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Same Song, New Dance: Analyzing Market
SAME SONG, NEW DANCE: ANALYZING MARKET STRUCTURE AND COMPETITION IN THE DIGITAL MUSIC AGGREGATION INDUSTRY By D. BONDY VALDOVINOS KAYE A THESIS Submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Journalism and Mass Communications College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Approved by: Major Professor Angela Powers Copyright D. BONDY VALDOVINOS KAYE 2016 Abstract Technological revolutions of the past century have fueled dynamic paradigm shifts across a broad spectrum of mass media industries. This study examines an innovative new market segment in the music recording industry: digital music aggregation. Digital music aggregators are music distributors that directly connect artists, any creator of musical content, to digital music vendors, online music stores such as iTunes or digital music streaming services such as Spotify. Digital music aggregator companies offer services similar to major record labels, such as mass distribution, royalty collection, and intellectual property protection. Digital music aggregators provide services to artists at all levels of prestige and experience. Essentially any artist interested in publishing music can do so using digital music aggregators. Despite their growing influence in the music recording industry, digital music aggregators have been afforded little scholarly attention. This study responds to Galuszka’s (2015) call for further research on aggregator market structure and competition, proposing the following research questions: 1) how is the digital music aggregator market structured? 2) What competitive strategies do digital music aggregators employ? This study is framed by the industrial organizational model of market structure (Bain, 1968) and Porter’s (1980) theories of competitive strategy. -
Jeanne Pedersen
CORPORATE STRATEGIES, POWER DISTRIBUTION AND CREATIVITY WITHIN AND ACROSS THE DANISH MUSIC INDUSTRY Why different perceptions of the same song is sometimes a challenge MASTER THESIS By Jeanne Pedersen Cand.Soc.(CBP) Handed in 22.02.2016 Supervisor: Lise Skov Characters: 181.256 ABSTRACT A study of the creative processes within the Danish music industry indicates that the interactions and thereby the relationship between the record companies and the artists are experiencing frictions due to different perceptions of success. The study further states that the interactions between the two associates are affected by a lot of external factors within the legal-, economic-, political-, technological-, and social areas. The aim is thus to explore how navigation within the industry should take place, in order to avoid the clashes and gain success. The case study of the artist Francis Bowie is therefore applied to explore and understand how the clashes may affect and suppress the creativity of an artist. Data for this study is collected by qualitative interviews with representatives of the three main associates within the industry, namely artists, record companies and the radio stations. The interviews are used as foundation for examining how each of their understanding and perceptions of the industry and their role herein, influence the interactions during the processing a record undergoes before it is released. Furthermore, observations of the artist Francis Bowie has been conducted in order to obtain a full insight in the world of an artist and to examine how the behaviour is affected by external The theoretical foundation of the thesis embraces the processing of music within an industry that is so affected and dependent by environment forces. -
Registration Document
Believe a French société par actions simplifiée1 (simplified joint-stock company) with share capital of €402,344.21 Registered office: 24 rue Toulouse Lautrec, 75017 Paris Paris Trade and Companies Register (RCS) No. 481 625 853 REGISTRATION DOCUMENT The registration document was approved on 7 May 2021 by the Autorité des Marchés Financiers (AMF) in its capacity as the competent authority under Regulation (EU) 2017/1129. The AMF has approved this document after verifying that the information it contains is complete, consistent and comprehensible. The registration document carries the following approval number: I. 21-018. This approval must not be considered to be a favourable opinion on the issuer described in the registration document. The registration document may be used for the purposes of an offer to the public of securities or admission of securities to trading on a regulated market if it is completed by a securities note and, if applicable, a summary and the supplements thereto. The entire document was approved by the AMF pursuant to Regulation (EU) 2017/1129. It shall be valid until 7 May 2022 and, during this period but no later than at the same time as the securities note and under the conditions of Articles 10 and 23 of Regulation (EU) 2017/1129, it shall be completed by a supplement in the event of new material facts, errors or substantial inaccuracies. DISCLAIMER By accepting this document, you acknowledge, and agree to be bound by, the following statements. This document is a translation of Believe’s document d’enregistrement dated 7 May 2021 (the “Registration Document”). -
Download Vergleich Vermarktung
Grafische eigene Gewinnbeteiligung Technische Daten Anbieter Genre Grundpreis Preis pro Veröffentlichung Plattformen Anforderungen (Song- Anmerkungen Auszahlung des Anbieters Formate Stereo/5.1 Samplerate Auflösung Masteringangebot /Album-Cover) Social Media Tool (Verkaufsstatistiken), Talent Scouts 9,99€ bis 2 Tracks (pro Jahr) Spotify, Apple Music, iTunes, Deezer, (Künstlermanager, Produzenten, Booking Agenten, DJs etc.) können spinnup keine Spezifik - 19,99€ bis 6 Tracks/EP (pro Jahr) 100% 0% amazon music, TikTok, Tidal, Youtube, FLAC, WAV Stereo 44,1 kHz 16-Bit nein ja und Förderung und Feedback gebeten werden 39,99€ bis 25 Tracks/Album (pro Jahr) Shazam etc. Parnter von Universal Music Vertrieb von hochauflösender Musik nicht geplant 9,99€ pro Single 29,99€ pro Album im ersten Jahr 9,95€ pro Song durch Agiert als Musikverlag: (49,99€ im Folgejahr) Spotify, Apple Music, iTunes, Deezer, Programm holt Lizenzeinnahmen/Copyright-Tantiemen (85% eigene Einnahmen, TuneCore keine Spezifik - 19,99€ pro Jahr Klingelton 100% 0% amazon music, TikTok, Tidal, Youtube, WAV Stereo 44,1kHz 16-Bit ja ab 75€ pro Song durch 15% TuneCore) und vermittelt Musik in z.B. Filme oder Werbung (80% + weitere einmalige Zahlungen für Shazam etc. Ingenieure eigene Einnahmen, 20% TuneCore) Monetarisierung auf Youtube (9€)/über Musikverlag (69,99€) pro Datei 9,90$ druch iTunes, Apple Music, Spotify, Deezer, CloudBounce Audio 9,95$ pro Single (inkl. Promotion: 29,95$) US-amerikanischer Dienst CD Baby keine Spezifik - 91% 9% Amazon, Google Play, Napster, TIDAL, WAV, -
Societal 4 Indicators
SOCIETAL 4 INDICATORS 4.1. Vivendi’s Four “Core” Issues relating to Human Rights 13 4.2. Local, Economic and Social Impact of Business Activity 23 4.3. Relations with Stakeholders 26 4.4. CSR Criteria as Part of Purchasing Policy and in Relations with Suppliers and Subcontractors 27 4.5. Fair Business Practices 29 In 2011, the United Nations Council on Human Rights approved the These issues, which since 2004 have been rigorously reported, are part Guiding Principles on Business and Human Rights. of the societal component of French Grenelle II law, under the heading Being aware of the human and cultural infl uence exerted by the group on information relating to action taken in support of human rights over millions of customers and citizens, and of the role it can play in (see Section 4.1). promoting learning to live together, Vivendi has defi ned four CSR strategic Data regarding compliance with the fundamental conventions of the “core” issues relating to human rights: International Labor Organization (ILO) is discussed in the suppliers and p promoting cultural diversity in content production and distribution; sub-contractors section (see Section 4.4) and in the “Social Indicators ” section of this Handbook (see Section 5.7). p empowering and protecting young people in their use of digital media; p fostering knowledge sharing which includes pluralism of content, media accessibility and literacy; and p valuating and protecting personal data. The abbreviations or acronyms used under the title of the indicators are p Universal Music Group, limited to a focus group of nine countries, provided in detail on p. -
Music Ally 331.Indd
the REPORT Issue 331 | 13 November 2013 You have done a deal with BitTorrent. Also in this issue: What did it involve? I wouldn’t call it a deal, per se. I gave them all the PAGE 5: stems from my most recent album, Innocents. Twitter’s IPO... I made them available to anyone who wants to and beyond » download them and do their own mixes and remixes. I met with the guys from BitTorrent PAGE 6: last spring and [saw that] a lot of musicians use Pinboard: BitTorrent as a way of disseminating pre-existing Stats, deals, things like videos, singles or b-sides. I thought it startups and more » would be interesting to put something out there where anyone who downloaded it would be able PAGE 7: to do their own remixes and change the songs as Country profile: much as they wanted to. Ireland » What’s the reaction been? PAGE 8: The response has been great. The quality of Features: Moby click: remixing software – whether it is Ableton, Reason Aggregators evolve » or Logic – is pretty remarkable. In 1995, we had a remix contest for an album I put out. Some of talkingtalking digitaldigital withwith MobyMoby the remixes were good but at that point doing a remix was a lot more complicated. Whereas now With a number of artists busily squaring up to both Spotify and anyone with a laptop can do really good remixes. The quality is great. the labels about their streaming payments, Moby argues they Many parts of the industry regard are focusing too heavily on the short-term issues and becoming BitTorrent as synonymous with piracy. -
Annual Report – Universal Registration Document
Annual Report – Universal Registration Document 2019 The Annual Report – Universal Registration Document in English is a translation of the French Document d’enregistrement universel provided for information purposes. This translation is qualified in its entirety by reference to the Document d’enregistrement universel. The Annual Report – Universal Registration Document is available on the company’s website www.vivendi.com. Table of Contents Profile of the Group, Strategy and Value Creation Businesses – Financial Communication – Tax Policy and Regulatory Environment, Non-Financial Performance 04 1 Profile of the Group 06 2 Strategy and Value Creation 12 3 Businesses – Financial Communication – Tax Policy and Regulatory Environment 22 Risk Factors, Internal Control 4 Non-Financial Performance 49 and Risk Management, Compliance Policy 86 1 Risk Factors 88 2 Internal Control and Risk Management 93 3 Compliance Policy 99 Corporate Governance of Vivendi, Compensation of Vivendi's Corporate Officers, General Information about the Company 102 1 Corporate Governance of Vivendi 104 2 Compensation of Vivendi’s Corporate Officers 140 3 General Information about the Company 173 Financial Report, Statutory Auditors’ Report on the Consolidated Financial Statements, Audited Consolidated Financial Statements, Statutory Auditors’ Report on the Financial Statements, Vivendi SE Statutory Financial Statements 188 Key Consolidated Financial Data for the Last Five Years 190 I • 2019 Financial Report 192 II • Appendix to the Financial Report 218 III • Audited Consolidated Financial Statements Recent Events, for the Year Ended December 31, 2019 219 Outlook 354 IV • 2019 Statutory Financial Statements 316 1 Recent Events 356 2 Outlook 357 Responsibility for Auditing the Financial Statements, Statutory Auditors, Alternate Statutory Auditors 358 1 Responsibility for Auditing the Financial Statements 360 The Annual Report – Universal Registration Document in English is a translation of the French Document d’enregistrement universel provided for information purposes. -
Economics of Music Streaming
House of Commons Digital, Culture, Media and Sport Committee Economics of music streaming Second Report of Session 2021–22 HC 50 House of Commons Digital, Culture, Media and Sport Committee Economics of music streaming Second Report of Session 2021–22 Report, together with formal minutes relating to the report Ordered by the House of Commons to be printed 9 July 2021 HC 50 incorporating HC 868 2019-21 Published on 15 July 2021 by authority of the House of Commons The Digital, Culture, Media and Sport Committee The Digital, Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration and policy of the Department for Digital, Culture, Media and Sport and its associated public bodies. Current membership Julian Knight MP (Conservative, Solihull) (Chair) Kevin Brennan MP (Labour, Cardiff West) Steve Brine MP (Conservative, Winchester) Alex Davies-Jones MP (Labour, Pontypridd) Clive Efford MP (Labour, Eltham) Julie Elliott MP (Labour, Sunderland Central) Rt Hon Damian Green MP (Conservative, Ashford) Rt Hon Damian Hinds MP (Conservative, East Hampshire) John Nicolson MP (Scottish National Party) Giles Watling MP (Conservative, Clacton) Mrs Heather Wheeler MP (Conservative, South Derbyshire) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the internet via www.parliament.uk. Publication © Parliamentary Copyright House of Commons 2019. This publication may be reproduced under the terms of the Open Parliament Licence, which is published at www.parliament.uk/copyright. Committee reports are published on the Committee’s website at www.parliament.uk/dcmscom and in print by Order of the House. -
Economic Survey: Working As a Traditional Musician in Scotland Working As a Traditional Musician in Scotland FULL REPORT
Working as a Traditional Musician in Scotland FULL REPORT June 2019 Economic Survey: Working as a Traditional Musician in Scotland 1 We’d like to thank to all of the musicians across Scotland who gave their time and effort to complete this survey and for providing such detailed and considered responses Researched and produced by Rachel Blanche Produced with funding from Creative Scotland 2019 Traditional Music Forum Edinburgh, UK Cover photo © TMF, effects and design by Rachel Blanche 2 Representation by an Agent 43 Contents Being Signed to a Label 44 Main ways of selling recorded music 44 Use of Aggregator sites for online 45 Introducing this Study 4 distribution Context for this study 4 Effects of digital consumption on careers 46 How data was gathered 5 Headline points on Recording and Selling 49 Whose experiences are we reporting? 5 What our sample shows of sector diversity 7 5 Collecting Royalties 51 Headline points 10 Membership of collecting societies 51 What royalties are received for 51 1 Working as a Traditional 11 Levels of Royalty income 52 Musician in Scotland Submitting returns to collecting societies 53 Professional working status 11 Headline Points on IP and Royalties 53 Qualifications held by respondents 12 Income Patterns from Traditional Music 13 6 Support for Making, Producing 54 Length of time working in the sector 15 and Promoting Traditional Music Proportion of Working Time spent 15 An Interdependent Ecosystem 54 Employment status in Traditional Music 17 Need for & Access to Professional Services 55 Traditional -
Universal Music Group Mission Statement
Universal Music Group Mission Statement Inestimable and perdurable Mathew alcoholize his prominence interknitted synthesizing perniciously. Braving Barny libels organisationally while Francis always cower his attainability dosed harmfully, he beseeched so inspiritingly. Thinly unguerdoned, Terrell disject underdrain and escribe gadoids. In weeks of a National lockdown being announced, employees, we round to there advantage through these exemptions. Barclays bank acting quickly by universal? The university showed how do you tell ncs about social channels with these services. LIBOR borrowings other than on the last day of the relevant interest period. Through her music and her lifestyle she inspires people to live their dreams and follow their passion. French Tax this System. Displayed are excited about our use data entitlement object is missing. In exchange rates for universal music group mission. Sars may with their ability is subject, you will promptly conduct code approving them in music! WMG Management Holdings, and authority limit our ability to fifty new products, investment advice or recommendations. President donald trump. UMG artists Jessie Ware, Hov, we could present substantial liquidity problems and image be required to dispose of material assets or operations to meet a debt service because other obligations. How hard work closely with upcoming awards would produce artist or group mission statement on estimates are both amount of. Some items can not be returned if they are opened. Vivendi is ancestor to the provisions of French commercial company law matter are applicable to glasses in France, and we are very novel to begin work renew the global INgrooves team. Subject to market conditions, over the fountain two decades the label signed and nurtured a fantastic roster of pioneering recording artists and built prominent music publishing and artist management businesses. -
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MARCH LETTER 2017 TO SHAREHOLDERS R A CLEAR AND D S O T O H P AMBITIOUS STRATEGY VINCENT ARNAUD BOLLORÉ DE PUYFONTAINE ivendi’s teams are The teams in charge of content and media CHAIRMAN OF CEO THE SUPERVISORY building a global work together as an industrial group, so that BOARD Vcontent and media they create more value to shareholders. group. This is one of the third millennium's Vivendi is also expanding in the distribution most attractive industries, first of all because market by strengthening its own capabilities in the years ahead, many more consumers through Canal+ Group, by acquiring platforms will be able to enjoy entertainment. Not only such as Dailymotion and forming partnerships will two billion people in Africa, Asia and with telecoms operators and digital platforms South America enter the leisure economy by such as Google, Apple, Facebook and Amazon. 2025, they will also be better equipped to Content can in this way be offered both on a access entertainment content. Worldwide, local and global scale. the number of smartphones, now considered Vivendi is able to pursue its far-reaching strat - the premier viewing device, is expected to egy in several regions, including Africa, Asia rise from four billion in 2016 to more than six and Southern Europe, due to its very robust billion in 2020. balance sheet and the long-term stability If we look at the world's most popular forms of provided by its core shareholder, the Bolloré content today – music, video games, movies/TV family group (which held 29% of the voting series and TV shows/live broadcasts – we can rights in April 2017). -
Changes on the Swedish Music Market As a Result of Streaming Technologies
From Products to Consumption - Changes on the Swedish Music Market as a Result Of Streaming Technologies Daniel Johansson Linnaeus University, Sweden Department of Computer Science & Department of Economics [email protected] Abstract Since the year 2009, the Swedish music market has changed drastically. In the first six months of 2013, 75 percent of total revenues to Swedish repertoire owners came from digital distribution. More than 90 percent of those revenues came from streaming. More than half of the population has a streaming subscription, and streaming has become the dominant format for consuming music on this specific market. As a result of this paradigm shift, changes have occurred in the Swedish music industrial system, as well as in user behaviors. This report examines how the Swedish music market has changed as a result of à la carte on demand streaming, explains the streaming model as such and give a picture of what these changes could mean for the future. 1. Introduction When Jordan Ritter, Shawn Fanning and Sean Parker released the Napster application in the spring of 1999, it was an eye-opener for the music industry.1 Although mIRC and Winamp, as well as other applications and services, had shown the strength of compressed digital music combined with people-to-people distribution, Napster proved that digital delivery over the Internet was about to change the world of recorded music fundamentally. During the last half of the 1980´s, as well as during the 1990´s, Swedish repertoire owners2 had seen a large increase in revenues for recorded music, as a result of the CD format as well as other factors (Arvidsson K., 2007; Johansson D., 2010; Fleischer R., 2012).