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‘Pumping Profits Into SoundCloud’s Bottom Line’. The Witch Doctors: Making Sense of the Management Gurus. The Firm: The Story of McKinsey and its Secret Influence on American Business. ‘The Real Reason Apple Needs Beats: It May Not Be the Headphones or the Streaming’. ‘The Disruption Machine: What the Gospel of Innovation Gets Wrong’. Journal of Public Policy and Marketing, 20(2):280–288. Napster: “The Shot Heard ’Round the World” or “Not with a Bang but a Whimper?”. Copyright Polices and Issues Raised by A&M Records vs. ‘See How Much Every Top Artist Makes on Spotify’. ‘SoundCloud Financials Reveal Widening Losses’. Review of Austrian Economics, 9(2):43–58.ĭredge, S. Money from music: Survey evidence on musicians’ revenue and lessons about copyright incentives.
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Adjustment or Determination of Compulsory License Rates for Making and Distributing Phonorecords: Motion to Adopt Settlement, Docket No. ‘The Digital Decline: What’s Behind the First Downturn of the iTunes Era? And Can Streaming Save the Day?’. Harvard Business School Press.Ĭhristman, E. The Innovators Dilemma: When New Technologies Cause Great Firms to Fail. From Mainframes to Smart phones: A History of the International Computer Industry. Harvard Business School Press.Ĭampbell-Kelly, M. ‘Streaming Services Need to Pay Songwriters Fairly’. And pop queens don’t need to sing, Vox, July 11, 2014. See Miming Will Be The Death of Live Music Performance, The Telegraph, January 23, 2013, and Britney Spears is a pop queen.
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It has been reported that the standard of perfection created by the widespread use of Auto-Tune software in a recording studio is almost impossible to hit in reality, even for some artists with great vocals. It has been claimed that unlike previous generations of “real” singers who mastered the art of singing, today’s generation often relies on Auto-Tune and other digital voice-enhancing technologies that are capable of transforming mediocre singers into perfectly in-tune vocalists in the studio, and increasingly the technology is now being shifted from the studio to live concerts. One of the major threats to live touring appears to be the practice of vocal performers miming or lip-syncing-the use of pre-recorded vocals in a live concert without the knowledge of the audience. This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. The music industry is now adjusting to these changes in digital technology by focusing on maximizing copyright revenue from existing music content (music publisher catalogs) and future content creation using a more efficient distribution system or supply chain. As Table 1.1 shows, close to 60 % of recorded music revenue-when revenue from some performing rights organizations, touring and merchandising are excluded-is now derived from digitally distributed formats-such as downloads, streaming and ringtones-while it is less than 25 % in films, books, newspapers, and magazines, but growing year over year. The music industry has been the fastest to adopt and monetize digital formats. Digital technologies have made the worldwide distribution of music, books, film, newspapers, and magazines much easier and cheaper, while significantly lowering the operating costs in those industries.
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Music consumption is the many ways that people “experience” music by listening, watching, streaming, and downloading of musical compositions. In particular, digital technology reshaped the way music is created, licensed, distributed, sold, and consumed.
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These changes have resulted in new global music business models. In recent years, technology, innovation, competition, corporate policies, and government regulation have caused dramatic changes in the music industry.