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How Shop Environment Including Layout and Music Can Out- Power the Price of Items Sold?
Asian Journal of Business and Management (ISSN: 2321 - 2802) Volume 02 – Issue 02, April 2014 How Shop Environment Including Layout and Music can Out- power the Price of Items Sold? Beatrice Ng Miin Wei1, Rashad Yazdanifard2 1Center of Southern New Hampshire University Programs HELP College of Arts and Technology, Kuala Lumpur, Malaysia. E-mail: beatricebarbie {at} hotmail.com 2Center of Southern New Hampshire University Programs HELP College of Arts and Technology Kuala Lumpur, Malaysia E-mail: rashadyazdanifard {at} yahoo.com _______________________________________________________________________________________________ ABSTRACT--- Music can become a very powerful marketing tool if used in the right way and at the right time. This is why in this paper we will be looking at how music can influence one’s purchasing behaviour. This is because music is able to influence one’s mood. Furthermore there are some benefits to playing music in stores. Plus there are certain types of music for certain target market and in this paper, it will be revealed which type of market prefers what type of music. Also the age of the customer and the type of music being played in the store also has a relationship. Music can also lead to an increase in one’s sales level. The type of music is important and so are the tempo, pitch and volume of the music. Besides that, the store environment that includes a couple of features like the light and color of the store is rather important. Not to forget the layout of the store. The store environment and layout also plays a part in attracting and making sales for the store. -
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. -
Napster: Winning the Download Race in Europe
Resolution 3.5 July/Aug 04 25/6/04 12:10 PM Page 50 business Napster: winning the download race in Europe A lot of ones and zeros have passed under the digital bridge on the information highway since November 2002, when this column reviewed fledgling legal music download services. Apple has proved there’s money to be made with iTunes music store, street-legal is no longer a novelty, major labels are no longer in the game ... but the Napster name remains. NIGEL JOPSON N RESOLUTION V1.5 Pressplay, co-owned by UK. There’s an all-you-can-download 7-day trial for Universal and Sony, received top marks for user UK residents who register at the Napster.co.uk site. Iexperience. Subscription service Pressplay launched While Apple has gone with individual song sales, with distribution partnerships from Microsoft’s MSN Roxio has stuck to the subscription model and service, Yahoo and Roxio. Roxio provided the CD skewed pricing accordingly. ‘We do regard burning technology. In November 2002, Roxio acquired subscription as the way forward for online music,’ the name and assets of the famed Napster service (which Leanne Sharman told me, ‘why pay £9.90 for 10 was in Chapter 11 protective bankruptcy) for US$5m songs when the same sum gives you unlimited access and 100,000 warrants in Roxio shares. Two months to over half a million tracks?’ earlier, Napster’s sale to Bertelsmann had been blocked Subscription services have come in for heavy — amid concerns the deal had not been done in good criticism from many informed commentators — mostly faith — this after Thomas Middlehoff had invested a multi-computer and iPod owning techno journalists like reputed US$60m of Bertelsmann’s money in Napster. -
Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
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 -
Interoperability Between Antitrust and Intellectual Property
DEPARTMENT OF JUSTICE INTEROPERABILITY BETWEEN ANTITRUST AND INTELLECTUAL PROPERTY THOMAS O. BARNETT Assistant Attorney General Antitrust Division U.S. Department of Justice Presentation to the George Mason University School of Law Symposium Managing Antitrust Issues in a Global Marketplace Washington, DC September 13, 2006 Good afternoon and thank you for inviting me today. I also extend a special thanks to our foreign guests for taking the time to come to today’s event. Their presence does more to illustrate the importance of this conference’s topic, antitrust issues in the global marketplace, than anything I might say this afternoon. My remarks today focus on intellectual property in the global antitrust arena and certain difficulties with applying the concept of “dominance” to the market power that successful companies sometimes gain by creating new technologies and IP rights. In particular, regulatory second-guessing of private firms’ solutions to technological problems, which I perceive to be on the increase, threatens to harm the very consumers it claims to help. To address this topic, I will start with some first principles on innovation and consumer welfare and then expand on the issues in the context of a specific example. Next, I will offer some general principles to guide the antitrust analysis of dominance and single-firm conduct. Finally, I will address what I consider to be a related topic: process integrity and the importance of carefully designing, and complying with, legal orders. I. Intellectual Property and Dynamic -
High Technology, Consumer Privacy, and U.S. National Security
Georgetown University Law Center Scholarship @ GEORGETOWN LAW 2015 High Technology, Consumer Privacy, and U.S. National Security Laura K. Donohue Georgetown University Law Center, [email protected] This paper can be downloaded free of charge from: https://scholarship.law.georgetown.edu/facpub/1457 http://ssrn.com/abstract=2563573 Bus. L. Rev. (forthcoming) This open-access article is brought to you by the Georgetown Law Library. Posted with permission of the author. Follow this and additional works at: https://scholarship.law.georgetown.edu/facpub Part of the Constitutional Law Commons, Consumer Protection Law Commons, Fourth Amendment Commons, and the National Security Law Commons HIGH TECHNOLOGY, CONSUMER PRIVACY, AND U.S. NATIONAL SECURITY Laura K. Donohue* I. INTRODUCTION Documents released over the past year detailing the National Security Agency’s (“NSA”) telephony metadata collection program and interception of international content under the Foreign Intelligence Surveillance Act (FISA) implicated U.S. high technology companies in government surveillance. 1 The result was an immediate, and detrimental, impact on U.S. corporations, the economy, and U.S. national security. The first Snowden documents, printed on June 5, 2013, revealed that the government had served orders on Verizon, directing the company to turn over telephony metadata under Section 215 of the USA PATRIOT Act.2 The following day, The Guardian published classified slides detailing how the NSA had intercepted international content under Section 702 of the FISA Amendments Act.3 The type of information obtained ranged from E-mail, video and voice chat, videos, photos, and stored data, to Voice over Internet Protocol, file transfers, video conferencing, notifications of target activity, and online social networking.4 The companies involved read like a who’s who of U.S. -
Entertainment, Arts and Sports Law Journal a Publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association
NYSBA SUMMER 2005 | VOLUME 16 |NO. 2 Entertainment, Arts and Sports Law Journal A publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association Remarks From the Chair/Editor’s Note Remarks From the Chair In continuing with the theme of excellence among It is with a sad heart that EASL members, I am extremely pleased that Elisabeth I write to say that one of our Wolfe, Chair of our Pro Bono Committee, received one longtime Executive Commit- of the NYSBA President’s Pro Bono Service Awards. We tee members, James Henry are so proud of all of Elisabeth’s accomplishments, Ellis, who most recently Co- which help to make available pro bono opportunities for Chaired with Jason Baruch our members and their pro bono clients, and for raising our Theater and Performing EASL’s pro bono activities and programs to a nationally Arts Committee, passed recognized level. The President’s Pro Bono Service away on May 26th, at the age Awards were created more than ten years ago to honor of seventy-two. When I law firms, law students and attorneys from each judicial spoke with his daughter and district who have provided outstanding pro bono serv- asked if there was a specific ice to low income people. Elissa D. Hecker organization to which dona- In addition, our new Committee on Alternate Dis- tions could be made in Jim’s pute Resolution has launched itself with programs name, she mentioned the Parsons Dance Foundation. already held and many more underway. In addition, its Jim will be missed. -
Apple Iphone 4
Apple iPhone 4 Apple iPhone 4 Name: Theo Hiotis Subject: Establish & Adjust the Marketing Mix Teacher: Robert Taylor Time: Friday 9:30am till 12:30am Major Assignment: Written Report Weighting: 35% Theo Hiotis Apple iPh e 4 Produ t ʹ The Apple iPhone 4 is a Smartphone developed by the renowned American company Apple Inc. The iPhone 4 is the fourth generation of the iPhone series created by Apple. The main purpose of the iPhone is to integrate three amazing products in to one to allow i t to be functional this includes the phone, a portable mp3 player and a device to allow surfing the internet and receiving emails possible on a small compact portable device. Its main strengths is through the success of the previous iPhone versions includi ng the iPhone 3G and 3GS, the iPhone 4 incorporates movies, music, books, games, internet and email access along with telephone calling, messaging and video calling. The iPhone also uses an application created by Apple called the Appstore, This is vital into the planning and marketing of Apples iPhone and various ads have been categorised to the App Store. The App Store features over two hundred thousand app͛s created by 3 rd party developers which includes, Games, Utilities and other apps for other essential aspects such as productivity. The Apple iPhone uses the iOS developed by the company which is also used in the company͛s other products including, iPod and iPad . The most noticeable difference from other iPhone models and the iPhone 4 is the significantly new design which features Guerrilla glass on the touch interface as it is strong and the main issue with older iPhone models was the increased amount of screen cracking on the phone this also features a stainless steel frame which also acts as the devices antenna. -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
ASP.NET MVC Music Store Tutorial Version 3.0B
ASP.NET MVC Music Store Tutorial Version 3.0b Jon Galloway - Microsoft 4/28/2011 http://mvcmusicstore.codeplex.com - Licensed under Creative Commons Attribution 3.0 License. ASP.NET MVC Music Store Tutorial Contents Overview .....................................................................................................................................................................4 1. File -> New Project ..................................................................................................................................................9 Installing the software ............................................................................................................................................9 Creating a new ASP.NET MVC 3 project .............................................................................................................. 11 2. Controllers ........................................................................................................................................................... 15 Adding a HomeController .................................................................................................................................... 15 Running the Application ...................................................................................................................................... 17 Adding a StoreController ..................................................................................................................................... 19 3. Views and Models............................................................................................................................................... -
Best Online Record Store
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