To examine how the music industry has changed over time To understand current trends in how the audience consumes music A History of the Music Industry

The past of the Music Industry (up to 1990s) The record label was all powerful Adorno’s theory – the companies who produce the media manipulate the population into liking what they sell - we like what they tell us to like They decide who to sign what music is played on the radio, TV and magazines reflected the radio, radio playlists = sales of records Label funded marketing and promotion Artists made most of their money from record sales 7” singles, 12” albums on vinyl -  cassette tapes (more durable)  CDs (more space and durable) Then touring and promotion through radio time

The recent past of the Music Industry (1990s - present) The internet changed everything! Music was easier to distribute Artists, music and thus record labels were easier to market to a mass audience – and quickly – making them more money.

Audience = power Gauntlett/Fiske – audience dictate what the industry produces. Institutions have less power Smaller independent labels Downloading affects the radio influence and record sales. Less label funded marketing and promotion More money from touring Present Music Industry

Downloads are now decreasing Streaming is on the increase - The value of music streaming in the UK surpassed £100 million for the first time in history in but both album and single sales volumes were down on Sales of CD albums were down sharply yet again, by 12.8%, but claimed more than 60% of all albums sales across the year. Vinyl album sales continued to grow, up 101% on 2012 Retro appeal is bringing back vinyl sales and contributing to the decrease in downloads Where is the Music Industry going?

YouTube – has over 1 billion users a month – mostly younger users watching music videos. Launching YouTube Music Key to rival Spotify. Spotify has free tiers – the idea being to encourage users to go for the paid service. Funded through advertisements – proportion to artists is small. It has 60 million users, and 15 million of them pay for it. more than 80% of our subscribers started out as free users - chief executive Daniel Ek Streaming companies do not pay musicians directly; they pay record labels and music publishers, which then pass on whatever percentage of that money each creator’s contract entitles them to. There are two ways musicians can earn more from streaming. The first is organic growth: the more people use these services, the more streams there will be and so the eventual royalty cheques will be bigger. The second is for artists to get a bigger share of the money paid to their labels, with contracts ranging from fair to awful on this front. Music Streaming

started in Scandinavia in Called WiMP then, launched by technology firm Aspiro and retailer Platekompaniet – Norway’s equivalent of HMV. In October 2014 Aspiro rebranded WiMP as Tidal for its UK and US launch, with its main selling-point being its “lossless” (higher-quality) streams. for double the price – £19.99 a month – of rivals such as Spotify, although it has now launched a non-lossless £9.99 version too.Spotify Aspiro had 500,000 paying subscribers at the end of 2014, and was bought for $56m by a company controlled by Jay Z. Arcade Fire, Beyoncé, Calvin Harris, Coldplay, Daft Punk, Deadmau5, Jack White, Jason Aldean, J Cole, Kanye West, Madonna, Nicki Minaj, Rihanna and Usher – all have equity in the company. “the first artist-owned global music and entertainment platform” “People are not respecting the music, and [are] devaluing it and devaluing what it really means. People really feel like music is free, but will pay $6 for water,” said Jay Z in an interview with trade magazineBillboard. Tidal

95% of music downloaded was done so illegally in The average person has illegally downloaded approximately 2,900 music files. UK's creative industries are worth over £70billion per year to our economy 30 sites - each one generates an income from advertising of around $4.4million annually. That's over $100million per year in the pockets of organised crime and out of the mouths of musicians. What are the music institutions that we are studying doing to combat it? Ireland: Three music companies; Sony Music, Warner Music and Universal Music were granted an injunction ordering the cableco and ISP to tell offending subscribers their account will be terminated unless they cease illegal activity. The music companies themselves would highlight the offending customers before advising UPC. Music Piracy

How do the institutions fit into today’s music industry? How are they combatting illegal downloads? How do they fit in with streaming? How are they controlling the distribution of their music? How do they make profits in a difficult state?