Developments and business models in the music industry @ Noorderslag 2012ottilienieuwenhuis
Digitization has disrupted the music industry's traditional business models and led to an overall decline in revenues. However, it has also lowered costs and increased access to music. Record companies and retailers have suffered while new intermediaries like streaming services have emerged. Artists now have more opportunities to produce and distribute music independently, but their revenues may depend more on live performances. The future of the industry could see greater dependence on new aggregators working with record labels and social media platforms.
The document discusses Universal Music Group and key aspects of the music industry including ownership, production, marketing, distribution and exchange. It provides examples of Universal Music Group's artists like Lady Gaga and Blink-182. It also discusses how technology has impacted finding and promoting artists, and how digital distribution and streaming have radically changed how fans access music.
This document discusses the history of major music festivals in the UK from the late 1960s to the present. It notes several iconic early festivals such as the Isle of Wight Festival and Glastonbury Festival. It then discusses the growth of Glastonbury Festival from a small event to one that sells out in just a few hours and attracts over 100,000 people annually. The document also outlines some of the impacts, both positive and negative, that large music festivals can have on communities, the environment, employment, and 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.
The document discusses several options for music entrepreneurs in the digital space. It provides an overview of global music sales trends, with recorded music sales declining but digital sales increasing. It also summarizes financial results for several major music and media companies, noting growth in digital revenues but overall declines. The document advocates that entrepreneurs should focus on using technology to provide great experiences and interactions for consumers in order to be successful.
Developments and business models in the music industry @ Noorderslag 2012ottilienieuwenhuis
Digitization has disrupted the music industry's traditional business models and led to an overall decline in revenues. However, it has also lowered costs and increased access to music. Record companies and retailers have suffered while new intermediaries like streaming services have emerged. Artists now have more opportunities to produce and distribute music independently, but their revenues may depend more on live performances. The future of the industry could see greater dependence on new aggregators working with record labels and social media platforms.
The document discusses Universal Music Group and key aspects of the music industry including ownership, production, marketing, distribution and exchange. It provides examples of Universal Music Group's artists like Lady Gaga and Blink-182. It also discusses how technology has impacted finding and promoting artists, and how digital distribution and streaming have radically changed how fans access music.
This document discusses the history of major music festivals in the UK from the late 1960s to the present. It notes several iconic early festivals such as the Isle of Wight Festival and Glastonbury Festival. It then discusses the growth of Glastonbury Festival from a small event to one that sells out in just a few hours and attracts over 100,000 people annually. The document also outlines some of the impacts, both positive and negative, that large music festivals can have on communities, the environment, employment, and 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.
The document discusses several options for music entrepreneurs in the digital space. It provides an overview of global music sales trends, with recorded music sales declining but digital sales increasing. It also summarizes financial results for several major music and media companies, noting growth in digital revenues but overall declines. The document advocates that entrepreneurs should focus on using technology to provide great experiences and interactions for consumers in order to be successful.
Live Music Streaming Opportunity ValuationMC[CO] Labs
The document discusses brand investment opportunities in the live music and streaming industry. It notes that the music industry is projected to grow 3% annually, driven by live music and streaming. Live streaming currently accounts for less than 1% of online music but consumer demand is growing. The summary also states that while large brands have invested in live streaming, it has faced challenges achieving scale due to business model issues and audience fragmentation. Finally, it suggests that integrating live streaming with live events and artist partnerships could help brands improve returns on their music investments.
The document provides information on several major media institutions in the UK: Future PLC, IPC Media, Bauer Media, and EMAP. It outlines that they produce a variety of print and digital publications, websites, radio stations, and live events focused on topics like music, technology, automotive, and business. They reach millions of readers/listeners each month across their portfolio of over 100 brands. The institutions are focused on connecting engaged audiences through high-quality multi-platform content.
Ownership of record labels and music institutions can be held by private limited companies owned by shareholders or individuals. Production involves music writing, recording, and performance from musicians, producers, and engineers. Distribution and marketing promote artists through live performances, TV, radio, interviews, and websites to sell music physically and digitally. Exchange is how customers obtain music, but free downloading has disrupted the industry by reducing money for record companies and signing new talent.
Competitor analysis of Music Streaming ServicesTiffany Sam
As a personal winter break project, this deck is a compilation of various trends I have identified in the music streaming space both locally and globally with special attention paid to the rising competition between Apple Music and Spotify.
Streaming has become the dominant way for millennials to access music on their mobile devices. Two-thirds of music fans are millennials who want unlimited, mobile access to curated music that allows social sharing. Anghami is a streaming service that has tapped into this demand in the Middle East and North Africa region, attracting over 7.5 million users who stream an average of 2.5 million songs per day. By partnering with mobile operators, labels, artists and brands, Anghami has positioned itself at the center of the music ecosystem in MENA to provide value to all stakeholders and help fix issues caused by piracy.
This slide deck explains the streaming landscape to Caribbean Nationals and introduces a new niche streaming solution called Chune which will assist the Caribbean with using more local content and making Caribbean music easier to discover for locals and internationals.
This document summarizes a presentation about the Chune mobile app, which aims to become a centralized hub for Caribbean artists and music. The current music industry model in the Caribbean is flawed as it only highlights select genres and artists. Chune hopes to standardize and distribute Caribbean music, making it easier for listeners to discover and support local artists. The presentation outlines problems in the industry, how Chune differs from other music apps, and provides demo of Chune's features and abilities to support Caribbean music.
The document summarizes different sectors of the media industry, including film, television, radio, interactive media, music, games, advertising and marketing, digital imaging, and press and publishing. It provides overview information on each sector, such as the film industry comprising film production and distribution companies, and television involving producing and distributing television shows and channels. The radio industry is made up of public and commercial broadcasters. Interactive media engages users through websites and video games. The music industry consists of songwriters, performers, record labels, and live music organizers. The video game industry develops, markets, and sells video games across various platforms. Advertising is a form of marketing that promotes products through various media. Digital imaging involves creating and processing
Telekom is the main sponsor of the 30th annual Telekom Vivicittá running competition and event to be held in Budapest and two other cities. Telekom's sponsorship goes beyond traditional sponsoring by greatly contributing to organizing and publicity activities. The campaign aims to increase awareness of Telekom's sponsoring activities nationwide and inspire competitors through pre-event preparation and shared experiences. The communication will highlight how Telekom services like 4G, fitness trackers, and running apps can enhance the event experience.
Beyonce is not only an artist & entertainer, she is also a strategist. Through analyzing business models in the music industry like iTunes, record company, piracy, spotify, artists we show how Beyonce re-introduced the business model of the classic album. A classic. Beyonce rocks.
The document discusses changes in the music industry over time as revenues have declined but music consumption has increased. It attributes the revenue decline to shifts in how people access and listen to music, from physical formats to digital. New services like Napster, iTunes, YouTube and Spotify provided convenient digital access to music for free or low cost, which impacted revenue streams. Streaming services in particular have grown rapidly and now drive most digital revenue, though artist royalties per stream are much lower than from other sources. Sustainable business models are needed that satisfy customers desire for easy, free access while also generating sufficient revenue to fairly compensate all industry stakeholders.
Feed your inspiration session of 25092014 dedicated to sound & music: discove...Maxus Belgium
Discover some very interesting topics like the last CIM wave results, music: a new business model, the measure beyond the CIM results and the future of measurement, the great work of Digizik for STIB/MIVB and the great case of Mobistar and Mika the pop star
The document discusses how digitization has disrupted the music industry by changing the value chain and business models. It led to declining revenues as piracy increased and consumption shifted from physical to digital formats. Record labels adapted by pursuing new pricing strategies like a la carte downloading, subscriptions, and partnerships for streaming services. Overall, digitization transformed the industry from physical to digital and changed the role of record labels.
7digital is a leading digital media company based in London that provides music, videos, ebooks and audiobooks to partners around the world. It has over 10 million tracks licensed for 16 territories and powers digital download services. 7digital works with various organizations to offer promotional digital content to support brands or provide direct-to-consumer music stores. Their services include technology, rights management, sales promotions, and end-to-end digital entertainment solutions.
Andrew Harrison, Radio Advertising Bureau – “The Future Of Commercial Radio”UMLondon
- An overview of the current commercial radio market and what it means for advertisers.
- A presentation that covers all of the bases (revenue, audience, digital etc) of what is currently happening in the commercial radio industry. An excellent starting point for anyone who would like some form of context for the industry as a whole.
The document discusses the online music industry, including key players like iTunes, statistics on digital music revenues, and challenges like piracy. It analyzes the industry using Porter's Five Forces model and recommends that the sector is not worth investing in currently due to high competition, bargaining power of customers, threat of substitutes and new entrants, and need for stronger piracy legislation. ISPs and governments play a role in curbing piracy through graduated response laws and subscriber education.
This document provides a SWOT analysis of Sony Music Entertainment. It identifies strengths such as high market share and successful artists. Weaknesses include high production costs and copyright issues. Opportunities are growing global music markets and new legislation. Threats are piracy, decreasing physical sales, and privacy violations. A PESTEL analysis examines political, economic, social, technological, environmental and legal factors. Finally, a TOWS matrix proposes strategies like using streaming to reduce costs and collaborating with diverse artists.
Globalization in the music industry has led to consolidation, with a small number of large media companies controlling a majority of the market. This concentration of power allows these companies to influence culture on a global scale. Technological advances have helped spread global media but have not automatically led to a single global culture, as local values still influence how media is interpreted. The music industry has also seen companies grow vertically through acquiring other companies at different stages of production, horizontally by merging with similar companies, and diagonally through diversifying into new business areas.
Spotify Stats that run the music industry in 2020
Here are 21 Spotify Stats to take you on a journey of the music giant that transformed the way we listen to music.
The document discusses how the music industry has changed in recent decades due to digitalization and the rise of downloading/file sharing. It notes that major labels have struggled to adapt while independent labels have seen opportunities. Live music remains important for promotion and revenue. Digital sales now account for 29% of industry revenue, with streaming and downloads replacing physical formats. Issues around piracy and its impact on sales continue to challenge the industry's business model. The future will rely on new approaches and artists having more control over their careers.
Sony Music Entertainment (SME) is a major music conglomerate and subsidiary of Sony Corporation of America. SME has many record labels and owns the rights to music from a long list of popular artists. It produces and sells music in various formats and through media convergence in movies and games. While SME was profitable in 2010, it saw an 11% revenue decline in 2008 due to a decline in physical music sales not offset by digital growth.
Live Music Streaming Opportunity ValuationMC[CO] Labs
The document discusses brand investment opportunities in the live music and streaming industry. It notes that the music industry is projected to grow 3% annually, driven by live music and streaming. Live streaming currently accounts for less than 1% of online music but consumer demand is growing. The summary also states that while large brands have invested in live streaming, it has faced challenges achieving scale due to business model issues and audience fragmentation. Finally, it suggests that integrating live streaming with live events and artist partnerships could help brands improve returns on their music investments.
The document provides information on several major media institutions in the UK: Future PLC, IPC Media, Bauer Media, and EMAP. It outlines that they produce a variety of print and digital publications, websites, radio stations, and live events focused on topics like music, technology, automotive, and business. They reach millions of readers/listeners each month across their portfolio of over 100 brands. The institutions are focused on connecting engaged audiences through high-quality multi-platform content.
Ownership of record labels and music institutions can be held by private limited companies owned by shareholders or individuals. Production involves music writing, recording, and performance from musicians, producers, and engineers. Distribution and marketing promote artists through live performances, TV, radio, interviews, and websites to sell music physically and digitally. Exchange is how customers obtain music, but free downloading has disrupted the industry by reducing money for record companies and signing new talent.
Competitor analysis of Music Streaming ServicesTiffany Sam
As a personal winter break project, this deck is a compilation of various trends I have identified in the music streaming space both locally and globally with special attention paid to the rising competition between Apple Music and Spotify.
Streaming has become the dominant way for millennials to access music on their mobile devices. Two-thirds of music fans are millennials who want unlimited, mobile access to curated music that allows social sharing. Anghami is a streaming service that has tapped into this demand in the Middle East and North Africa region, attracting over 7.5 million users who stream an average of 2.5 million songs per day. By partnering with mobile operators, labels, artists and brands, Anghami has positioned itself at the center of the music ecosystem in MENA to provide value to all stakeholders and help fix issues caused by piracy.
This slide deck explains the streaming landscape to Caribbean Nationals and introduces a new niche streaming solution called Chune which will assist the Caribbean with using more local content and making Caribbean music easier to discover for locals and internationals.
This document summarizes a presentation about the Chune mobile app, which aims to become a centralized hub for Caribbean artists and music. The current music industry model in the Caribbean is flawed as it only highlights select genres and artists. Chune hopes to standardize and distribute Caribbean music, making it easier for listeners to discover and support local artists. The presentation outlines problems in the industry, how Chune differs from other music apps, and provides demo of Chune's features and abilities to support Caribbean music.
The document summarizes different sectors of the media industry, including film, television, radio, interactive media, music, games, advertising and marketing, digital imaging, and press and publishing. It provides overview information on each sector, such as the film industry comprising film production and distribution companies, and television involving producing and distributing television shows and channels. The radio industry is made up of public and commercial broadcasters. Interactive media engages users through websites and video games. The music industry consists of songwriters, performers, record labels, and live music organizers. The video game industry develops, markets, and sells video games across various platforms. Advertising is a form of marketing that promotes products through various media. Digital imaging involves creating and processing
Telekom is the main sponsor of the 30th annual Telekom Vivicittá running competition and event to be held in Budapest and two other cities. Telekom's sponsorship goes beyond traditional sponsoring by greatly contributing to organizing and publicity activities. The campaign aims to increase awareness of Telekom's sponsoring activities nationwide and inspire competitors through pre-event preparation and shared experiences. The communication will highlight how Telekom services like 4G, fitness trackers, and running apps can enhance the event experience.
Beyonce is not only an artist & entertainer, she is also a strategist. Through analyzing business models in the music industry like iTunes, record company, piracy, spotify, artists we show how Beyonce re-introduced the business model of the classic album. A classic. Beyonce rocks.
The document discusses changes in the music industry over time as revenues have declined but music consumption has increased. It attributes the revenue decline to shifts in how people access and listen to music, from physical formats to digital. New services like Napster, iTunes, YouTube and Spotify provided convenient digital access to music for free or low cost, which impacted revenue streams. Streaming services in particular have grown rapidly and now drive most digital revenue, though artist royalties per stream are much lower than from other sources. Sustainable business models are needed that satisfy customers desire for easy, free access while also generating sufficient revenue to fairly compensate all industry stakeholders.
Feed your inspiration session of 25092014 dedicated to sound & music: discove...Maxus Belgium
Discover some very interesting topics like the last CIM wave results, music: a new business model, the measure beyond the CIM results and the future of measurement, the great work of Digizik for STIB/MIVB and the great case of Mobistar and Mika the pop star
The document discusses how digitization has disrupted the music industry by changing the value chain and business models. It led to declining revenues as piracy increased and consumption shifted from physical to digital formats. Record labels adapted by pursuing new pricing strategies like a la carte downloading, subscriptions, and partnerships for streaming services. Overall, digitization transformed the industry from physical to digital and changed the role of record labels.
7digital is a leading digital media company based in London that provides music, videos, ebooks and audiobooks to partners around the world. It has over 10 million tracks licensed for 16 territories and powers digital download services. 7digital works with various organizations to offer promotional digital content to support brands or provide direct-to-consumer music stores. Their services include technology, rights management, sales promotions, and end-to-end digital entertainment solutions.
Andrew Harrison, Radio Advertising Bureau – “The Future Of Commercial Radio”UMLondon
- An overview of the current commercial radio market and what it means for advertisers.
- A presentation that covers all of the bases (revenue, audience, digital etc) of what is currently happening in the commercial radio industry. An excellent starting point for anyone who would like some form of context for the industry as a whole.
The document discusses the online music industry, including key players like iTunes, statistics on digital music revenues, and challenges like piracy. It analyzes the industry using Porter's Five Forces model and recommends that the sector is not worth investing in currently due to high competition, bargaining power of customers, threat of substitutes and new entrants, and need for stronger piracy legislation. ISPs and governments play a role in curbing piracy through graduated response laws and subscriber education.
This document provides a SWOT analysis of Sony Music Entertainment. It identifies strengths such as high market share and successful artists. Weaknesses include high production costs and copyright issues. Opportunities are growing global music markets and new legislation. Threats are piracy, decreasing physical sales, and privacy violations. A PESTEL analysis examines political, economic, social, technological, environmental and legal factors. Finally, a TOWS matrix proposes strategies like using streaming to reduce costs and collaborating with diverse artists.
Globalization in the music industry has led to consolidation, with a small number of large media companies controlling a majority of the market. This concentration of power allows these companies to influence culture on a global scale. Technological advances have helped spread global media but have not automatically led to a single global culture, as local values still influence how media is interpreted. The music industry has also seen companies grow vertically through acquiring other companies at different stages of production, horizontally by merging with similar companies, and diagonally through diversifying into new business areas.
Spotify Stats that run the music industry in 2020
Here are 21 Spotify Stats to take you on a journey of the music giant that transformed the way we listen to music.
The document discusses how the music industry has changed in recent decades due to digitalization and the rise of downloading/file sharing. It notes that major labels have struggled to adapt while independent labels have seen opportunities. Live music remains important for promotion and revenue. Digital sales now account for 29% of industry revenue, with streaming and downloads replacing physical formats. Issues around piracy and its impact on sales continue to challenge the industry's business model. The future will rely on new approaches and artists having more control over their careers.
Sony Music Entertainment (SME) is a major music conglomerate and subsidiary of Sony Corporation of America. SME has many record labels and owns the rights to music from a long list of popular artists. It produces and sells music in various formats and through media convergence in movies and games. While SME was profitable in 2010, it saw an 11% revenue decline in 2008 due to a decline in physical music sales not offset by digital growth.
The document traces the path of music distribution from analog to digital, highlighting significant milestones. It discusses how traditional distribution involved record manufacturers, distributors, retailers, and clubs. The rise of digital downloading and online platforms disrupted this model. Major milestones included the popularity of MP3s and devices like the iPod, the introduction of download sales in charts, and using mobile phones for music. This path was shorter for labels and consumers compared to analog. Digital distribution created new opportunities for artists and labels, but also challenges around things like piracy and digital rights management.
Universal Music Group owns many record labels and music companies. It uses various techniques to market, distribute, and profit from its artists. Media convergence and new technologies have radically changed the music industry by allowing free streaming and easier discovery of music online, though this has negatively impacted sales of CDs and digital downloads for major labels.
Express In Music (EIM) is a one-stop audio branding company that was established in 2009. It provides three main services: music content licensing, a patented streaming box for retail audio branding, and audio branding consultancy. EIM uses proprietary technologies to meet clients' needs. The company has won several awards including the 2013 SiTF Award for Cloud Solution and the 2013 AICTA Award for Digital Content. EIM helps clients develop signature sounds through innovative audio branding concepts tailored to their brands. Studies show that properly selected background music can significantly influence customers' perceptions and purchasing behaviors in retail and food and beverage establishments.
Universal Music Group owns various record labels and media companies involved in the production, marketing, distribution, and sale of music. It represents many popular artists that appear on radio playlists like AFI, Blink-182, Lady Gaga, and Rise Against. UMG uses various online and social media platforms to promote its artists, find new talent, and distribute music in both physical and digital formats through various retailers and online stores. Media convergence across different channels has been important for increasing music sales and exposure for UMG's artists.
The document discusses why the iPod is successful. It attributes its success to two main reasons: 1) its innovative product design and 2) the iTunes music store. iTunes disrupted the traditional music industry model by allowing people to purchase individual songs for $0.99 each, which helped drive iPod sales and gave Apple 80% of the online music market. While iTunes profits were low per song, it helped drive high profits for iPod sales, contributing to Apple's overall success.
Lecture given on the International Business School in Hungary, Budapest in 2011. Changes of the Music Industry - New Ways of Music Consumption
Edited by Andras Bodrogi - New Media Manager and Consultant
The document discusses the challenges facing the music industry as it transitions to the digital era. It describes three ages of digital music defined by the rise of file sharing, paid music services, and the current multi-tiered marketplace. Key strategic objectives like offsetting declining CD sales and competing with piracy have not been met. The future music industry will be smaller and more complex. Content should break free of rigid album formats and leverage live, multimedia, and interactive content across multiple release windows and business models.
The document provides an overview of the recording industry and analyzes its structure and key activities. It discusses the major changes in the industry from vinyl to digital formats and the impact of the internet. It describes the different types of record labels and identifies the three major labels that currently dominate the industry - Universal Music Group, Sony Music Entertainment, and Warner Music Group. It analyzes the advantages and disadvantages of major labels compared to independent labels and outlines the key functions and departments within a record label.
This was the first-ever made presentation deck made for Ohdio back in late 2011. Note the name "Ohdioo" which was an early iteration. We finally built another deck that we presented to labels for the first licensing negotiation. Note that we didn't have any real market research on the target consumer, mainly assumptions.
Universal Music Group has adapted successfully to changes in the music industry driven by consumer behavior. It was an early adopter of digital music distribution and partnerships with digital retailers. It monitors trends like increased digital single sales and decreased album sales to inform strategies like offering singles and EP deals instead of just albums. Universal also partners with emerging technologies to satisfy consumer demand for music, such as offering free songs to streaming sites in exchange for revenue sharing. Through market monitoring, innovative strategies and partnerships, Universal has maintained its leadership in the industry.
Informational Communication TechnologyLori Gilbert
This document discusses the Napster software which allowed users to share and download MP3 files from any computer connected to the Napster network in 1999. While Napster did not condone copyright infringement, the software had no way to stop this or pay royalties to artists. This raised legal issues as the major record labels believed it harmed sales. Some labels partnered with sites to sell music online as an alternative to piracy on Napster.
Universal Music Group is a major record label that owns and controls various aspects of the music industry including ownership of artists' recordings, production of music, marketing, distribution, and exchange of music. It signs popular artists like AFI, Blink-182, Lady Gaga, and Rise Against. UMG uses various online platforms and media technologies to find and promote new artists, market albums and singles, and distribute music to fans through both physical and digital means. Media convergence across industries has been important for maximizing exposure of artists signed to the label.
Universal Music Group is a major record label that owns and controls various aspects of the music industry including ownership of artists' recordings, production of music, marketing, distribution, and exchange of music. It signs popular artists like AFI, Blink-182, Lady Gaga, and Rise Against. UMG uses various online platforms and media technologies to find and promote new artists, market albums and singles, and distribute music to fans through both physical and digital means. Media convergence across industries has been important for maximizing exposure of artists signed to the label.
Digitalization has completely changed how music is composed, transmitted, preserved, heard, and performed. The overwhelming majority of music today is digital music since they exist in electronic form. Digital music along with other digital content is the driver for the global technology markets. As technology advances, so do the means for marketing and promoting of anything and everything. The music industry is no exception. It is now apparent that the digital production, distribution, and consumption of music is inevitable. However, while the digital music market is booming, it has been observed that there is no sustainable future for the music artists or for technology companies. The pressure consumers have placed on the music industry is enormous. This paper provides an introduction on digital music. Matthew N. O. Sadiku | Uwakwe C. Chukwu | Abayomi Ajayi-Majebi | Sarhan M. Musa "Essentials of Digital Music" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-6 | Issue-6 , October 2022, URL: https://www.ijtsrd.com/papers/ijtsrd51906.pdf Paper URL: https://www.ijtsrd.com/computer-science/other/51906/essentials-of-digital-music/matthew-n-o-sadiku
The document summarizes the 2010 IFPI Digital Music Report. It discusses how the music industry has led the way in the digital revolution by licensing music to over 400 online services. However, digital piracy remains a major barrier to growth, with global music sales falling 30% from 2004-2009. The report examines pioneers in digital music and new business models, but says unchecked piracy prevents investing in new artists and taking digital music to the mass market. It advocates graduated response measures and ISP cooperation to effectively address the problem of piracy.
Technology has significantly changed the music industry in recent years. People are listening to more rock and jazz music but buying less music in stores. The rise of the internet and mobile phones has enabled new forms of digital music distribution through platforms like iTunes and streaming. However, this has also led to rampant piracy through peer-to-peer file sharing networks, costing the industry billions. New technologies aim to curb piracy through digital rights management while expanded digital distribution opens new opportunities for artists and fans.
Universal Music Group owns many record labels and music artists. It uses a variety of marketing techniques like social media, websites and apps to promote its artists. It distributes music through both physical and digital stores. Media technology has greatly impacted the music industry by making it easier for fans to access music online through streaming and by helping labels find new artists on platforms like Myspace.
This document discusses privacy and mobile apps, outlining data protection requirements for app developers. It notes the complexity of the app landscape with multiple parties involved, including app developers, owners, stores, operating systems and third parties. Guidelines are needed to provide clarity on how privacy requirements can be implemented pragmatically and enforced. The objective is to have an ongoing dialogue with members about feasibility and continuously adapting guidelines to new legislation.
Djump is a new method of urban transportation that can be contacted through various social media sites like Startups.be@djump_in and Facebook.com/djump.in or through their website at http://djump.in. The document encourages downloading and trying out the Djump service tonight.
Mobilemonday Brussels organised for the fourth time the Appsmarathon 2013.
This time it was part of the Tech Startup day. #momobxl
Link to Djengo: https://www.dropbox.com/s/2jgfom9u1h98wzr/DjengoDjump.pdf
Link to pictures: http://www.flickr.com/photos/momobxl/sets/72157635687036215/
The Mobile Expertise Centre Brussels (MECB) provides mobile application expertise and services to companies and non-profits through its network of Easily Accessible Expertise and Service Provision Centres. The MECB offers technical advice, help writing requirements documents, mobile strategies, needs analyses and introductory interviews. It also refers clients to students for projects and commercial partners, and an innovation center. The goal is to make this expertise affordable and accessible.
This document discusses the state of mobile UX and challenges in choosing a mobile development strategy. There are three main options: native apps, mobile web, and responsive web. Native provides the best experience but is more expensive, while mobile web has broader reach but less features. Responsive web balances continuity across devices with optimized experiences. The key is understanding users, tasks, business needs, and choosing a strategy that aligns while continuing to learn from the real world outside of the building.
The document discusses strategies for promoting mobile games and apps. It addresses understanding the target audience, taking a strategic approach using paid, owned, and earned media, optimizing the app for discovery and search, and testing and learning from promotion efforts. Specific tips include using keywords and descriptions effectively, leveraging reviews and public relations, and playing to the strengths of the app when working with limited resources.
The document discusses user experience testing at different stages of product development. It emphasizes the importance of understanding users' mental models through observation and interviews rather than asking users directly. Prototyping and testing designs with real users early is recommended to get feedback. Usability testing basics include setting goals, testing with representative users and tasks, observing carefully, and analyzing results. The document also addresses mobile testing, using analytics after launch to learn from user data, and maintaining a lean process focused on learning about users.
This document provides information about past and upcoming mobile technology events in Belgium during 2013, including a social and mobile event in Brussels on January 21st, the Mobile World Congress trade show in Barcelona from February 25-28th, a mobile gaming event in Mechelen on April 15th, and a digital job advisor app competition jury event in Brussels on April 18th. It also provides information on how to find the Mobile Monday Belgium meetup group online and via a QR code.
This document contains links to Microsoft web pages about developing Windows apps, including pages on navigation design, featured app destinations, last minute travel deals, user trips, and universal Windows platform development. It also includes contact information for a Microsoft employee.
This document discusses UX design principles and patterns for Android applications. It covers topics such as design principles like simplifying the user's life and making them feel capable, style guidelines for different devices and densities, common navigation patterns like top level views, categories and details, and resources for learning more about Android design. The key messages are to follow platform conventions, make apps easy to use, and empower users.
This document provides a 4-step process for taking a user-centered approach to mobile app development: 1) Discover user needs and inspiring ideas through product research and brainstorming. 2) Define the target audience personas. 3) Map the customer journey from pre to post experience. 4) Build prototypes, get feedback, and refine through an agile development process to keep the product strategy aligned with users. The overall goal is to develop a better business case by understanding users.
The document discusses UI/UX design for iOS apps. It outlines the UI/UX definition process, provides tips for UI design on iOS like following Apple's guidelines and using native gestures. It also demonstrates three iOS apps - an e-commerce app, a real estate utility app, and a music app that employs skeuomorphism.
Appsforgeo.be took place on Friday 26th of April 2013. It was a 5 hour long hackaton, where apps (web or mobile) will be developed with a focus on Geodata in Open Data format.
The aim of the Appsforgeo.be day is to bring together Geo data-owners with application developers from enterprise , creative world… in order to get most out of the combination of available open geodatasets and aim for more open datasets. The appsforgeo.be day is also an interesting learning curve for public geo-authorities, data owners and other participants, in order to improve and ease the opening up of public data.
The app Nostalgeo aims to archive and make accessible historical heritage and landscapes through crowdsourced postcards. It allows users to:
1. Browse archived postcards to view how areas looked in the past and compare to modern street views and maps.
2. Create "Walkumentaries" by adding their own postcards to document differences over time.
3. Search locations and routes while shifting between different historical maps and pictures of an area.
The app currently integrates open data layers but plans to add more historical maps, images, and geolocation features to enhance the experience of exploring changes to the landscape over time.
This document provides details about a Mobile Monday event in Brussels on January 21st, 2013. The event featured talks on mobile strategy for social networks and an overview of the mobile scene in Slovakia. It thanked Corelio for sponsoring the location. The core team meeting agenda discussed plans for future 2013 Mobile Monday events in Belgium and Barcelona on topics like mobile payments, gaming, and apps.
Mobile Vikings believes that everyone should have free access to information and digital services, just as they have a right to drinking water, energy, and education. They want to be a movement that accelerates this process. Most of Mobile Vikings' new members are referred by existing members, showing that happy customers become ambassadors. They use social media like Facebook, Twitter, YouTube, and Slideshare as part of their overall brand strategy with very small marketing budgets to communicate easily, answer questions quickly, and help their members.
Bratislava, the capital of Slovakia, has a unique position and history within Central Europe. As a small capital city on the border of three countries, Bratislava faces both opportunities and challenges in defining its role. While it struggles with a lack of size and identity relative to neighboring cities, Bratislava retains a cultural vitality and central location that could allow it to become a bridge between East and West.
This document discusses social media trends on mobile devices in 2013. It notes that consumers will look to maximize every moment on their mobile devices. Some key findings include that 71% of mobile users visit social networks at least once a day, with Facebook being the most popular. It also discusses the rise of social shopping and notes that over half of shoppers will use social media to find information about products, events, promotions and more while shopping. The document recommends optimizing websites and locations for mobile and rewarding customers in order to be successful with social media on mobile.
Survey Anyplace is a service that allows anyone to easily create mobile-friendly surveys for tablets and smartphones without technical skills. The surveys are designed to work across different device types using HTML5 technology, requiring no app installation. The service aims to help companies better understand their customers by making it simple to collect valuable feedback on mobile devices. A demo is available to try creating and distributing a survey.
5. Stakeholders in Music Songwriter & Author (Belgian representative: SABAM) Artist & Management (Belgian representative: SIMIM) UM, land of distribution UMGI Local Label of Signing Distribution Consumers
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8. Evolution Music & Mobile Analog " Red Book " two-channel 16-bit PCM encoding at a 44.1 kHz sampling rate per channel Mobile Phone Ringtones ringbacktones Digital Music-Player MP3 AAC Mobile Phone MP3 AAC iTunes & CD Digital mobile format Mobile Music Unlimited Downloads Subscription