Abstract This paper discusses the global music recordingindustry (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.
Abstract This paper explores the economic principles of the recordingindustry'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 endeavours 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 recordingindustry 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 recordingindustry, 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 recordingindustry 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 recordingindustry.
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."
Abstract This paper examines the impact of digital music on the recordindustry 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 & RecordingIndustry Background
Music Industry Effort Against Digital Piracy
The Music RecordingIndustry 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."
Abstract This paper discusses the similarities between the music industry and other more conservative industries. It focuses on the company "J Records" and explains that the process to get the major artists to choose the company's label always a battle. This is compared to marketing and business strategies of other companies. A record label is the biggest achievement for the music company and the manner in which this is achieved, is analyzed in this paper.
From the Paper "J Records is a joint venture between Clive Davis and BMG entertainment. It is the largest new label ever launched in music industry history. The chairman and CEO of J Records is Clive Davis, founded Arista records in 1975 and nurtured people like Whitney Houston, Aretha Franklin and Santana. Currently the roster of talent includes Busta Rhymes, Rod Stewart, and Luthor Vandross. J Records is also a partner with Wyclef Jean's new label."
Abstract This paper discusses the music recordingindustry 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."
Abstract This paper compares three different types of journals (scholarly, trade, and popular) in their editorial opinion of media violence and the marketing of it to children. It compares the recordindustry to other entertainment industries, such as movie studios and the video game industry. The author of the paper argues that there is a direct correlation between media violence and children's violent behavior, and calls on parents to censor their children's media.
From the Paper "I remember purchasing a CD by a group (not mentioned) when I was about 15 years old. The CD displayed a label "Parent Advisory" in the bottom right corner, and I recall thinking "Do I need my mom to be here for this"? Sure enough, I purchased it without so much as a second glance, and wondered why they even bothered with the sticker anyway."
Abstract This paper presents a detailed discussion about the history of the radio and the impact radio has had on the recordingindustry. The writer takes the reader on an exploratory journey through the history of radio broadcasts as well as what the future of radio looks like with the advent of CD burners.
From the Paper 'Across America, people tune into their favorite radio stations and sing along with their favorite artists. While we enjoy the ability to tune in as well as the songs that are played, we seldom give thought to how the radio has impacted our favorite artists from a recording standpoint. Radio was a boon to those involved in it, and it has provided a forum for artists to have their new material heard which in turn increased record sales for many years."
This paper discusses the early history of the battle by the music industry against the downloading of copyright music from the Internet and argues against the position of the industry.
Abstract This paper explains that, despite the enthusiastic participation of some recording artists such as the Dave Matthews Band and Courtney Love, the RecordingIndustry 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."
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 recordingindustry 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 RecordingIndustry 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)"
Abstract This paper considers three different aspects of the technology and political marketplace that have negatively affected Latin American music sales and, in particular, the effect that pirated music is having on the industry. The paper then looks at the future of Latin American popular music and the Latin American recordingindustry and presents solutions and recommendations to rebuild, improve, and expand the Latin American industry.
The Future of Latin American Popular Music
The Future of The Latin American RecordingIndustry Reconstructing the Industry Music Delivery
Anti Piracy Efforts
From the Paper "However, in the music industry, the creation of the internet and the capabilities to deliver individual songs digitally and globally has changed that perspective as well. The creation of a global economy and improved communication systems has facilitated the worldwide dissemination of mass culture. Specifically, trends in Latin America are now becoming part of the Latino population in the central and North American regions. Hence, the market for Latin American music, and the path toward improving the profitability of the Latin American music industry should also consider the North American markets a part of their potential customer base."
Abstract This paper examines how the cost of releasing new commercial records is high and how once the public profile of an album in its primary release dies away, it often becomes uneconomical for the record label to maintain support for that release. It covers the main strategies used by record labels to generate income from back-catalogues and looks at topics such as compilation albums, re-issues and retail mechanisms.
From the Paper "The release of a "Greatest Hits" is not necessarily a gravestone marking the end of an artist's career and it is now likely that a greatest hits compilation may be superseded by a new album. There may even be multiple greatest hits released for one act; Madonna's "Immaculate Collection" topped the British album chart in December of 1990 but still managed to re-enter the chart in January of 2001, peaking at number 21. In November of the same year Madonna released her second greatest hits album ?GHV2: Greatest Hits Volume 2 ? The Best Songs of a Decade? which reached number 2."
Tags: album, business, commercial, mechanism, record
Abstract This paper discusses the online distribution of music and how it is part of the larger, global music industry. It analyzes the aims and success of the global music recordingindustry (MRI) and discusses the six segments into which the MRI is primarily structured. The paper then discusses the new competitors in the MRI industry and how they relate to consumer expectations.
Table of Contents:
Industry Overview
The Apple Influence on Expectations
Technology Convergence
Conclusion
From the Paper "Myspace.com and others are revolutionizing the MRI by creating a substitute industry that if not properly compensated for by traditional MRI participants could eventually supplant them. Consumer expectations have crystallized around the concept of total access across formats to their music and musical tastes and the future of the MRI, due to the online distribution of music and the evolving expectations of the consumer, rests with its ability to agree on a universally accepted electronic format for its music files."
Abstract This paper looks at the impact of the internet on businesses, specifically the music industry, and the benefits of systems and technologies that can be implemented to counteract the negative effects of the web on one's business.
From the paper:
"That is why the recordindustry launched the Secure Digital Music Initiative. This was supported by both record companies and hardware manufacturers, in December 1998, with a promise to have agreed on technical specifications by June last year. SDMI participants include music content, consumer electronics, information technology, and wireless telecommunication companies. SDMI's work is based on the core principles that copyrights should be respected, but that those who wish to use unprotected formats should be able to do so. (Teller, 2000) The specification developed by SDMI will answer consumer demand for convenient accessibility to quality digital music, enable copyright protection for artists' work, and therefore enable technology and music companies to build successful businesses."
This paper discusses the case of Napster, an Internet music sharing company, which was forced by the courts and by the RecordingIndustry Association of America (RIAA) to cease operations.
2,455 words (approx. 9.8 pages), 9 sources, MLA, $ 74.95
Abstract This paper explains that the RecordingIndustry Association of America (RIAA) argued that Napster was infringing on copyright and illegally copying, distributing or "bootlegging", and downloading the copyrighted products of musicians. The author points out that the problem of pirating copyright material is not new; but the combination of the Napster technology, the Internet, and the ability of individuals to burn their own CDs off the Internet made pirating very easy, with digital sound quality just like the store bought merchandise. The paper relates that Napster, which is now owned by Roxio, Inc., the software inventor of many well-known CD-burning programs, is a subscription-based service that charges 99 cents per downloaded song; other peer-to-peer networks seem still to be striving.
From the Paper "Napster offered its users the opportunity to access music files held on every other users? hard drive. This, in turn, meant that users could download to their hard drive, and then burn to a Compact Disc (CD) if they so desired, literally hundreds of thousands of pieces of music. This threatened the producers of music (the musicians) and the copyright holders, the media companies, such as AOL Time Warner, Vivendi Universal, EMI and others. The revenue they generate by selling Compact Discs and tapes was threatened because Napster users could now obtain music and compile a music library without actually purchasing product from the companies themselves."
