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The Music Industry and Digital Music
The Music Industry and Digital Music Disruptive Technology and the Value Network Effects on Industry Incumbents A thesis written by Jens Peter Larsen Cand. Merc., Master of Science, Management of Innovation & Business Development Copenhagen Business School Supervisor: Finn Valentin, Institut for innovation og organisationsøkonomi Word Count: 170.245 digits – 75 standard pages The Music Industry and Digital Music – Jens Peter Larsen, Cand. Merc. MIB Thesis Table of Content 1. Resume .................................................................................. 4 2. Introduction ............................................................................ 5 3. Research Design ....................................................................... 6 3.1 Research Question .......................................................................................................... 6 3.2 Elaboration on Research Design ................................................................................... 6 3.2.1 Technological Development ..................................................................................... 6 3.2.2 Definitions................................................................................................................. 7 4. Methodology ............................................................................ 8 4.1 Project Outlook .............................................................................................................. 9 4.2 Delimitation .................................................................................................................. -
Dickins' Sony Deal Opens New Chapter by Ajax Scott Rob Dickins Bas Teame Former Rival Sony Music Three Months After Leaving Warn
Dickins' Sony deal opens new chapter by Ajax Scott later building a team of up to 20. Rob Dickins bas teame Instant Karma will sign around five rA, ^ threeformer months rival Sony after Music leaving warner ri likelyartists to a be year, from most the UKof orwhom Ireland. are hisMusic music to launchindustry the career. next stage of Dickins says he will not specifically S Dickins' new record label Instant goclose chasing to expiring. after those Tm notacts. going If they to with the hasfirst got single off torelease a fiying under start the handling partnership Interscope - My releasesName Is inby the US UK they'reare interested going to in call," being he part says. of that therapper single, Eminem released - enjoying next Monday a huge initial(March shipout. 29), have Around been 220.000 ordered unitsby of months of negotiations between runningDickins, Warner's who spent UK ninepublishing years theretaiiefsVwhile Top 40 of the the Airplay track waschart. yesterday "Ifs appealing (Sunday) right on acrosscourse theto move board," into says Dickins, his lawyer Tony Russell arm before moving to head its Polydor head of radio promotionl" TU.Ruth ..U.._ Parrish. A V.UK promo visit will inelude wasand afinaliy list of whittled would-be down backers to Sony that New partners: Dickins (second isrecord in no company hurry toin 1983,issue addsrecords. he im_ rrShady LPes - thiswhich week debuted on The at Bignumber Breakfast twoThe in and the CD:UK.States earlierThe this (l-r)left) Sony in New Music York Worldwide last week with "Ifs really not important when the onth - follows on April 12. -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
The Top 10 Open Source Music Players Scores of Music Players Are Available in the Open Source World, and Each One Has Something That Is Unique
For U & Me Overview The Top 10 Open Source Music Players Scores of music players are available in the open source world, and each one has something that is unique. Here are the top 10 music players for you to check out. verybody likes to use a music player that is hassle- Amarok free and easy to operate, besides having plenty of Amarok is a part of the KDE project and is the default music Efeatures to enhance the music experience. The open player in Kubuntu. Mark Kretschmann started this project. source community has developed many music players. This The Amarok experience can be enhanced with custom scripts article lists the features of the ten best open source music or by using scripts contributed by other developers. players, which will help you to select the player most Its first release was on June 23, 2003. Amarok has been suited to your musical tastes. The article also helps those developed in C++ using Qt (the toolkit for cross-platform who wish to explore the features and capabilities of open application development). Its tagline, ‘Rediscover your source music players. Music’, is indeed true, considering its long list of features. 98 | FEBRUARY 2014 | OPEN SOURCE FOR YoU | www.LinuxForU.com Overview For U & Me Table 1: Features at a glance iPod sync Track info Smart/ Name/ Fade/ gapless and USB Radio and Remotely Last.fm Playback and lyrics dynamic Feature playback device podcasts controlled integration resume lookup playlist support Amarok Crossfade Both Yes Both Yes Both Yes Yes (Xine), Gapless (Gstreamer) aTunes Fade only -
"Licensing Music Works and Transaction Costs in Europe”
"Licensing music works and transaction costs in Europe” Final study September 2012 1 Acknowledgements: KEA would like to thank Google, the internet services company, for financing which made this study possible. The study was carried out independently and reflects the views of KEA alone. 2 EXECUTIVE SUMMARY Establishing and running online music services is a complex task, raising both technical and legal difficulties. This is particularly the case in Europe, where complex rights licensing structures hinder the development of the market and the launch of new innovative online services. Compared to the US, Europe is lagging behind in terms of digital music revenue. Furthermore, the development of the market is fairly disparate among different countries in the European Union. This study aims to identify and analyse transaction costs in music licensing. It examines the online music markets and outlines the licensing processes faced by online services. It offers a qualitative and quantitative analysis of transaction costs in the acquisition of the relevant rights by online music services. The study also suggests different ways of decreasing transaction costs. The research focuses on three countries (the UK, Spain and the Czech Republic) and builds on data collected through a survey with online music service providers available in the three countries as well as interviews with relevant stakeholders in the field of music licensing. THE EUROPEAN ONLINE MUSIC MARKET The music industry has steadily expanded over the past few years, away from selling CDs towards selling music online or through concerts and live music. (Masnick, Ho, 2012). Among the 500 licensed online music services in the world (according to IFPI), many emulate the physical record store, by offering ‘download to own’ tracks at a similar price point. -
IFPI Digital Music Report 2010 Music How, When, Where You Want It Contents
IFPI Digital Music Report 2010 Music how, when, where you want it Contents 3. Introduction 4. Executive Summary: Music – Pathfinder In The Creative Industries’ Revolution 8. The Diversification Of Business Models 10. Digital Music Sales Around The World 12. In Profile: Pioneers Of Digital Music 18. Competing In A Rigged Market – The Problem Of Illegal File-Sharing 20. ‘Climate Change’ For All Creative Industries 24. Graduated Response – A Proportionate, Preventative Solution 28. The World Of Legal Music Services 30. Consumer Education – Lessons Learned Music How, When, Where You Want It – But Not Without Addressing Piracy By John Kennedy, Chairman & Chief Executive, IFPI This is the seventh IFPI Digital Music in new artists, we have to tackle mass legislation to curb illegal file-sharing. Report. If you compare it to the first piracy. Second, we are progressing towards Another clear change is within the music report published in 2004, you can an effective response. The progress is sector itself. It was, until recently, rare see a transformation in a business agonisingly slow for an industry which does for artists to engage in a public debate which has worked with the advance not have a lot of time to play with – but it is about piracy or admit it damages them. of technology, listened to the consumer progress nonetheless. In September 2009, the mood changed. and responded by licensing its music Lily Allen spoke out about the impact of in new formats and channels. On page 20 of the Report, Stephen illegal file-sharing on young artists’ careers. Garrett, head of the production company When she was attacked by an abusive In 2009 globally, for the first time, more Kudos, refers to a “climate change” in online mob, others came to her support. -
Music Labels Cut Friendlier Deals with Start-Ups
New Flexibility at Music Labels Aims to Help Web Start-Ups Thrive - NYTimes.com Page 1 of 3 This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. May 28, 2009 Music Labels Cut Friendlier Deals With Start-Ups By BRAD STONE SAN FRANCISCO — With CD sales dropping fast, it is not hard to imagine how the major music labels could benefit from the growth of Web start-ups like Imeem. The company’s service lets people listen to songs, discover new artists and share their favorites with friends. And in return, Imeem owes the labels licensing fees for use of the music. But two months ago, Imeem’s founder, Dalton Caldwell, was ready to pull the plug. While 26 million people a month were using the service, Imeem owed millions of dollars to the music labels, and income from advertising was nowhere close to covering expenses. “It reached a point where it was not even clear it was worth doing any more,” Mr. Caldwell said. Then the ground shifted. This month, Warner Music Group forgave Imeem’s debt, and both Warner and Universal Music agreed to relax the terms of their licensing deals with the site. That allowed Imeem to raise more money from investors and plan for a profitable future. Imeem’s amnesty is one sign that a new accommodation is being forged between Web music start-ups and the companies on which they are almost wholly dependent, the major music labels. -
Online Music Distribution Agreement
Commons License is hereby incorporated by reference into this Agreement. The Creative Commons License is the legal document that gets attached to the music so we can give it away ONLINE MUSIC DISTRIBUTION for free (for example, on our radio station). What it allows is for normal people to legally listen to your AGREEMENT music on their computer, and pass it on to others. Here are our comments to the distribution agreement Normal copyright does not allow this. Listeners are not (our comments are in red-italic type). If you are not a allowed to make money off your music (for example, lawyer, you may find our comments helpful in feature it in a commercial) without permission (which, explaining what you're reading. Please note, however, of course, is when we charge them money, and split it that this is not a substitute for legal advice, nor a with you). The Creative Commons license lets you get complete summary of each provision in the agreement. the widest possible marketing exposure, while We recommend that you consult with an attorney for protecting your ability to make money from your music. review of the Agreement. The Creative Commons (http://creativecommons.org) is This ONLINE MUSIC DISTRIBUTION AGREEMENT also a worthy cause, which works to expand the ways in (the "Agreement") is entered into by and between which creative work can flourish -- we recommend you Redmood, Inc., dba Magnatune (hereafter "Magnatune"), check their web site out and publicly support them. and < > (hereafter “you” Magnatune has been working with the folks at Creative or “Artist”) effective as of < >, (the Commons, as we share similar goals and ethics. -
The Audio Commons Initiative and the Technologies for Facilitating the Reuse of Open Audio Content
The Audio Commons initiative and the technologies for facilitating the reuse of open audio content Xavier Serra Music Technology Group Universitat Pompeu Fabra, Barcelona http://audiocommons.org Outline • Introduction • AudioCommons project presentation • The Audio Commons Ecosystem • Relevant state of the art • AudioCommons project tasks • Conclusions 2 3 Introduction: Motivation • Creative Commons audio content has a huge potential for reuse which is not being exploited by the creative industries. – Limited understanding of CC licenses. – Content scattered. – Content not properly labeled, unstructured. – Lack of tools for seamless integration. 4 Project presentation: goals • Promote publication of AC content and foster its reuse. • Develop open technologies to support publication and reuse of AC content. • Develop open technologies for the semantic annotation of AC content. • Bootstrap the Audio Commons Ecosystem (ACE). • Define standard procedures for joining the ACE. 5 Project presentation: consortium • Academic partners: • Industrial partners: 6 The AudioCommons Ecosystem 7 AudioCommons initial content 300k sound samples 470k music pieces 8 Relevant state of the art • Availability and access to CC audio content. • Licensing procedures for CC audio resources. • Semantic representation of sound and music. • Semantic annotation of sound and music. • Production tools supporting CC audio. 9 Availability an access to CC audio content • Few CC audio content sites with APIs (e.g. freesound.org, jamendo.com, …). • Limited access due to lack of high quality and unified metadata. • No unified access mechanism for APIs (APIs have different specifications). • Inadequate content retrieval tools. • CC audio content not frequently used in professional environments. 10 Freesound 11 Freesound API • Browse, search, and retrieve sounds and information about them. -
Selling Or Selling Out?: an Exploration of Popular Music in Advertising
Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable -
Design and Development of Gas Cooled Reactors with Closed Cycle Turbinesgas
IAEA-TECDOC-899 Design and development of gas cooled reactors with closed cycle turbinesgas Proceedings of a Technical Committee meeting held in Bei/ing, China, 30 October - 2 November 1995 INTERNATIONAL ATOMIC ENERGY AGENCA / Y The IAEA does not normally maintain stocks of reports in this series. However, microfiche copies of these reports can be obtained from IN IS Clearinghouse International Atomic Energy Agency Wagramerstrasse 5 P.O. Box 100 A-1400 Vienna, Austria Orders shoul accompaniee db prepaymeny db f Austriao t n Schillings 100,- in the form of a cheque or in the form of IAEA microfiche service coupons which may be ordered separately from the IN IS Clearinghouse. originatine Th g Sectio f thino s publicatio IAEe th An i was- Nuclear Power Technology Development Section International Atomic Energy Agency Wagramerstrasse 5 0 10 x P.OBo . A-1400 Vienna, Austria DESIG DEVELOPMEND NAN COOLES GA F TDO REACTORS WITH CLOSED CYCL TURBINES EGA S IAEA, VIENNA, 1996 IAEA-TECDOC-899 ISSN 1011-4289 IAEA© , 1996 Printed by the IAEA in Austria August 1996 FOREWORD lons Iha tg been recognized that substantial generatioe gainth n si f electricitno y from nuclear e obtainefissiob n ca nd throug e directh h t s turbincouplin ga a hig a o t ehf o g temperature helium cooled reactor. This advanced nuclear power plant is unique in its use of the Brayton cycle to achieve a net electrical efficiency approaching 50% combined with the attendant features of low initial capital costs due to plant simplification, public acceptance from the safety attributes of the high temperature gas cooled reactor (HTGR), and reduced radioactive wastes. -
A Model-Based Approach to Constructing Music Similarity Functions
Hindawi Publishing Corporation EURASIP Journal on Advances in Signal Processing Volume 2007, Article ID 24602, 10 pages doi:10.1155/2007/24602 Research Article A Model-Based Approach to Constructing Music Similarity Functions Kris West1 and Paul Lamere2 1 School of Computer Sciences, University of East Anglia, Norwich NR4 7TJ, UK 2 Sun Microsystems Laboratories, Sun Microsystems, Inc., Burlington, MA 01803, USA Received 1 December 2005; Revised 30 July 2006; Accepted 13 August 2006 Recommended by Ichiro Fujinaga Several authors have presented systems that estimate the audio similarity of two pieces of music through the calculation of a distance metric, such as the Euclidean distance, between spectral features calculated from the audio, related to the timbre or pitch of the signal. These features can be augmented with other, temporally or rhythmically based features such as zero-crossing rates, beat histograms, or fluctuation patterns to form a more well-rounded music similarity function. It is our contention that perceptual or cultural labels, such as the genre, style, or emotion of the music, are also very important features in the perception of music. These labels help to define complex regions of similarity within the available feature spaces. We demonstrate a machine- learning-based approach to the construction of a similarity metric, which uses this contextual information to project the calculated features into an intermediate space where a music similarity function that incorporates some of the cultural information may be calculated. Copyright © 2007 Hindawi Publishing Corporation. All rights reserved. 1. INTRODUCTION implement intelligent song suggestion, playlist generation and audio content-based search systems for these services, The rapid growth of digital media delivery in recent years efficient and accurate systems for estimating the similarity of has led to an increase in the demand for tools and tech- two pieces of music will need to be defined.