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The Music Industry and the Internet, 2003.
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.
2,115 words (approx. 8.5 pages), 12 sources, APA, £ 45.95
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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."
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The Internet and the Music Industry, 2004.
This paper argues that music downloads and online radio have a positive effect on the music industry.
2,725 words (approx. 10.9 pages), 5 sources, APA, £ 56.95
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Abstract
This paper explains that online radio, which simply rebroadcasts the content from existing, traditional radio stations or is solely virtual, has done the music industry much more good than harm because it is able to expose a greater diversity of people to artists and a greater diversity of artists to people. The author, using statistics, points out the correlation that the more you burn from the Internet, the more CDs you buy; therefore, the author seeks other causes for the lagging sales in the music industry, such as the recession, competition from other forms of entertainment, consolidation of radio stations, the ever-increasing CD prices, and even cellphones. The paper relates that the music industry?s legal campaign against downloading is being circumvented by new technology, such as ?Grouper?, which only allows users to ?stream? songs from a peer and, thus, operates legally under the ?private performance? section of the copyright law.
Table of Contents
Introduction
History of Online Radio
History of Music Downloads
Effects of Online Radio on the Music Industry
Effects of Music Downloads
Current Legal Status of Downloading
From the Paper
"As technology increased, so did the popularity of file sharing software like Napster. Although the use of such file-sharing software to download non-copyrighted material is not illegal, the propensity was for users to download copyrighted materials (?File Sharing?). For the last few years, the legalities of file sharing have made the issue one of the central debates. Record companies and musicians argue on both sides of the issue. Most, however, feel that unauthorized music downloads infringe on their livelihood and have negatively affected the profitability of the music industry as a whole. However, this may not be true."
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Popular Music Industry, 2003.
A discussion of the changes faced by the Australian music industry in light of the technological advances available through the internet.
2,357 words (approx. 9.4 pages), 12 sources, APA, £ 50.95
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Abstract
This essay discusses changes that have resulted and affected the popular music industry from the 1960s to present. Recent technolgoical advancements such as CD burning and file sharing have seen drops in CD sales which have affected the way the 'Big Five' music companies sell to the market. The paper shows how the music industry has gone through major developments which have had implications to record companies, the artists, the public and law enforcers. The paper makes reference to a number of Australian artists.
From the Paper
"Prior to the 1960s the Australian music industry was an unrecognised and basically nonexistent market being mainly the result of its geographical location. The mid 1960s saw local artists recording original songs with great success, and a diverse array of artists such as the Easybeats, the Seekers and Rolf Harris became international sensations (Simpson, 2002). In the 1970s the emergence of artists in the industry became even more significant when Australian groups such as AC/DC and Men at Work began to hold a considerable portion of the market."
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Digital Downloading and its Impact on the Music Industry, 2008.
A detailed description of the effects that digital music distribution has on the music industry.
2,375 words (approx. 9.5 pages), 9 sources, APA, £ 50.95
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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."
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Latin Music Industry, 2004.
A look at the urgent need facing the Latin American music industry to protect it from the threat posed by recent technological advances.
2,925 words (approx. 11.7 pages), 10 sources, MLA, £ 59.95
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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)"
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Independent Music Industry, 2002.
Examining different factors relating to the independent music industry and the challenges it faces.
817 words (approx. 3.3 pages), 0 sources, £ 20.95
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Abstract
This paper analyzes and examines the multitude of issues related to the independent music industry. Part II gives a brief overview of the music industry. In Part III, factors leading to the development of an independent music industry are discussed. Part IV outlines the incorporation of alternative music industry into the mainstream with the emergence of grunge music is reviewed.
From the Paper
"According to Rare Vinyl Network, independent music is defined as ?literally, music released by record labels independent of control by multinational conglomerates; more specifically, bands that descended from the late seventies and eighties college rock.? Currently, there are approximately six major record companies (BMG, CEMA, MCA, Polygram, Sony, and WEA) that are in control of the record market. The economic power of these conglomerates restricts how contemporary music is available and is portrayed to consumers. The mainstream music industry is regulated, whereby popular music has become a business rather than an art."
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The Latin American Music Industry, 2002.
An analysis of the recent decline of the Latin American music industry with proposal of innovative new solutions to re-infuse the market
1,194 words (approx. 4.8 pages), 11 sources, MLA, £ 27.95
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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."
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Pricing Strategy in the Music Industry, 2005.
A discussion on the importance of a pricing strategy in the music industry.
900 words (approx. 3.6 pages), 3 sources, £ 24.95
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Abstract
This paper contends that in today's hyper-competitive music industry, the pricing strategies implemented, for CDs, by music manufacturers are crucial to their success. It explains that the threats from the plethora of music labels now producing music, as well as substitutes to CD purchase, such as online downloads, are significant. The paper focuses on the implementation of a variety of tactics to ensure their success in the industry like,product bundling to segmented pricing. The author claims that a sound pricing strategy in the CD industry not only gains competitive advantage, but can also place a company in a leadership position.
From the Paper
"In today's hyper-competitive music industry, the pricing strategies implemented, for CDs, by music manufacturers are crucial to their success. Threats from the plethora of music labels now producing music, as well as substitutes to CD purchase, such as online downloads, are significant. As such, organizations have implemented a variety of tactics to ensure their success. From product bundling to segmented pricing, a sound pricing strategy in the CD industry not only gains competitive advantage, but can also place a company in a leadership position. Pricing Strategies Overview: Pricing strategies occur as one facet of a product's marketing strategy. Different pricing strategies are often employed, despite the marketing of very similar products, due to the unique targeted customer demographics, for the product. These generic strategies include: skim pricing, penetration pricing, and neutral pricing. Skim pricing produces high margins and low sales volume for products ..."
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The Music Recording Industry, 2006.
A review of the global music recording industry (MRI).
3,600 words (approx. 14.4 pages), 4 sources, £ 98.95
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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.
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Music Industry Studies, 2005.
A discussion regarding the positive and negative elements of outside management and self-management in the modern music industry.
4,275 words (approx. 17.1 pages), 5 sources, £ 117.95
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Abstract
This paper discusses how the positive aspects of self-management can be an advantage to artists that seek long-term success in the music industry. The paper uses the examples of Mick Jagger, Pink Floyd and U2 (McGuiness is actually considered a fifth member by Bono and the others) to relate how effective self-management may be a far more lucrative choice for musicians. According to the paper, they must be willing to take on more responsibilities, but they will certainly have more control over their music and contractual dealings.
From the Paper
"This music industry analysis will examine the differing aspects of successful music management. By presenting various examples of famous musical acts with effective management, one can realize the benefits of loyalty in the techniques and decisions that create successful musical acts. A critical study of how modern music mangers create positive financial and legal choices for their clients is essential to the longevity and influence of such bands as U2, The Rolling Stones (Self-Managed), and other international musicians with strong management. In this manner, one can realize how management can be effective, without betraying the musical integrity that musicians need to focus exclusively upon. "
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Computers & the Music Industry, 2002.
A paper which examines the role computers play in the music industry.
1,005 words (approx. 4.0 pages), 3 sources, APA, £ 24.95
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Abstract
The paper shows that today, without computers, we would be unable to listen to music videos and the radio, play musical instruments, listen to musicians perform, or attend a concert or movie. The paper investigates the major role computers have in the music industry and discusses dialogue, sound effects, and music post production.
From the Paper
"In addition to being able to create synthesized effects, preprogrammed sound from libraries designed for specific synthesizer brands and models are available. These collections may be grouped by type of sound effect, such as screams, thunder, punches, or by instrument category, such as drum, string, brass, and keyboard sounds. These libraries come in various formats, such as floppy and hard disk and plug-in memory cartridge."
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Piracy in the Brazilian Music Industry, 2002.
An examination of methods to reduce the phenomenon of piracy in the Brazilian music industry.
2,158 words (approx. 8.6 pages), 10 sources, MLA, £ 46.95
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Abstract
This paper discusses how music piracy is a rampant problem that results in enormous losses on behalf of the international music industry. It focuses on this problem in Brazil and examines possible solutions to this increasing phenomena. In order to understand why this problem is so rampant in Brazil, the writer also gives an overview of the Brazilian music market.
From the Paper
"Piracy is sometimes thought by some to be a victimless crime. However, the music industry would argue to the contrary. There are enormous economic losses incurred due to piracy, and the effects are felt through all levels of the music industry. Piracy affects artists whose creativity is dispersed without credit. Governments are also affected through the loss of several millions of dollars in tax revenue. In addition, economies are deprived of new investment and consumers are given less diversity and choice in the marketplace. Moreover, record producers are left with no choice but to reduce the number of artists they produce because of the losses due to piracy (IFPI, 2002)."
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Music Industry Strategies, 2004.
An analysis of the role of the catalogue and special projects department within the music industry.
1,440 words (approx. 5.8 pages), 5 sources, APA, £ 32.95
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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."
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The Music Industry, 2003.
Discusses changes in the structure of the industry.
1,575 words (approx. 6.3 pages), 3 sources, £ 38.95
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Abstract
Discusses the historical background of recorded music, music publishing, the royalty system, the impact of new technology on the music industry, consumers' ability to copy recordings, and the problem of unauthorized distribution.
From the Paper
"The music industry has long faced challenges to the way that it is structured, and the music industry as it exists today is very different than the music industry that existed at the beginning of the twentieth century. To understand the challenges ..."
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