A venda de discos em Portugal caiu 17,32 por cento nos seis primeiros meses deste ano, por comparação com igual período de 2007

Discos: Números da afp confirmam queda acentuada
Vendas caem 17%
A venda de discos em Portugal caiu 17,32 por cento nos seis primeiros meses deste ano, por comparação com igual período de 2007.

Os números são da Associação Fonográfica Portuguesa (AFP) e confirmam a tendência mundial de queda na venda de música em suporte físico. Nos EUA, maior mercado do Mundo, a queda nas vendas de CD foi de 11 por cento na primeira metade de 2008.

Pelo contrário, a compra de música digital vai de vento em popa em Portugal, tendo-se verificado (em igual período de tempo) um crescimento de 35,19 por cento no volume de facturação. Um aumento considerável, que permite à indústria amortecer as perdas. Ainda assim, a facturação conjunta das vendas em suporte físico e digital sofre uma queda de cinco por cento nos primeiros seis meses do ano.

De acordo com Eduardo Simões, director-geral da AFP, o crescimento do mercado digital deve-se em grande medida aos "toques para telemóvel e aos downloads legais pela internet".

Em crescimento esteve também a venda de singles (1009 por cento) e de discos em vinil (54 250 por cento), em grande parte por motivos profissionais, e também de DVD, com um aumento de 2,60 por cento.

Tentando inverter a má conjuntura, as principais editoras de Portugal apostam em lançamentos de peso até ao final do ano, incluindo muitos artistas nacionais.

MUITA MÚSICA EM PORTUGUÊS

Até ao fim do ano não faltam lançamentos de música portuguesa. Já em Setembro chega a estreia a solo de João Gil, ainda sem título. Com selo da EMI há ainda Jorge Palma (ao vivo no Coliseu), em CD/DVD, e Da Weasel (no Pavilhão Atlântico), em DVD. ‘Companhia das Índias’, estreia a solo, de Rui Reininho, e ‘Black Diamonds’, dos Buraka Som Sistema, são apostas da Sony-BMG. Mafalda Arnauth e Pontos Negros (em Setembro), bem como Maria João e Mário Laginha (‘Chocolate’), em Outubro, e Maria João Pires (‘Chopin’), em Setembro, são trunfos da Universal. Em Novembro volta Tony Carreira (Farol).

O QUE VEM AÍ

METALLICA

‘Death Magnetic’, a 15 de Setembro (Universal).

U2

Novo disco, ainda sem título, sai até ao final do ano (Universal).

KEANE

‘Perfect Symmetry’ sai a 13 de Outubro (Universal).

AC/DC

Regresso com ‘Black Ice’, nas lojas a 20 de Outubro (Sony-BMG).

DAVID GLAMOUR

O guitarrista dos Pink Floyd lança ‘Live in Gdansk’, a 15 de Setembro (EMI).

IL DIVO

Novo disco, ainda sem título, chega em Novembro (Sony-BMG).

Luís Figueiredo Silva

THE MARKETING OF BLACK MUSIC

James R. Mitchell¹

Abstract

Today's black musicians are challenged not only to master their art, but also the business side of what has become a multi-million dollar consumer market. The author argues that little has changed since the days when black talent was paid with liquor and Cadillacs. Some new groups and young performers have begun to learn from the mistakes of their elders and are managing to hold on in a treacherous marketplace.

Mitchell, James R. (1980) "THE MARKETING OF BLACK MUSIC," Contributions in Black Studies: Vol. 4, Article 3.
Available at: http://scholarworks.umass.edu/cibs/vol4/iss1/3

Music industry in the era of online delivery: Application of Differential pricing and flat rate pricing for songs with varying consumer valuations

Sidhu, Param and Midha, Vishal, "Music industry in the era of online delivery: Application of Differential pricing and flat rate pricing for songs with varying consumer valuations" (2004). AMCIS 2004 Proceedings. Paper 305.
http://ais.bepress.com/amcis2004/305

Intention to Use Mobile Commerce: A Demographic Analysis of the Chinese Market

Dai, Hua; Singh, Rahul; and Iyer, Lakshmi, "Intention to Use Mobile Commerce: A Demographic Analysis of the Chinese Market" (2007). AMCIS 2007 Proceedings. Paper 263.
http://ais.bepress.com/amcis2007/263

BMI Tops $900 Million Mark in Revenues

BMI has announced that it earned more than $901 million in revenues for its 2008 fiscal year, including its subsidiary Landmark Digital Services, LLC™. This is the first time any copyright organization has topped the $900 million mark for music performance revenues, and represents a 7.2% percent increase from the previous fiscal year. BMI also set a historic high in royalty distributions, and will disperse more than $786 million to the songwriters, composers and copyright owners it represents, an 8% percent increase over the prior fiscal year. With more than 375,000 songwriters, composers and music publisher affiliates, BMI is the world’s largest music copyright organization.

Royalty Distributions

Both figures represent milestones in royalty collection and distribution for the public performance of music. BMI President & CEO Del Bryant said, “BMI has been extraordinarily successful in signing the brightest and most popular new music creators across all genres, building upon a repertoire that already includes the most beloved songs of America’s legendary songwriters and composers.” Bryant pointed out that BMI has consistently embraced new media businesses that use music, and developed innovative licensing solutions to permit these companies to reach new audiences, while assuring that creators and copyright owners are fairly compensated. “Our pro-technology and pro-business attitude has made it possible for BMI to continue to grow our revenues more than 7% each year, on average over the past 10 years, almost doubling our income in that period,” said Bryant

.

Total Revenue

BMI generated an impressive $664 million in domestic licensing income, an increase of 8% or $51 million over the prior year. BMI’s leadership in licensing the explosive growth of music in cable, satellite radio and satellite television brought in revenues of more than $208 million, accounting for more than 23% of the company’s consolidated revenue. Traditional broadcast radio and television accounted for $340 million, or about 38% of revenue. Growth in revenues from the performance of music in retail and service establishments, including restaurants, bars and the hospitality industry, increased to a total of $97 million, accounting for approximately 11% of BMI’s revenue. BMI’s New Media revenues increased to a total of $15 million. Thanks to growth in the mobile, social networking and website categories, BMI now licenses more than 6,500 digital media properties, an increase of more than 50% over the prior year. International revenues were also an especially bright spot, accounting for $238 million, or more than 26% of BMI’s revenues.

During the year, BMI extended its eCommerce initiatives, significantly enhancing its business-to-business tools for songwriters, composers, and copyright owners, as well as its licensing customers. BMI added almost 30,000 new songwriters and composers to its rolls, with the vast majority joining online. The company launched new tools permitting licensees to initiate and renew contracts, report music use and pay license fees online. BMI also dramatically increased its royalty-processing infrastructure to handle the explosion of music reporting from its many digital licensees, processing more than nine billion feature audio performances during the year. The strategic use of technology in all of these initiatives permitted BMI to grow its business while lowering overhead to 11.7%, the lowest in the company’s history.

BMI’s fiscal year runs from July 1 to June 30. BMI’s consolidated financial information includes Landmark Digital Services™, LLC, a wholly owned subsidiary. Landmark provides advanced audio-recognition products and services to BMI, as well as third-party clients, including content providers, copyright owners and consumers of music and digital entertainment.

Why Are Artists Poor?: The Exceptional Economy of the Arts

Why Are Artists Poor?: The Exceptional Economy of the Arts

Category : Books in English / Arts Economics

Author : Hans Abbing

ISBN : 9053565655

Description : Most artists earn very little, and yet there is no shortage of young people aspiring to the field. It's widely believed that these individuals are selflessly dedicated to art, or that price does not reflect aesthetic quality, or that the arts are "free." But how much of this is true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts - an economy that operates successfully in the marketplace but has more natural affinities with gift giving than commercial exchange.

July 2002, Amsterdam University Press, Language: English

Description in Dutch: Kunstenaars verdienen vaak weinig. Toch is er aan jonge kunstenaars geen gebrek! Nemen zij het beperkte financiële gewin voor lief of weten zij niet beter? De overheid levert een bijdrage om de lage inkomens te compenseren, maar door subsidies lijkt de armoede onder kunstenaars slechts toe te nemen. In deze onconventionele en multidisciplinaire studie analyseert fotograaf, schilder en econoom Hans Abbing de uitzonderlijke economie van de kunsten: wijden kunstenaars zich geheel belangenloos aan hun werk, of laten zij zich wel degelijk leiden door economische motieven.
Added on : 07-Jan-2004 by Arts Management Network

Pandora Could Be First Major Casualty of New Royalty Rates

By Eliot Van Buskirk August 18, 2008 | 1:32:03 PMCategories: Digital Music News

For over a year, publications including Wired.com have warned that the U.S. Copyright Royalty Board's new rates for webcasters would end online radio as we know it. Now, those chickens are coming home to roost.

Pandora -- practically the poster child for online radio -- says it will shut down if royalty rates enacted in March of 2007 are not altered soon.

Despite all of those warnings, the rates remain intact and must be observed by webcasters, even as the battle over them continues. Aside from a few concessions to small webcasters and those with lots of unique streams, Washington lawmakers have not altered the rates, which currently require Pandora to fork over 70 percent of its revenue to labels and artists.

"We're losing money as it is," founder Tim Westergren's told The Washington Post. "The moment we think this problem in Washington is not going to get solved, we have to pull the plug because all we're doing is wasting money," adding, "We're funded by venture capital. They're not going to chase a company whose business model has been broken. So if it doesn't feel like its headed towards a solution, we're done."

Westergren agreed to a hasty interview on Monday but was unavailable to talk due to a family engagement. However, a Pandora spokeswoman said the company has been paying the new royalty fees to SoundExchange since July 2007 and that there's no specific day on which Pandora will go offline, assuming the rates are not changed. "It's an ongoing judgment call based on the trajectory of the negotiations," she said.

If Washington lawmakers want to ensure that legal music services cannot compete with under-the-radar alternatives that pay nothing to artists, they're doing a bang-up job.

Record labels and artists have nothing to gain by killing off services that pay them royalties. In fact, a source close to the situation told us last year that SoundExchange, which represents many labels and artists, was as surprised as anyone else that the U.S. Copyright Royalty Board accepted SoundExchange's proposed rates without altering them substantially. What may have been a negotiating tactic has become law, much to the detriment of webcasters, music fans and a flagging industry that desperately needs legitimate music services like Pandora.

While all forms of U.S. radio pay royalties to songwriters and publishers through rights organizations such as BMI and Ascap, record labels and recording artists have not received performance royalties from radio in this country, because radio was thought to have a promotional effect on sales. With sales flagging, labels and artists are trying to collect licensing fees from all uses of their music, including radio. Satellite radio stations must pay a small percentage of revenue, while terrestrial radio stations currently pay no royalty to labels and recording artists.

Rep. Howard Berman (D-California) is reportedly trying to broker a new deal between SoundExchange and webcasters to reduce the per-song, per-listener rates handed down by the Copyright Royalty Board last year. But he doesn't appear optimistic.

"Most of the rate issues have not been resolved," Berman told The Washington Post. "If it doesn't get much more dramatic quickly, I will extricate myself from the process."

Due to rates Westergren called "far too high to allow ad-supported radio to operate," Pandora ceased webcasting to the United Kingdom on January 15. Unless these rates change, the United States is next.

http://blog.wired.com/music/2008/08/pandora-could-b.html

Industry “missed boat” on Blu-ray this year

10:27 | Wednesday August 20, 2008

By Kyriaki Karadelis

Music titles may have missed the boat in the short term, according to a leading consultancy.

Futuresources’ music and mobile specialist David Sidebottom describes music release sales as “currently relatively insignificant” in the total Blu-ray market, which is expected to hit around 4.5m unit sales by the end of the year.

Sidebottom suggests that music titles will account for no more than 3-4% of the total market this year and also warns that manufacture and supply issues could further hamper sales in the fourth quarter because products might not be ready in time for the key selling months leading up to Christmas. He says: “Blu-ray music sales are expected to gain momentum by the end of the year, as stronger, high profile titles are released. As in the Music DVD market, evergreen and strong live acts will provide the majority of sales in the sector, with a more mature buyer evident.

He adds that although selected Blu-ray music titles could see significant volumes, a repeat of the success of the early days of Music DVD is unlikely.

Alterado regime dos apoios públicos às artes

Ontem

O Conselho de Ministros aprovou, esta quinta-feira, um diploma que altera o regime dos apoios públicos às artes, para garantir "mais equidade" nos concursos, prevendo-se ainda a possibilidade de serem criados programas de empréstimos.

O ministro da Cultura, Pinto Ribeiro, frisou que as alterações "alargam as entidades apoiáveis" e "garantem maior transparência e igualdade" no pedido de apoios.

O regime aprovado, que será complementado por via regulamentar, "responde à necessidade de dinamizar as actividades artísticas" e pretende garantir "mais equidade nos processos concursais", frisou Pinto Ribeiro. O diploma "estabelece como regra a possibilidade de acompanhamento a esses apoios" e visa "corrigir alguns pontos" do anterior sistema, acrescentou. As alterações prevêem "a introdução de novos apoios às actividades de criação, programação ou mistas que visam colmatar fragilidades apontadas pelos agentes culturais".

Programação de serviço público- o caso português

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