability, brought to you by Integration Service connectors.
And...
Speakers:
Akshay Agnihotri, Product Manager
Charlie Greenberg, Host
Builder.ai Founder Sachin Dev Duggal's Strategic Approach to Create an Innova...Ramesh Iyer
In today's fast-changing business world, Companies that adapt and embrace new ideas often need help to keep up with the competition. However, fostering a culture of innovation takes much work. It takes vision, leadership and willingness to take risks in the right proportion. Sachin Dev Duggal, co-founder of Builder.ai, has perfected the art of this balance, creating a company culture where creativity and growth are nurtured at each stage.
Epistemic Interaction - tuning interfaces to provide information for AI supportAlan Dix
Paper presented at SYNERGY workshop at AVI 2024, Genoa, Italy. 3rd June 2024
https://alandix.com/academic/papers/synergy2024-epistemic/
As machine learning integrates deeper into human-computer interactions, the concept of epistemic interaction emerges, aiming to refine these interactions to enhance system adaptability. This approach encourages minor, intentional adjustments in user behaviour to enrich the data available for system learning. This paper introduces epistemic interaction within the context of human-system communication, illustrating how deliberate interaction design can improve system understanding and adaptation. Through concrete examples, we demonstrate the potential of epistemic interaction to significantly advance human-computer interaction by leveraging intuitive human communication strategies to inform system design and functionality, offering a novel pathway for enriching user-system engagements.
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This talk is aimed at encouraging a more independent approach to using PHP frameworks, moving towards a more flexible and future-proof approach to PHP development.
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• Test Automation: How AI-powered test case generation, optimization, and self-healing tests are making testing more efficient and effective.
• Visual Testing: Explore the emerging capabilities of AI in visual testing and how it's set to revolutionize UI verification.
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Keynote at DIGIT West Expo, Glasgow on 29 May 2024.
Cheryl Hung, ochery.com
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- A fully editable and extendable library for grid component modelling;
- Visualization tools to display your network;
- Grid simulation tools, such as power flows, security analyses (with or without remedial actions) and sensitivity analyses;
The framework is mostly written in Java, with a Python binding so that Python developers can access PowSyBl functionalities as well.
What you will learn during the webinar:
- For beginners: discover PowSyBl's functionalities through a quick general presentation and the notebook, without needing any expert coding skills;
- For advanced developers: master the skills to efficiently apply PowSyBl functionalities to your real-world scenarios.
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Watch this recorded webinar about real-time monitoring of application performance. See how to integrate Apache JMeter, the open-source leader in performance testing, with InfluxDB, the open-source time-series database, and Grafana, the open-source analytics and visualization application.
In this webinar, we will review the benefits of leveraging InfluxDB and Grafana when executing load tests and demonstrate how these tools are used to visualize performance metrics.
Length: 30 minutes
Session Overview
-------------------------------------------
During this webinar, we will cover the following topics while demonstrating the integrations of JMeter, InfluxDB and Grafana:
- What out-of-the-box solutions are available for real-time monitoring JMeter tests?
- What are the benefits of integrating InfluxDB and Grafana into the load testing stack?
- Which features are provided by Grafana?
- Demonstration of InfluxDB and Grafana using a practice web application
To view the webinar recording, go to:
https://www.rttsweb.com/jmeter-integration-webinar
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1. MS4 – Text, Industry, Audience (Music Industry)
The Music Industry in Britain Today
The music business can be broadly split into four sectors: recording,
song writing and publishing, live music and artist management.
(www.bpi.co.uk)
(the following statistics taken from the British Phonographic Industry – BPI –
website)
Where is the music industry now, and how did it get there?
In the 2000s, consumers spent far less money on recorded music than they
had in 1990s, in all formats. The downward trend is expected to continue for
the foreseeable future. This dramatic decline in revenue has caused large
scale layoffs inside the industry, driven music retailers out of business, and
forced record companies, record producers, studios, recording engineers
and musicians to seek new business models.
In the early years of the decade, the record industry took aggressive action
against illegal file sharing, shutting down Napster in 2001 (the leading online
source of digital music) and threatening thousands of individuals with legal
action. This failed to slow the decline in revenue and was regarded as a
public relations disaster.
Legal digital downloads became widely available with the debut of the
iTunes Store in 2003. The popularity of internet music distribution has
increased and by 2007 more units were sold over the internet than in any
other form. However, as The Economist reports, "paid digital downloads
2. grew rapidly, but did not begin to make up for the loss of revenue from
CDs."
The UK Official Download Chart was launched on 1 September 2004, and
included any Permanent Digital Download track, under 10 minutes long,
being sold for a minimum price of 40p. In January 2005, downloaded tracks
outsold physical singles for the first time in UK music history, prompting The
Official UK Charts Company to begin to incorporate downloads for the first
time into the UK Singles Chart on 17 April 2005, at which time Radio 1
stopped broadcasting the separate download chart, although the chart is
still compiled. Initially this was on condition that the song must have a
physical media release at the same time; this rule was fully lifted on 1 January
2007 meaning all download sales are now eligible in the chart.
Recording artists now rely on live performance and merchandise for the
majority of their income. In order to benefit from all of an artist's income
streams, record companies are beginning to implement what is known as the
"360 deal", a new business relationship pioneered by Robbie Williams and EMI
in 2007. (In a 360 deal, the company agrees to provide financial support for
the artist, including direct advances as well as funds for marketing,
promotion and touring, as an investment to the artist's lucrative potential.
The artist agrees to give the company a percentage of all of their interests,
including sales of recorded music, live performances and any other income).
Inexpensive recording hardware and software has made it possible to create
high quality music in a bedroom and distribute it over the Internet to a
worldwide audience. This, in turn, has caused problems for recording
studios, record producers and audio engineers. Changes in the music
industry have given consumers access to a wider variety of music than ever
before, at a price that is gradually approaching zero. However, consumer
spending on music related software and hardware has increased dramatically
over the last decade, providing a valuable new income stream for technology
companies such as Apple Computer.
List pros and cons (for a variety of different people/organizations) of these
key recent changes in the industry:
Pros
Cons
3. What is the situation in Britain, specifically?
Generally, there has been a decrease in album sales (physical and digital) over recent
years. This decline overall in UK music sales is due to the still-increasing levels of
illegal downloading.
Last year, combined 2011 digital and physical album sales declined by 5.6% overall in
volume to 113.2m.Adele‟s 21was crowned overall year-end album chart champion, with
3.8m sales (beating last year‟s winner, Take That‟s Progress, who sold 1.8m).
Pop and Urban titles continued to dominate the bestsellers list, with albums by
Bruno Mars, Rhianna, Lady Gaga, Michael Buble and Coldplay also coming in the top
ten for the year.
In terms of album sales, in 2011, digital albums sales rose to 26.6m, whilst CD sales
dropped by 12.6% to 86.2m (although this format is clearly still the biggest seller in
terms of albums).
The singles market recorded an all-time saleshigh of 177.9m, an increase for the
fourth year in a row.
99% of the UK's singles market is now digital. The growth of this format has
provided flexibility for consumers and opportunities for the music business to
innovate.
Geoff Taylor, BPI Chief Executive, said, “It has been another record year for digital
singles, but the most encouraging news of the year is the strong backing consumers
are giving to the digital album format. British music fans understand that the album
remains the richest way to connect with an artist‟s work. Digital developments grab
the headlines, but the CD remains hugely popular with consumers, accounting for
three-quarters of album sales. Physical ownership is important to many fans and the
CD will be a key element of the market for years to come.
“British artists continue to produce incredible music that resonates at home and
around the world. But while other countries take positive steps to protect their
creative sector, our Government is taking too long to act on piracy, while weakening
copyright to the benefit of US tech giants. The UK has already fallen behind
Germany as a music market. Unless decisive action is taken in 2012, investment in
music could fall again – a creative crunch that will destroy jobs and mean the next
Adele may not get her chance to shine on the world stage.”
So, while the UK digital music market has expanded, widespread illegal downloading
means it is growing much more slowly than it could be. The lack of action against
illegal downloading continues to undermine the potential for the digital music sector
to expand.
4. More than three-quarters of the music downloaded in the UK is illegally obtained,
with no payment to the musicians and songwriters or music companies who invest in
them.
Filesharing, the activity of trading digital files with other users over the internet,
where users trade files by downloading (to obtain them) and uploading (to distribute
them), is illegal when copyright material is made available without the permission of
the rightsholders; which, in the case of sound recordings, are the record companies
that created them.British record companies invest tens of millions pounds annually
in new artists, and recoup that by having the exclusive right to copy, distribute and
make available their recordings.
The BFI argue that illegal downloading and filesharing is enormously damaging to
music sales.
If record companies are unable to derive income from music sales, that means less
money to invest in new music. This is potentially not only bad news for record
companies but also for musicians who rely on that investment and for consumers,
who want to keep on listening to exciting new British music.
Online copyright infringement cost the UK music sector an estimated £200m in 2009
Between the years 2007 and 2012 – according to research conducted by Jupiter
Research – the cumulative cost to music companies will be £1.2bn.
Questions:
1. Where does most recording artists‟ revenue come from?
2. Explain in your own words the „360 deal‟ that record companies have
introduced, and why they have done so.
3. Why might the Pop and Urban genres dominate the bestsellers list?
5. 4. Why do you think singles sell so much better than albums?
5. Why is the recorded music market still in decline, despite the success
of legally downloaded music? Give reasons.