Music Marketing Press, Promotion, Distribution, And Retail PDF.pdf [TOP]

In the 2000s, traditional lines that once divided singers, instrumentalists, publishers, record companies, distributors, retail and consumer electronics have become blurred or erased. Artists may record in a home studio using a high-end laptop and a digital recording program such as Pro Tools or use Kickstarter to raise money for an expensive studio recording session without involving a record company. Artists may choose to exclusively promote and market themselves using only free online video sharing services such as YouTube or using social media websites, bypassing traditional promotion and marketing by a record company. In the 2000s, consumer electronics and computer companies such as Apple Computer have become digital music retailers. New digital music distribution technologies and the trends towards using sampling of older songs in new songs or blending different songs to create "mashup" recordings have also forced both governments and the music industry to re-examine the definitions of intellectual property and the rights of all the parties involved. Also compounding the issue of defining copyright boundaries is the fact that the definition of "royalty" and "copyright" varies from country to country and region to region, which changes the terms of some of these business relationships.

The turmoil in the recorded-music industry in the 2000s altered the twentieth-century balance between artists, record companies, promoters, retail music-stores and consumers. As of 2010[update], big-box stores such as Wal-Mart and Best Buy sell more records than music-only CD stores, which have ceased to function as a major player in the music industry. Music-performing artists now rely on live performance and merchandise sales (T-shirts, sweatshirts, etc.) for the majority of their income, which in turn has made them more dependent - like pre-20th-century musicians - on patrons, now exemplified by music promoters such as Live Nation (which dominates tour promotion and owns or manages a large number of music venues).[4] In order to benefit from all of an artist's income streams, record companies increasingly rely on the "360 deal", a new business-relationship pioneered by Robbie Williams and EMI in 2007.[38]At the other extreme, record companies can offer a simple manufacturing- and distribution-deal, which gives a higher percentage to the artist, but does not cover the expenses of marketing and promotion.

Prerequisites: RI majors - admission to candidacy; others RIM 3600. Cultural, media, business, and legal aspects of making and selling records on a worldwide basis. Specific studies in foreign record company operations, i.e., production, distribution, marketing, promotion, and licensing. Immigration, union, and tax implications of artists recording abroad. 2b1af7f3a8