Media Essays Music Industry Work

Media Essays Music Industry WorkMusic Industry Work go bad kinds in technology and global communication that overhear revitalised the symphony labor in the early(prenominal) ten old age. Your account should concentrate on cultural and promotional aspects rather than an analysis of the symphony. How might you apply these innovations to your cause field of work?The last decade has witnessed a period of quick change in technology and global communication. In medicinal drug, the Ipod has changed the way we bargain and swap medical specialty. I tunes has just sold its billionth meter. The rise of the safety Mon key divulges is close to directly attri only ifable to the internet and sites like MySpace, where teens posterior airing trends in an instant. wholly this is happening while many traditional carry struggle to hold back pace.When the Arctic Monkeys hit number one, the smartspapers were go away reflection where did they come from? The four big companies that dominate the production and distribution of music, Universal, Sony, BMG, Warner and EMI, soak up been slow to embrace the internet, which has seemed to them not an opportunity but their nemesis.Rather than lay their product on file-sharing applications, they atomic number 18 prosecuting publish-d throwload users for theft, but outright they argon left with no opportunity but to welcome the digital age ahead.All it offsprings to get the music you most love is to find a website such(prenominal) as Rhapsody, Itunes Store, Urge, Rapster, or any one of what is probably a cardinal such, d sustainload, and transfer to an MP3 player. Hours and hours of portable music, and unless you loss to, you never cave in to bear in mind to 2 songs by the same assemblage. A wonderful innovation for the music love public, The Kinks ar slake being worked out by the music constancy. just now one thing is clear. The Digital Music age is here to stay. all over the last ten years album sale s pose been in freefall all over the world. The 10% drop in the UK over the past year is dwarfed by a 15% slide in the US, 25% in France and 35% in Canada. The bankruptcy this summer of the CD sell chain Fopp, HMVs announcement that its profits halved in the first sixer months of this year and Richard Bransons recent decision to dump the Virgin Megastores, which have reportedly lost him more than 50m in 2007, are all recount of the revitalization of the music industry.The point isnt just that commonwealth are obtaining fewer CDs they are paying as much as both-thirds less in real terms today for the music they listen to on their iPods than they used to when the compact disc first took over the commercialize. twenty years ago a chart CD cost approximately 14. Today you can buy the same in a super-market for 9. The online market may have grown recently, but not enough to manipulate the hole. Here, too, margins have shrunk. A download of a single track now costs 79p agains t the 4 a CD single cost in 1999. The impact on the bottom line of the record articulates has been catastrophic.When EMIs secondary Virgin put out the Spice Girls debut album in 1996 the ships company cleared roughly 5 in profit on each copy sold. That margin has since shrivelled to around 2, and merely indeed for albums that are significant hits. Industry insiders estimate that only one of the raw(a) British acts that became popular in 2007, the pop star Mika, testament truly make his record company any money.When the private equity steady Terra Firma bought EMI recently it paid nigh a third, in real terms, what the company nearly fetched 10 years ago when a sale to its challenger Universal was mooted. That decline mirrors what has happened over thesame period to the retail price of new CDs, and it also reflects the out carry out of the cull ofEMIs workforce, which has shrunk in 10 years from more than 10,000 worldwide to about 4,000 today. There are no self-explanato ry solutions in sight. In America the recently appointed co-chairman of the Columbia brand Rick Rubin, formerly a record producer by trade, has verbalise of his ambition to turn the company around by refocusing it along the lines of a cable TV business, making Columbias perfect catalogue downloadable to customers who pay a monthly subscription.The reprioritisation in recent years of live music over the recorded variety has been dramatic. Attendance at arena shows rose here by 11% last year. By the time 2007 bows out, 450 music festivals will have applyn place in the UK. Ticket-master reported that 20,000 tickets for the Spice Girls first reunion concert at capital of the United Kingdoms O2 arena in December sold out in 38 seconds, with 1m buffers registering to buy. more than a million clamoured for seats at the extrovert Led Zeppelin reunion.Glastonbury disposed of its 135,000 weekend passes for this years slip indoors two hours, taking more than 21m in the process. Ticket prices, particularly for A-list workmans, have soared as the price of CDs has tumbled. You could have bought Madonnas accurate catalogue for less than half what it cost to see her perform at Wembley Arena last summer where the best seats in the mansion went for 160.CDs are almost a thing of the past. With more more people downloading and sharing MP3s, both legally and illegally i.e. Limewire, the music enter business is faced with a huge problem. Technology has advanced uttermost quicker than the Music Industrys ability to change and keep a viable business model.Downloading of MP3s illegally has caused such a massive drop in sales that the music business in general is at a loss to provide a solution, and thus is failing. In my opinion, to suggest CDs are almost scanty is not unreasonable. The marketing power and speed of the Internet now authority users are aware of the product long before the record label is promoting it locally and nationally.With the connection speed of broadband Internet, users can have almost any desired song in seconds (and if prepared to break the law, for free). I cant see the music business trying to passage of arms this type of technology for much longer, as file sharing is not actually an illegal activity, as no cash is exchanging hands.Already deals are being announced to allow users to legitimately download songs and for a subdivision of the cost of a CD single. Recording labels will have to hold out to offer subscription services, or small download fees per single in score to quell the hugeamount of customers currently downloading for free.The roots of the Rip, burn and tittup (RBM) farming have been growing for a long time now. The RBM horticulture represents a in good order change to the business world as a whole and to the music industry in particular. The change in delivery method is at the heart of the RBM culture. To begin with it can be described from the music industrys standpoint.Now consumers have much more control, and because of each respective(prenominal)s ability to rip or copy, burn or produce, and desegregate or change music, the term consumer fails to capture the essence of the users involvement. As is apparent to everyone, this has thrown the traditional music industry on its head. In retaliation, there are battles being waged against people who have sure the changes, the traditional consumers. Of course, as has been well documented, these battles are being fought with copyright laws that have failed to accept great(p) change since the explosion in popularity of the internet.Questions about how this affects the various(prenominal) artists and bands who rely on selling their music for an income must be addressed. First, within this culture there is still the possibility to sell records based on the traditional methods. The RBM culture has had a great deal of influence in this area of style as well. It can be viewed as a type of fusion. Everyone now has the opportunity to take what they want from a culture and fuse it with their own culture, which to many is what creativity is. Rap music is a definite example of RBM culture in music.An artist may take a track from another song, mix it with their own work and accordingly produce it as a new style of music. Without conscious effort, millions of people have already accepted this culture and moved towards the empowerment of the separate artist. It is especially apparent in the popularity of collaborations between artists. Artists each bring their own work to the studio or stage and seek to mix, burn or create an entirely different piece of music.A closer vista at the music industry from the perspective of a RBM culture reveals that the principles which are at the base of the culture are not revolutionary. However, technology has changed the scale on which these principles can be implemented, thus giving birth to the RBM culture and the vast consequences it has for the music industry.There are many unique ideas on how music should be shared and subsequently handled. An artist listed under the simplistic Sampling License allows the user to manipulate and change the music for their own or commercial use however, entering it on a file-sharing cyberspace is prohibited. The Sampling-Plus License works in basically the same way overlook the music can be entered on a file-sharing network.The rip, burn and mix culture coincides with many other changes in the way people find about purchases and commercial entities. The ClueTrain Manifesto is a series of essays that deals with changes in consumer behaviour because of the Web. The Manifesto discusses ideas that lease to change in the business world collectible to the changes in consumer behaviour. People now expect to try before they buy and buy only what they want to buy.Requiring the customer to buy fifteen songs when they only want one has become unacceptable Furthermore, the limited variety of music that a company has to offer is unacceptable. With such easy annoy to manifestly endless variety, the old music industry lost one of its key competitive advantages. To be fair the industry is starting to recognize the need for digital music and has been quite successful operating with Apples iTunes technology. It may be too little too late but it has stemmed the tide of change for the large media companies to an extent.With all these changes taking place, it is kindle to speculate about the path of the next musical superstar or if there will even be such a concept. Everyone having access to a personal computer means that everyone is eligible to do their own recording, publishing, distributing and venue booking. Even with all this technology, a live show is still a unique experience that can only be captured by physical attendance. Excellent artists will still be sought out to play live music which will allow them to sell their products to ache themselves.This process is very important even in the new music industry where everyone can be heard. The reason for its importance is the fact that a live band can carve out its own turning point using the extremely effective word of mouth advertising. Unless the consumer knows an artist exists it can be extremely difficult for a consumer to find and hear that artist among all the other choices. Live touring would still be an effective forte for a band whose quest is to reach a certain detail of fame. However, there is also the possibility for a band or respective(prenominal) artist whose sole medium is the web.Video and audio technology could be combined to produce a virtual stage for the artist to perform over the internet a distinctly new technology artist. This could take many different forms but, again, it takes advantage of the increased scope of the artist. The artist has the great opportunity to perform virtually over the web, satisfying both the yellowish brown and the musician.The Web will also act as a slit between the musicia n and the fan. An increase in interaction between the two might birth a new form of musical partnership. The fan might have an idea or a poem that they want make into music. Certain artist may be interested in catering to this desire to have ones work made into music. Without a doubt, fans have been able to interact and learn more about their favourite bands because of the web. Websites would then act as virtual clearing houses by matching song writers with those who play music but are not interested in writing their own.One interesting idea that psyche working in the industry could consider is that labels may only be willing to pay the artist to produce one or two songs for air play and sale.The Rip, Burn and Mix culture may be the end of the traditional album as it has been. If songs are available for free or are sold separately for a dollar, the experience of auditory sense to a number of songs as a coherent work will be lost. But the artists may adapt to this new culture and c hange the way in which they release their music. Rather than one album with xii songs on it released at one time, the artist could release one song each month for a year. This method could stimulate interest from fans as a continual stream of music over time.ReferencesI tunes- http//en.wikipedia.org/wiki/ITunes, http//itunes.comEMI group 2006, statistics and figures http//www.emigroup.comWaters, D., 2003. Music industry slow to change available http//news.bbc.co.uk/1/hi/entertainment/music/3019948.stmGordon, G., 2007, Effects of technology on the music industry, 2007 WC disdain Management Senior Capstone Experience, available http//dspace.nitle.org/handle/10090/2694Music industry forced to warm to Arctic Monkeys, 2007, Unlocking digital music, Oxford Journals ,Volume 49, Number 4, Pp. 14-16http//www.mad.co.uk/Main/ radical/Articlex/5897d0927dea4,Illegal mp3 downloadshttp//www.limewire.comDigital Music Report 2006 Facts Figures 2006 available http//www.ifpi.co.uk/content/section_ news/DMR-2006-b.htmlRegan, K., 2007, EMI taxation Falls but DRM-Free iTunes Sales Promising, E-Commerce Times, availablehttp//www.ecommercetimes.com/story/entertainment/58684.html wherefore do they think they have it figured out now?200,http//www.futureofmusicbook.com/Honan, M., 2001, Rip. Mix. Burn. distract? Does Using Your Mac to Burn Your Own Audio CDs Make You a Thief? http//www.macworld.com/2001/10/macbeat/rip/