Online Music Distribution Agreement
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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 -
The Top 10 Open Source Music Players Scores of Music Players Are Available in the Open Source World, and Each One Has Something That Is Unique
For U & Me Overview The Top 10 Open Source Music Players Scores of music players are available in the open source world, and each one has something that is unique. Here are the top 10 music players for you to check out. verybody likes to use a music player that is hassle- Amarok free and easy to operate, besides having plenty of Amarok is a part of the KDE project and is the default music Efeatures to enhance the music experience. The open player in Kubuntu. Mark Kretschmann started this project. source community has developed many music players. This The Amarok experience can be enhanced with custom scripts article lists the features of the ten best open source music or by using scripts contributed by other developers. players, which will help you to select the player most Its first release was on June 23, 2003. Amarok has been suited to your musical tastes. The article also helps those developed in C++ using Qt (the toolkit for cross-platform who wish to explore the features and capabilities of open application development). Its tagline, ‘Rediscover your source music players. Music’, is indeed true, considering its long list of features. 98 | FEBRUARY 2014 | OPEN SOURCE FOR YoU | www.LinuxForU.com Overview For U & Me Table 1: Features at a glance iPod sync Track info Smart/ Name/ Fade/ gapless and USB Radio and Remotely Last.fm Playback and lyrics dynamic Feature playback device podcasts controlled integration resume lookup playlist support Amarok Crossfade Both Yes Both Yes Both Yes Yes (Xine), Gapless (Gstreamer) aTunes Fade only -
"Licensing Music Works and Transaction Costs in Europe”
"Licensing music works and transaction costs in Europe” Final study September 2012 1 Acknowledgements: KEA would like to thank Google, the internet services company, for financing which made this study possible. The study was carried out independently and reflects the views of KEA alone. 2 EXECUTIVE SUMMARY Establishing and running online music services is a complex task, raising both technical and legal difficulties. This is particularly the case in Europe, where complex rights licensing structures hinder the development of the market and the launch of new innovative online services. Compared to the US, Europe is lagging behind in terms of digital music revenue. Furthermore, the development of the market is fairly disparate among different countries in the European Union. This study aims to identify and analyse transaction costs in music licensing. It examines the online music markets and outlines the licensing processes faced by online services. It offers a qualitative and quantitative analysis of transaction costs in the acquisition of the relevant rights by online music services. The study also suggests different ways of decreasing transaction costs. The research focuses on three countries (the UK, Spain and the Czech Republic) and builds on data collected through a survey with online music service providers available in the three countries as well as interviews with relevant stakeholders in the field of music licensing. THE EUROPEAN ONLINE MUSIC MARKET The music industry has steadily expanded over the past few years, away from selling CDs towards selling music online or through concerts and live music. (Masnick, Ho, 2012). Among the 500 licensed online music services in the world (according to IFPI), many emulate the physical record store, by offering ‘download to own’ tracks at a similar price point. -
IFPI Digital Music Report 2010 Music How, When, Where You Want It Contents
IFPI Digital Music Report 2010 Music how, when, where you want it Contents 3. Introduction 4. Executive Summary: Music – Pathfinder In The Creative Industries’ Revolution 8. The Diversification Of Business Models 10. Digital Music Sales Around The World 12. In Profile: Pioneers Of Digital Music 18. Competing In A Rigged Market – The Problem Of Illegal File-Sharing 20. ‘Climate Change’ For All Creative Industries 24. Graduated Response – A Proportionate, Preventative Solution 28. The World Of Legal Music Services 30. Consumer Education – Lessons Learned Music How, When, Where You Want It – But Not Without Addressing Piracy By John Kennedy, Chairman & Chief Executive, IFPI This is the seventh IFPI Digital Music in new artists, we have to tackle mass legislation to curb illegal file-sharing. Report. If you compare it to the first piracy. Second, we are progressing towards Another clear change is within the music report published in 2004, you can an effective response. The progress is sector itself. It was, until recently, rare see a transformation in a business agonisingly slow for an industry which does for artists to engage in a public debate which has worked with the advance not have a lot of time to play with – but it is about piracy or admit it damages them. of technology, listened to the consumer progress nonetheless. In September 2009, the mood changed. and responded by licensing its music Lily Allen spoke out about the impact of in new formats and channels. On page 20 of the Report, Stephen illegal file-sharing on young artists’ careers. Garrett, head of the production company When she was attacked by an abusive In 2009 globally, for the first time, more Kudos, refers to a “climate change” in online mob, others came to her support. -
The Audio Commons Initiative and the Technologies for Facilitating the Reuse of Open Audio Content
The Audio Commons initiative and the technologies for facilitating the reuse of open audio content Xavier Serra Music Technology Group Universitat Pompeu Fabra, Barcelona http://audiocommons.org Outline • Introduction • AudioCommons project presentation • The Audio Commons Ecosystem • Relevant state of the art • AudioCommons project tasks • Conclusions 2 3 Introduction: Motivation • Creative Commons audio content has a huge potential for reuse which is not being exploited by the creative industries. – Limited understanding of CC licenses. – Content scattered. – Content not properly labeled, unstructured. – Lack of tools for seamless integration. 4 Project presentation: goals • Promote publication of AC content and foster its reuse. • Develop open technologies to support publication and reuse of AC content. • Develop open technologies for the semantic annotation of AC content. • Bootstrap the Audio Commons Ecosystem (ACE). • Define standard procedures for joining the ACE. 5 Project presentation: consortium • Academic partners: • Industrial partners: 6 The AudioCommons Ecosystem 7 AudioCommons initial content 300k sound samples 470k music pieces 8 Relevant state of the art • Availability and access to CC audio content. • Licensing procedures for CC audio resources. • Semantic representation of sound and music. • Semantic annotation of sound and music. • Production tools supporting CC audio. 9 Availability an access to CC audio content • Few CC audio content sites with APIs (e.g. freesound.org, jamendo.com, …). • Limited access due to lack of high quality and unified metadata. • No unified access mechanism for APIs (APIs have different specifications). • Inadequate content retrieval tools. • CC audio content not frequently used in professional environments. 10 Freesound 11 Freesound API • Browse, search, and retrieve sounds and information about them. -
A Model-Based Approach to Constructing Music Similarity Functions
Hindawi Publishing Corporation EURASIP Journal on Advances in Signal Processing Volume 2007, Article ID 24602, 10 pages doi:10.1155/2007/24602 Research Article A Model-Based Approach to Constructing Music Similarity Functions Kris West1 and Paul Lamere2 1 School of Computer Sciences, University of East Anglia, Norwich NR4 7TJ, UK 2 Sun Microsystems Laboratories, Sun Microsystems, Inc., Burlington, MA 01803, USA Received 1 December 2005; Revised 30 July 2006; Accepted 13 August 2006 Recommended by Ichiro Fujinaga Several authors have presented systems that estimate the audio similarity of two pieces of music through the calculation of a distance metric, such as the Euclidean distance, between spectral features calculated from the audio, related to the timbre or pitch of the signal. These features can be augmented with other, temporally or rhythmically based features such as zero-crossing rates, beat histograms, or fluctuation patterns to form a more well-rounded music similarity function. It is our contention that perceptual or cultural labels, such as the genre, style, or emotion of the music, are also very important features in the perception of music. These labels help to define complex regions of similarity within the available feature spaces. We demonstrate a machine- learning-based approach to the construction of a similarity metric, which uses this contextual information to project the calculated features into an intermediate space where a music similarity function that incorporates some of the cultural information may be calculated. Copyright © 2007 Hindawi Publishing Corporation. All rights reserved. 1. INTRODUCTION implement intelligent song suggestion, playlist generation and audio content-based search systems for these services, The rapid growth of digital media delivery in recent years efficient and accurate systems for estimating the similarity of has led to an increase in the demand for tools and tech- two pieces of music will need to be defined. -
Potential Sources of Copyright-Free Or Licensed Media: Below Are a Number of Resources Available Which Can Be Used in Teaching and Learning
Potential Sources of Copyright-free or licensed media: Below are a number of resources available which can be used in teaching and learning. Remember to check that resources labeled as 'copyright free' are from a trustworthy source! If you use any of the information on these sites, you should quote the site name and copyright owner. Media Lawful use Potential sources – for recording / online use, including in Blackboard Potential sources – off-line use only type Use images : The British Museum online - the British Museum collection database online. CERN: Images Search over two million objects from the entire Museum collection • where their copyright has expired http://copyright.web.cern.ch/ Flickr - Creative Commons advanced search - use Flickr's advanced search page • use images subject to a Creative Commons (CC) Notes: licence, attribute the licence owner and honour to include only photos (or short video clips) that have a Creative Commons • CERN provides images free of charge any restrictions licence. for educational and informational use. • use Open Educational Resources that allow the Flickr - The Commons - a number of publicly-held photographic collections • Images may not be used in a misleading, use of images in this way from around the world that have 'no known copyright restrictions' inappropriate or offensive manner, in a • where you obtain permission to use them from FreeFoto.com - free for commercial or non-commercial on-line use; free military context, in advertising or the copyright holder for non-commercial off-line use promotion, or in a manner that suggests • Create your own images ImageAfter – free high resolution images of objects, places, animals, any kind of endorsement by CERN or its mechanics, insects, signs, circuits and plants etc personnel. -
MUSIC DISCOVERY and CONSUMPTION in a RAPIDLY CHANGING INDUSTRY a THESIS Presented to the Faculty of the Department of Economics
MUSIC DISCOVERY AND CONSUMPTION IN A RAPIDLY CHANGING INDUSTRY A THESIS Presented to The Faculty of the Department of Economics and Business The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Morgan Joel May 2014 MUSIC DISCOVERY AND CONSUMPTION IN A RAPIDLY CHANGING INDUSTRY Morgan Joel May 2014 Economics Abstract The music industry is one that has been declining in overall sales for more than a decade. In recent years, advances in technology have altered many of the discovery and delivery platforms for music. The purpose of the study was to examine the different variables that affect the ways in which consumers use the internet to find and consume their music. The research uncovered a distinct difference in discovery and listening behavior between younger and older demographic groups. Digital music software, music blogs and new streaming services have become widely used among younger generations. However, the radio has been identified as the most popular method for both discovery and listening to music among older adults. KEYWORDS: (Music Industry, Listening, Discovery, Internet Distribution, Technology Advances) TABLE OF CONTENTS 1 INTRODUCTION............................................................................................... 1 2 HISTORY OF MUSIC DISCOVERY AND CONSUMPTION......................... 6 3 KNOWLEDGE DISCOVERY AND CONSUMPTION BEHAVIOR.............. 12 4 MUSIC DISCOVERY AND LISTENING PLATFORMS................................ 17 4.1 FM Radio..................................................................................................... -
Final Research Project
School of Information Management Victoria University of Wellington Master of Information Management Research Project (MMIM 592) Is Anyone Listening? An Examination of New Zealand Musicians in the Digital Age In partial fulfilment of the requirements for the degree Master of Information Management Prepared by: Kyle Brannick Student Number: 300216674 Page 2 of 69 Contents 1. Introduction .......................................................................................................... 4 2. Literature Review ................................................................................................. 6 2.1 History of Music Distribution .......................................................................... 6 2.2 First Instance of Piracy Scare ....................................................................... 6 2.3 First Alternative Distribution Model: The Mixtape .......................................... 7 2.4 Boom and Bust .............................................................................................. 7 2.5 Piracy on the Internet .................................................................................... 8 2.6 Current Distribution Model: Artist Perspective ............................................. 10 2.7 Free Model .................................................................................................. 11 2.8 Name Your Price Model .............................................................................. 12 2.9 Set Price Model .......................................................................................... -
Informe Sobre Música Digital IFPI 2010
Informe sobre música digital IFPI 2010 1 Informe sobre música digital 2010 CONTENIDO 3. Introducción 4. Resumen ejecutivo. Música: exploradores en la revolución digital de las industrias creativas 8. La diversificación de los modelos de negocio 10. Las ventas de música digital en todo el mundo 12. Perfiles: pioneros de la música digital 18. Competir en un mercado con trampa: el problema del intercambio legal de archivos. 20. El «cambio climático» de las industrias creativas 24. La respuesta gradual: una solución proporcionada y preventiva 28. El panorama de los servicios legales de música 30. Educar al consumidor: lecciones aprendidas 2 Música cómo, cuándo y dónde se quiera, pero no sin luchar contra la piratería Por John Kennedy, presidente ejecutivo de la IFPI Este es el séptimo informe sobre música invirtiendo en nuevos artistas tenemos 2009, esta actitud cambió. Lily Allen se digital de IFPI. Si se compara con el que frenar la piratería masiva. En pronunció sobre el impacto del primer informe publicado en 2004, se segundo lugar, estamos avanzando intercambio ilegal de archivos en las puede ver la transformación de una hacia una respuesta eficaz. El progreso carreras de los artistas más jóvenes. industria que ha trabajado con los es lento como una agonía para una Cuando se sintió atacada por una avances tecnológicos, ha escuchado al industria que no tiene tiempo que perder, multitud enardecida en Internet, otros consumidor y ha respondido licenciando pero está ahí, es tangible. acudieron a darle su apoyo. su música en nuevos formatos y canales. «Para seguir invirtiendo en Esta nueva actitud también está En 2009, por primera vez en todo el claramente llegando a los gobiernos. -
Digital Music Report 2012 Expanding Choice
Digital Music Report 2012 Expanding Choice. Going Global Digital Music Report 2012 Contents Introduction 3 Focus on France 20 n Plácido Domingo, chairman, IFPI n Hadopi: “Positive impact for years to come” n Frances Moore, chief executive, IFPI n The independent’s view: Innovation and “meaningful sanctions” Artist voices 5 Focus on the US 21 Digital Music: Expanding Choice. n ISP agreement and strong digital growth Going Global 6 n Executive Summary Focus on South Korea 22 n Global digital growth rate accelerates n A continuing success n The global top selling digital singles of 2011 n Access or ownership? You choose Developing a legitimate business in China 23 n Global expansion n Major record companies license Baidu n Progress against piracy n Intermediaries have a key role Protecting content online: Intermediaries step up 24 The business models of digital music 10 n Search engines should link to legal music n Downloads break through borders n Advertising: Cutting the funds to piracy n Digital album demand alive and kicking n Payment providers act on illegal sites n The rise of subscription n Hosting providers: A key partner n Subscription reaches new consumers n Bundling music – a route to the mass market Self-Help: Anti-piracy enforcement n Internet radio continued to expand and education 26 n Music video meets strong consumer demand n Tackling the pre-release hackers n Public education: a long term commitment The art of digital marketing 14 n A Guide to Music, Film, TV and the Internet Piracy: Improved cooperation from Digital Music -
Música Grabada
MÚSICA GRABADA LA FERIA DE LAS FRIVOLIDADES Jordi Bianciotto Crítico musical de El Periódico de Catalunya ENTREVISTA Antonio Guisasola Presidente de Promusicae (Productores de Música en España) Mark Kitcatt Presidente de la Unión Fonográfica Independiente (UFI) 1. PANORAMA GLOBAL DE LA INDUSTRIA DE LA MÚSICA 1.1 DISTRIBUCIÓN DEL VALOR EN LA INDUSTRIA MUSICAL 1.2 MERCADOS DIGITALES 2 LA MÚSICA EN ESPAÑA 2.1 MERCADO DE LA MÚSICA EN ESPAÑA 2.2 LAS DESCARGAS DE MÚSICA ANUARIO SGAE DE LAS ARTES ESCÉNICAS, LA FERIA DE LAS FRIVOLIDADES MUSICALES Y AUDIOVISUALES JORDI BIANCIOTTO. CRÍTICO MUSICAL DE EL PERIÓDICO 2010 DE CATALUNYA La feria de las frivolidades JORDI BIANCIOTTO. CRÍTICO MUSICAL DE EL PERIÓDICO DE CATALUNYA La música como objeto de negocio, profesional, de progreso, con incidencia social y ambi- ción de mover el mundo, vive en el torbellino, y es improbable que ese sea el mejor lugar para reflexionar. Parece que estamos en un largo, doloroso momento de transición hacia un nuevo orden del que aún lo ignoramos casi todo. En el camino estallan tormentas de ideas y se formulan máximas propagadas con velocidad en los medios de comunicación, que dejan poso y configuran un estado de opinión. Algunas contienen trampas clamoro- sas: detrás de pancartas adornadas con conceptos-golosina como “democratización” y “libertad”, celebran un alegre y decidido retroceso a las cavernas. Cuando hablamos de consumo musical, de discos y grabaciones, existe un pequeño catálogo de ideas frívolas con punch mediático que quisiera repasar. La más grosera es la del gratis total. Intuyo innecesario dedicar demasiado espacio a hun- dirla o ridiculizarla en las páginas de este anuario.