Critical investigation learner response

Critical investigation first draft

Level 3+

www- This is an impressive essay showing very good research and a clear grasp of the topic. With a little refinement in key areas this should be a level 4+

EBI- We need to look carefully at you question and introduction as they are not clearly defined currently.
     - You have quite a few paragraphs where the point is not entirely clear or drifting off the point. This is costing you key marks. 
     - Research is impressive but a few more academic/book sources would help - particularly in the last section on audience. There is a bit too must Wikipedia too. 

In my second draft for my critical investigation, I am aiming for a level 4. 

In terms of getting a level 4, I will have to... 

1. Look over and re-read my entire essay and ensure it all links to my question and topic. Furthermore, this will be done by making sure it is all on topic and clearly linking to the music industry. 
2. In terms of my question, it definitely needs tweaking as it is not defined. The word "flow" creates confusion and is not described in the essay therefore this needs to be clearly stated and the question needs to be re-worded.
3. I will also need to gain more information from academic papers and books as I am lacking in this area in my research and bibliography. Currently, I have 31 footnotes in my essay however a vast amount of them are from websites and it would be nice to have more books and academic sources.
4. I also need to include more media theories throughout the essay. Examples of theories which could be useful in terms of the music industry could be audience theories and demographics as this links to how consumers consume music. 
5. Including more facts and figures would be key as it would help to explain my points in the essay. True facts and figures would allow proof and means the essay has been well researched and understanding of the overall area. 

I would like to gain a few things from the BFI trip such as...

1. More books based on the music industry to broaden my knowledge and understanding of the music industry. Having a broader knowledge of the industry would definitely mean that I am more educated in my topic area therefore meaning that I would write a better essay. 
2. Historical content based on the music industry could also be quite useful as this would also me to have more contrast between the current industry juxtaposing against the old one. Possibly having information based on MTV and how it changed the industry would help a lot. 
3. Information on piracy will also be helpful in my section about piracy and illegal downloading. I need more evidence of well researched content based on piracy in order to ensure I have facts and figures relating to this issue. 

23/1/14

Monday 27th Jan- shots and story board

Monday 3rd feb - Cast, shots list and story board expansion

Monday 10th Feb - Location and shots list and locations

Monday 17th Feb - Filming

All You Need to Know about the Music Business 

 Randy Glass

Donald  S. passman 

DID YOU KNOW...
"Most record deals don't require the record company even to make a record, much less to release it?"

http://www.amazon.co.uk/Music-Business-Books-Unsigned-Talent/lm/R34193T2EKJL2W

The Guerilla Guide to the Music Business
About the music business by people in the music business
2nd edition
Sarah Davis and Dave Laing
2006


Interestingly, the 2003 survey of the UK music business 'Counting The Notes' said that the public spent over £300 million on concerts. The equivalent US figure for 2004 was $2.8 billion, according to Pollstar magazine...this income is not reflected in what musicians are paid.

logic dictates that most of the bands that play at these gigs will either not get paid or not get paid a nominal amount.

Guerrilla Music Marketing Handbook
201 self-promotion ideas
Bob Baker
Spotlight Publications
2007

"In one year alone, DiFranco performed 130 shows and generated almost $2 million in gross ticket sales."



Steve Jobs created a plan to

Related Articles

Melody makers

Tablets are revolutionising the way we make music – just make sure you buy the right model

Have you discovered the smarter world of music production on a tablet? If not, it's time to start: with their mobility, touchscreens and range of music apps, today's tablets are capable of turning into digital audio workstations that previous generations of musicians could only dream of.

"The flexibility is amazing," says Carphone Warehouse's tablet expert Leon Andrews. "You can program in your own music and use the in-built synths to make that music into beautiful songs. You could knock out a tune on an hour's train ride, with drums, synthesisers, everything: some of the virtual instruments that come in these packages are amazing."

If you're going to be producing music on your tablet, Andrews suggests, choose one with a fast processor.

Sony Xperia Tablet Z

A good choice would be a high-end tablet such as a Sony Xperia Tablet Z, which has a quad-core Snapdragon S4 Pro processor which, he says, will "eat for breakfast" powerful apps like the well-respected FL Studio Mobile.
FL Studio Mobile is an app which lets you compose and save multitrack studio projects, whether you're inputting MIDI notes with a step sequencer or adding effects.

Because digital studio apps condense a lot of musical information into a single screen, it's also important to have a great display. The Sony Xperia Tablet Z's super-sharp 10.1-inch HD display is perfect for all that fine detail. Looking for a great-value option for production on the go? Then try the smaller, cheaper, 7-inch Samsung Galaxy Tab 2 7.0. Andrews says its 1GHz dual-core processor has "ample horsepower" and overall the device offers great power for the price.

An advantage of both devices is their portability: the Sony Xperia Tablet Z is incredibly light at under 500g, while the Samsung's 7-inch Galaxy Tab 2 7.0 weighs just 345g.

Samsung Galaxy Tab 2 7.0

That portability means you can make music on the go. "If you've recorded a few guitar riffs and things at home, and you've got them on your computer, you can bring them in on your SD card or put them in some sort of cloud storage and pull them straight into the app," Andrews suggests. "So you can work on your own pre-recorded music or remix other people's tracks – on the move."

It's not all about music production: there's also a huge range of apps for tablets that make musicians' lives easier, explains Andrews – from metronome apps to tuning apps for your guitar.

"They're not replacing the process of creating music. They're complementing it, meaning you can do it faster – to a higher quality."

To buy the Sony Xperia Tablet Z or Samsung Galaxy Tab 2 7.0 or to get advice on tablets, visit carphonewarehouse.com. Its Live Tariff Checker tool compares Carphone's best tariffs against those published in the market, twice a day.

From Tape machine to touchscreen

Carphone Warehouse has launched a short film, as part of its Smarter World campaign, to inspire people by showing the possibilities of smartphones. The film reveals how musicians are using tablets and smartphones to improve their performances. Music producer Darren Sangita, the DJ who worked on a collaborative track for the campaign, says tablet technology is a "dream" to work with.

"I used to work in studios with huge 48-channel decks and two-inch tape machines that cost £150,000. That technology has now been shrunk down to a touchscreen – so you've got everything from synthesis to drum machines, real-time effects and modulations, multi-track recording capabilities and playback."

And with music apps being produced specifically for touchscreen, the creative process is evolving – as Sangita showed while applying multiple effects to the track.

"On a laptop, the mouse controls one knob at a time – so if I wanted to record multiple effects, I would have to go back to the beginning to record each control in. But here I was able to control eight parameters at the same time with four fingers and XY controllers. It's exciting to have that textural control, and it's sped up the process of creation."

"I'm excited about the next three to five years of music-making: people's capability to manipulate, warp and change sound. We're going to hear things we've never heard before."

Darren and four classical musicians have created a special track with the help of smarter technology: check it out here and enter the competition for your chance to win great prizes.

Immortal Techniques view

The political MC explained that he’d rather have fans download his music illegally on the Internet than have record executives accusing the youth of stealing, when they’re really the biggest crooks of them all. – due to the way that the industry is all money minded and therefore artists don’t have a direct link to their fans anymore.

“You could type my name, no ebonics, Immortal, live forever, Technique, get on the internet and just steal all my music off of it, because I really don’t care about that,” he told Forbez DVD. “I’ve had lots of arguments with executives about that, and I think that they have a lot of audacity accusing children of stealing music when they’ve been robbing artists for years.“

For Tech, he looks at the industry and sees nothing but corruption. “Even now, it’s come up that they were taking royalties under the guise of licensing for past capital. It’s just an embarrassment for them to be using the word 'steal' when realistically speaking, they’re the biggest thieves and gangstas in this entire business,” he continued.

“They make everybody who rhymes about doing gangsta shit look pathetic in terms of the amount of money that they’ve stolen and the amount of culture that they’ve robbed of our people.”

The outspoken rapper suggested that instead of fingering listeners for taking music, the industry needs to re-evaluate its strategy. 

“To me, I don’t quantify success in just record sales or YouTube views or Twitter friends. If you have 12 million friends on Twitter but you can only sell 100,000 units, there’s something wrong with you. 

That means that those statistics really need to be analysed and looked at. So for me, I say yo, go steal all my music if you like what I talk about. You don’t have to agree with everything but if you feel and understand that I’m being genuine, come to a show, check it out for yourself, support us, buy a shirt online, but a CD.”

Spotify

Spotify to offer 'free' mobile service to Android and iOS

Spotify is to extend its "free" ad-supported music service to mobile devices.

Smartphone users will be able to build playlists of songs and then hear them played back in a random order. Tablet users will have more control, letting them select specific tracks.

The Swedish firm also announced it was expanding to a further 20 countries, taking its total reach to 55.

Experts said it needed to make the moves to combat growing competition, However its founder, Daniel Ek, said bringing a free service to Android and iOS devices would tempt more people to eventually switch to the premium version where they could access higher-quality audio, no adverts and the ability to listen to songs offline.

• Until now Spotify has offered a free-to-use product only on PCs, and had restricted its mobile apps to paying subscribers.

• The firm is dropping the 10-hours-a-month cap it previously placed on long-term users of its free service.

• "Our very clear mission is getting more people to access and discover more great music," he told a press conference in New York.

I personally believe that this development and update to spotify's server will increase subscribers from mobile phone users rapidly as content will now be free but with the addition of advertisement in between. However, this is also beneficial for the company itself as advertisement will play a large part in terms of its financial revenue and thus spotify are not to face any risks once launching free ad supported music onto mobile phones.

Spotify allows people to subscribe to stream music which means that people do not have to download this music themselves. Furthermore, Spotify make their income through advertisements and not as much through subscription therefore they can afford to make the app free for users to use. Its finally in competition and is a threat to the music industry as it cuts out the costs for people to pay to download music. These days, people don't really have the time to download and put music onto their phone; especially with the iphone due to the fact that you have to sync it; therefore streaming is becoming more and more popular to people. 

Critical Investigation: Task #2

Do Artists Benefit From Online Music Sharing?

By Sudip Bhattacharjee, Ram D. Gopal,

and G. Lawrence Sanders

 ….page 2

 …page 4

…page 33

Marketing Strategies in the Music Industry

The Evolution of Business Models and Marketing Strategies

in the Music Industry

Valerie L. Vaccaro

State University of New York, USA

Deborah Y. Cohn

Yeshiva University, USA

Volume 6, Issue 1-2, 2004

 …page 47

...page 47 

...page 49

...page 51

...page 54

...page 56 

Media, Culture & Society © 2003

When creators, corporations and consumers

collide: Napster and the development of on-line

music distribution

Tom McCourt

FORDHAM UNIVERSITY, NEW YORK, NY, USA

PATRICK BURKART

TEXAS A&M UNIVERSITY, COLLEGE STATION, TX, USA

…page 335

…page 336

…page 337

…page 338

Digital cultures - Understanding New Media
Edited by Glen Creeber and Royston Martin 
2009 

Digital music: production, distribution and consumption 

....page 97 

....page 99

....page 99 

....page 99 

COMMUNICATIONS OF THE ACM July 2003/Vol. 46, No. 7

DIGITAL MUSIC AND

ONLINE SHARING:

SOFTWARE PIRACY 2.0?

Considering the similarities and unique characteristics of

online file sharing and software piracy.

By Sudip Bhattacharjee, Ram D. Gopal,

and G. Lawrence Sanders

 ….page 107 

Do Artists Benefit From Online Music Sharing?

By Sudip Bhattacharjee, Ram D. Gopal,

and G. Lawrence Sanders

….page 2

 …page 4

…page 33

Marketing Strategies in the Music Industry

The Evolution of Business Models and Marketing Strategies

in the Music Industry

Valerie L. Vaccaro

State University of New York, USA

Deborah Y. Cohn

Yeshiva University, USA

Volume 6, Issue 1-2, 2004

…page 47

...page 47 

...page 49

...page 51

...page 54

...page 56 

Media, Culture & Society © 2003

When creators, corporations and consumers

collide: Napster and the development of on-line

music distribution

Tom McCourt

FORDHAM UNIVERSITY, NEW YORK, NY, USA

PATRICK BURKART

TEXAS A&M UNIVERSITY, COLLEGE STATION, TX, USA

…page 335

…page 336

…page 337

…page 338

Rock Formation 

music, technology and mass communication 

Newbury Park, CA). It is © by Sage Publications and Steve Jones

TECHNOLOGY AND POPULAR MUSIC

chapter one 

Without technology, popular music would not exist in its present form. Obvious as it may seem, such a statement (like many other obvious ones) deserves closer scrutiny. On the surface, it would appear obvious that without tape decks, stereo systems, CD players and the like, we could not listen to popular music. Fair enough. But, as I will argue throughout the course of this book, it is the technology of popular music production, specifically the technology of sound recording, that organizes our experience of popular music.

Without electronics, and without the accompanying technical supports and technical experimentation, there could not be the mass production of music, and therefore there would not be mass-mediated popular music, or its consumption. But beyond production and consumption, there would also not be the composition of popular music, for popular music is, at every critical juncture of its history, determined by the technology musicians use to realize their ideas. Of equal importance, without technology there could not be the creation of sounds that are today intimately associated with popular music. This is particularly true in the case of rock and roll, as technology often drives innovation in composition.

http://stevejones.me/rockform.html

FREE The Future of a Radical Price
CHRIS ANDERSON
2009 
http://scholar.google.co.uk/scholar?start=30&q=old+music+industry+business+model&hl=en&as_sdt=0,5&surl=1&safe=active
https://summaries.com/index/Free.pdf

Why the music industry may gain from free downloading — The role of sampling

International University in Germany, 76646 Bruchsal, Germany

Martin Peitz,  

 

Patrick Waelbroeck

Downloading digital products for free may harm creators and intermediaries because consumers may no longer buy the version for sale. However, as we show in this paper, this negative effect may be overcompensated by a positive effect due to sampling: consumers are willing to pay more because the match between product characteristics and buyers' tastes is improved. This indeed holds under sufficient taste heterogeneity and product diversity.

Media Magazine

In the last decade the music industry has faced the most complex set of changes in its history. The conventional industry models have been challenged, largely due to the emergence of new technologies and new ways for music lovers to listen to, and own, the music they love. 

The industry is still struggling to deal with how these changes have affected their balance sheets, and the pace of change doesn’t look like slowing yet, but for those who wish to pursue a career in music, it’s important to see how many of these new developments can be used to your advantage.

In the complex, old-fashioned model, the artist brings the talent, and the label provides everything else that only a large corporation can provide – expensive recording facilities, plants to bulk-manufacture records, the network to distribute the recordings widely to shops,

... a large fund to market the work via traditional media, the logistical expertise to mount a proper tour, the business acumen to collect royalties. In the modern digital world, much of this can actually be done on a smaller scale and we may even be able to circumvent the record companies entirely. 

http://books.google.co.uk/books?hl=en&lr=&id=BWUil8OuXS8C&oi=fnd&pg=PP1&dq=old+music+industry+business+model&ots=YdB2niuXXQ&sig=BXUfHfBt2HMhhJmLVsjL8ImsO-A#v=onepage&q&f=false