In the article "Paying the Price" there is a new owner of EMI Universal. Rivals of EMI are challenged with an opportunity to expand all over the world. Moreover, our study looks at UK albums and singles sales between the beginning of 2011 and the artists and assets behind 44% of EMI's album sales…
In the article "Paying the Price" there is a new owner of EMI Universal. Rivals of EMI are challenged with an opportunity to expand all over the world. Moreover, our study looks at UK albums and singles sales between the beginning of 2011 and the artists and assets behind 44% of EMI's album sales, which will have to be divested in 2012 and about 30% of UK singles sales must expand. These impressive figures underline the fact that a challenging environment of the modern music industry sets the pace of a competitive development in this field. This is a complicated background for future performance of the Company internationally. Moreover, divestments experienced by the Company can lead it to huge losses. It is hard to believe, but the artists, whose creative works and developments were rooted in this Company, are now leaving it. Artists and assets are to be sold off by Universal behind 44% of EMI's UK album sales in 18 months to the end of June 2012. This Company sold 20.4 million albums in UK between January 2011 and June 2012 with to-be-divested Parlophone label behind more than 3 million of them. The Company must let go albums of very popular artists, such as David Guetta, Kate Bush, Eliza Doolittle and some others. EMI's to-be-divested share of the Now! Franchise equated to more that 2.4 million UK album sales in 18th months period. There are some interests of the competitors in the field of music industry, which are violated. Nevertheless, it should be mentioned that some artists stay with the Company. ...
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However, in the 21st century, the emergence and growth of digitalisation, data compression and the Internet have led to a major disruption in the recorded-music industry’s value chain and business models. The growth of digital music has seen the recording industry’s revenue streams continue to sink to date largely because of the ease of compression and distribution of digital music illegally over the Internet.
The record label is responsible for defining and distributing the music so that it can be consumed. One of the important points that must be understood about music is that music consumption and music sales are two different concepts. Consumption is the act of listening to music, while sales is the number of times music is sold.
Music has been in existence since time immemorial. The influence that music has over people is undoubtedly unimaginable. However, what entails music marketing is an intricate structure which involves recording labels. Record labels are primarily involved in the process of music promotion.
This has created both threats and opportunities to those in the music industry. Artists, labels, retailers, and consumers are all taking a closer look at the roles they will play. Although it is widely believed that consumers will be slow to adopt digital downloads over physical media such as compact discs, musicians, retailers, and independent record labels can position themselves to benefit from this emerging new business model.
The problem with teenage consumers is that they have limited possibilities to use credit cards to make purchases, so companies have to improve billing methods to facilitate payments and stimulate sales.
The music site Mp3.com meanwhile associates goth with certain artifacts and music tied to the goth scene: “Goth refers to music or items associated with the goth subculture, gothic rock, post-punk, deathrock and some darkwave” (CBS Interactive 2012). These definitions
If music is unrecorded, it will evaporate as soon as it is produced. Musicians seeking life’s ephemera have long looked for ways of recording and producing the pieces (Holmes, 2012). A recorded music allows one to listen again and again hence becomes familiar with the details that might have been lost in the first listening.
Music publishers also promote songwriters and composers locally and internationally to record companies and broadcasters for commercial purposes. Finally they protect the works of their clients by taking action on those who use their music without license.
It is apparent that most artists began their music careers as independent labels before advancing to a major label after gaining much fame and publicity. Consequently, almost all artists begin their career as independent performers unless they got sponsorship and support from other quarters in the industry.
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