Ricardo Blaak(0914329)
Eric Bliekendaal(0909433)
Rick den Hartog(0910569)
Joris Joziasse(0917417)
Florian Koene(0914476)
Klas 1F
Lerares/beoordelaar PMC verslag:
Mvr. Ashikali
Hogeschool Rotterdam
Opleiding Commerciële Economie GMS
Rotterdam, September 2015
Table of contents
1. Summary of all the DESTEP factors
2. Bibliography
3. Appendix of different DESTEP factors
End Summary
Folk music is related to the social cultural factors. These factors are characteristic for a group of people. It is based on their background, religion and friends. Folk music is, in most of the cases, the opposite of classic music. The traditional music makes people happy and is often played during festivities. In the past Folk music gave people a big boost, they really enjoyed the music. It inspired people and gave them strength(for instance, during the rule of Britain). Folk music is still popular in England and Ireland, because people have much attention for that kind of music. But there are also political aspects connected to the music industry. Political factors are about regulation and structure in a country. These factors combine well with music industry. Several governments decide what kind of music is forbidden, and what kind of music is allowed(for instance, the arrest of Pussy riot in Russia). One of the priorities of western governments is, to reduce illegally downloading. Governments are in the position of blocking websites, if it is a hotspot for illegally songs. The third aspect is, copyright , a copyright has to make clear who the owner is of a kind of song, and who not. Another factor is the ecological factor. Music effects the environment in a negative way and a positive way. Albums and CDs being massively produced and shipped throughout the world causes a lot of CO2-emission. Streaming music is also bad fort he environment. Music streaming services need huge servers to process all the music streams. These servers consume a lot of energy and therefore streaming is also bad for the environment. Music festivals effect the local environment in a bad way, because thousands of people leave a lot of plastic garbage behind. But music effects the environment in a good way too, because artists make songs about environmental awareness.
One of the important things in the music industry that make a lot of differences in this business is technology. New technology is something we have to deal with in the 21th century. The engineer branche is always coming up with new technologies and gadgets. Technology can influence the music business in a negative and positive way. In the negative way we look at the damage of technology in the internet/social media world. Music nowadays is all over the internet and open source for everyone who has a computer or smartphone. It’s normal for people to listen music via a stream or download they illegally found on the internet. This is a problem for artists, they loose so much money for their new albums and records because people do not buy copies in the store anymore but just simply download them via internet.
It also causes problems for the whole music industry. Not only the artists but also all the people who work together with artists, make money of artists and have a job in that branch loose a lot of money. The government has to do something about this problem and help the industry to be successful again just like years ago. But there also is a positive side of the new innovations. Over the past 10 years we invented many new music gear. The quality got better, the looks of an instrument became better and also the popularity of those instruments rose. The way we produce music is so much different than 40 years ago. Back then they made music with quality not as good as our music now. The gear improved the quality, the speed and the versatility. If we didn’t had the disposal of this technology, music would be not as good as years ago, not at all. Music became much more popular because it’s improvements in the producing process what leads us to quality music, quality we could dream of years ago. Better music and popular artists should find a way in the future to make more money than they do now. It will be good for the business as for the satisfaction of listeners.
Bibliography
• Smith, T. (25 Augustus 2015). Folk music’s old war horse: Song Man on stage. Geraadpleegd op 22 September 2015, van http://www.iol.co.za/tonight/music/folk-music-s-old-war-horse-song-man-on-stage-1.1905294#.VgRNrRHtmko
• Chilton, M. (21 Juni 2013). 'Staggering' digital folk music archive launched. Geraadpleegd op 22 September 2015, van http://www.telegraph.co.uk/culture/music/music-news/10134011/Staggering-digital-folk-music-archive-launched.html
• Irish Music Magazine. (16 September 2015). Eagle Music Shop presents the ‘Deering Banjos 40th Anniversary’ UK Event. Geraadpleegd op 22 September 2015, van http://www.irishmusicmagazine.com/2015/09/16/eagle-music-shop-presents-the-%E2%80%98deering-banjos-40th-anniversary%E2%80%99-uk-event/
• Bateman, T. (2012). How MIDI changed the world of music. Geraadpleegd op 22 September 2015, van http://www.bbc.com/news/technology-20425376
• Branson, H. (2013). Your views: is tech killing the music industry? Geraadpleegd op 22 September 2015, van http://www.virgin.com/disruptors/your-views-is-tech-killing-the-music-industry
• Feinstein, D. (2012). The rise of EDM. Geraadpleegd op 22 september 2015, van http://www.thembj.org/2012/10/the-rise-of-edm/
• Wood, J. Z.d. When Music and Politics Collide. Geraadpleegd op 22 September 2015, van http://www.infoplease.com/entertainment/music/politics.html
• Adkins, A. Z.d. How Does Illegally Downloading Music Impact the Music Industry? Geraadpleegd op 22 September 2015, van http://smallbusiness.chron.com/illegally-downloading-music-impact-music-industry-27748.html
• Craig, R. Z.d. Newspaper Article Copyright Laws. Geraadpleegd op 22 September 2015, van http://yourbusiness.azcentral.com/newspaper-article-copyright-laws-1281.html
• Knopper, S (2011). The New Economics of the Music Industry. Geraadpleegd op 23 September 2015, van http://www.rollingstone.com/music/news/the-new-economics-of-the-music-industry-20111025
• Hayes, A (2013). Spotify Makes Internet Music Make Money. Geraadpleegd op 23 September 2015, van http://www.investopedia.com/articles/investing/120314/spotify-makes-internet-music-make-money.asp
• Michaels, S (2014). British music industry added £3.8bn to the UK economy in 2013. Geraadpleegd op 23 September 2015, van http://www.theguardian.com/music/2014/sep/17/british-music-industry-38bn-uk-economy-2013-measuring-music-report
• Bain, K. (2013, 11 juli). Trashed: Music Festivals are environmental Disasters. LA Weekly http://www.laweekly.com/music/trashed-music-festivals-are-environmental-disasters-2614424
• Pettitt, M. (2012). Streaming Music May Be More Environmentally Damaging Than CDs . Geraadpleegd op 23 september 2015, van http://www.onegreenplanet.org/news/streaming-music-may-be-more-environmentally-damaging-than-cds/
• Green Music: 10 Environmental Songs that Advocate for Nature. Geraadpleegd op 23 september 2015, van http://www.colbyandawu.com/green-music-10-environmental-songs-that-advocate-for-nature/
Appendix
Economical factor
Music industry economic
These articles are about the economy of the music industry. There are many economic changes in the music industry. Years ago we listened to music from the copies of music albums we bought in the stores. But now a days nobody buys a cd anymore because everyone can listen music from the internet. When you listen music on internet it is much cheaper. There are streaming company’s where you can listen to music for free or for a low price. There are many ways to listen illegal music. This sheet will cost money and jobs, so this is really bad for the economic in the music business. But, the legal company’s make a lot of money. Spotify makes money from two sources, a free tier supported by advertising and a paid subscription premium tier. But there are many artists who do not agree with the state of affairs. They are not payed well for their work. For example Taylor Swift. She announced that she would not allow Spotify to stream her new released album and removed her entire catalog from the service. But in England there is a strict law against piracy. The government noticed “the many legal music services we license are given priority in online search results”.
Illegal music downloads have a serious economic impact on the recording industry. Piracy hurts the position of artists and record labels who rely on album sales to make money. Legitimate alternatives have sprung up to allow the legal streaming and downloading of music on the internet, paying royalties to copyright owners. Spotify, the largest streaming service, generates profits for itself and pays royalties to the music industry via a two-tier business model: a free version which is supported by advertising, and a premium subscription version which is advertisement-free.
Article 1
The New Economics of the Music Industry
How artists really make money in the cloud – or don't
BY STEVE KNOPPER October 25, 2011
Adele onstage at the MTV Video Music Awards. Kevin Mazur/WireImage
In the old days, it was much easier for pop stars to keep up with how much they were getting paid. Somebody would buy a CD at a Tower Records for $15 and a few dollars would appear months later on the star's royalty sheet. Then iTunes took over the record business, and it was even easier (if not more profitable) – every time somebody bought a 99-cent track, a few pennies went into the artist's bank account.
Those were such simple times. Today, music fans play free music videos on YouTube, stream songs for free on Spotify, MOG or Rdio, customize Internet radio stations on Pandora or Slacker and consume music a zillion different ways. The fractions of pennies artists make for each of these services are nearly impossible to track – at least for now. "People like to simplify this and say, 'There's no money in it,'" says Jeff Price, founder of TuneCore, which charges artists to place songs directly into iTunes, Spotify and others. "But it's complex, it's complicated and it's still being worked out."
So you're Adele, the year's biggest pop star. Your songs stream on Spotify – or MOG, Rdio, Pandora or YouTube. You still sell downloads through iTunes and Amazon, and you still sell old-fashioned CDs in old-fashioned record stores. How much do you get paid?
Rolling Stone talked to several sources in the music business and got several different answers.
http://www.rollingstone.com/music/news/the-new-economics-of-the-music-industry-20111025
Article 2
Spotify Makes Internet Music Make Money
By Adam Hayes, CFA AAA |
Spotify, founded in Sweden, is one of the world's most popular music streaming applications with over 50 million users as of November 2014. According to its mission statement, "Spotify was designed from the ground up to combat piracy." It's business model has been welcomed by the music industry which has suffered losses in revenues and album sales due to music piracy over the Internet. Spotify allows users to stream music for free if they are willing to listen to advertisements, or Spotify charges a subscription fee for a premium service, meanwhile paying royalties due to artists and record companies.
The Impact of Illegal Music Piracy
According to the Institute for Policy Innovation (IPI), global music piracy "causes $12.5 billion of economic losses every year. This includes 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues." Since the founding of Napster in 1999, legitimate music sales in the United States dropped 47%, from $14.6 billion to $6.3 billion in 2009. In the past decades, the Recording Industry Association of America (RIAA) estimates that over 100 billion songs have been illegally downloaded.
Millions of dollars more are spent each year by law enforcement and in the legal system, finding and prosecuting illegal file sharers. (For more, see: 3 Reasons Why Piracy Isn't Crippling the Recording Industry.)
Legal Ways to Listen to Music Online
Services such as Spotify, Pandora, Apple iTunes and Google Play on the other hand are licensed, secure online music streaming services that allow users to listen to music legally. In fact, today there are more ways than ever to download or stream almost any song legally and legitimately. (For a comprehensive list of legal music services, visit Why Music Matters.) For example, Spotify has paid out over $1 billion in royalties to the music industry since its inception, with $500 million of those paid in the year 2013 alone. Because recording artists and record labels are being compensated fairly, there is nothing illegal about it. Downloading or streaming music without paying for it in any way would constitute stealing.
Spotify's Model and Reducing Online Piracy
Spotify works a bit differently from many of these other online music services and it employs several methods to smoothly deliver music to users with no delays or latency. Spotify stores all of its music on its own servers, but individual users keep temporary copies of recently played tracks on their computers in a file called a cache. If you want to re-play a song, it is not re-downloaded but played locally from that file. Spotify also uses social networking and searches for nearby users running Spotify to see if their caches contain the song being requested and enables those other computers to serve you the music. This way, the main servers are never overloaded and music can be played 24/7 uninterrupted.
Spotify makes money from two sources – a free tier supported by advertising and a paid subscription premium tier. The free version allows users to play any song in their catalog on demand, but users are required to view and listen to advertisements that interrupt their listening. Their mobile app has even more restrictions on the free version. Advertisers pay Spotify for exposure, which in turn fund the royalties that Spotify pays out.
Spotify’s Premium tier gives advertisement free access to unlimited music across all of their devices including smart phones, tablets and televisions. Users can also temporarily download songs to their devices for listening offline, and play music at the very highest quality.
Spotify pays royalties for all of the streaming and downloading of music by distributing nearly 70% of all the revenues received back to the owners of the music – record labels, publishers, distributors, and independent artists themselves.
The availability of services such as Spotify to obtain access to a huge catalog of legal music-on-demand has reduced music piracy. Legal video streaming services such as Netflix (NFLX) and Hulu are doing much the same for video and movie piracy. Sandvine’s most recent Global Internet Phenomena Report estimates peer-to-peer file sharing is now less than 10% of total daily internet traffic in North America. The report also notes that "file sharing continues to disappear from many fixed access networks across the globe as Real-Time Entertainment options are providing subscribers a wealth of content at reasonable prices." (For more, see: 5 Expensive Music Licensing Deals.)
Today, over half of all internet traffic in North America can be attributed to the streaming of real time entertainment.
Criticism Over Unfair Royalty Payouts
Despite its claim that it is fighting online piracy and offering the music industry a new revenue stream from the Internet, Spotify has been accused repeatedly of failing to compensate artists fairly. Bands such as The Black Keys, Radiohead, and The Talking Heads have all criticized the service for underpaying artists, especially independent musicians.
In November of 2014, award winning artist Taylor Swift pulled her entire music catalog from Spotify after a dispute over streaming her album 1989. Swift argues that it is more lucrative for the artist to have an iTunes user pay to download an album than to take royalties from Spotify. The streaming service revealed last year that it only paid record labels on average a fraction of a penny per play (somewhere between $0.006 and $0.0084) – and that's just the money going to labels, not the artists who receive even less. Artists like Swift believe that it is unfair for fans to go out and pay full price for a new album while others could listen to it virtually for free on Spotify.
The Bottom Line
Illegal music downloads have had a serious economic impact on the recording industry. Piracy hurts the artists and record labels who rely on album sales to make money. Legitimate alternatives have sprung up to allow for the legal streaming and downloading of music on the internet, paying royalties to copyright owners. Spotify, the largest streaming service, generates profits for itself and pays royalties to the music industry via a two-tier business model: a free version which is supported by advertising, and a premium subscription version which is advertisement-free.
Despite reducing piracy and restoring payments for legal music to the recording industry, there has been recent push-back by famous artists such as Taylor Swift who pulled her entire catalog of music from the site claiming that it underpays those that create the music streamed by Spotify.
http://www.investopedia.com/articles/investing/120314/spotify-makes-internet-music-make-money.asp
Article 3
British music industry added £3.8bn to the UK economy in 2013
According to trade report, the strength of songwriting revenue and tours have seen the sector grow by 9%
Ellie Goulding: increase in overall music receipts can be traced to individual revenues by musicians, which rose more than 6% to £1.7bn. Photograph: Leon Neal/AFP/Getty Images
Sean Michaels
Wednesday 17 September 2014 08.14 BST Last modified on Wednesday 17 September 2014 10.31 BST
Shares
The British music industry contributed £3.8bn to the UK economy in 2013, according to an annual trade report. With the sector seeing a 9% growth over the year before, lobbyists called for a stronger national copyright framework.
The increase in overall music receipts can be traced to individual revenues by musicians, singers, composers, songwriters and lyricists, which rose more than 6% to £1.7bn, and live music sales, which rose almost 20% to £789m, according to trade body UK Music’s annual Measuring Music report. There were also increases in publishing and studio revenues, and a massive boom in UK music exports – up 57% to £2.2bn.
More than 110,000 people hold full-time jobs in the UK music industry, UK Music claimed, 67,000 of whom are professional musicians. But the news is not all good: revenues from recorded music fell by £16m last year, to £618m.
Advertisement
“The young bearded kids in the pub, making a racket on a Friday night, might just turn out to generate more revenue for HMT than a car manufacturer,” UK Music CEO Jo Dipple said in a statement. Besides emphasising the role of small business training, copyright law and anti-piracy education, Dipple asked for help ensuring “the many legal music services we license are given priority in online search results”.
Responding to UK Music’s industry figures, culture minister Sajid Javid declared the sector one of the country’s “biggest success stories”.
“Not only does [music] make a tremendous contribution to driving economic growth, but it plays a pivotal role in taking British culture to every corner of the globe,” he wrote in a press release. “One in every eight albums sold anywhere in the world is by a British artist, and I know that, with the ongoing support from government, this dynamic sector will continue to flourish and thrive.”
Appendix
Social cultural Factor
Social cultural factors
As we know, there are different tastes of music. These differences are related on the background of people. Social cultural factors are the characteristic factors of a population in a country. There are different kinds of folk music, for example, German people love 'schlager' music. But besides German folk music, more countries express their history, and culture.
Folk music is, in most of the cases, the opposite of classic music. It makes people happy and it is often played during festivities and festivals. Another example of folk music is named, ‘’the folk music of Ireland’’. The songs of this genre may have a different meaning of what you expected at first, the Irish folks write often about, the suppression of the British ruler. In Ireland folk music often was intended to inspire people and to give them power, in hard times.
These songs are grouped in the category ''protest songs''. Nowadays Irish folk music is (still) very popular, many bands in Ireland make use of the old ‘’protest songs’’. The cause of the popularity of folk music in England and Ireland is that you can listen many songs online.
Folk music in England is very popular, to illustrate this, There are three articles below to subscribe why Folk music is popular.
This is about a popular folk singer, who is going to sing during a theatre performance. That’s very normal in theatres.
Besides the modern music, in England, the traditional music is also still popular. That’s because you can listen many songs on the internet. This article shows a record of uploaded online songs. That effects the reason that folk music is still popular
Another reason of the popularity of folk music is, Groups of people organize festivals or festivities to make sure folk music will never die.
Appendix
Technological factors
Article 1: http://www.bbc.com/news/technology-20425376
Technology
How MIDI changed the world of music
By Tom Bateman
Today programme
28 November 2012
From the section
Technology
It's 30 years since the development of technology that allowed synthesisers and drum machines to be connected to computers – and since then MIDI (Musical Instrument Digital Interface) has revolutionised the world of music recording.
If you really want to appreciate Pink Floyd's track Shine on You Crazy Diamond, aficionados claim, it's best to have it on vinyl.
The sounds of the synthesisers burst through the crackle on the record as the guitar and drums set a heavy, rolling rhythm.
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Tom Bateman hears how MIDI gave music makers a whole new realm of creative possibility
It made for a huge, era-defining sound – and you can feel the full 1970s sensation on that vinyl version.
But despite the awesome creativity of the music, the sound betrays a major limitation to the way electronic musical instruments were controlled at the time.
"You could play one keyboard with your right hand and another keyboard with your left hand," says Dave Smith, a synthesiser manufacturer from California who was working on the issue back then.
"But [musicians] couldn't play more than one at the same time because there was no way of electrically interconnecting them," he remembers.
What Smith did next would transform the way recording studios worked, and create a revolution in music and recording production.
He persuaded manufacturers to adopt a common format which allowed their synthesisers to be controlled externally – by another keyboard potentially made by a rival manufacturer, or even by a computer.
The computers were fast enough to be able to sequence notes, control the number of keyboards and drum machines at the same time… it kind of opened up a whole new industry
Dave Smith, Synthesiser manufacturer
It was called Musical Instrument Digital Interface (MIDI) and would soon become the industry standard for connecting different makes of synthesisers, drum machines, samplers and computers.
The development opened up a "whole new era of music processing", as Dave Smith puts it.
"What MIDI did is it allowed the first home studios to be born," he says.
"The computers were fast enough to be able to sequence notes, control the number of keyboards and drum machines at the same time… it kind of opened up a whole new industry."
It was a breakthrough that would have the same kind of impact on popular music as the electrification of guitars decades earlier.
Sitting beside a row of keyboards and a big mixing desk at a home studio in Buckinghamshire is Alex Paterson, founder of the ambient dance band The Orb.
"God bless MIDI", he exclaims, as a bass sound from one the synthesisers pulsates from the studio speakers.
"It was like walking into a dream," says Paterson, describing the studio set-up used to record the band's anthemic 1990 track Little Fluffy Clouds.
"Suddenly, you could be playing something on one synth and then you could walk over to the next synth and you could be playing the exact same thing.
"It was all there stored up ready to go for you – unbelievable stuff really," he recalls.
This intricate and orchestrated control of synthesiser sounds, drum machines and samples saw a transformation in what was possible in the studio and ushered in a whole new means of production – it was the birth of dance music.
The first instrument with MIDI capability was a synthesiser called the Prophet-600 – designed by Dave Smith – which rolled off the production line in December 1982.
Image caption
Alex Paterson (pictured left above with Dom Beken) used MIDI to record The Orb's Little Fluffy Clouds
Atari and Commodore 64 computers – hugely popular among game-playing teenagers at the time – could also be used to control MIDI instruments via a cable with 5-pin connectors at either end.
The wide availability of the format and its ease of use helped redefine pop music in the 1980s – giving it a strong electronic feel and spawning many of the contemporary music genres that followed.
Alex Paterson's co-producer Dom Beken remembers how MIDI allowed anyone to create "massive soundscapes".
"Those electronic pioneers and those people who might have been punks before could now just make stuff that people would go mad to on the dance floor," he says.
For Dave Smith, MIDI could only become a success if every manufacturer adopted it – "we had to give it away", he says.
The universality of the format was perhaps an early example of what now gets called "open source" technology – MIDI's backers intended it to be a free gift to the world which allowed anyone access.
Three decades on, and MIDI is still going strong – remaining one of the core components of professional recording and music production.
It's a give-away which has changed the world of music – although you wouldn't guess it chatting to MIDI's understated Californian creator, Dave Smith.
"Of course it would have been even more fun to have made some money off of it, if that were possible," he says.
"But that wasn't part of the plan.”
Tom Bateman's full report was broadcast on the Today programme on BBC Radio 4 on Thursday 22 November.
Appendix
Political factor
Political factors music industry
Political factors combine well with the music industry because in some countries even the government decides what kind of music is played and what is legal. For instant in Russia it is not allowed to make or play music what is against the government. When you make or play it you can be convicted to two years in jail. In the music industry a lot of music is downloaded illegally. The politics are trying to stop the illegal downloading and even blocked some websites. The try to control it but it is a huge job what requires a lot of manpower. Another point were the politics have something to say is by the copyrights. Copyright is a huge thing in the music industry. The politics made rules on who is de owner of what songs or albums. They did it because otherwise it was going to be a war.
The first article is about the following text: In July 2012, three female members of a Russian punk band called Pussy Riot were arrested and put on trial for hooliganism after they performed an anti-Putin song on the altar of Moscow's main Orthodox cathedral.
http://www.infoplease.com/entertainment/music/politics.html
The second article is about illegally downloaded music and what the effect is on the music industry. Also why the politics are involved in this.
http://smallbusiness.chron.com/illegally-downloading-music-impact-music-industry-27748.html
The third article is about copyrights and the laws. Also the politics are involved in the copyrights. They are involved because the had to make rules about who is in charge of what song or album
Appendix
Ecological factor
What is ecology? Ecology is the connection between all the organisms and landscapes in nature. Since the music industry is worldwide, the music industry also affects the environment all over the world, whether it be positive or negative.
When people think of the music industry they mostly don’t think of factories and a visible product, but more of a service. That’s why people usually don’t think too much about the ecological factors music has influence on. However, albums are massively produced and shipped over the world causing a lot of CO2-emission, which is bad for the global environement. The last couple of years buying albums hasn’t been as popular as before. Nowadays people stream a lot of music on Spotify, YouTube or iTunes or people illegally download it. Where as you would think this is great for the environment, think again.
Streaming music online requires massive servers for all these streaming companies, which consume loads of energy. This energy consumption causes a lot of CO2-emission.
Also music festivals are a disaster for the environment, as stated in this article:
Festivals are really popular and draw a lot of visitors. These visitors leave a huge amount of (mostly plastic) garbage behind. So much garbage in a local spot is terrible for the environment.
But music can also have a positive influence on ecological factors. Some artists draw attention to the environment. Not just artists such as The Beatles, Michael Jackson and Bob Dylan try to raise awareness for the environment, but also Miley Cyrus, Will.I.Am and Mos Def have made songs about being more careful with our planet.