DOCSLIB.ORG

รายงานฉบับสมบูรณ (Final Report) โครงการศึกษาเพื่อกํา

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
รายงานฉบับสมบูรณ (Final Report) โครงการศึกษาเพื่อกํา รายงานฉบับสมบูรณ (Final Report) อุตสาหกรรมเพลงและสิ่งบันทึกเสียง โครงการศึกษาเพื่อกําหนดยุทธศาสตรการเปดเสรี การคาบริการโสตทัศนและธุรกิจที่เกี่ยวเนื่อง เสนอ กรมเจรจาการคาระหวางประเทศ กระทรวงพาณิชย โดย ศูนยเทคโนโลยีอิเล็กทรอนิกสและคอมพิวเตอรแหงชาติ สํานักงานพัฒนาวิทยาศาสตรและเทคโนโลยีแหงชาติ กระทรวงวิทยาศาสตรและเทคโนโลยี เอกสารชุดนี้จัดทําขึ้นเพื่อประโยชนสาหรํ ับใหบริการแกหนวยงานผูวาจางศึกษาเทานั้น หามมิใหบุคคลใดก็ตามทําการลอกเลียน ทําซ้ํา เปลี่ยนแปลง อางองหริ ือเผยแพรสวนใดสวนหนึ่งหรือทั้งหมดแกบุคคลภายนอก โดยมิไดรับอนุญาตเปนลายลักษณอักษรโดยเด็ดขาด À”ƒª“Æ Ã∫ç” ª∏∫Ï” ª∏∏÷Á 1 ¡”øƒ»¬‡∆—‡∫»·∫笌Ÿ∂À”⃃¬flø∆®·∆¢ 1.1 ¢”ƒ•ç”ªƒ’¢”ƒ·À∂∏“…∫ꃗû售ºƒ—fl∏… 1-1 1.2 ¡”øƒ»¬£Œ®∆“¢ ¥—¢”ƒµÏ”fl∫’∫πŸƒ¢’©‚∫ŒŸ∂À”⃃¬flø∆®·∆¢ 1-4 1.3 ‡∫»·∫笢”ƒfl∂’ª·∂∏÷Áflø’Á¬£◊Ë∫£Œ®∂∆”µflø∆®µ’©’∏“∆ 1-5 ª∏∏÷Á 2 À∑”∫¡”øπŸƒ¢’©/ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…„∏√ 2.1 À∑”∫¡”øŒŸ∂À”⃃¬ 2-1 2.1.1 ·•ƒ®Àƒç”®ŒŸ∂À”⃃¬ 2-22 2.1.2 À∑”∫¡”ø‡∆—¬⁄∆•å”∂∆”µ 2-23 2.2 ∫·√ª”√ ¢Øì”√ ¢Øƒ—flª÷√ª ‡∆—Ã∫å»√®”∫∏÷Áfl¢÷Á√»£çŒ® 2-34 2.2.1 Ã∫å»√®”∫‡∆—Œ®•ê¢ƒ∂售 2-34 2.2.2 ¢Øì”√‡∆—¢Øƒ—flª√÷ª∏÷Áfl¢√÷Á»£çŒ® 2-35 2.3 ºƒ—flµÊ∫ºÆôÔ‡∆—ŒŸºÀƒƒ•£Œ®ŒŸ∂À”⃃¬flø∆®„∏√ 2-39 2.3.1 ºôÆÔ¢”ƒ∆—fl¬’µ∆’£À’∏π’Î 2-39 2.3.2 ŒŸºÀƒƒ•flƒÿÁŒ®¡” ” 2-40 2.3.3 ºôÆÔ¢”ƒfl£ç”∑◊®´åŒ®∏”®‚∫¢”ƒ·ß ¥”ºƒ—´”À“¬ø“∫πê 2-41 2.3.4 ¢”ƒ√ç”√•å”√ÃÿŒ¢”ƒflº∆÷Á√∫∂ç∫À“®¢µ“£Œ®…’∆ºÇ∫ÃÿŒ·ºƒµ’»fl¨Œƒê 2-41 2.3.5 ¢ƒ—‡À•»”¬∫’√¬£Œ®Ω⁄窃’·¡•∏÷Áflº∆÷Á√∫‡º∆® 2-41 2.4 ‡∫»∏”®¢”ƒÀå®flÀƒ’¬ŒŸ∂À”⃃¬flø∆®„∏√ 2-41 2.4.1 flƒå®‡¢çºÆôÔ¢”ƒ∆—fl¬µ’∆’£À’∏π’Î 2-41 2.4.2 Àƒç”®flÀƒ’¬ª∏ª”∏¢”ƒƒ»¬∂“»¢∫“£Œ®Ω⁄纃—¢Œª¢”ƒ‡∆—Ã∫å»√®”∫ 2-42 ∏÷Áfl¢÷Á√»£çŒ® ÀƒŸº‡∫»·∫笡”»—ŒŸ∂À”⃃¬flø∆®„∏√ 2-42 ª∏∏÷Á 3 À∑”∫¡”øπŸƒ¢’©/ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…ÀÓ±Œfl¬ƒ’¢” 3.1 À∑”∫¡”øŒŸ∂À”⃃¬ 3-1 3.1.1 ·•ƒ®Àƒç”®ŒŸ∂À”⃃¬ 3-1 3.1.2 À∑”∫¡”ø‡∆—¬⁄∆•å”∂∆”µ 3-18 3.2 ∫·√ª”√ ¢Øì”√ ¢Øƒ—flª÷√ª ‡∆—Ã∫å»√®”∫∏÷Áfl¢÷Á√»£çŒ® 3-33 3.2.1 Ã∫å»√®”∫‡∆—Œ®•ê¢ƒ∂售 ∏÷Áfl¢÷Á√»£çŒ® 3-33 3.2.2 ¢Øì”√¡”√‚∫ºƒ—fl∏… 3-37 3.2.3 ∫·√ª”√/¬”∂ƒ¢”ƒ∏÷Áfl¢÷Á√»£çŒ® 3-38 3.3 ŒŸºÀƒƒ•∏”®¢”ƒ•ç”ÀϔÓªΩ⁄纃—¢Œª¢”ƒ∂å”®ºƒ—fl∏… 3-40 3.3.1 ºôÆÔ¢”ƒ∆—fl¬’µ∆’£À’∏π’Î 3-40 3.3.2 ¢”ƒ•ƒŒ®∂∆”µ£Œ®¢∆Ÿå¬•å”√flø∆®ƒ”√‚ÃÆå Big Four 3-41 4 À∑”∫¡”øπŸƒ¢’©/ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…惓Á®fl…À 4.1 À∑”∫¡”øŒŸ∂À”⃃¬ 4-1 4.1.1 ·•ƒ®Àƒç”®ŒŸ∂À”⃃¬ 4-1 4.1.2 À∑”∫¡”ø‡∆—¬⁄∆•å”∂∆”µ 4-15 4.2 ∫·√ª”√ ¢Øì”√ ¢Øƒ—flª÷√ª ‡∆—Ã∫å»√®”∫∏÷Áfl¢÷Á√»£çŒ® 4-25 4.2.1 Ã∫å»√®”∫‡∆—Œ®•ê¢ƒ∂售 ∏÷Áfl¢÷Á√»£çŒ® 4-25 4.2.2 ¢Øì”√ ¢Øƒ—flª÷√ª∏÷Áfl¢÷Á√»£çŒ®¢“ªŒŸ∂À”⃃¬flø∆®£Œ®ºƒ—fl∏…惓Á®fl…À 4-30 4.3 ŒŸºÀƒƒ•∏”®¢”ƒ•ç”ÀϔÓªΩ⁄纃—¢Œª¢”ƒ∂å”®ºƒ—fl∏… 4-33 4.3.1 ºôÆÔ¢”ƒ∆—fl¬’µ∆’£À’∏π’Î 4-33 4.3.2 ¢”ƒ©ç”®‡ƒ®®”∫∂å”®´”∂’ 4-33 4.3.3 ¢”ƒ¢Ï”Ã∫µ·•»∂ç”flø∆® (The Radio Quota Law) 4-34 ª∏∏÷Á 5 À∑”∫¡”øπŸƒ¢’©/ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…ŒŒÀfl∂ƒfl∆÷√ 5.1 À∑”∫¡”øŒŸ∂À”⃃¬ 5-1 5.1.1 ·•ƒ®Àƒç”®ŒŸ∂À”⃃¬ 5-1 5.1.2 À∑”∫¡”ø‡∆—¬⁄∆•å”∂∆”µ 5-13 5.2 ∫·√ª”√ ¢Øì”√ ¢Øƒ—flª÷√ª ‡∆—Ã∫å»√®”∫∏÷Áfl¢÷Á√»£çŒ® 5-23 5.2.1 Ã∫å»√®”∫‡∆—Œ®•ê¢ƒ∂售 ∏÷Áfl¢÷Á√»£çŒ® 5-23 5.2.2 ¢Øì”√ ¢Øƒ—flª÷√ª∏÷Áfl¢÷Á√»£çŒ®¢“ªŒŸ∂À”⃃¬flø∆®£Œ®ºƒ—fl∏… 5-25 ŒŒÀfl∂ƒfl∆÷√ 5.3 ŒŸºÀƒƒ•∏”®¢”ƒ•ç”ÀϔÓªΩ⁄纃—¢Œª¢”ƒ∂å”®ºƒ—fl∏… 5-28 ª∏∏÷Á 6 À∑”∫¡”øπŸƒ¢’©/ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…Æ÷ÁºŸá∫ 6.1 À∑”∫¡”øŒŸ∂À”⃃¬ 6-1 6.1.1 ·•ƒ®Àƒç”®ŒŸ∂À”⃃¬ 6-1 6.1.2 À∑”∫¡”ø‡∆—¬⁄∆•å”∂∆”µ 6-10 6.2 ∫·√ª”√ ¢Øì”√ ¢Øƒ—flª÷√ª ‡∆—Ã∫å»√®”∫∏÷Áfl¢÷Á√»£çŒ® 6-24 6.2.1 Ã∫å»√®”∫‡∆—Œ®•ê¢ƒ∂售 ∏÷Áfl¢÷Á√»£çŒ® 6-24 6.2.2 ¢Øì”√∏÷Áfl¢√÷Á»£çŒ® 6-28 6.2.3 ∫·√ª”√/¬”∂ƒ¢”ƒ∏÷Áfl¢÷Á√»£çŒ® 6-29 6.3 ŒŸºÀƒƒ•∏”®¢”ƒ•ç”ÀϔÓªΩ⁄纃—¢Œª¢”ƒ∂å”®ºƒ—fl∏… 6-30 6.3.1 ºôÆÔ¢”ƒ∆—fl¬’µ∆’£À’∏π’Î 6-30 6.3.2 ºôÆÔµ”ç∫•»”¬‡∂¢∂”å®∏”®»“≥∫πƒƒ¬ 6-31 6.3.3 ¢”ƒ•ƒŒ®∂∆”µ£Œ®¢∆Ÿå¬•å”√flø∆®ƒ”√‚ÃÆå Big Four 6-31 7 À∑”∫¡”øπŸƒ¢’©/ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…fl¢”Ã∆÷ 7.1 À∑”∫¡”øŒŸ∂À”⃃¬ 7-1 7.1.1 ·•ƒ®Àƒç”®ŒŸ∂À”⃃¬ 7-1 7.1.2 À∑”∫¡”ø‡∆—¬⁄∆•å”∂∆”µ 7-7 7.2 ∫·√ª”√ ¢Øì”√ ¢Øƒ—flª÷√ª ‡∆—Ã∫å»√®”∫∏÷Áfl¢÷Á√»£çŒ® 7-12 7.2.1 Ã∫å»√®”∫∏÷Áfl¢√÷Á»£çŒ® 7-12 7.2.2 ¢Øì”√ƒ—µ“ªºƒ—fl∏… 7-14 7.2.3 ∫·√ª”√/¬”∂ƒ¢”ƒ∏÷Áfl¢÷Á√»£çŒ® 7-15 7.3 ŒŸºÀƒƒ•∏”®¢”ƒ•ç”ÀϔÓªΩ⁄纃—¢Œª¢”ƒ∂å”®ºƒ—fl∏… 7-16 7.3.1 ºôÆÔ¢”ƒ∆—fl¬’µ∆’£À’∏π’Î 7-16 7.3.2 ¢”ƒ•ƒŒ®∂∆”µ·µ√Ω⁄纃—¢Œª¢”ƒƒ”√‚ÃÆ¡å”√‚∫ºƒ—fl∏… 7-16 7.3.3 ºôÆÔµ”ç∫•»”¬‡∂¢∂”宵ç”∫»“≥∫πƒƒ¬ 7-16 7.3.4 ¢”ƒ¢Ï”Ã∫µ Foreign Content Quotas 7-17 ª∏∏÷Á 8 À∑”∫¡”øπŸƒ¢’©/ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…Œ’∫flµ÷√ 8.1 À∑”∫¡”øŒŸ∂À”⃃¬ 8-1 8.1.1 ·•ƒ®Àƒç”®ŒŸ∂À”⃃¬ 8-1 8.1.2 À∑”∫¡”ø‡∆—¬⁄∆•å”∂∆”µ 8-8 8.2 ∫·√ª”√ ¢Øì”√ ¢Øƒ—flª÷√ª ‡∆—Ã∫å»√®”∫∏÷Áfl¢÷Á√»£çŒ® 8-13 8.2.1 Ã∫å»√®”∫∏÷Áfl¢√÷Á»£çŒ® 8-13 8.2.2 ¢Øì”√ƒ—µ“ªºƒ—fl∏… 8-14 8.2.3 ∫·√ª”√/¬”∂ƒ¢”ƒ∏÷Áfl¢÷Á√»£çŒ® 8-15 8.3 ŒŸºÀƒƒ•∏”®¢”ƒ•ç”ÀϔÓªΩ⁄纃—¢Œª¢”ƒ∂å”®ºƒ—fl∏… 8-15 8.3.1 ºôÆÔ¢”ƒ∆—fl¬’µ∆’£À’∏π’Î 8-15 8.3.2 ºôÆÔµ”ç∫•»”¬‡∂¢∂”宵ç”∫»“≥∫πƒƒ¬ 8-16 8.3.3 ∂∆”µflø∆®Àå»∫‚ÃÆåflºõ∫flø∆®ºƒ—¢Œª¡”ø√∫∂ƒêflºõ∫Ã∆“¢ 8-16 8.3.4 ¡”•ƒ“±fl£ç”¬”•»ª•Ÿ¬¢”ƒµÏ”fl∫’∫πŸƒ¢©’Àå»∫‚ÃÆ å 8-16 9 ª∏»’fl•ƒ”—Ãêflºƒ÷√ªfl∏÷√ªÀ∑”∫¡”ø/£÷µ•»”¬À”¬”ƒ∑‚∫¢”ƒ‡£å®£“∫ £Œ®ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®ºƒ—fl∏…„∏√‡∆—ºƒ—fl∏…•⁄åfl©ƒ"” 9.1 ¢”ƒ»’fl•ƒ”—ÃêÀ∑”∫¡”øŒŸ∂À”⃃¬flø∆® 9-1 9.1.1 »’fl•ƒ”—Ãêfl´’®flºƒ÷√ªfl∏√÷ª·•ƒ®Àƒç”®ŒŸ∂À”⃃¬flø∆® 9-1 9.1.2 ¬⁄∆•å”ŒŸ∂À”⃃¬flø∆® 9-7 9.1.3 ¢∆√Ÿ∏πꢔƒ‡£å®£“∫ 9-12 9.2 ¢”ƒ»’fl•ƒ”—Ãê¢Øƒ—flª√÷ª‡∆—¢”ƒ¢Ï”¢“ªµ⁄‡∆¡”√‚∫ºƒ—fl∏… 9-16 9.2.1 ¢Øì”√∆’£À’∏π’ΣŒ®„∏√√“®„¬å¬÷¢”ƒ¢∆å”»∑◊®¢”ƒ•Ÿç¬•ƒŒ®∆’£À’∏π’Î∏÷Á 9-16 fl¢÷Á√»¢“ª„¿∆êflø∆®µ’©’∏∆“ 9.2.2 ∫·√ª”√Àå®flÀƒ’¬ŒŸ∂À”⃃¬flø∆® 9-17 9.2.3 Ã∫å»√®”∫∏÷Á∏Ï”Ã∫ç”∏ƒ÷Á“ªΩ’µ´ŒªŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏¢◊flÀ÷√® 9-18 9.2.4 ¢”ƒÀ∫“ªÀ∫Ÿ∫µç”∫¢”ƒfl®’∫©”¢¡”•ƒ“± 9-22 9.3 ¢”ƒ»’fl•ƒ”—Ã꺃—flµÊ∫∏”®µç”∫»“≥∫πƒƒ¬ 9-23 9.3.1 »“≥∫πƒƒ¬µç”∫¡” ” 9-23 9.3.2 »“≥∫πƒƒ¬∏”®µç”∫…”À∫” 9-24 9.3.3 •å”∫’√¬‡∆—»’∑÷´»÷’∂ 9-24 9.4 »’fl•ƒ”—Ãfl꺃÷√ªfl∏÷√ªΩ∆¢ƒ—∏ª£Œ®¬”∂ƒ¢”ƒÀå®flÀƒ’¬‡∆—¬”∂ƒ¢”ƒ¢Ï”¢“ªµ⁄‡∆ 9-25 ∂匌Ÿ∂À”⃃¬flø∆®„∏√ 9.4.1 ¬”∂ƒ¢”ƒÀå®flÀƒ’¬ 9-25 9.4.2 ¬”∂ƒ¢”ƒ¢Ï”¢“ªµ⁄‡∆¡”√‚∫ºƒ—fl∏… 9-27 ª∏∏÷Á 10 ª∏»’fl•ƒ”—ÃêΩ∆¢ƒ—∏ª©”¢¢”ƒflºÇµflÀƒ÷ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√® 10.1 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷∏÷Áfl¢÷Á√»£çŒ®¢“ªŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√® 10-2 ¡”√‚∂碃Œª WTO 10.1.1 ºƒ—flµÊ∫•»”¬ŒåŒ∫„û∏”®»“≥∫πƒƒ¬¢“ª¬”∂ƒ¢”ƒ¡”√‚∫ºƒ—fl∏… 10-3 10.1.2 ºƒ—flµÊ∫∏”®µç”∫»≥“∫πƒƒ¬‡∆—•»”¬„µçflºƒ√÷ª·µ√flºƒ÷√ªfl∏÷√ª 10-5 (Comparative Advantage) £Œ®ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√® 10.1.3 ¢”ƒfl¢ŒÿËÃ∫Ÿ∫¢∫“£Œ®À’∫•ç”»“≥∫πƒƒ¬¢“ª•»”¬„µfl纃÷√ª·µ√flºƒ√÷ªfl∏÷√ª 10-6 10.1.4 ºƒ—flµÊ∫∏”®µç”∫À’∫•ç”µ’©’∏“∆∏÷Áƒ“ªÀå®Ωå”∫ÀÿÁŒŒ’fl∆Ê¢∏ƒŒ∫’¢Àê 10-7 10.2 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷¡”√‚∂¢çƒŒª•»”¬∂¢∆®»”åµç»√¢”ƒ•ç”ªƒ’¢”ƒ£Œ® 10-12 Œ”fl¨÷√∫ (ASEAN Framework Agreement on Services: AFAS) 10.3 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®„∏√¢“ª 10-18 ºƒ—fl∏…Àñ“Œfl¬ƒ’¢” 10.4 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®„∏√¢“ª 10-20 ºƒ—fl∏…惓Á®fl…À 10.5 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®„∏√¢“ª 10-23 ºƒ—fl∏…ŒŒÀfl∂ƒfl∆÷√ 10.6 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®„∏√¢“ª 10-25 ºƒ—fl∏…Æ÷ÁºŸá∫ 10.7 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®„∏√¢“ª 10-27 ºƒ—fl∏…fl¢”Ã∆÷ 10.8 Ω∆¢ƒ—∏ª£Œ®¢”ƒflºÇµflÀƒ÷ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®£Œ®„∏√¢“ª 10-28 ºƒ—fl∏…Œ’∫flµ÷√ 11 √Ÿ∏π…”À∂ƒêÀϔÓªŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√® 11.1 √Ÿ∏π…”À∂ƒê¢”ƒfl∂ƒ÷√¬•»”¬øƒçŒ¬ 11-2 11.1.1 ¢”ƒfl∂ƒ÷√¬•»”¬øƒçŒ¬fl´’®À∑”ª“∫ 11-2 11.1.2 ¢”ƒfl∂ƒ÷√¬•»”¬øƒçŒ¬µç”∫¢Øƒ—flª√÷ª/¢Øì”√¡”√‚∫ºƒ—fl∏… 11-4 11.1.3 ¢”ƒfl∂ƒ÷√¬•»”¬øƒçŒ¬µç”∫ªŸ•∆”¢ƒ 11-6 11.1.4 ¢”ƒfl∂ƒ÷√¬•»”¬øƒçŒ¬∏”®¢”ƒfl®’∫‡∆—¢”ƒ•∆“® 11-7 11.1.5 ¢”ƒfl∂ƒ÷√¬•»”¬øƒçŒ¬fl´’®·•ƒ®Àƒç”®øÿË∫±”∫ 11-7 11.2 √Ÿ∏π…”À∂ƒê¢”ƒfl©ƒ©” 11-9 11.2.1 √Ÿ∏π…”À∂ƒê¢”ƒfl©ƒ©”¡”√‚∂碃Œª WTO 11-9 11.2.2 √Ÿ∏π…”À∂ƒê¢”ƒfl©ƒ©”¡”√‚∂碃Œª•»”¬∂¢∆®»å”µç»√¢”ƒ•ç”ªƒ’¢”ƒ£Œ® 11-15 Œ”fl¨÷√∫ (ASEAN Framework Agreement Services: AFAS) 11.2.3 √Ÿ∏π…”À∂ƒê¢”ƒfl©ƒ©”¡”√‚∂碃Œª FTA 11-17 11.2.4 √Ÿ∏π…”À∂ƒê¢”ƒfl©ƒ©”¡”√‚∂碃ŒªŒÿÁ∫ 11-34 11.3 √Ÿ∏π…”À∂ƒê¢”ƒƒŒ®ƒ“ªΩ∆¢ƒ—∏ª£Œ®flºÇµflÀƒ÷ 11-34 11.3.1 ©“µ∂“Ë®¢Œ®∏Ÿ∫fløÿÁŒƒŒ®ƒ“ªΩ∆¢ƒ—∏ª©”¢¢”ƒflºµÇflÀƒ÷ 11-35 11.3.2 ¢”ƒÀå®flÀƒ’¬¢”ƒºƒ—´”À“¬ø“∫πêΩ∆®”∫flø∆®·µ√Ã∫»å√®”∫¡”•ƒ“± 11-36 11.3.3 ºƒ“ªºƒŸ®¢Øƒ—flª÷√ª‡∆—¢Øì”√‚ÃçÀŒµ•∆献¢“ª¢”ƒfl©ƒ©”flºµÇflÀƒ÷ 11-37 11.3.4 ¢”ƒ©“µ∂“Ë®…⁄∫√¢ê∆”®£çŒ¬⁄∆¢”ƒ∆®∏Ÿ∫ 11-37 11.3.5 ¢”ƒø“≥∫”•Ÿ¥¡”øª•Ÿ∆”¢ƒ 11-38 11.3.6 ¢Ï”Ã∫µ¬”∂ƒ¢”ƒÀå®flÀƒ’¬¢”ƒªƒ’·¡•À’∫•ç”‡∆—ªƒ’¢”ƒflø∆®∏÷Á∑⁄¢ 11-39 ¢Øì”√£Œ®„∏√ ‡∆—¢”ƒ•»ª•Ÿ¬¢”ƒflΩ√‡øƒåfl∫ŒÿËÔ©”¢∂å”®ºƒ—fl∏… = ¡”•Ω∫»¢ ¡”•Ω∫»¢ 1 ø“≥∫”¢”ƒ£Œ®ŒŸ∂À”⃃¬flø∆®„∏√ ¡”•Ω∫»¢ 2 ºƒ—fl¡∏πŸƒ¢’© ‡∆—•Ï”©Ï”¢“µ•»”¬¢”ƒ©“µfl¢ªÊ•å”flΩ√‡øƒå‡∆—•å”∆’£À’∏π’΢”ƒ∏Ï”¨ËÏ”flø∆® ¡”•Ω∫»¢ 3 ¢”ƒ»’fl•ƒ”—Ãê FTA ƒ”√ºƒ—fl∏… À”£”flø∆®‡∆—À’Á®ª“∫∏¢◊flÀ÷√® ºƒ—fl∏…ÀÓ±Œfl¬ƒ’¢” ¡”•Ω∫»¢ 4 ¢”ƒ»’fl•ƒ”—Ãê FTA ƒ”√ºƒ—fl∏… À”£”flø∆®‡∆—À’Á®ª“∫∏¢◊flÀ÷√® ºƒ—fl∏…惓Á®fl…À ¡”•Ω∫»¢ 5 ¢”ƒ»’fl•ƒ”—Ãê FTA ƒ”√ºƒ—fl∏… À”£”flø∆®‡∆—À’Á®ª“∫∏¢◊flÀ÷√® ºƒ—fl∏…ŒŒÀfl∂ƒfl∆÷√ ¡”•Ω∫»¢ 6 ¢”ƒ»’fl•ƒ”—Ãê FTA ƒ”√ºƒ—fl∏… À”£”flø∆®‡∆—À’Á®ª“∫∏¢◊flÀ÷√® ºƒ—fl∏…Æ÷ÁºŸá∫ ¡”•Ω∫»¢ 7 ¢”ƒ»’fl•ƒ”—Ãê FTA ƒ”√ºƒ—fl∏… À”£”flø∆®‡∆—À’Á®ª“∫∏¢◊flÀ÷√® ºƒ—fl∏…fl¢”Ã∆ ÷ ¡”•Ω∫»¢ 8 ¢”ƒ»’fl•ƒ”—Ãê FTA ƒ”√ºƒ—fl∏… À”£”flø∆®‡∆—À’Á®ª“∫∏¢◊flÀ÷√® ºƒ—fl∏…Œ’∫flµ÷√ ¡”•Ω∫»¢ 9 ¢”ƒflºÇµ∂∆”µ£Œ®ŒŸ∂À”⃃¬flø∆®‡∆—À’Á®ª“∫∏◊¢flÀ÷√®¡”√‚∂碃Œª¢”ƒfl©ƒ©” AFAS À”ƒª“Æ∂”ƒ”® Ã∫ç” ∂”ƒ”®∏÷Á 1.1 ¢”ƒÀ完Œ¢À’∫•ç”∏”®»“≥∫πƒƒ¬ (cultural goods) ºÉ 2002 1-3 ∂”ƒ”®∏÷Á 1.2 ¢”ƒ∫Ï”fl£ç”À’∫•ç”∏”®»“≥∫πƒƒ¬ (cultural goods) ºÉ 2002 1-3 ∂”ƒ”®∏÷Á 1.3 Àå»∫‡ªå®∂∆”µflø∆®µ’©’∏“∆ ‡∆—´åŒ®∏”®¢”ƒ©Ï”Ã∫å”√flø∆®µ’©’∏“∆ ‚∫‡∂å∆—ºƒ—fl∏… 1-6 ‚∫ºÉ 2005 ∂”ƒ”®∏÷Á 1.4 ¬⁄∆•å”¢”ƒ©Ï”Ã∫å”√flø∆®·µ√ƒ»¬∏“Ë®‚∫ƒŸº‡ªª physical & digital ‚∫º É2005 1-7 ∂”ƒ”®∏÷Á 1.5 ƒ”√„µç©”¢¢”ƒ©Ï”Ã∫å”√flø∆® ©Ï”‡∫¢∂”¬ƒ⁄º‡ªª ƒ—û售ºÉ 2004 ó 2005 1-8 ∂”ƒ”®∏÷Á 2.1 ‡Àµ®•å”√flø∆®√åŒ√¡”√‚∂çÀ“®¢“µ‡¢ƒ¬¬ ÷Á 2-11 ∂”ƒ”®∏÷Á 2.2 ‡Àµ®•å”√flø∆®‚∫À“®¢“µ£Œ®ªƒ’ “∏ Œ”ƒêflŒÀ ©Ï”¢“µ (¬Ã”´∫) 2-12 ∂”ƒ”®∏÷Á 2.3 ‡Àµ®•å”√flø∆®√åŒ√‚∫À“®¢“µ Small Room 2-14 ∂”ƒ”®∏÷Á 2.4 ƒ”√´ÿÁŒªƒ’ “∏Àƒç”®Àƒƒ•êΩ∆®”∫flø∆® (•å”√flø∆®) ©Ï”‡∫¢∂”¬ºƒ—fl¡∏πƒŸ¢’© 2-15 ∂”ƒ”®∏÷Á 2.5 ‡Àµ®·•ƒ®Àƒç”®∂ç∫∏Ÿ∫‚∫¢”ƒΩ∆’∂Ω∆®”∫flø∆® 1 Œ“∆ª“ˬ 2-20 ∂”ƒ”®∏÷Á 2.6 ·•ƒ®Àƒç”®∂ç∫∏Ÿ∫©Ï”‡∫¢∂”¬£“Ë∫∂Œ∫¢”ƒΩ∆’∂ 2-21 ∂”ƒ”®∏÷Á 2.7 ∂“»Œ√å”®ºƒ’¬”¥¢”ƒΩ∆’∂fl∏ºflø∆®ƒ—û售ºÉ 2547-2549 2-27 ∂”ƒ”®∏÷Á 2.8 ∂“»Œ√å”®ºƒ’¬”¥¢”ƒΩ∆’∂¨÷µ÷ƒ—û售ºÉ 2547-2549 2-27 ∂”ƒ”®∏÷Á 2.9 ∂“»Œ√å”®ºƒ’¬”¥¢”ƒΩ∆’∂»÷¨µ÷÷ƒ—û售ºÉ 2547-2549 2-28 ∂”ƒ”®∏÷Á 2.10 ‡Àµ®Œ“∂ƒ”•å”∆’£À’∏π’Σ“Ë∫∂ÁÏ”£Œ®ŒŸ∂À”⃃¬flø∆®ºƒ—fl¡∏∏Ï”¨ËÏ” 2-38 ∂”ƒ”®∏÷Á 2.11 ∂“»Œ√å”®Œ“∂ƒ”•å”flΩ√‡øƒå∆’£À’∏π’Îflø∆®•”ƒ”·Œfl¢— (Karaoke) 2-39 ∂”ƒ”®∏÷Á
Load more

Recommended publications
  • Embargoed Until Wed 19 Jan, 10
    PRESS RELEASE IMI LAUNCHES TOP 20 INTERNATIONAL SINGLES CHARTS INDIA 21st June 2021 – The Indian Music Industry (“IMI”), the organisation that represents the recorded music industry in India, today released its first-ever International Top 20 Singles Chart India. The charts which are formulated using streaming figures of international singles are compiled by global music technology leaders BMAT, will be updated weekly on Mondays by sundown. Every week from Friday to Thursday BMAT aggregates and consolidates the data from three leading international DSPs (Digital Service Providers) in the country – Spotify, Apple Music, and Amazon Music. The Top 20 chart is reviewed by the IMI Charts committee comprised of experts from record labels such as Universal Music Group, Sony Music Entertainment, Times Music, and Warner Music Group. The aim of the IMI International Top 20 Singles Chart is to make it easy for music enthusiasts to discover fresh and exciting music. Quotes: “Launching an official chart based on actual streaming data is an important step towards bringing the Indian music market in line with the rest of the world. Indian music fans are some of the most engaged listeners in the world, known for embracing music from all genres, languages and countries. With the testing phase successfully behind us, we are grateful to our global partners BMAT for helping to make this happen and while we start out with an international chart, we look forward to seeing mixed national charts.” - Devraj Sanyal, Managing Director & CEO South Asia, Universal Music Group “Sony Music India is delighted at the launch of the first ever official Indian Music Industry charts.
    [Show full text]
  • Together Letter to Our Shareholders
    LETTER TO OUR SHAREHOLDERS TOGETHER SEPTEMBER 2020 EARNINGS P. 3 NEWS P. 4 DIARY P. 8 — 2020 half-year — Universal Music Group — Shareholders’ diary results expands its global footprint Vivendi and you VALIDÉ, CRÉATION ORIGINALE OF CANAL+ © Fifou/Mandarin Télévision/Canal+ Photos/DR GOOD HALF-YEAR RESULTS Yannick Bolloré, Chairman of the Supervisory board, and Arnaud de Puyfontaine, Chairman of the Management Board Dear Shareholders, ivendi has demonstrated its resilience over the past few unprecedented months by staying the strategic course set in 2014: to build a world leader in culture, at the crossroads of the entertainment, media and communications industries. Our group’s business model is both coherent and diversified, which is a significant asset. Vivendi operates in a number of different sectors and countries, and can therefore offset the difficulties encountered in one market with a strong performance in another. In addition, the group’s digital activities have been fully developed, which proved advantageous during the lockdowns. Finally, the revenues generated Vfrom its two main businesses, music and audiovisual content, are directly or indirectly linked to subscriptions, a business model with recurring revenues. In a very difficult environment, Vivendi generated an adjusted net income of €583 million in the first half of 2020, up 5.4%. For the second half, we are carefully analyzing the consequences of the crisis. Today, it is difficult to determine how it will impact the annual results. Nevertheless, Vivendi remains confident in the resilience of its main businesses, music and audiovisual content. Those tied to advertising and live performance may be affected for a more extended period than the others.
    [Show full text]
  • {FREE} Metallica
    METALLICA - ...AND JUSTICE FOR ALL PDF, EPUB, EBOOK Metallica | 96 pages | 01 Jan 1989 | Cherry Lane Music Company | 9780895244192 | English | none Metallica - And Justice For All (, Box Set) | Discogs To Live Is To Die. Dyers Eve. Elektra , Elektra. Sell This Version. Vertigo , PolyGram. Vertigo , Vertigo. Vertigo , Sung Eum Limited. Vertigo , Phonogram. Vertigo 3 , PolyGram 2. Helicon Records , Phonogram , Vertigo. Sony Music , Columbia. Vertigo , Phonogram , Vertigo. Not On Label Metallica. PolyGram , Vertigo. Vertigo , Megastar. EMI 2 , Vertigo 3. Vertigo , Vertigo , Vertigo. Sonografica , Vertigo , Phonogram. PC Studio. Baron Music. Sung Eum Limited , Vertigo. Euro Star. Professional Communication. Vertigo , Vertigo , Phonogram , Phonogram. Globus International , Vertigo , Phonogram. Globus International , Vertigo. Rodven , Vertigo. Globus International , Globus International. Teal Trutone Music. Vertigo , Phonogram 2. Vertigo , Sirius Ltd. Western Thunder Records. PolyGram Polska , Vertigo. Elektra 2. Music For Nations 2. Phonogram 2 , Vertigo 3 , Globus International 2. Vertigo 3. PolyGram , Vertigo , Phonogram. Virginia Records. Vertigo , Universal , Phonogram. Vertigo , PolyGram , Universal. Vertigo , Universal Music Korea. Universal , Vertigo. Universal Music India Pvt. The Frayed Ends Of Sanity. To Live Is to Die. Dyers Eve. LP 3: One - 10" Picture Disc. LP Seattle ' The Ecstasy of Gold. Blackened Live. Welcome Home Sanitarium Live. Harvester of Sorrow Live. The Four Horsemen Live. Bass Solo Live. Master of Puppets Live. Fade To Black Live. And Justice For All Live. One Live. Creeping Death Live. Guitar Solo Live. Battery Live. Encore Jam Live. Last Caress Live. Am I Evil? Whiplash Live. Breadfan Live. CD And Justice For All - Remastered. And Justice For All. Eye Of The Beholder. Harvester of Sorrow. The Frayed Ends of Sanity.
    [Show full text]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • ORIGINAL IR[RC~I"-M~A-8&3 DEC 1 9 2002
    SUSAN CHERTKOF MUNSAT ASSOCIATE COUNSEL BUSINESS ANO LEGAL AFFAIRS ORIGINAL IR[RC~I"-M~a-8&3 DEC 1 9 2002 GENERAL COUNSEL a a December 19, 2002 QF COPYRIGHT I ' I I ' BY HAND David O. Carson, Esq. General Counsel U.S. Copyright Office James Madison Memorial Building Room LM-403 First and Independence Avenue, SE Washington, DC 20559-6000 Re: Notice of Intent to Participate in Copyright Arbitration Royalty Panel Proceedin Docket No. 2002-1 CARP DTRA3 Dear Mr. Carson: Enclosed please find for filing an original and five copies of a Notice of Intent to Participate (the "Notice") along with a sixth copy of the Notice for our records. Please date-stamp the sixth copy and return it to my assistant Edward Hahn, who will be hand- delivering the Notice to your office. Sincerely, &fgLQ /IlUJJJ ~ Susan Chertkof Munsat Enclosures ON /0C2 RECORDING INDUSTRY ASSOCIATION DF AMERICA 1330CONNECT I CUT AVE I NWI S II I TE3 0 0 I WASH I NG7 0 0 3 6 PHONE: 202.857.9682 FAX: 202.775.7253 WEB: www.viaa.corn IRXCKIE~KD& Before the DEC 1 9 2002 COPYRIGHT OFFICE LIBRARY OF CONGRESS GENERAL COUNSEL QOPYRlGHT Washington, D.C. QF ) ) In Re: ) ) Adjustment of Rates and Terms for the ) Digital Performance of Sound Recordings ) Docket No. 2002-1 CARP DTRA3 ) ) ) ) NOTICE OF INTENT TO PARTICIPATE The Recording Industry Association ofAmerica, Inc. ("RIAA"), on its own behalf and on behalf of SoundExchange, presently an unincorporated division ofthe RIAA, submits the following comments in response to the Copyright Office Notice published at 67 Fed.
    [Show full text]
  • IFPI Digital Music Report 2013 Engine of a Digital World
    IFPI Digital Music Report 2013 Engine of a digital world 9 IN 10 MOST LIKED PEOPLE ON FACEBOOK ARE ARTISTS 9 IN 10 OF THE MOST WATCHED VIDEOS ON YOUTUBE ARE MUSIC 7 IN 10 MOST FOLLOWED TWITTER USERS ARE ARTISTS Deezer4artists-HD_acl.pdf 1 26/02/13 17:37 2 Contents Introduction 4-5 Music is an engine of the digital world 22-23 g Plácido Domingo, chairman, IFPI g Fuelling digital engagement g Frances Moore, chief executive, IFPI g Fuelling hardware adoption g Driving the live entertainment industry An industry on the road to recovery: g Attracting customers, driving profits Facts and figures 6-10 Going global: the promise of emerging markets 24-27 Global best sellers 11-13 g Brazil: A market set to surge g Top selling albums g Russia: Hurdles to growth can be overcome g Top selling singles g India: Nearing an all-time high g Strong local repertoire sales g Strong market potential in The Netherlands Digital music fuels innovation 14-17 Engaging with online intermediaries 28-30 g Download stores receive a boost from the cloud g Advertising: tackling a major source of funding for music piracy g Subscription services come of age g Search engines – a vital role to play g Subscription transforming the industry’s business model g Further ISP cooperation needed g Growth for music video g Payment providers step up action on illegal sites g The next generation radio experience g Europe: Licensing helps digital consumers Disrupting illegal online businesses 31 The art of digital marketing 18-21 g Disrupting unlicensed cyberlockers g Reducing pre-release leaks g One Direction mobilise an online army g Dance label harnesses social media Digital music services worldwide 32-34 g A personal video for every fan: Linkin Park g Taking classical digital Cover photo credits: Michel Teló.
    [Show full text]
  • It Takes a Little Lawsuit
    This article was downloaded by: [Wayne Marshall] On: 08 August 2012, At: 22:41 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK South Asian Popular Culture Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rsap20 It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility Wayne Marshall a & Jayson Beaster-Jones b a Department of Music, Harvard University, Cambridge, MA, USA b Department of Performance Studies, Texas A&M University, College Station, TX, USA Version of record first published: 20 Jul 2012 To cite this article: Wayne Marshall & Jayson Beaster-Jones (2012): It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility, South Asian Popular Culture, DOI:10.1080/14746689.2012.706015 To link to this article: http://dx.doi.org/10.1080/14746689.2012.706015 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]
  • Ekonomska Učinkovitost Globalnih Medijskih Konglomeratov
    UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Marija Igerc Ekonomska učinkovitost globalnih medijskih konglomeratov Diplomsko delo Ljubljana, 2015 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Marija Igerc Mentor: red. prof. dr. Borut Marko Lah Ekonomska učinkovitost globalnih medijskih konglomeratov Diplomsko delo Ljubljana, 2015 Ekonomska učinkovitost globalnih medijskih konglomeratov V zadnjih tridesetih letih so prevzemi in spojitve postali ena najpogostejših strategij podjetij v medijski industriji. Mnogi avtorji takšno združevanje medijskih podjetij povezujejo z maksimiranjem dobička, saj naj bi se na ta način povečala tako tržna moč kot tudi učinkovitost poslovanja podjetij. V diplomskem delu trdim, da koncentrirano medijsko lastništvo ne povečuje ekonomske učinkovitosti kapitala. Sinergije ne prinašajo pričakovanih izjemnih dobičkov. Doseg diplomskega dela ni tako velik, da bi lahko sama izvedla kvantitativno analizo največjih globalnih medijskih konglomeratov, zato sem ga napisala pretežno teoretično, ob tem pa sem se naslonila na nekaj mednarodno objavljenih študij. Rezultati delno podpirajo mojo prvotno hipotezo, saj so pokazali, da nekateri ekonomski kazalniki ne kažejo boljših rezultatov v tistih medijskih podjetjih, v katerih se je kapital v veliki meri združeval in koncentriral. Zdi se, da so megamedijske združitve za marsikoga razočaranje. Ključne besede: medijska industrija, prevzemi in spojitve, medijski konglomerati, koncentracija lastništva, sinergije. Economic efficiency of global media conglomerates In the past thirty years, acquisitions and mergers have become one of the most common strategies of companies in the media industry. Many authors associate such integration of media companies with profit maximization, since it should increase market power and efficiency of business operations. In the thesis I argue that concentrated media ownership does not increase the economic efficiency of capital.
    [Show full text]
  • India Music Market Study
    INDIA MUSIC MARKET STUDY Written by Sound Diplomacy CONTENTS 1. Introduction 4 1.1 India at a Glance 4 General Info 4 Transport Network 5 1.2 India Geography 7 2. The Indian Recorded Music Market 9 2.1 History and Current State 9 2.2 Recorded Music Market 9 Chart Analysis 10 Piracy 11 2.3 Labels and Production Companies 11 2.4 Streaming in India 13 2.5 Record Labels, Retail and Distribution 15 Record Labels 15 Record Stores 18 Distribution 19 Booking Agencies 20 Management Companies 22 3. Live Performance Industry in India 23 3.1 Music Festivals 24 Festivals 25 3.2 Touring India 28 Venues 29 Costs of Touring 32 Tips About Touring 33 Visas 35 4. Music Publishing in India 35 4.1 Trends and Development 35 4.2 Sync and its Impact 35 4.3 Performing Rights Organisations (PRO) 36 4.4 Select Music Publishers 36 5. Music Promotion and Media 37 5.1 Radio 37 5.2 Television 38 5.3 PR (Print & Digital) 38 Select Newspapers 38 Select Music/Art Magazines 39 Select Publicists and Agencies 40 6. Business and Showcase Events 41 6.1 Select Showcases and Conferences 41 Trade shows / conferences 41 The convention was hosted and attended by some of the most influential entrepreneurs that belong to the nightlife industry. 42 7. Additional Tools and Resources 42 8. References 43 1. Introduction 1.1 India at a Glance General Info India is a federation made up of 29 states and 7 union territories. It is the second most populous country in the world, with a population of nearly 1.3 billion, and is also the seventh largest in terms of landmass.
    [Show full text]
  • Hindustani Music[Edit] Carnatic Music[Edit]
    The music of India includes multiple varieties of folk, popular, pop, classical music andR&B. India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and developed over several eras. Music in India began as an integral part of socio-religious life and that Indian music is essentially melodic: sounds follow one another expressing an emotional state in an aesthetic unity.[1] Two main traditions of classical music are Carnatic music, found predominantly in the peninsular regions, and Hindustani music, found in the northern and central regions.[2] The basic concepts of this music includes Shruti, Swara, Alankar, Rāga, and Tāla. Its tonal system divides the octave into 22 segments called shrutis, not all equal but each roughly equal to one quarter of a whole tone of Western music. Melody is based on the system of ragas, which are melody types used as the basis for improvisation. Hindustani music[edit] Main article: Hindustani classical music Hindustani music tradition was developed around 13th and 14th centuries AD with Persian influences and from existing religious and folk music.[3] The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, were sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughals.
    [Show full text]
  • 59Th Press List
    NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 59th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2015 through September 30, 2016 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Record Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist. 1. HELLO Adele Greg Kurstin, producer; Julian Burg, Tom Elmhirst, Greg Kurstin, Liam Nolan & Alex Pasco, engineers/mixers; Tom Coyne & Randy Merrill, mastering engineers Track from: 25 [XL Recordings/Columbia Records] 2. FORMATION Beyoncé Beyoncé Knowles, Mike Will Made-It & Pluss, producers; Jaycen Joshua & Stuart White, engineers/mixers; Dave Kutch, mastering engineer Track from: Lemonade [Parkwood Entertainment/Columbia Records] 3. 7 YEARS Lukas Graham Future Animals & Pilo, producers; Delbert Bowers, Sebastian Fogh, Stefan Forrest & David LaBrel, engineers/mixers; Tom Coyne, mastering engineer Track from: Lukas Graham [Warner Bros. Records] 4. WORK Rihanna Featuring Drake Boi-1da, producer; Noel "Gadget" Campbell, Kuk Harrell, Manny Marroquin, Noah "40" Shebib & Marcos Tovar, engineers/mixers; Chris Gehringer, mastering engineer [Westbury Road Entertainment] 5. STRESSED OUT Twenty One Pilots Mike Elizondo & Tyler Joseph, producers; Neal Avron & Adam Hawkins, engineers/mixers; Chris Gehringer, mastering engineer Track from: Blurryface [Fueled By Ramen] © The Recording Academy 2016 - all rights reserved 1 Not for copy or distribution 59th Finals - Press List General Field Category 2 4. VIEWS Album Of The Year Drake Award to the Artist(s) and to the Album Producer(s), Recording dvsn, Future, Kyla, PartyNextDoor, Rihanna & Wizkid, Engineer(s) and/or Mixer(s) & Mastering Engineer(s), if other than featured artists; Brian Alexander-Morgan, Axlfoliethc, Beat the artist.
    [Show full text]
  • Kolyva Evdokia.Pdf (838.4Kb)
    ΤΕΧΝΟΛΟΓΙΚΟ ΕΚΠΑΙ∆ΕΥΤΙΚΟ Ι∆ΡΥΜΑ ΚΡΗΤΗΣ ΠΑΡΑΡΤΗΜΑ ΡΕΘΥΜΝΟΥ ΤΜΗΜΑ ΜΟΥΣΙΚΗΣ ΤΕΧΝΟΛΟΓΙΑΣ ΚΑΙ ΑΚΟΥΣΤΙΚΗΣ ΠΤΥΧΙΑΚΗ ΕΡΓΑΣΙΑ Η ΣΧΕΣΗ ΤΩΝ ΑΝΕΞΑΡΤΗΤΩΝ ∆ΙΣΚΟΓΡΑΦΙΚΩΝ ΕΤΑΙΡΙΩΝ ΜΕ ΤΙΣ ΠΟΛΥΕΘΝΙΚΕΣ ΣΤΟ ΜΕΤΑΒΙΟΜΗΧΑΝΙΚΟ ΜΟΝΤΕΛΟ ΠΑΡΑΓΩΓΗΣ . Επιβλέπω ν Καθηγήτρια : Ψυχαράκη Ράνια Επ ιµέλεια : Κολυβά Ευδόκια . Α.Μ.: 683 2 ΠΕΡΙΕΧΟΜΕΝΑ ΕΙΣΑΓΩΓΗ …………………………………………………………………… σελ .4 ΚΕΦΑΛΑΙΟ ΠΡΩΤΟ ΚΟΥΛΤΟΥΡΑ ΚΑΙ ΠΟΛΙΤΙΣΤΙΚΗ ΒΙΟΜΗΧΑΝΙΑ …………………… σελ .9 1.1 ΜΙΑ ΠΡΟΣΠΑΘΕΙΑ ΠΡΟΣΕΓΓΙΣΗΣ ΤΗΣ ΕΝΝΟΙΑΣ ΚΟΥΛΤΟΥΡΑ ΣΗΜΕΡΑ ………………………………………………………………………… σελ .9 1.2 Η ΠΟΛΙΤΙΣΤΙΚΗ ΒΙΟΜΗΧΑΝΙΑ ΣΥΜΦΩΝΑ ΜΕ ΤΟΝ THEODOR ADORNO ΚΑΙ ΤΟΝ MΑΧ HΟRKHEIMER…………………………………. σελ .11 ΚΕΦΑΛΑΙΟ ∆ΕΥΤΕΡΟ ΦΟΡΝΤΙΣΜΟΣ ………………………………………………………………… σελ .16 2.1 ΠΩΣ Ο ΦΟΡΝΤΙΣΜΟΣ ΣΧΕΤΙΖΕΤΑΙ ΜΕ ΤΑ ΒΙΟΜΗΧΑΝΙΚΑ ΠΡΟΤΥΠΑ ΚΑΙ ΤΗ ΜΟΥΣΙΚΗ ΒΙΟΜΗΧΑΝΙΑ ……………………………………….. σελ .16 2.2 ΠΡΟΦΙΛ ΤΟΥ ΦΡΟΝΤΙΣΜΟΥ …………………………………………… σελ .17 2.3 ΑΠΟΨΕΙΣ ΓΙΑ ΤΟΝ ΦΟΡΝΤΙΣΜΟ ………………………………………. σελ .19 2.4 ΒΙΟΜΗΧΑΝΙΚΑ ΠΡΟΤΥΠΑ …………………………………………….. σελ .20 2.5 Ο ΦΟΡΝΤΙΣΜΟΣ ΣΕ ΚΡΙΣΗ ……………………………………………… σελ .23 ΚΕΦΑΛΑΙΟ ΤΡΙΤΟ «ΜΕΤΑ » ΤΟ ΦΟΡΝΤΙΣΜΟ …………………………………………………… σελ .26 3.1 ΝΕΟΦΟΡΝΤΙΣΜΟΣ ΚΑΙ ΜΕΤΑΦΟΡΝΤΙΣΜΟΣ ΣΤΗ ΣΧΟΛΗ ΤΗΣ ΡΥΘΜΙΣΗΣ ……………………………………………………………………. σελ .26 3.2 Η ΝΕΑ ΜΟΡΦΗ ΚΑΠΙΤΑΛΙΣΤΙΚΗΣ ΑΝΑΠΤΥΞΗΣ ΑΠΟ ΤΟΝ MANUEL CASTELLS…………………………………………………………………….. σελ .27 3.3 Ο ΜΕΤΑΦΟΡΝΤΙΣΜΟΣ ΣΥΜΦΩΝΑ ΜΕ ΤΟ ΒΙΒΛΙΟ ΤΗΣ ΑΝΤΙΓΟΝΗΣ ΛΥΜΠΕΡΑΚΗΣ ……………………………………………………………….. σελ .28 3.4 ΟΙ ΕΠΙΠΤΩΣΕΙΣ ΣΤΗ ΜΟΥΣΙΚΗ ΒΙΟΜΗΧΑΝΙΑ ……………………… σελ .30 3.5 ΜΕΤΑΦΟΡΝΤΙΚΟ ΜΟΝΤΕΛΟ ΠΑΡΑΓΩΓΗΣ ………………………….. σελ .31 3.6 ΟΙ ΕΠΙΠΤΩΣΕΙΣ ΤΗΣ ΜΟΥΣΙΚΗΣ ΠΕΙΡΑΤΕΙΑΣ ………………………. σελ .33 ΚΕΦΑΛΑΙΟ ΤΕΤΑΡΤΟ ΟΙ ΠΟΛΥΕΘΝΙΚΕΣ ΕΤΑΙΡΙΕΣ ………………………………………………. σελ .37 4.1 ΟΙ ΜΕΓΑΛΥΤΕΡΕΣ ∆ΙΣΚΟΓΡΑΦΙΚΕΣ ΕΤΑΙΡΙΕΣ ……………………… σελ .37 4.1 α. Warner Music Group……………………………………………………… σελ .38 3 4.1 β. Sony Music Group………………………………………………………… σελ .42 4.1 γ. Universal Music Group…………………………………………………… σελ .44 4.1 δ. EMI……………………………………………………………………….. σελ .47 4.2 Η ∆ΙΣΚΟΓΡΑΦΙΑ ΣΤΗΝ ΕΛΛΑ∆Α ……………………………………… σελ .51 ΚΕΦΑΛΑΙΟ ΠΕΜΠΤΟ ΟΙ ΑΝΕΞΑΡΤΗΤΕΣ ∆ΙΣΚΟΓΡΑΦΙΚΕΣ ΕΤΑΙΡΙΕΣ ………………………….
    [Show full text]