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IAMIC Conference 2009 Welcome to the Future: New Music in Global Spaces 1 IAMIC Conference 2009 Contents: Introduction Conference Programme Session Notes Speaker Biographies Attendees Concert Details DVD June 4 – 10, 2009: Toronto & Vancouver, Canada IAMIC Conference 2009 2 Welcome to the Future: New Music in Global Spaces Thursday, June 4 to Wednesday, June 10, 2009 Toronto & Vancouver, Canada Introduction The Canadian Music Centre had the honour to host the 2009 IAMIC diversity and policy and international market development. With a total conference: Welcome to the Future: New Music in Global of 17 expert speakers, and case studies as well as talk-back panels, the Spaces , during its 50th Anniversary. Over the course of one week in two symposia engaged participants in thought-provoking discussions Canada, delegates closely examined the role of Music Information Centres and provided insights to possible models of the future. It was also a call in an industry environment that is rapidly changing and constantly to Music Information Centres to embrace and work with composers facing new challenges. Held in two cities, Toronto and Vancouver, the addressing their new requirements to survive in their composing careers. conference focused on such pertinent issues as new web developments The conference underlined the importance of an international network, for dissemination of music, the impact it has on copyright, cultural provided ample opportunities for making new contacts and establish - INTRODUCTION Welcome to the Future: New Music in Global Spaces 3 ing international cooperation for exchange, getting to know Canada’s Ensuring all can be viewed in near “real time” by all those not able to industry leaders, composers, promoters, presenters and performers. attend, a “streamed version” of all proceedings can be found online at Participants attended concert premiers and an offering of a 22-country http://iamic.musiccentre.ca/ and in the DVD included hereby. participant re-mix concert all setting the stage for further discussions on Sincerely, Elisabeth Bihl, the relevance of genres distinction in today’s MP3 environment. Executive Director IAMIC Conference 2009 SESSIONS 4 Conference Programme: Toronto Iamic Talkback: Belgium, New Zealand, Scotland, Austria Saturday, June 6, 2009 Session 2: Copyright: Can Creators Get Paid Ontario College of Art & Design, in the Age of the Internet? Speaker: Garry Neil, Consultant Toronto, Ontario, Canada IAMIC Talkback: Keynote Address: Sweden, Ireland, USA, Denmark Music in an Ever-Changing World Speaker: Paul Hoffert, CEO, Noank Media Session 3: Influencing Cultural Policy – Ensuring Session1: a Place at the Table: The Music Industry in the 21st Cenutre: Speakers: Jan Ford, Parnetship Manager, Orchestras Live, The Changing Landscape and Innovative Amanda Sussman, Author and Policy Advisor Strategies Speaker: Tony Tobias, President & Executive Producer, Pangea Media IAMIC Talkback: and Music, Inc. Iceland, Norway, Slovakia, USA Case Studies: Closing Remarks: Innovation in Real Time A Global Classical Community Online: Speakers: Dr. Paul Steenhuisen, Composer & Independent Arts Classical Music’s Own Place for Global Consultant Lawrence Cherney; Artistic Director Social Networking Soundstreams Canada; Jason van Eyk; Ontario Regional Speaker: Juliana Farha, Founder & Managing Director Director, Canadian Music Centre Dilettante Music CONFERENCE PROGRAMME Welcome to the Future: New Music in Global Spaces 5 Vancouver Monday, June 8, 2009 Morrs J. Wosk Centre for Dialogue, Simon Fraser University, Vancouver, British Columbia, Canada Session 4: Session 6: The Business of International Market The Canadian Experience: Embracing Development: Elements of a Trade Cultural Diversity at Every Level Mission Speakers: Amir Ali Alibhai, Executive Director, Greater Vancouver Speakers: Tyl van Toorn, CEO, TNT Productions, Alliance for Arts and Culture; Mark Armanini Rob Calder, Boompa Productions Composer and Co-Artistic Director, Vancouver Intercultural Orchestra; Niranjan Rajah, Assistant Professor, IAMIC Talkback: School of Interactive Arts & Technology, Simon Fraser Finland, The Netherlands, Austria, Slovenia University; Russell Wallace, Composer and Producer, Lil’wat Nation Session 5: Fair Music: The First Global Initiative IAMIC Talkback: for Fairness and Justice in the Music Sweden, England, Cyprus, New Zealand Business Speaker: Peter Rantasa, Executive Director, Music Austria IAMIC Conference 2009 6 Welcome to the Future: New Music in Global Spaces 7 IAMIC Conference 2009 8 SESSION NOTES: TORONTO Welcome to the Future: New Music in Global Spaces 9 Session Notes: Toronto KEYNOTE ADDRESS: Changing Landscapes of Music: Here Comes Treble Paul Hoffert CEO, Noank Media www.noankmedia.com Summary While the future of the music business may look bright, the current environment is one of turmoil and no sustainable business model. Current business models being used come with their own strengths and weaknesses. Several new business models are being explored, with subscription-based models providing poten - tially the most equitable value for creators and users alike. Part of any successful model will include an user-focused approach and a concern for building sustainable markets. Mr. Hoffert opened his presentation with some interesting facts about the speed at which var - ious technologies reach a critical mass. It took 100 years for print, 13 years for television and only two years for Facebook to reach 50 mil - lion people. Furthermore, during the course of his presentation about one million music files would be downloaded, almost all without au - thorization or monetary compensation to the IAMIC Conference 2009 SESSION NOTES: TORONTO 10 creators or their agents. In fact, about 95% of But right now there is only turmoil. The only revenue on advertising sales. While it is the music currently being downloaded is not company currently making money is Apple, a successful model for conventional monetized. through its iTunes platform, which accounts broadcasters it has been difficult to apply for 80% of the monetized music market. to the internet. A noted exception is Spiral How do we overcome this major challenge? However, analysts say the iTunes model is not Frog, which was able to raise $30M in two For Hoffert, web streaming is the way of the sustainable – it’s unreasonable to think years before they ceased to exist. future. He pointed out that a single strand of someone will buy a $75 USD device and NTT Japan’s new multi-strand fibre optic cable spend thousands of dollars – at $0.99 per 3. ISP Subscription Fees: This is a short-to- can transfer 160,000 CDs of music per minute track - to legally fill it with music. Apple has medium term solutionthat exhibits the most in full fidelity. also learned its lesson with Digital Rights promise but also several challenges in Management (DRM), which it has abandoned. implementation. Once music business How does copyright adapt to this swift pace of If consumers by a track of music, they want stakeholders can determine the minimum technological change? The old anti-copyright the right to reproduce it for personal use (onto threshold of monthly fee tolerated by the trend is shifting in Europe. Older systems can’t their computer, portable device, to burn onto end user, then the model should succeed. be adapted quickly enough to respond. In a CD, etc.). This has been the prevalent However, some people in the music indus - 2009 to date there has been a shift towards consumer behaviour for some time now, and try say subscription is unfair because of the protectionist copyright legislation. He cited the DRM ran contrary to it. end users’ uneven usage – some will be case of Sweden’s Pirate Bay file-sharing serv - heavier users and others lighter, but all pay ice being successfully sued and shut down. He Other business models that are currently the same fee. Yet, the entertainment also cited the example of France’s “Three active come with their own strengths and industry is filled with successful examples Strikes Law,” which will make it necessary for weaknesses: of subscription models where the benefit ISPs to monitor the files being of low, affordable prices outweighs the downloaded on their systems. Italy will soon 1. File sharing monetization: This is perceived unfairness. pass a similar law. old-school thinking. Most people think this is the easy option but the main hurdle 4. The 360 Model: This model sees the But there are other models. Hoffert is currently is with the consumer who considers file record company owns rightsto all revenue working with the Isle of Man’s government on sharing as free, easy and efficient access to streams generated by the artist beyond the a pilot project to mandate that ISPs charge a a large playlist. For industry stakeholders, traditional publishing and CD sales, includ - subscription fee that will give its citizens legal issues arise when they want to impose the ing merchandise sales, concert ticket sales, unlimited access to music. mechanics of the traditional system through ring tone sales, and any other forms of channel controls, qualitative measurements exploitation that can be imagined. The 360 Hoffert feels fortunate to have lived through and fix earned revenue to units sold. model is quite popular with many recording decent times when music business models 2. Revenue through Advertising: This labels now and could prove to be valuable. were more known and sustainable. He said by model is currently unsuccessful but shows the time that individuals presently under the promise. It is based on the model of 5. Wholesale Licenses & Subscription: age of 25 reach their peak earning potential conventional television and radio, where Subscription to unlimitedcontent could be (in approx.10 years), the music industry may content is perceived by the end user as the most efficient new model, provided have stabilized into a new sustainable model. being free, while providers in fact earn copyright issues can be resolved. The SESSION NOTES: TORONTO Welcome to the Future: New Music in Global Spaces 11 primary issue here is with licensing agree - want” price to great success. The British order to know what the end user really wants.
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