Abstract
This paper discusses the global music recording industry (MRI). According to the paper, the industry is massive and deeply entrenched, making it one of the most culturally powerful but fractured industries in existence. The MRI, while being concentrated around just a few large entertainment conglomerates, is fractured in the sense that it is currently undergoing a sea change that has yet to fully play out. Globally the MRI is worth in excess of $40 billion annually and the United States' (US) percentage of this revenue stream is approximately 13-14% (Research pars.1-3). The paper further discusses how the various constituents of this industry include singers, musicians, producers, sound engineers, promoters, retail operators, advertisers, and a host of others.

Tags:music, recording, industry

Abstract
This paper explores the economic principles of the recording industry's profit models. It illustrates the method of selective collusion among the large music corporations. The paper generates more awareness and understanding in the legal ramifications that ensued from the birth of Napster in the free distribution of copyrighted music files through the Internet.

From the Paper
"The article "When the Music Stops" by Nick Wingfield in the November 2002 issue of the Wall Street Journal, relates an interview with the founder of Napster, Shawn Fanning, after the death of his company at the hands of the recording industry. Not only does it discuss Napster's creator's plans and what he thinks is the future of the on-line music industry, it also provides an insight into the economic principles at work in the recording industry. This paper endeavors to explore the economic principles concerning demand models and the practice of selective collusion among the big recording companies which are alluded to in the article, thereby generating more awareness and understanding in the legal ramifications that ensued from the birth of Napster."

Tags:copyright, shawn, fanning, on-line, digital, distribution

Abstract
The Latin American recording industry has always been a unique industry that blends economics, entertainment, and culture. The majority of its entertainers depict the variety of ethnicity that is part of Latin American culture. This paper investigates the Latin American recording industry, the genres of music and hybrid styles, and the role label companies play in producing and managing the artists. It also looks at how music interacts culturally, politically, and economically, affecting social identity Research in this paper shows that there is a complex relationship between the industry itself and the development of pan-Latin identities, as well as a more intricate relationship between economics and culture. In addition, the research demonstrates that the Latin American recording industry is a powerful medium for creating images among consumers, which impacts the desire to be like their idol. Finally, this paper summarizes the potential changes created by a new business model for the Latin American recording industry.

From the Paper
"Aside from the confusion between Latin American and Latino music, the U.S. Latino market is undergoing a crucial transformation, perhaps more in taking stock of reality than in reality itself. It is no secret that U.S.Latino music has largely meant the kind of pop associated with Jennifer Lopez, Marc Anthony, Ricky Martin and the like, or with so-called tropical music (salsa and kindred genres). New York and Miami are the capitals of this kind of pop and tropical, but when the Recording Industry Association of America (RIAA) "the music industry's trade organization" began dividing Latin music sales by genre in 2000, they discovered the overwhelming sales dominance of the Mexican regional market, which is based in California and the Southwest, particularly Texas, and generates 60 percent of the US$640 million market for Latin music sales."

Tags:RIAA, Gypsey, Kings, Warner, Sony

Abstract
This paper examines the impact of digital music on the record industry and discusses the current challenges that the music industry faces, particularly its efforts against digital piracy. The paper attempts to analyze how the music industry could choose to deal with a company that is selling digital music out of Russia with no copy protection and without copyright permissions and discusses whether there are options available to the music industry outside of the courtroom.

Table of Contents:
Introduction
The Digital Music & Issues Related To It
Digital Music & Recording Industry Background
Music Industry Effort Against Digital Piracy
The Music Recording Industry Current Challenges
Music Industry Options
Music Industry's Current Situation Analysis
Conclusion and Key Lessons

From the Paper
"Recent advances in technology and access to pirated material have changed the game. There is no simple solution for th recording industry. The answer comes down to applying number of new techniques to combat the piracy. While lawsuits have been ineffective, the recording industry needs to continue to go after programs that allow illegal music downloading. However, this should neither be the sole or the primary action the APRS takes to prevent illegal music downloading. The industry should also continue pressuring other countries through lobbying to take care of their own piracy. When possible, the music industry should attempt to convert the companies into profitable legal enterprises to take advantage of their innovation in the digital music industry. While attempting to fight the piracy, the music industry needs to also investigate strategy changes to make their digital experience more compelling."

Tags:MP3, APRS, copyright, audience

Abstract
The paper argues against the recording industry's claim that file sharing negatively impacts artists, and reveals that artists who have adapted to the new technological environment have been able to leverage file sharing to increase their exposure levels and become more successful. The paper highlights the claim of artists that the recording industry is only suffering because it has failed to adapt to the new environment. The paper makes it very clear that it is not the existence of file sharing that hurts artists, but it is only the failure to adapt to file sharing that can hurt artists.

From the Paper
"The Recording Industry Association of America (RIAA) has long contended that Internet file-sharing of music has suppressed its revenues. The RIAA claims that sales of compact discs have declined due to the prevalence of file sharing. They have lobbied Washington extensive and pursued legal remedy against individuals engaged in file-sharing. Yet a growing body of evidence shows that their claims are unjustified. Moreover, a significant number of artists have spoken out in favor of file-sharing. The RIAA has long portrayed itself as a representative of artists, but many artists have begun to counter this claim and stand up for their own views. The recording industry, they argue, may or may not lose money on account of file sharing. The artists themselves, however, do not. Both sides have presented their cases to government and to the public. Intellectual property law is a complex subject. Given that file sharing represents a new arena for intellectual property, it is best to view the issue from a consequentialist perspective. That is, the moral value of file sharing is dependent on the outcomes. With respect to those outcomes, we shall see that file sharing does not hurt artists."

Tags:albums, CDs, exposure, music, songs

Abstract
This paper discusses the music recording industry and how it has been impacted by digital music distribution. The paper relates that the early success the music labels had against the initial music file downloading sites were short lived, and legitimate digital downloading sites have since prospered. The paper then argues that major recording labels are suffering from the decline in CD sales, not because of music pirating, but because they refuse to recognize that consumers demand digital music downloading for its convenience and portability. The paper further emphasizes that digital music distribution and retailing is the future of the music industry and every relevant party seems to recognize this, except the music industry itself.

Outline:
Overview
Restructuring of the music Industry
New distribution model & Itunes
Online distribution variations
Conclusion

From the Paper
"The music industry, in spite of its ineptitude and obstinacy over the past decade regarding digital music downloading, is finally realizing that whether it embraces downloading services such as iTunes and others, it must evolve with the digital age or face irrelevance. In order to compensate for the loss of revenues, the recording music industry has been examining their base revenues in order to determine if digital downloads can compensate completely for the decline in sales of CDs. Two of the major record labels, Sony and BMG, have even merged in order to expand their catalogues (Recording, 2007). There have been efforts made to encourage EMI to merge with one of the remaining three major record labels but thus far these remaining major record labels have resisted further consolidation. However, EMI undertook its own internal restructuring by merging its two main record labels in the US market during the first half of 2007 and Warner Music was sold during 2004 creating even more churn in the industry (Recording, 2007). Yet, perhaps the most visible change is the industry is the downsizing or disappearance of retail music stores, which has begun to accelerate."

Tags:electronic, music, downloading, recording, compact, disc

Abstract
This paper highlights three types of technological advances that threaten to destroy the music industry. Of special focus is the Latin American music industry, which has been hardest hit by these advances. The paper points out that the need to address these problems, cited as music piracy, the availability of home digital recording equipment, and peer-to-peer file sharing on the Internet is critical, since it threatens the overall existence of that industry. The paper continues by giving specifics of the recording industry decline and by explaining why the Latin American music industry is particularly affected. Finally, the paper devotes some discussion on possible ways to approach the problem.

Specifics of the Recording Industry Decline
Fighting Music Piracy
Global Connections and the Motive Behind the Money
Offsetting the Power of Consumers to Burn Personal CD?s
Shutting Down Peer-to-Peer Networks or Turning Them into Revenue
Channels

From the Paper
"According to Buckley (2000) while U.S. recording industry officials wring their hands over Napster, the worldwide black market for illicitly copied music is growing even faster. Sales of pirated music topped half a billion units last year and cost the music industry $5 billion in lost revenues. As of the turn of the 21st century, one in three CDs sold around the world last year were copies, churned out in pirate's hidden factories that can press up to 100,000 discs a day, according to the International Federation of Phonographic Industries. In Brazil, Latin America's music piracy leader, "40 percent of CDs and 99 percent of cassettes sold were illegal copies, a total value of $180 million," said IFPI. "In Mexico, the 1999 pirate music market was worth $70 million, or 40 percent of all music sold, the agency reported." (Buckley, 2000)"

Tags:napster, illicitly, copied, cd, cassettes, mexico, copyrighted, intellectual, property

Abstract
This paper explains that, despite the enthusiastic participation of some recording artists such as the Dave Matthews Band and Courtney Love, the Recording Industry Association of America (RIAA) has brutally attacked file sharing programs, such as Napster, which allow the downloading of music from the Internet, by arguing that the availability of music on the Internet is destroying record sales. The author points out that the industry's use of "fake files," which attempted to halt Internet music downloading, was an almost laughable endeavor, but intentionally damaging a consumer's computer was not so humorous. The paper relates that, in 1999, a law was passed, which declared that recorded music was the property of the company that recorded the music, not the artist; this outraged many artists.

From the Paper
"The Dave Matthews Band broke ground by releasing the first single from their 2001 album "Everyday" through the now defunct file-sharing program Napster. Napster, an Internet based file-sharing program, gave its users the ability to search for and download music (in MP3 format) to their computers by directly tapping into another user's computer. The program gained popularity rapidly, with millions of users at its peak in 2000 and 2001. When the Dave Matthews Band premiered "I Did It" through Napster, the album debuted at number one, and generated the highest first-week sales the band had experienced thus far."

Tags:mp3, napster, protected, riaa, sales

Abstract
The paper discusses how Internet-based music and digital entertainment distribution is defined by the legal and regulatory conflicts over digital rights management (DRM). The paper addresses how the RIAA and NARAS organizations contend that downloads are software piracy and contract an already challenging music recording industry, even while there is an abundance of empirical research supporting the fact that downloads impact the profitability of the music industry. The paper then looks at the Apple company as one that has successfully monetized digital music and been able to navigate through the many issues of DRM and regulatory compliance. Finally, the paper considers the future of digital media and entertainment distribution over the Internet.

Outline:
Introduction
Litigation Will Define Digital Downloading's Impact on the Music Industry
The Future of Internet Music & Digital Entertainment Is Heavily Dependent on Digital Rights Management (DRM)
Interpretation of Music Downloads' Effects Critical To Future of Industry
How Apple Has Made DRM Successful: What The Future of Downloads Will Be
The Future of Digital Media & Entertainment Distribution over the Internet
Conclusion

From the Paper
"The case of Jeffrey and Pam Howell, who were sued by seven different music companies all claiming the Howells had violated the copyrights of their songs by placing them in a shareable folder within Napster in 2006, illustrates how Internet-based distribution of music and digital content must have a solid legal and regulatory foundation on which to base future growth first if it is to succeed. In May, 2008 a US District Court Judge in Arizona ruled in favor of the Howells saying that actual sharing and distribution of the digital songs would have needed to take place in order for there to be an actual copyright infringement. As a result, the Judge rejected the motion by Atlantic Record Company who coordinated the lawsuit with six other corporations against the Howells. In concluding the case Judge Neil Wake specifically said that just making the music available for downloading over the Internet does not in an of itself violate copyrights."

Tags:copyright, file, sharing, Apple, iTunes, Microsoft

Abstract
This paper assesses the techniques and methodologies that fuel the fire behind a potentially future global leader in the music industry, the Latin American Recording Industry. It evaluates the market considerations that will become increasingly important if the market is to continue to expand successfully. It also proposes solutions to the recent decline in Latin American music sales, following the boom of the nineties.
It presents viable alternatives, solutions and innovations for the Latin American music industry, through a detailed analysis of several market characteristics and considerations, including trends, socioeconomic and ethno-musicological factors.

From the Paper
"Since the 1990's however, the Latin American recording industry has witnessed a decline in growth. Sales, which during the nineties accounted for as much as 7% of the world market, now only account for approximately 4%. A large majority of the recent decline is due to changing market considerations and global trends, socioeconomic factors and technological advances. As the Latin American music market moves into the global market, the use of the internet becomes increasingly critical to success. One of the difficulties faced not only by the Latin American Market, but by all music entrepreneurs is the growing threat of piracy, which technology has enabled."

Tags:trends, market, regulation