Examples of New Business Models in Music *
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How Shop Environment Including Layout and Music Can Out- Power the Price of Items Sold?
Asian Journal of Business and Management (ISSN: 2321 - 2802) Volume 02 – Issue 02, April 2014 How Shop Environment Including Layout and Music can Out- power the Price of Items Sold? Beatrice Ng Miin Wei1, Rashad Yazdanifard2 1Center of Southern New Hampshire University Programs HELP College of Arts and Technology, Kuala Lumpur, Malaysia. E-mail: beatricebarbie {at} hotmail.com 2Center of Southern New Hampshire University Programs HELP College of Arts and Technology Kuala Lumpur, Malaysia E-mail: rashadyazdanifard {at} yahoo.com _______________________________________________________________________________________________ ABSTRACT--- Music can become a very powerful marketing tool if used in the right way and at the right time. This is why in this paper we will be looking at how music can influence one’s purchasing behaviour. This is because music is able to influence one’s mood. Furthermore there are some benefits to playing music in stores. Plus there are certain types of music for certain target market and in this paper, it will be revealed which type of market prefers what type of music. Also the age of the customer and the type of music being played in the store also has a relationship. Music can also lead to an increase in one’s sales level. The type of music is important and so are the tempo, pitch and volume of the music. Besides that, the store environment that includes a couple of features like the light and color of the store is rather important. Not to forget the layout of the store. The store environment and layout also plays a part in attracting and making sales for the store. -
What's the Download® Music Survival Guide
WHAT’S THE DOWNLOAD® MUSIC SURVIVAL GUIDE Written by: The WTD Interactive Advisory Board Inspired by: Thousands of perspectives from two years of work Dedicated to: Anyone who loves music and wants it to survive *A special thank you to Honorary Board Members Chris Brown, Sway Calloway, Kelly Clarkson, Common, Earth Wind & Fire, Eric Garland, Shirley Halperin, JD Natasha, Mark McGrath, and Kanye West for sharing your time and your minds. Published Oct. 19, 2006 What’s The Download® Interactive Advisory Board: WHO WE ARE Based on research demonstrating the need for a serious examination of the issues facing the music industry in the wake of the rise of illegal downloading, in 2005 The Recording Academy® formed the What’s The Download Interactive Advisory Board (WTDIAB) as part of What’s The Download, a public education campaign created in 2004 that recognizes the lack of dialogue between the music industry and music fans. We are comprised of 12 young adults who were selected from hundreds of applicants by The Recording Academy through a process which consisted of an essay, video application and telephone interview. We come from all over the country, have diverse tastes in music and are joined by Honorary Board Members that include high-profile music creators and industry veterans. Since the launch of our Board at the 47th Annual GRAMMY® Awards, we have been dedicated to discussing issues and finding solutions to the current challenges in the music industry surrounding the digital delivery of music. We have spent the last two years researching these issues and gathering thousands of opinions on issues such as piracy, access to digital music, and file-sharing. -
Openness in the Music Business– How Record Labels and Artists May Profit from Reducing Control
Table of Contents TECHNISCHE UNIVERSITÄT MÜNCHEN Dr. Theo Schöller-Stiftungslehrstuhl für Technologie- und Innovationsmanagement Openness in the music business– How record labels and artists may profit from reducing control Johannes L. Wechsler Vollständiger Abdruck der von der Fakultät für Wirtschaftswissenschaften der Technischen Universität München zur Erlangung des akademischen Grades eines Doktors der Wirtschaftswissenschaften (Dr. rer. pol.) genehmigten Dissertation. Vorsitzender: Univ.-Prof. Dr. I. Welpe Prüfer der Dissertation: 1. Univ.-Prof. Dr. J. Henkel 2. Univ.-Prof. Dr. F. v. Wangenheim Die Dissertation wurde am 09.12.2010 bei der Technischen Universität München eingereicht und durch die Fakultät für Wirtschaftswissenschaften am 11.05.2011 angenommen. i Table of Contents Table of Contents DETAILED TABLE OF CONTENTS .................................................................................................... II LIST OF FIGURES .................................................................................................................................. V LIST OF TABLES ................................................................................................................................. VII LIST OF ABBREVIATIONS..................................................................................................................IX ABSTRACT..............................................................................................................................................XI 1 INTRODUCTION ...................................................................................................................... -
Smart Speakers & Their Impact on Music Consumption
Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment. -
The Dynamics of Legal and Illegal Digital Music Distribution Christian Syvertsen
Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 1 Preface This paper was written as a Master thesis in Informatics for Christian Syvertsen at the University of Oslo. The Master studies were started spring 2005, and the thesis is to be delivered November 2007. This Master thesis has been realized at the department of Information Systems at the Institute of Informatics at the University of Oslo, with great assistance and advice by supervisors Jennifer Blechar and Ole Hanseth. November 2007 University of Oslo, Department of Informatics Page 2 of 86 Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 2 Abstract In this thesis I give an overview and background of the current digital music landscape, analyse it through Actor Network Theory and see the complexity of the network as making it difficult to break down into less holistic parts. Every part of the network influences the other. As illegal downloads of illegally copyrighted music only increases, it seems apparent that the record industry have taken a wrong strategy. Copyright laws have been tightened, DRM systems have been applied and lawsuits have been made, but it seems that it has no decreasing effect on the illegal downloads. I believe what the record companies must to is to put more efforts into making a better legal music download service, that actually can offer a better product than the P2P networks, because then increasing numbers of users will prefer that legal alternative. But for something like this to be achieved, there is a long way to go. -
Crowdfunding Platforms: Ecosystem and Evolution Full Text Available At
Full text available at: http://dx.doi.org/10.1561/1700000061 Crowdfunding Platforms: Ecosystem and Evolution Full text available at: http://dx.doi.org/10.1561/1700000061 Other titles in Foundations and Trends® in Marketing Entertainment Marketing Natasha Zhang Foutz ISBN: 978-1-68083-332-4 The Cultural Meaning of Brands Carlos J. Torelli, Maria A. Rodas and Jennifer L. Stoner ISBN: 978-1-68083-286-0 Ethnography for Marketing and Consumer Research Alladi Venkatesh, David Crockett, Samantha Cross and Steven Chen ISBN: 978-1-68083-234-1 The Information-Economics Perspective on Brand Equity Tulin Erdem and Joffre Swait ISBN: 978-1-68083-168-9 Full text available at: http://dx.doi.org/10.1561/1700000061 Crowdfunding Platforms: Ecosystem and Evolution Yee Heng Tan Tokyo International University Japan [email protected] Srinivas K. Reddy Singapore Management University Singapore [email protected] Boston — Delft Full text available at: http://dx.doi.org/10.1561/1700000061 Foundations and Trends® in Marketing Published, sold and distributed by: now Publishers Inc. PO Box 1024 Hanover, MA 02339 United States Tel. +1-781-985-4510 www.nowpublishers.com [email protected] Outside North America: now Publishers Inc. PO Box 179 2600 AD Delft The Netherlands Tel. +31-6-51115274 The preferred citation for this publication is Y. H. Tan and S. K. Reddy. Crowdfunding Platforms: Ecosystem and Evolution. Foundations and Trends® in Marketing, vol. 14, no. 2, pp. 53–172, 2020. ISBN: 978-1-68083-699-8 © 2020 Y. H. Tan and S. K. Reddy All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise, without prior written permission of the publishers. -
7Digital Group Plc (“7Digital”, “The Group” Or “The Company”)
26 September 2017 7digital Group plc (“7digital”, “the Group” or “the Company”) Interim results for the half year ended 30 June 2017 7digital Group plc (AIM: 7DIG), the global leader in end-to-end digital music solutions, today announces its interim results for the half year ended 30 June 2017 (“H1”). Highlights Strong sales momentum into the second half of the year - Total revenues up 17% on a pre currency movement basis and 9% on adjusted basis to £5.9m (H1 2016: £5.4m) - Licensing revenues up 33% to £4.0m (H1 2016: £3.0m) - MRR up 38% to £3.2m (H1 2016: £2.3m) - LBITDA reduced by 36% to £1.7m (H1 2016: £2.6m) Benefits from the acquisition of 24-7 Entertainment (“24-7”), effective from 1 June 2017, starting to come through with additional revenue of £530k in June as a result of the acquisition MediaMarktSaturn (“MMS”), Europe’s biggest electronics and entertainment retailer, becomes the Company’s largest shareholder following the acquisition of 24-7 Entertainment Contracts signed with MMS as part of the transaction with a value of £18.0m over three years Total combined value of other one/two year contracts signed in the period of £4.0m. These included contracts with all three major record labels, the re-launch of TriPlay's eMusic service in the US and a renewed contract with musical.ly across additional territories, with revenue to be recognised over the next year More than 65% of H2 licensing revenues (£7.5m out of £11.3m) already contracted or committed £2.9m raised through a placing and open offer in March 2017 which allowed -
To the Strategy of Amazon Prime
to the strategy of Amazon Prime “Even if a brick and mortar store does everything right, even if the store is exactly where you parked your car and it puts the thing you want right in the window and is having a sale on it that day— if you’re a Prime customer, it’s easier to buy from Amazon.” Mike Shatzkin, CEO of The Idea Logical Company Side 2 af 2 Overview: Main points and conclusions • Amazon is the world’s leading e- third of Amazon’s turnover in the commerce business with an annual US derives from Prime member- turnover of more than 100 billion ships. Prime is also an important USD and its growth is still expo- part of Amazon’s strategy for the nential. At the same time, Amazon future that revolves around a com- is one of the world’s leading sub- plete disruption of the interplay scription businesses with Amazon between e-commerce and retail Prime. The service is believed to and a domination of the same-day have above 80 million members delivery market. worldwide. • To win the position as the same- • Amazon prime is considered a sig- day delivery dominator in the mar- nificant part of Amazon’s great ket, Amazon has entered the mar- success. Amazon Prime members ket for groceries in the US. Ama- pay an annual sum of 99 USD or a zonFresh delivers groceries and monthly sum of 10.99 USD and get other goods directly to the cus- free two-day delivery on more than tomer’s doorstep on the same day 15 million different items. -
Cover Your (Data) Bases What Musicians Need to Know About Music Metadata to Get Paid for Their Music
Cover Your (Data) Bases What musicians need to know about music metadata to get paid for their music Digital download sales, royalties from streaming music services, revenue sharing from YouTube—in addition to physical retail and online retail sales of CDs—all hinge on coded information. It’s important that artists use every means available to establish their connec- tion to their recorded works, and to incorporate into their project all of the essential data tools for selling their recordings. We originally wrote about metadata in 2007; Mike Petillo has done a careful update of this important topic. June 2014 Airshow, Inc www.airshowmastering.com UPC, ISRC, CD Text and Online Music Along with the traditional tracking of physical sales from retail Databases outlets, UPCs are now used to compile sales data on digital down- A lot of the information on a music recording isn’t music. Digital loads; having a UPC assigned for a new release is now mandatory delivery and online sales can’t happen without some coded data, before selling your music online via stores like iTunes and Amazon commonly called “metadata,” which is the information about the MP3. music. The multitude of ways in which fans listen, often across Where does it come from? various devices at home, work, in their cars and on their phones, Allocation of UPCs is officially managed by GS1, a global, non-prof- allow artists new opportunities to share info about their music and it organization that governs manufacturing and supply chain draw listeners closer. standards. In order to receive their own special UPC prefix code, companies must become a member of the organization. -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
AT&T MOBILE MUSIC: Take Control of Your Music
AT&T MOBILE MUSIC: Take Control of Your Music AT&T Mobile Music is the only service that lets you bring subscription music services to your wireless phone, and it offers the largest collection of mobile music content available today from leading music retailers, such as Napster, Yahoo!® Music and eMusic. Designed to deliver “your music, your way,” AT&T Mobile Music puts you in touch with all things music directly from the handset. Available on select handsets, such as the Samsung a717 and a727, AT&T Mobile Music is the ultimate mobile music experience and provides one-click access to a complete suite of music-related content. Music Player Rip music from your CD collection, load it to your phone and select handsets, or play tracks that are accessible from digital music stores. You’ll need a data cable, memory card and stereo headset to fully rock your phone. Shop Music Show your style by downloading ringtones and Answer Tones™. Buy tracks from leading digital music stores, such as Napster, Yahoo! Music and eMusic on select handsets. Streaming Music When you need a change from your music, dozens of commercial-free channels stream the latest tunes in rock, hip-hop, jazz, Latin and other favorites. Add XM Radio or MobiRadio for $8.99 a month. Music Video With an AT&T 3G phone, you can watch your favorite music videos anytime, anywhere. The dancing, the amazing effects, the hot hits — all in the palm of your hand. MusicID “Who sings this?” “What’s this song called?” Know in a flash just by holding up your phone to the music. -
The Economics of Crowdfunding : Entrepreneurs’ and Platforms’ Strategies Jordana Viotto Da Cruz
The Economics of Crowdfunding : Entrepreneurs’ and Platforms’ Strategies Jordana Viotto da Cruz To cite this version: Jordana Viotto da Cruz. The Economics of Crowdfunding : Entrepreneurs’ and Platforms’ Strategies. Sociology. Université Sorbonne Paris Cité, 2017. English. NNT : 2017USPCD030. tel-01899518 HAL Id: tel-01899518 https://tel.archives-ouvertes.fr/tel-01899518 Submitted on 19 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. |_|_|_|_|_|_|_|_|_|_| UNIVERSITE PARIS 13 U.F.R. DE SCIENCES ÉCONOMIQUES ÉCOLE DOCTORALE : ERASME NO 493 THÈSE Pour obtention du grade de Docteur de l’Université Paris 13 Discipline : Sciences Économiques Présentée et soutenue publiquement par Jordana VIOTTO DA CRUZ Le 13 novembre 2017 « The Economics of Crowdfunding: Entrepreneurs’ and Platforms’ Strategies » Directeurs de thèse Marc BOURREAU, Télécom ParisTech François MOREAU, Université Paris 13 Jury Thierry PÉNARD, Professeur, Université Rennes 1 Président Paul BELLEFLAMME, Professeur, Aix-Marseille Université Rapporteur Jörg CLAUSSEN, Professeur, Ludwig-Maximilians-Universität München Rapporteur Françoise BENHAMOU, Professeur, Université Paris 13 Examinateur Marc BOURREAU, Professeur, Télécom ParisTech Directeur de thèse François MOREAU, Professeur, Université Paris 13 Directeur de thèse UNIVERSITÉ PARIS 13 U.F.R.