IFPI Digital Music Report 2013 Engine of a Digital World
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Understanding Digital Content and Services Ecosystems the Role of Content and Services in Boosting Internet Adoption
Understanding digital content and services ecosystems The role of content and services in boosting Internet adoption Strategy& is part of the PwC network Contacts Beirut Düsseldorf Madrid Seattle Chady Smayra Dr. Roman Friedrich José Arias Mathias Herzog Partner Partner Partner Principal, PwC US +961-1-985-655 +49-211-38900 +34-91-411-8450 +1-206-398-3000 chady.smayra roman.friedrich j.arias mathias.herzog @strategyand.ae.pwc.com @strategyand.de.pwc.com @strategyand.es.pwc.com @strategyand.us.pwc.com Rami Maalouf Frankfurt Milan Shanghai Manager +961-1-985-655 Olaf Acker Luigi Pugliese Sarah Butler rami.maalouf Partner Partner Partner @strategyand.ae.pwc.com +49-69-97167-0 +39-02-72-50-91 +86-21-2323-2020 olaf.acker luigi.pugliese butler.sarah Delhi @strategyand.de.pwc.com @strategyand.it.pwc.com @strategyand.au.pwc.com Ashish Sharma Helsinki Paris Vienna Partner +91-124-499-8700 Santeri Kirvelä Pierre Péladeau Klaus Hölbling sharma.ashish Partner Partner Partner @strategyand.pwc.com +358-20-787-7000 +33-1-5657-58590 +43-1-518-22-900 santeri.kirvela pierre.peladeau klaus.hoelbling Doha @strategyand.fi.pwc.com @strategyand.fr.pwc.com @strategyand.at.pwc.com Bahjat El-Darwiche Jakarta Riyadh Partner +974-44026-777 Abhijit Navalekar Hilal Halaoui bahjat.eldarwiche Partner Partner @strategyand.ae.pwc.com +62-21-521-2901 +966-11-249-7781 abhijit.navalekar hilal.halaoui Dubai @strategyand.ae.pwc.com @strategyand.ae.pwc.com Jayant Bhargava London São Paulo Partner +971-4-390-0260 Hugo Trepant Nuno Gomes jayant.bhargava Partner Partner @strategyand.ae.pwc.com +44-20-7583-5000 +55-11-3674-8736 hugo.trepant nuno.gomes Jad Hajj @strategyand.uk.pwc.com @strategyand.br.pwc.com Partner +971-4-390-0260 jad.hajj @strategyand.ae.pwc.com 2 Strategy& About the authors Bahjat El-Darwiche is a partner with Strategy&, part of the PwC network, and is based in Doha. -
Last.Fm Wants to Become the Web's MTV 10 May 2007
Last.fm Wants to Become the Web's MTV 10 May 2007 Online social music site Last.fm is moving into the video realm, adding music videos with a goal of providing every video ever made. The site, which provides music recommendations based on user preferences, will be leveraging its music label relationships to bring artist video content to members. Users who currently sign up at Last.fm site provide it with the names of their favorite artists and the site then generates streaming music recommendations based on those entries. A plug- in also lets the site determine which music users actually play. Listeners then vote on whether they love or hate those recommendations, so that Last.fm has a better idea of what that user might enjoy. Last.fm intends to use the same model for music video content in order to create personalized video channels. The site promises higher quality than that of YouTube, with audio encoded at 128 Kbits/s on Last.fm compared to YouTube's 64 Kbits/s. Last.fm boasts partnerships with major labels like The EMI Group and Warner Music Group in addition to approximately 20,000 independent labels like Ninja Tune, Nettwerk Music Group, Domino, Warp, Atlantic and Mute. The intent is to have every music video ever made available on the site, "from the latest hits to underground obscurities to classics from the past," according to Last.fm. In November of last year, Last.fm launched a system that provides suggestions on upcoming performances based on user location and taste in music. -
Adding Support for Jamendo and Magnatune to Rhythmbox on Linux
Walking in Light with Christ - Faith, Computing, Diary Articles & tips and tricks on GNU/Linux, FreeBSD, Windows, mobile phone articles, religious related texts http://www.pc-freak.net/blog Adding support for Jamendo and Magnatune to Rhythmbox on Linux Author : admin I'm using rhythmbox to play music on my Debian Linux. Rhythmbox is a good substitute for both audacious and xmms. XMMS is already very obsolete and it often crashes because of some of it's plugins. On the other hand audacious is sometimes having problems on my notebook working with it's alsa plugin or pulseaudio especially if I play something in youtube. With audacious my songs sometimes got stucked for some weird reason. With rhythmbox I have never experienced this kind of issues. Considering the fact that I'm a GNOME user rhythmbox is even more attractive for me. During about 2 years ago I've heard about the Jamendo - community of free, legal and unlimited music published under the Creative Commons licenses. Just about 10 months ago I've also discovered magnatune which is also a radio which allows free listening online of it's whole online catalogue. That's why it was really interesting for me to have this two nice music streaming services directly into my rhythmbox. I was very happy to discover that already a plugin that embeds the Jamendo and Magnatune Support to the Rhytmbox program. To enable Rhythmbox to support Magnatune and Jamendo type in your root terminal: debian:~# apt-get install gmpc-plugins gmpc-plugins-dbg debian:~# apt-get rhythmbox-plugins It's very likely that the rhythmbox-plugins might be already installed on your Linux, anyways I put the command above just in case if for some reason it's not installed. -
Uila Supported Apps
Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage. -
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. -
Digital Distribution
HOW DIGITAL DISTRIBUTION AND EVALUATION IS IMPACTING PUBLIC SERVICE ADVERTISING Aggressive Promotion Yields Significant Results By Bill Goodwill & James Baumann It is no surprise to see that digital distribution of all media products is fast becoming the de facto standard for distribution of media content, particularly for shorter videos such as PSA messages. First let’s define the terms. Digital distribution (also called digital content delivery, online distribution, or electronic distribution), is the delivery of media content online, thus bypassing physical distribution methods, such as video tapes, CDs and DVDs. In additional to saving money on tapes and disks, digital distribution eliminates the need to print collateral materials such as storyboards, newsletters, bounce-back cards, etc. Finally, it provides the opportunity to preview messages online, and offers media high- quality files for download. The “Pull” Distribution Model In the pre-digital world, the media was spoiled because they had all the PSA messages they could ever use delivered right to their desktop, along with promotional materials explaining the importance of the campaigns. Today, the standard way for stations to get PSAs in the digital world is to go to a site created by the digital distribution company and download them from the “cloud.” Using a dashboard that has been created for PSAs, the media can preview the spots and download both the PSAs, as well as digital collateral materials such as storyboards, a newsletter and traffic instructions. This schematic shows the overall process flow for digital distribution. To provide more control over digital distribution, Goodwill Communications has its own digital distribution download site called PSA Digital™, and to see how we handle both TV and radio digital files, go to: http://www.goodwillcommunications.com/PSADigital.aspx. -
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 ...................................................................................................................... -
Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives
MONEY FROM MUSIC: SURVEY EVIDENCE ON MUSICIANS’ REVENUE AND LESSONS ABOUT COPYRIGHT INCENTIVES Peter DiCola* According to the incentive theory of copyright, financial rewards are what the public trades for the production of creative works. To know whether this quid pro quo is working, one needs to know how much the creators are getting from the bargain. Based on an original, nationwide survey of more than 5,000 musicians, this Article addresses one of the key links in the incentive theory’s chain of logic. For most musicians, copyright does not provide much of a direct financial reward for what they are producing currently. The survey findings are instead consistent with a winner-take-all or superstar model in which copyright motivates musicians through the promise of large rewards in the future in the rare event of wide popularity. * Associate Professor, Northwestern University School of Law. A.B. 1998, Princeton University; J.D. 2005, Ph.D. (Economics) 2009, University of Michigan. I am grateful to my colleagues Jean Cook and Kristin Thomson of the Future of Music Coalition. We worked together to develop and analyze the Internet survey of musicians discussed in this Article, and I have benefited greatly from our discussions as a research team. The views expressed in this Article are my own, however, and not those of Jean, Kristin, or Future of Music Coalition. My thanks to Ken Ayotte, Scott Baker, Shari Diamond, Zev Eigen, Josh Fischman, Ezra Friedman, William Hubbard, Jessica Litman, Anup Malani, Mark McKenna, Tom Miles, Max Schanzenbach, and Avishalom Tor for helpful comments and advice. -
Cisco SCA BB Protocol Reference Guide
Cisco Service Control Application for Broadband Protocol Reference Guide Protocol Pack #60 August 02, 2018 Cisco Systems, Inc. www.cisco.com Cisco has more than 200 offices worldwide. Addresses, phone numbers, and fax numbers are listed on the Cisco website at www.cisco.com/go/offices. THE SPECIFICATIONS AND INFORMATION REGARDING THE PRODUCTS IN THIS MANUAL ARE SUBJECT TO CHANGE WITHOUT NOTICE. ALL STATEMENTS, INFORMATION, AND RECOMMENDATIONS IN THIS MANUAL ARE BELIEVED TO BE ACCURATE BUT ARE PRESENTED WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED. USERS MUST TAKE FULL RESPONSIBILITY FOR THEIR APPLICATION OF ANY PRODUCTS. THE SOFTWARE LICENSE AND LIMITED WARRANTY FOR THE ACCOMPANYING PRODUCT ARE SET FORTH IN THE INFORMATION PACKET THAT SHIPPED WITH THE PRODUCT AND ARE INCORPORATED HEREIN BY THIS REFERENCE. IF YOU ARE UNABLE TO LOCATE THE SOFTWARE LICENSE OR LIMITED WARRANTY, CONTACT YOUR CISCO REPRESENTATIVE FOR A COPY. The Cisco implementation of TCP header compression is an adaptation of a program developed by the University of California, Berkeley (UCB) as part of UCB’s public domain version of the UNIX operating system. All rights reserved. Copyright © 1981, Regents of the University of California. NOTWITHSTANDING ANY OTHER WARRANTY HEREIN, ALL DOCUMENT FILES AND SOFTWARE OF THESE SUPPLIERS ARE PROVIDED “AS IS” WITH ALL FAULTS. CISCO AND THE ABOVE-NAMED SUPPLIERS DISCLAIM ALL WARRANTIES, EXPRESSED OR IMPLIED, INCLUDING, WITHOUT LIMITATION, THOSE OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OR ARISING FROM A COURSE OF DEALING, USAGE, OR TRADE PRACTICE. IN NO EVENT SHALL CISCO OR ITS SUPPLIERS BE LIABLE FOR ANY INDIRECT, SPECIAL, CONSEQUENTIAL, OR INCIDENTAL DAMAGES, INCLUDING, WITHOUT LIMITATION, LOST PROFITS OR LOSS OR DAMAGE TO DATA ARISING OUT OF THE USE OR INABILITY TO USE THIS MANUAL, EVEN IF CISCO OR ITS SUPPLIERS HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. -
The Yale-Classical Archives Corpus
University of Massachusetts Amherst ScholarWorks@UMass Amherst Music & Dance Department Faculty Publication Music & Dance Series 2016 The ale-CY lassical Archives Corpus Christopher William White University of Massachusetts Amherst Ian Quinn Yale University Follow this and additional works at: https://scholarworks.umass.edu/music_faculty_pubs Part of the Music Commons Recommended Citation White, Christopher William and Quinn, Ian, "The ale-CY lassical Archives Corpus" (2016). Empirical Musicology Review. 17. http://dx.doi.org/10.18061/emr.v11i1.4958 This Article is brought to you for free and open access by the Music & Dance at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Music & Dance Department Faculty Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Empirical Musicology Review Vol. 11, No. 1, 2016 The Yale-Classical Archives Corpus CHRISTOPHER W M WHITE [1] The University of Massachusetts, Amherst IAN QUINN Yale University ABSTRACT: The Yale-Classical Archives Corpus (YCAC) contains harmonic and rhythmic information for a dataset of Western European Classical art music. This corpus is based on data from classicalarchives.com, a repository of thousands of user- generated MIDI representations of pieces from several periods of Western European music history. The YCAC makes available metadata for each MIDI file, as well as a list of pitch simultaneities (“salami slices”) in the MIDI file. Metadata include the piece’s -
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. -
The Music Industry in the Social Networking Era
THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Telecommunication, Information Studies and Media 2011 Abstract THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue Music has long been a pillar of profit in the entertainment industry, and an indispensable part in many people’s daily lives around the world. The emergence of digital music and Internet file sharing, spawned by rapid advancement in information and communication technologies (ICT), has had a huge impact on the industry. Music sales in the U.S., the largest national market in the world, were cut in half over the past decade. After a quick look back at the pre-digital music market, this thesis provides an overview of the music industry in the digital era. The thesis continues with an exploration of three motivating questions that look at social networking sites as a possible major outlet and platform for musical artists and labels. A case study of a new social networking music service is presented and, in conclusion, thoughts on a general strategy for the digital music industry are presented. Table of Contents List of Figures................................................................................................................................ iv List of Tables................................................................................................................................... v Introduction....................................................................................................................................