China in global music market

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Music Tourism's contribution to the UK Economy UK Music | Wish You Were Here | 2015 Wish You Were Here is created on behalf of UK Music and its members to highlight the contribution of music tourism to the UK economy. 2015 is the second edition of the report, which was first published in 2013. UK Music is the umbrella organisation which represents the collective interests of the UK’s commercial music industry - from artists, musicians, songwritersand composers, to record labels, music managers, music publishers, studio producers, music licensing organisations and the live music industry. http://www.ukmusic.org/ Music tourism within the UK increased by 34% from 2011 to 2014. Tourist numbers increased from 7.1 million to 9.5 million, whilst the number of overseas music tourists increased by 39% during that time. The direct and indirect spend generated by music tourists increased by 24% from £2.5bn to £3.1 bn. Over the same period, the UK economy grew by 4.9%.

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Sony h/usic Entertainment and the Evolution of the Music Industry A. J. Strickland The Ilniversitg of Alabama Andrew Pharaoh 2015 Undergraduate, The Universitg of Alabama d d A t such a pivotal time for music, it's more ffi imRortant than ever to develop a fertile,d \ creative environment that generates the highest quality of artists and music, while seeking to fully exploit the many opportunities that new digital services and products provide in reaching audiences around the world."r The remarks of Sony Music Entertainment CEO Doug Morris in 2011 illustrated an accurate understanding of the environment of music sales. Morris, a globally influential executive and music innovator, agreed to join Sony Music Entertainment as chief executive officer effective July 1, 201l. In a time of great change in the music marketplace, it was abso- lutely necessary that Sony take active steps to remain competitive. Morris took the job graciously, but he placed himself into a business whose margins were becoming thinner and thinner. With a declining industry that had been made less lucrative by the wide availability of substitutes, Morris was forced to develop a strategy to contend with industry change and unfavorable competitive forces in 2014. F"$$ST#ffiV #ffi S#NY f'1U$$* ffiNTKreT&!Iq P--$ffiNY American Record Company, the company that would laterbecome Sony Music Entertainment, was founded in 1929 and then acquired by Columbia Broadcasting Company in 1938. In March 1968, Sony, at that rime Seth Kennedg 2014 Llndergraduate, The Universitg of Alabama a Japanese company, began a joint venture with the American company CBS to form CBS/Sony Records Inc. In September 1976, Sony introduced the optical digital audio disc, now known as the compact disc (CD). In 1983, CBS Inc., as an American company, allowed introduction of the CD to American markets. In January 1988, CBS Records Inc. was absorbed, and in January 1991, the new company was renamed Sony Music Entertainment Inc. In August 2004, Sony BMG Music Entertain- ment was established as a new joint venture with Ber- telsmann AG. Later, in August 2008, Sony acquired BMG's 50 percent stake in Sony Music Entertain- ment and began operation once again as Sony Music Entertainment, a wholly owned subsidiary of Sony Corporation. In July 2012, Sony/AIV Music Publish- ing, a joint venture between Sony and the Michael Jackson Family Trust, along with a consortium of other investment firms, bought the publishing arm of the EMI Group, which solidified Sony's position as the world's largest music publisher. #VffiRV!HW ffiT THffi ML,}$$T il N,EM M$TruV Before the 1900s, music and entertainment media had a strong emphasis on performance. If theater, magic, or music was wanted in a certain venue, individuals Copyright O 2014 by A. J. Strickland. All rights reserved. who could perform the arl personally were found and paid to do so. At the beginning of the 20th century, music began to become ownership-driven. .

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06889 Topic: Financial Statement Analysis Memo Number of Pages: 1 (Single Spaced) Number of sources: 1 Writing Style: APA Type of document: Essay Academic Level:Undergraduate Category: Accounting Language Style: English (U.S.) Order Instructions: Attached. Please follow the instruction, I will upload all the document, if have any questions please contact me! 88 c h a p t e r t h r e e Malm, a process that was beginning when they were conducting their study. By the mid- 1990s, the major entertainment industries derived over 50 percent of their income from foreign markets (Burnett 1996, 11). The mergers and ac- quisitions in the advertising industry discussed in chapter 2 affected the other cultural industries just as much. The cultural industries shifted to a model of seeking to find and promote blockbusters that they can market around the world rather than cultivating local or regional artists. MTV found its way to Europe in the late 1980s, then India in the late 1990s and elsewhere on the planet, and found that it could not simply export American culture around the world; local musics needed to be aired in order for the network to have a chance of survival. But local musics frequently owe much to Western pop and rock. And these musics are frequently employed in marketing campaigns. Local rock music, for example, is used to promote a rising consumer culture in India through the sponsorship of festivals by multinational brands (Coventry 2013). The Rise of “World Music” Those few recordings of musics from outside of Western metropoles by major labels, along with imports of recording by small labels, slowly began to awaken interest in what has become known as “world music.” While Western popular musics had been exported to non- Western countries for decades, it wasn’t until the 1980s that non- Western musicians commonly made popular musics that clearly emulated Euro- American popular musics and that were noticed in the West (though there was the occasional precursor, such as songs by Miriam Makeba or Manu Dibango’s “Soul Makossa,” from 1972, and the occasional fad for Indian or “Latin” sounds). It was probably African popular musics that first captured the attention of most listeners. These musics didn’t fit in the usual retail sections in record stores or radio formats, and a new term was needed. Thus, in 1987, a group of music professionals gathered in London to confect this new term. After ban- dying about a variety of labels, they settled on “world music,” a term that was already circulating in some ethnomusicological circles. The influential British DJ Charlie Gillett recounted: We had a very simple, small ambition. It was all geared to record shops, that was the only thing we were thinking about. In America, King Sunny Adé (from Nigeria) was being filed under reggae. That was the only place shops could think of to put him. In Britain they didn’t know where to put this music— I think A.

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