Netease Cloud Music and Merlin Extend Strategic Partnership in China
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Infinite Setlist: Analyzing Pioneer DJ's Catalogue Streaming Partnerships
Cybaris® Volume 12 Issue 1 Article 2 2021 Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud Nicholas Rivera Follow this and additional works at: https://open.mitchellhamline.edu/cybaris Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Rivera, Nicholas (2021) "Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud," Cybaris®: Vol. 12 : Iss. 1 , Article 2. Available at: https://open.mitchellhamline.edu/cybaris/vol12/iss1/2 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law CYBARIS®, AN INTELLECTUAL PROPERTY LAW REVIEW INFINITE SETLIST: ANALYZING PIONEER DJ’S CATALOGUE STREAMING PARTNERSHIPS WITH BEATPORT AND SOUNDCLOUD Nicholas Rivera1 Table of Contents Introduction ................................................................................................................................... 36 The Story Thus Far ................................................................................................................... 38 The Rise of Streaming .............................................................................................................. 39 Brief History of DJing -
Jio Saavn App Download Jio Saavn App Download
jio saavn app download Jio saavn app download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a9ee70bf13c410 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Jio saavn app download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a9ee723f4084a4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. -
Audio OTT Economy in India – Inflection Point February 2019 for Private Circulation Only
Audio OTT economy in India – Inflection point February 2019 For Private circulation only Audio OTT Economy in India – Inflection Point Contents Foreword by IMI 4 Foreword by Deloitte 5 Overview - Global recorded music industry 6 Overview - Indian recorded music industry 8 Flow of rights and revenue within the value chain 10 Overview of the audio OTT industry 16 Drivers of the audio OTT industry in India 20 Business models within the audio OTT industry 22 Audio OTT pie within digital revenues in India 26 Key trends emerging from the global recorded music market and their implications for the Indian recorded music market 28 US case study: Transition from physical to downloading to streaming 29 Latin America case study: Local artists going global 32 Diminishing boundaries of language and region 33 Parallels with K-pop 33 China case study: Curbing piracy to create large audio OTT entities 36 Investments & Valuations in audio OTT 40 Way forward for the Indian recorded music industry 42 Restricting Piracy 42 Audio OTT boosts the regional industry 43 Audio OTT audience moves towards paid streaming 44 Unlocking social media and blogs for music 45 Challenges faced by the Indian recorded music industry 46 Curbing piracy 46 Creating a free market 47 Glossary 48 Special Thanks 49 Acknowledgements 49 03 Audio OTT Economy in India – Inflection Point Foreword by IMI “All the world's a stage”– Shakespeare, • Global practices via free market also referenced in a song by Elvis Presley, economics, revenue distribution, then sounded like a utopian dream monitoring, and reducing the value gap until 'Despacito' took the world by with owners of content getting a fair storm. -
Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive -
How to Share Your Release with the World
MusicNSW’s Industry Essentials How to share your release with the world Prepared by GYROstream for MusicNSW Did you know more than 22,000 songs are uploaded to streaming services every day? Getting your music online can seem like a complicated task. It doesn’t have to be though. Below are some tips and tricks to help you navigate the best distribution path for you and your new tunes. What are digital music aggregators / distributors? Digital aggregators (also known as digital distributors) are companies that provide a means to distribute your music globally through digital music stores and streaming platforms. You can’t just upload a track directly to Spotify or Apple Music and have it streamed globally, you need to use a digital music aggregator. If you’re signed to a label, it’s more than likely they’ll distribute your music to Spotify, Apple, iTunes, YouTube Music and more for you, but if you’re independent, you can have exactly the same access to these platforms by using a digital aggregator. Aggregators make their money by charging upfront fees and/or charging a percentage of revenue earned from the streaming and download purchases of your music. In some cases, aggregators will also charge an ongoing annual fee to keep your content online. Who do they distribute to? Nearly all distributors will get your music to Apple, Spotify, Deezer, Youtube (ie. the major western platforms), which together cover a large portion of music listeners worldwide. Where things might differ is for the highly localised services that cater to their specific regions - eg. -
The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry
UCLA UCLA Entertainment Law Review Title The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry Permalink https://escholarship.org/uc/item/7n4322vm Journal UCLA Entertainment Law Review, 22(1) ISSN 1073-2896 Author Richardson, James H. Publication Date 2014 DOI 10.5070/LR8221025203 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry James H. Richardson* I. INTRODUCTION �����������������������������������������������������������������������������������������������������46 II. ILLEGAL DOWNLOADING LOCALLY STORED MEDIA, AND THE RISE OF STREAMING MUSIC ����������������������������������������������������������������������������������������������������������������47 A. The Digitalization of Music, and the Rise of Locally Stored Content. ......47 B. The Road to Legitimacy: Digital Media in Light of A&M Records, Inc. ..48 C. Legitimacy in a Sea of Piracy: The iTunes Music Store. ...........................49 D. Streaming and the Future of Digital Music Service. ���������������������������������50 III. THE COPYRIGHT AND DIGITALIZATION �������������������������������������������������������������������51 A. Statutory Background ................................................................................51 B. Digital Performance Right in Sound Recordings Act ................................52 -
Jiomusic and Saavn Integrate to Create South Asia's Largest Platform
JioMusic and Saavn integrate to create South Asia’s largest platform for music, media and artists – JioSaavn New integrated platform now available across all App stores and at jio.com/jiosaavn With a catalog of more than 45 million songs and award-winning original content, JioSaavn brings users a wide-ranging audio experience Current JioMusic and Saavn users to migrate to the integrated JioSaavn platform Jio subscribers would enjoy seamless access to the integrated app Mumbai, 4th December 2018: Saavn Media Private Limited, a subsidiary of Reliance Industries Limited (“RIL”), today launched JioSaavn, South Asia’s largest streaming, entertainment and artist platform. JioSaavn represents the official integration of JioMusic, India’s most popular music app, and Saavn, India’s leading global over-the-top platform. The new integrated JioSaavn app will be available across all App Stores including the Jio app store, on JioPhone, as well as, at www.jio.com/jiosaavn. As announced in March 2018 at the time of acquisition of Saavn by Reliance Industries Ltd, the implied valuation of the combined entity at over US$1 billion makes it the most valuable music streaming platform in South Asia, and among the most popular in the world. JioSaavn combines the streaming media expertise of Saavn with Jio’s digital services ecosystem. Jio is India’s largest digital services network with over 252 million subscribers. The integrated app has a massive addressable market opportunity both in India as well as for the Indian diaspora. With the integrated JioSaavn app, users can expect a suite of new in-app products and music experiences, including an interactive lyrics feature, localized vernacular display, custom integrations with concerts and live events, as well as exclusive video content to roll out over the next few months. -
Licensing Rules Repertoire Definition
CIS14-0091R40 Source language: English 30/06/2021 The most recent updates are marked in red Licensing Rules Repertoire Definition This document sets out the repertoire definitions claimed directly by European Licensors in Europe and in some cases outside Europe. the repertoires are defined per Licensor / territory / types of on-line exploitations and DSPs with starting dates when necessary. Differences with the last version of this document are written in red. The document is a snap shot of the current information available to the TOWGE and is updated on an ongoing basis. Please note that the repertoires are the repertoires applied by the Licensors and are not precedential nor can they bind other licensing entities. The applicable repertoire will always be the one set out in the respective representation agreement between Licensors. Towge best practices on repertoires update are: • to communicate an update preferably 3 months but no later than 1 month before the starting period of the repertoire in order to allow enough time for Towge to communicate a new "repertoire definition document" to both Licensors and Licensees, which will allow these to adapt their programs accordingly • to not re-process invoices that have already been generated by Licensors and processed by Licensees Date of Publication Repertoire Licensing Body Pan-European Repertoire Definition DSPs Use Type Start Date Notes End Date Contact licensing Apr-19 WCM Anglo-American ICE Warner Chappell Music Publishing repertoire (mechanical and CP rights) licensable under the PEDL arrangement where the 7 Digital Ltd all digital 01/01/2010 Steve.Meixner repertoire author/composer of the Musical Work (or part thereof as applicable) is non-society or a member of PRS, IMRO, ASCAP, BMI, Amazon Music Unlimited (Steve.Meixner@u SESAC, SOCAN, SAMRO or APRA. -
2020 China Country Profile
1 China Music Industry Development Report COUNTRY China: statistics PROFILE MARKET PROFILE claiming that China’s digital music business 13.08.20 ❱China increased by 5.5% from 2017 to 2018 while the number of digital music users exceeded Population... 1.4bn 550m, a jump of 5.1% year-on-year. GDP (purchasing power parity)... $25.36tn GDP per capita (PPP)... $18,200 What, exactly, these digital music users are doing is still not entirely clear. Streaming, as 904m Internet users... you might imagine, dominates digital music Broadband connections... 407.39m consumption in China. The divide, however, Broadband - subscriptions per 100 inhabitants... 29 between ad-supported and paid users is opaque at best. The IFPI, for example, reports Mobile phone subscriptions... 1.65bn that revenue from ad-supported streaming Smartphone users... 781.7m is greater than that of subscription in China Sources: CIA World Factbook/South China Morning Post/Statista – a claim that was met with some surprise by some local Music Ally sources. “For most of the platforms, subscription income is still the largest contributor in the digital music market,” says a representative of NetEase A lack of reliable figures makes China a Cloud Music. difficult music market to understand. Even so, Simon Robson, president, Asia Region, its digital potential is vast. Warner Music, says that the ad-supported China basically lives model isn’t really set up to make money in China but is instead designed to drive traffic CHINA’S GROWING IMPORTANCE as a service NetEase Cloud Music, warned inside WeChat now... to the service. “Within China, the GDP is so digital music market is perhaps only matched that IFPI numbers for China were largely we fix problems for the different from city to city that it becomes by a fundamental lack of understanding based on advances; that means they may difficult to set standard pricing per month that exists about the country. -
Spotify India – Game Or Late to the Streaming Party?
SPOTIFY INDIA – GAME OR LATE TO THE STREAMING PARTY? INTRODUCTION Everything comes at a price. Even the music that we are hooked to our supposedly free music streaming apps. As users we pay in terms of our time and for every 30 minutes that we listen to Spotify, the company makes $0.03 in ad revenues [1]. The average Indian user listens to 21.5 hours of music per week generating $1.29 per week per user in India. Out of $1.29, Spotify pays 70% of its revenue stream to the music producers which is approximately a dollar per subscriber. Spotify Technology, the Swedish audio streaming major currently holds the largest market share in the global music streaming space (36%) [2] and reported 248 Mn total Monthly Active Users (MAU) out of which, 113 Mn are Premium Users and 141 Mn are Ad-supported (Free) users in its Q3 press release. [3] The company enables on-demand streaming of audio content and aims to combat music piracy by monetizing licensed content with an ad-supported, free-to-the-user model and a premium, paid model. Fueled by the Over The Top (OTT) services boom in India, Spotify finally entered the Indian market in February 2019 with the launch of its successful marketing campaign “There’s a Playlist for that” amassing one million subscribers within a month of its launch. The Indian music streaming industry has a total subscriber base of 137 Mn that is expected to grow to 273 Mn by end of 2020 underlining the potential growth opportunities for Spotify. -
Digital Music Distribution and Royalty Investment
AudioSwim NASAB Dubai, UAE [email protected] Digital Music Distribution and Royalty Investment 2020 - 2021 Overview AudioSwim allows artists to upload, sell and stream their music globally, turning fans into investors. We focus on creating innovative ways for musicians to expand their catalog and careers through fan engagement and investments. Music Distribution and Audio Management ● Get your music streaming in 30+ stores including iTunes, Spotify, Anghami, TikTok, Google Play, Amazon, Tidal, & Deezer! ● We ensure a high degree of confidentiality and security allowing you to gain control and get paid from music streaming and sales. ● We offer daily and weekly analytical reports that help you learn about your fans. Find out who's paying attention to you. ● News, Blogs, Interviews, Podcasts and more about digital music distribution from artists and music industry insiders to help you get ahead. Royalty Reporting and Royalty Investment ● Each artist or band will be able to set the value of their royalty rights being offered at their own discretion, within a limit determined by AudioSwim. The limit is based on prior earnings of previous songs and future potential. ● AudioSwim will provide customized deals that will allow intellectual property holders to sell proportions of their royalty streams in return for lump sum payment. 2 ● Royalties will be sold as investments to your fans who will be able to sell or trade artists royalties in the future. ● The purchase of royalties will ensure that your fans give you the proper support and push needed. ● Remixes, cover versions, and anything with unlicensed samples can not be permitted. All releases undergo a strict quality control assessment prior to release. -
Algorithms and Curated Playlist Effect on Music Streaming Satisfaction
ALGORITHMS AND CURATED PLAYLIST EFFECT ON MUSIC STREAMING SATISFACTION by Johny Sanchez Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Business Information Systems Texas Christian University Fort Worth, Texas May 7, 2018 ii ALGORITHMS AND CURATED PLAYLIST EFFECT ON MUSIC STREAMING SATISFACTION Project Approved: Supervising Professor: Jeffrey Stratman, Ph.D. Department of Business Information Systems Wendy Williams, Ph.D. John V. Roach Honors College iii ABSTRACT This research attempts to better understand the use of algorithms by music streaming services Apple Music and Spotify, and determine if their use affects user satisfaction. Both Apple Music and Spotify have integrated algorithms into their service in order to provide individually curated playlist. These playlists are created based on a user’s musical taste gathered by interacting with the service. The playlists allow users to discover new music based on what they enjoy. The more a user provides information on the type of music they like, then the better at predicting the algorithms become. The research attempts to answer: does the use of algorithms, analytics, and curated playlists enhance customer satisfaction and music discovery in Apple Music and Spotify? Both companies have invested heavily into their algorithms and it is important to know if they benefit the user. To find the answer to the question, college aged (18-23) individuals were surveyed on their engagement and satisfaction with Apple Music and/or Spotify. Without access to either company’s algorithms a proxy for an input to them was used. Results show that for a one degree increase in engagement there was a 37.8% increase in user satisfaction.