Music Modernization and the Labyrinth of Streaming
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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. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) MAR CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 20 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 18, 19 BENNY BENASSI DA 16 THE CLARK SISTERS GS 14 EST GEE HS 4; H100 34; ODS 14; RBH 17; RS H.E.R. B200 166; RBL 23; ARB 12, 14; H100 50; -L- 13; STM 13 HA 23; RBH 22; RBS 6, 18 THE 1975 RO 40 GEORGE BENSON CJ 3, 4 CLEAN BANDIT DES 16 LABRINTH STX 20 FAITH EVANS ARB 28 HIKARU UTADA DLP 17 21 SAVAGE B200 63; RBA 36; H100 86; RBH DIERKS BENTLEY CS 21, 24; H100 -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
Downloading, Streaming and Digital Lending
Music in the Digital Age: Downloading, Streaming and Digital Lending James Mason, University of Toronto Jared Wiercinski, Concordia University Introduction The ways in which we listen to music, and the places we look to find it, have changed radically in the last thirty years. In 1980, Philips and Sony proposed the Red Book standard for Compact Discs (CDs),1 with a little help from Beethoven.2 Although it was not the first storage medium for digital audio, the introduction of the CD signaled that the world of digital music was about to go mainstream. The technology behind communications devices such as telephones, radios, and personal computers continued to evolve, and before long, the foundation for the Internet was firmly in place. This multifaceted and complex "global system of interconnected computer networks"3 was about to revolutionize the distribution of sound recordings. As Leiner says, "The Internet is at once a world-wide broadcasting capability, a mechanism for information dissemination, and a medium for collaboration and interaction between individuals and their computers without regard for geographic location."4 Only fifteen years after the introduction of the Red Book, music was being distributed over the Internet. RealNetworks' RealAudio Player, for example, was released in April 1995, and was one of the first media players capable of streaming media over the Internet.5 Now, recorded music is more accessible than ever before. We enjoy unprecedented access to music through a variety of means, including both web access and via mobile devices such as smartphones, the iPod touch 1 British Broadcasting Corporation (BBC) News, “How the CD Was Developed,” http://news.bbc.co.uk/2/hi/technology/6950933.stm (accessed March 16, 2010). -
The Relationship Between Local Content, Internet Development and Access Prices
THE RELATIONSHIP BETWEEN LOCAL CONTENT, INTERNET DEVELOPMENT AND ACCESS PRICES This research is the result of collaboration in 2011 between the Internet Society (ISOC), the Organisation for Economic Co-operation and Development (OECD) and the United Nations Educational, Scientific and Cultural Organization (UNESCO). The first findings of the research were presented at the sixth annual meeting of the Internet Governance Forum (IGF) that was held in Nairobi, Kenya on 27-30 September 2011. The views expressed in this presentation are those of the authors and do not necessarily reflect the opinions of ISOC, the OECD or UNESCO, or their respective membership. FOREWORD This report was prepared by a team from the OECD's Information Economy Unit of the Information, Communications and Consumer Policy Division within the Directorate for Science, Technology and Industry. The contributing authors were Chris Bruegge, Kayoko Ido, Taylor Reynolds, Cristina Serra- Vallejo, Piotr Stryszowski and Rudolf Van Der Berg. The case studies were drafted by Laura Recuero Virto of the OECD Development Centre with editing by Elizabeth Nash and Vanda Legrandgerard. The work benefitted from significant guidance and constructive comments from ISOC and UNESCO. The authors would particularly like to thank Dawit Bekele, Constance Bommelaer, Bill Graham and Michuki Mwangi from ISOC and Jānis Kārkliņš, Boyan Radoykov and Irmgarda Kasinskaite-Buddeberg from UNESCO for their work and guidance on the project. The report relies heavily on data for many of its conclusions and the authors would like to thank Alex Kozak, Betsy Masiello and Derek Slater from Google, Geoff Huston from APNIC, Telegeography (Primetrica, Inc) and Karine Perset from the OECD for data that was used in the report. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) MAY CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 15 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 23 BIG30 H100 80; RBH 34 NAT KING COLE JZ 5 -F- PETER HOLLENS CX 13 LAKE STREET DIVE RKA 43 21 SAVAGE B200 111; H100 54; HD 21; RBH 25; BIG DADDY WEAVE CA 20; CST 39 PHIL COLLINS HD 36 MARIANNE FAITHFULL NA 3 WHITNEY HOUSTON B200 190; RBL 17 KENDRICK LAMAR B200 51, 83; PCA 5, 17; RS 19; STM 35 RBA 26, 40; RLP 23 BIG SCARR B200 116 OLIVIA COLMAN CL 12 CHET -
P2P Removal Windows Vista Both
P2P Programs on How to Disable File Sharing Windows Vista on Windows Vista Using file sharing or peer‐to‐peer (P2P) programs to download/share To disable simple file sharing, just follow these steps: copyrighted materials (or just having copyrighted materials in a shared 1. From the Start menu, click Control Panel file on your computer) is a violaon of the UGA Code of Conduct. 2. In the Control Panel, click Network and Internet Organizaons represenng copyrighted industries monitor the UGA 3. Click Network and Sharing Center network and report to UGA when someone on the network has 4. Expand this secon by clicking the buon next to File Sharing inappropriately shared files. 5. Click the circle buon marked Turn Off File Sharing 6. Click Apply for changes to take effect How to remove a P2P Program Disabling file sharing may have an effect on other computer programs Just as you would remove any program from your Windows and does not insure the legality of your media. Be sure to also delete any system, use the Add/Remove Programs window in the Control Types of P2P P2P program from your computer. Panel to remove (uninstall) these programs. Limewire BitTorrent 1. Close and turn off all file sharing programs and their Legal Alternatives for Media Morpheus components 2. Click Start Gnutella There are several legal alternaves for digital music, here are a few: Aresware 3. Open the Control Panel Internet Radio Staons Media Downloading Websites Kazaa Click Control Panel or Pandora iTunes Click Sengs > Control Panel Yahoo! Amazon 4. Click Programs and Features Rhapsody Napster 5. -
Testimony of Barry Mccarthy
PUBLIC Before the UNITED STATES COPYRIGHT ROYALTY JUDGES The Library of Congress ) In the Matter of ) Docket No. 16–CRB–0003–PR (2018– ) 2022) DETERMINATION OF RATES AND ) TERMS FOR MAKING AND ) DISTRIBUTING PHONORECORDS ) (PHONORECORDS III) ) ) WRITTEN DIRECT TESTIMONY OF BARRY MCCARTHY (On behalf of Spotify USA Inc.) Introduction 1. My name is Barry McCarthy. I am the Chief Financial Officer (“CFO”) of the Spotify group of companies (“Spotify”) and am an employee of Spotify USA Inc. I have served as CFO of Spotify since July 2015. Prior to that, I was a member of Spotify’s board of directors. I graduated with a BA in History from Williams College in 1975 and an MBA in Finance from The Wharton School at the University of Pennsylvania in 1980. 2. Before joining Spotify, I served as a Venture Partner and Executive Advisor at Technology Crossover Ventures. Before that, I was CFO of Netflix for nearly 12 years and CFO of Music Choice for 6 years. 3. My testimony will primarily focus on three points: (1) Spotify has grown rapidly, benefitting rights holders, (2) and (3) the current mechanical rate structure is inefficient and hurts rights holders, listeners, and Spotify. PUBLIC Spotify’s Rapid Growth Has Benefited Rights Holders, But Spotify Has Not Turned a Profit Due to High Royalty Costs Spotify Has Grown Rapidly 4. Spotify has grown tremendously since it launched its service in Sweden on October 7, 2008. 1 5. Spotify’s paid subscribers have also increased significantly. 6. 7. 8. 1 Where I don’t say otherwise, the user and revenue numbers I cite in my testimony are global numbers. -