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Tal Og Perspektiver MUSIKSELSKABERFOTO: WIFOPRO.DK 2016 - TAL OG PERSPEKTIVER S
MUSIK- SELSKABER 2016 tal og perspektiver MUSIKSELSKABERFOTO: WIFOPRO.DK 2016 - TAL OG PERSPEKTIVER S. 2 FORORD I mere end et århundrede har man kunnet høre musik Løsningen ligger imidlertid lige for. Den europæiske i de danske hjem. I starten af 1900-tallet var det dog lovgivning – og særligt den aktuelle reform af ophavs- kun de velbjærgede borgere forundt at opleve grammo- retten – bør understrege, at alle tjenester, der aktivt fonen frembringe lyd i stuen. På daværende tidspunkt udbyder musik, selvfølgelig skal indhente tilladelse fra kostede en grammofon nemlig mere end en månedsløn dem, der leverer musikken, før den kan udbydes. Også for de fleste danskere. amerikanske giganter som YouTube, der baserer de- res succesfulde forretningsmodel på, at brugerne selv Sådan er det heldigvis ikke i dag. Tværtimod kan alle uploader musik til tjenesten. nu få adgang til millioner af musiknumre med en lav månedlig ydelse og få klik på mobilen. Forbruget af Det er bekymrende, at artister, sangskrivere og mu- indspillet musik har således næppe været større, end sikselskaber ikke får en anstændig betaling for deres det er i dag. hårde arbejde fra sådanne tjenester i dag. Mindst lige så bekymrende er det imidlertid, at konkurrencesitua- Derfor er det ikke med udelt begejstring, vi kan konsta- tionen mellem tjenesterne er så grotesk, at den reelt er tere, at musikselskabernes indtægter for salg af ind- en bombe under udviklingen af nye spændende mulig- spillet musik udgør 494 mio. kr. i 2016. For selvom der heder til forbrugerne. er tale om en vækst på 9 % sammenlignet med 2015, burde markedet være markant større, når man ser på For hvor er incitamentet til videreudvikling hos tje- det faktiske forbrug af musik i Danmark.
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Michael Fugmann Linstowsvej 9 2960 Rungsted Kyst // Denmark +45 40 25 55 02 D.O.B
CV Michael Fugmann Linstowsvej 9 2960 Rungsted Kyst // Denmark +45 40 25 55 02 d.o.b. 3. July 1977 KEY QUALIFICATIONS • Event Management: Initiator, creative, concept development, planning, budgeting, corporate branding, executing • High level of experience with live TV event, sport events • Professional TV commentator • Ex-Professional freeskier • See opportunities, make impossible possible, challenges WORK EXPERIENCE 2016 – present Initiator to Copenhagen Winter Games, the first double world cup in Big Air on ski and snowboard and Olympic qualifier in Denmark. 2016 – present Endorsement and commercial director at the management twttw - Herunder the artist, Lukas Graham, Brandon Beal and others. 2015 – present A part of the event company, whos event, making creative solutions, planning, budgeting and execution for private events 2012 – present TV commentator at discovery networks for all freeski TV broadcasts 2005 – 2016 Initiator, founder and owner of the winter sport event FROSTGUN INVITATIONAL Frostgun was the biggest freeski and snowboard event in Europe and was considered the European counterpart to X-games. In 2016 Frostgun was broadcasted worldwide to +200 Million householders in more than 28 countries. It was taking place, in Val d’Isére, France in front of 10.000 audience per day. 2012 – 2014 Planner at the Charity Ball, a charity ball founding money for the organization “børn og unge i voldsramte familier” Michael Fugmann // Mobil +45 40 25 55 02 2011 – 2013 TV Commentator at DR 3 for X-games 2006 – 2012 Founder of the freeski and fashion shop, named Frostgun in Copenhagen 2001 – 2014 Initiator, founder and owner of the freeski and snowboard camp, FSA, Freestyle Academy.
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Worldcharts TOP 200 Vom 13.06.2016
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President Jean-Claude Juncker Wednesday, 29 June 2016 European Commission Rue De La Loi 200 1049 Brussels Belgium
President Jean-Claude Juncker Wednesday, 29 June 2016 European Commission Rue de la Loi 200 1049 Brussels Belgium Re. Securing a sustainable future for the European music sector Dear President Juncker, As recording artists and songwriters from across Europe and artists who regularly perform in Europe, we believe passionately in the value of music. Music is fundamental to Europe’s culture. It enriches people’s lives and contributes significantly to our economies. This is a pivotal moment for music. Consumption is exploding. Fans are listening to more music than ever before. Consumers have unprecedented opportunities to access the music they love, whenever and wherever they want to do so. But the future is jeopardised by a substantial “value gap” caused by user upload services such as Google’s YouTube that are unfairly siphoning value away from the music community and its artists and songwriters. This situation is not just harming today’s recording artists and songwriters. It threatens the survival of the next generation of creators too, and the viability and the diversity of their work. The value gap undermines the rights and revenues of those who create, invest in and own music, and distorts the market place. This is because, while music consumption is at record highs, user upload services are misusing “safe harbour” exemptions. These protections were put in place two decades ago to help develop nascent digital start-ups, but today are being misapplied to corporations that distribute and monetise our works. Right now there is a unique opportunity for Europe’s leaders to address the value gap.
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Musikselskaber 2014 – Tal Og Perspektiver?
MUSIK- SELSKABER 2014 tal og perspektiver MUSIKSELSKABER 2014 - TAL OG PERSPEKTIVER S. 2 FOTO: SOPHIE BECH FORORD For få år siden var et musikmarked præget af vækst I dag er musikselskaberne dog dynamiske og og optimisme en fjern drøm. I dag er det en reali- omstillingsparate virksomheder, som ikke kun tet. For andet år i træk oplever vi nemlig en samlet orienterer sig mod salg af streams, cd’er og vækst for salg af indspillet musik i Danmark. En downloads til de danske forbrugere. Derfor har kærkommen udvikling som vi ikke tidligere har vi som noget nyt valgt at dokumentere og offent- oplevet på denne side af årtusindeskiftet. liggøre musikselskabernes indtægter fra andre forretningsområder som eksempelvis kommercielle Væksten skyldes entydigt danskernes brug af partnerskaber, koncertvirksomhed og salg af streamingtjenester, som også i 2014 fortsatte med merchandise. Det er vigtige indtægtskilder, som at vokse. Omsætningen fra streaming steg i det også er et resultat af musikselskabernes langsigtede forgangne år med 50,5 % sammenlignet med 2013. arbejde med artisterne og deres musik. Det betyder, at det samlede digitale salg nu står for rekordhøje 74,3 % af omsætningen. Omsætningen fra de øvrige indtægtsområder er et nyt initiativ og offentliggøres derfor særskilt i Den positive udvikling med streaming skaber selv- denne publikation. følgelig også nye udfordringer. Vi behandler langt større datastrømme, end vi tidligere har været Jeg håber, at ’Musikselskaber 2014’ kan være vant til. Indtægterne deles mellem flere aktører med til at kvalificere debatten om branchens end tidligere, fordi danskerne hører meget mere vilkår og trivsel. forskelligt musik via streamingtjenesterne. Og investeringerne i musik kommer i dag tilbage til os over længere tid, fordi vi modtager betaling for musikken drypvist i takt med, at forbrugerne aktivt vælger musikken til på tjenesterne.
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President Jean-‐Claude Juncker Wednesday, 29 June 2016
Below is a letter sent to President Jean-Claude Juncker on 29 June 2016, with over 1,000 signatories. Since then, new signatures have been added. As of 18 July 2016 the list numbers almost 1,300 names. The full updated list appears below. President Jean-Claude Juncker Wednesday, 29 June 2016 European Commission Rue de la Loi 200 1049 Brussels Belgium Re. Securing a sustainable future for the European music sector Dear President Juncker, As recording artists and songwriters from across Europe and artists who regularly perform in Europe, we believe passionately in the value of music. Music is fundamental to Europe’s culture. It enriches people’s lives and contributes significantly to our economies. This is a pivotal moment for music. Consumption is exploding. Fans are listening to more music than ever before. Consumers have unprecedented opportunities to access the music they love, whenever and wherever they want to do so. But the future is jeopardised by a substantial “value gap” caused by user upload services such as Google’s YouTube that are unfairly siphoning value away from the music community and its artists and songwriters. This situation is not just harming today’s recording artists and songwriters. It threatens the survival of the next generation of creators too, and the viability and the diversity of their work. The value gap undermines the rights and revenues of those who create, invest in and own music, and distorts the market place. This is because, while music consumption is at record highs, user upload services are misusing “safe harbour” exemptions.
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MELODIERNAS SPRÅK Undersökning Av Språkförhållanden Och Budskap I Finsk-, Svensk-, Norsk- Och Danskspråkig Populärmusik Åren 2012–2016
MELODIERNAS SPRÅK Undersökning av språkförhållanden och budskap i finsk-, svensk-, norsk- och danskspråkig populärmusik åren 2012–2016 Ari Alavahtola Pro gradu-avhandling i nordisk filologi Humanistiska fakulteten Uleåborgs universitet November 2017 INNEHÅLLSFÖRTECKNING FÖRTECKNING ÖVER TABELLER OCH FIGURER Tabell 1. Undersökningsmaterial ..................................................................................................34 Tabell 2. Antal låtar i materialet ...................................................................................................35 Tabell 3. Antal inhemska låtar på topp-20-listan ..........................................................................38 Tabell 4. Största antal inhemska låtar på en vecka ........................................................................40 Tabell 5. Antal låtar från Så mycket bättre-versioner ....................................................................68 Tabell 6. Antal låtar från uttagningstävlingar för Eurovision Song Contest ……………………………….70 Figur 1. Egenspråkiga låtar av all inhemsk populärmusik 2012–2016 .........................................35 Figur 2. Andel av inhemska låtar i materialet ...............................................................................36 Figur 3. Andel av egenspråkiga sångtexter i materialet ................................................................37 Figur 4. Andel av inhemsk musik på topp-20-listan .....................................................................38 Figur 5. Så mycket bättre-låtar
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Billboard Magazine
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President Jean-Claude Juncker Wednesday, 29 June 2016 European Commission Rue De La Loi 200 1049 Brussels Belgium
Below is a letter sent to President Jean-Claude Juncker on 29 June 2016, with over 1,000 signatories. Since then, new signatures have been added. As of 15 September the list numbers almost 1,600 names. The full updated list appears below. President Jean-Claude Juncker Wednesday, 29 June 2016 European Commission Rue de la Loi 200 1049 Brussels Belgium Re. Securing a sustainable future for the European music sector Dear President Juncker, As recording artists and songwriters from across Europe and artists who regularly perform in Europe, we believe passionately in the value of music. Music is fundamental to Europe’s culture. It enriches people’s lives and contributes significantly to our economies. This is a pivotal moment for music. Consumption is exploding. Fans are listening to more music than ever before. Consumers have unprecedented opportunities to access the music they love, whenever and wherever they want to do so. But the future is jeopardised by a substantial “value gap” caused by user upload services such as Google’s YouTube that are unfairly siphoning value away from the music community and its artists and songwriters. This situation is not just harming today’s recording artists and songwriters. It threatens the survival of the next generation of creators too, and the viability and the diversity of their work. The value gap undermines the rights and revenues of those who create, invest in and own music, and distorts the market place. This is because, while music consumption is at record highs, user upload services are misusing “safe harbour” exemptions. These protections were put in place two decades ago to help develop nascent digital start-ups, but today are being misapplied to corporations that distribute and monetise our works.
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Dk Chart Rules
dk chart rules TRACK LISTEN Track listen er sammentalt af salg/forbrug af henholdsvis downloads og streams af enkelttrack titler. Som nu kan bundles af samme titel (remixpakker) også tælles med, idet én download tæller med 1 uanset antal tracks i pakken. I modsætning til andre enkelttrack hitlister benyttes en omregningsfaktor mellem streams og downloads, for at data kan tælles sammen. Faktoren benævnes Track Faktor og er udtryk for en streams aktuelle værdi i markedet i forhold til en download. Det er M&I Service som fastsætter omregningsfaktoren. Denne opdateres min. hvert kvartal eller efter behov. Til brug for fastsættelse af faktoren, modtager M&I Service fra min. 4 forskellige selskaber hvert kvartal følgende nøgletal: o Opnået gennemsnitlig salgspris per unit for et download (individuelt solgt) o Opnået gennemsnitlig salgspris per unit for en stream Alle oplysninger behandles naturligvis yderst fortroligt og det oplyses ikke hvilke selskabers tal der er blevet brugt, ligesom M&I Service har ret til at se bort fra et selskabs tal, såfremt de ikke vurderes valide. Omregningsfaktoren er forholdet mellem værdien af én download og én stream. Beregningsmodel: Track har opnået X downloads og Y streams Samlet Track Score = X + ( Y / Track Faktor) Eksempel: Track har opnået 688 downloads og 128.200 streams. Track Faktor sættes til 100. Samlet Track Score = 688 + ( 128.200 / 100) = 1.970 M&I Service www.miservice.dk dk chart rules ALBUM LISTEN Album listen er sammentalt af henholdsvis fysiske og digitale albums salg samt af track streams omregnet til Album Score efter følgende regler: ‐ Track Streams samles under den UPC kode som bliver rapporteret af dataleverandørerne i deres daglige/ugentlige rapporter.
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