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View Quote Our study adds relatively little to the volumes that have been written about the digital transition in the music industry - often held up as the "canary in the coal mine" for other media markets. We share the increasingly consensual view that the situation is better understood as a crisis of the high-margin CD business-and of the "big four" record labels (EMI, Sony Music Entertainment, the Universal Music Group, and Warner Music Group), which have relied nearly exclusively on it for their profits - rather than a crisis of the music business in general. The decline in this side of the business had, without doubt, been precipitious (see figure 1.3). According to the IFPI, global recorded music sales dropped from $33.7 bilion in 001 to $18.4 bilion in 2008 - almost entirely attributable to the decine of CD sales. In the United States, CD sales fell from $7 bilion in 2004 to $3.1 billin in 2008 - a stuation somewhat mitigated by the rise in digital sales from zero to $1.8 billion in that period. Recorded music sales in most other countries have been in similar free fall. Between 2004 and 2008, Brazilian recorded music sales shrank from $399 million to $179 million; Russian sales dropped from $352 million to $221 million; sales in Mexico from $ 237 million to $145 million. In South Africa, considered a bright spot in international sales, sales grew through 2007 - peaking at $129 million before falling to $199 million in 2008.
View Quote Joe Karaganis, "Media Piracy in Emerging Economies", (2011), p. 41.
View Quote The CD's sharp decline in the United States has been offset by the growth in digital sales and concert revenues: the latter more than tripled, from $1.3 billion in 1998 to $4.2 billion in 2008. Such numbers point to a shift from a high-margin industry dominated by CD sales, the album format, and the big four labels to a lower-margin business with more emphasis on performance and related rights. They do not, in our view, point to an existential threat to the music business, much less to music culture. Developing countries share in these trends including the fall in CD sales and the growth of the live-performance market. But the structure of the global marketplace also creates important points of divergence. In broad terms, this structure is relatively simple, marked by (1) the near complete dominance of the big four labels in most developing markets - some 84% of the market in Brazil, 82% in Mexico, and 78% in South Africa, for example, (2) the concentration of 80% - 85% of revenues in the United States, Western Europe, Japan, Australia, and Canada, and (3) the absence, in most developing countries, of strong domestic competitors capable of building viable alternative distribution strategies, such as Apple and other digital distributors are doing in the United States. In practice, these factors reinforce the high-price, very-small-market dynamic visible in most developing countries. They create a context in which the big four labels have every incentive to protect high-income markets but little incentive to change their pricing strategies in low - and middle-income markets. Compared to high-value markets like the United States, the United Kingdom, and Japan, the emerging markets are simply inconsequential. Price cuts to expand the market in Brazil, South Africa, or Mexio would have a very limited upside in this context and a potentially serious downside if they began to undermine pricing conventions in the high-income markets. The major's evaluation of this tradeoff is clear: none have significantly lowered prices in emerging markets.
View Quote Joe Karaganis, "Media Piracy in Emerging Economies", (2011), p. 43
View Quote Recent IIPA reports cite rates of music piracy in excess of 90% in China, India, Mexico, and Brazil. Less and less of this traffic takes place on the street, as physical piracy shifts toward the narrower stock and higher margins of DVDs.
View Quote Joe Karaganis, "Media Piracy in Emerging Economies", (2011), p. 44
View Quote The limit case, in our studies, is Bolivia, where the impasse of high prices, low incomes, and ubiquitous piracy shuttered all but one local label in the early 2000s and drove the majors out altogether. The tiny Bolivian legal market, worth only $20 million at its peak, was destroyed. But Bolivian music culture was not. Below the depleted high-end commercial landscape our work do****ents the emergence of a generation of new producers, artists, and commercial practices much of it rooted in indigenous communities and distributed through informal markets. The resulting mix of pirated goods, promotional CDs and low-priced recordings has created, for the first time in that country, a popular market for recorded music. For the vast majority of Bolivians, recorded music has never been so prolific or affordable.
View Quote Joe Karaganis, "Media Piracy in Emerging Economies", (2011), p.44.
View Quote Music is the Language of Love.
View Quote Eyran Katsenelenbogen, One Time (2016)
View Quote Improvise like a composer; compose like an improviser.
View Quote Eyran Katsenelenbogen, One Time (2018)
View Quote Musical virtuosity is not the ability to play something fast, but to learn it slowly.
View Quote Eyran Katsenelenbogen, One Time (2018)
View Quote Language addresses itself to the ear. No other medium does this. The ear is the most spiritually determined of the senses. That I believe most men will admit. Aside from language, music is the only medium that addresses itself to the ear. Herein is again an analogy and a testimony concerning the sense in which music is a language. … Language has time as its element; all other media have space as their element. Music is the only other one that takes place in time. … Music exists only in the moment of its performance, for if one were ever so skillful in reading notes and had ever so lively an imagination, it cannot be denied that it is only in an unreal sense that music exists when it is read. It really exists only being performed. This might seem to be an imperfection in this art as compared with the others whose productions remain, because they have their existence in the sensuous. Yet this is not so. It is rather a proof of the fact that music is a higher, or more spiritual art.
View Quote Søren Kierkegaard Either/Or Part I, Swenson p. 66-67.
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