The music industry refers to the business industry connected with the creation and sale of music. It consists of record companies, labels and publishers that distribute recorded music products internationally and that often control the rights to those products. Some music labels are "independent," while others are subsidiaries of larger corporate entities or international media groups.
The world music market is currently dominated by the "big four" record groups, Sony BMG, EMI, Universal and Warner, each of which consists of many smaller companies and labels serving under different regions and markets.
History
The music industry is a term used to describe a range of music-related businesses and organizations. When the term "music industry" is used in a narrow sense, it refers only to the businesses and organizations that record, produce, publish, distribute, and market recorded music (e.g., music publishers, recording industry, record production companies). This corresponds to the International Standard Industrial Classification (ISIC) that includes sound recording and music publishing activities (J-59).
When the term is used more broadly, it refers to a range of sub-industries that come from a number of different industrial classifications, including Information and Communication (which includes sound recording and music publishing activities), programming and broadcasting activities (e.g., radio stations), education (e.g., music training schools), Arts, entertainment and recreation, and manufacturing and retail sales (e.g., of musical instruments). In this broader sense, the term usually also encompasses not-for-profit organizations such as Musicians' Unions and writers' copyright collectives and performance rights organisations.
Until the 1700s, the process of composition and printing of music was mostly supported by patronage from the aristocracy and church. In the mid-to-late 1700s, performers and composers such as Wolfgang Amadeus Mozart began to seek commercial opportunities to market their music and performances to the general public. After Mozart's death, his wife (the soprano Constanze Weber) continued the process of commercialization of his music through an unprecedented series of memorial concerts, selling his manuscripts, and a collaborating with her second husband, Georg Nissen, on a biography of Mozart.[1]
In the 1800s, the music industry was dominated by sheet music publishers. In the United States, the music industry arose in tandem with the rise of blackface minstrelsy. The group of music publishers and songwriters which dominated popular music in the United States was known as Tin Pan Alley. In the early 20th century the phonograph industry grew greatly in importance, and the record industry eventually replaced the sheet music publishers as the industry's largest force.
Just as radio and television did before it, the advent of file sharing technologies may change the balance between record companies, song writers, and performing artists. Bands such as Metallica have fought back against peer-to-peer programs such as the infamous Napster, and the arguments for and against technology to circumvent them - digital rights management systems - remain controversial.
With the re-launch of Napster as a legally licensed download site in 2003 (in the US), along with the advent of Apple Computer's iTunes online music store in the same year, the major record companies have begun to embrace digital downloading as the future of the music industry.
Both Napster and iTunes, with the support of the majors, are promoting a digital music subscription service. This may lead to a fundamental change in the way music is consumed, as a utility that "flows" into a person's house rather than as a commodity that is bought one-by-one. Music may well become purchased 'like water' (Leonhard, 2004), in that people will pay for their monthly consumption of music.
Business structure
The music industry is made up of various elements, including:
musicians such as singers
musical ensembles
Musicians' Unions
composers and songwriters
publishers
writers' copyright collectives and performance rights organization like ASCAP and BMI (or MCPS and PRS respectively for the UK)
record producers
record labels
record distributors
A&R
band managers
tour promoters
bookers
roadies
A record company is an entity that manages sound recording-related brands and trademarks which consist of their owned labels; their owned and licensed master recordings; and various related ancillary businesses such as home video and DVDs.
The music groups coordinate the production, licensing, and copyright protection of sound recordings & videos and maintain contracts with recording artists and production companies as well as provide a distribution structure for their various owned and non-owned labels.
Record companies sign, market, publicize, develop and promote as well as provide sales support to the larger distribution companies for their releases and artists.
Labels may comprise a record group which is, in turn, controlled by a music group. As such, a larger umbrella label may have a number of sub-labels releasing music.
Music publishers exist separately (even if sharing the same ultimate holding company or brand name), and they represent the rights in the compositions - i.e. the music as written rather than as recorded.
Record companies and record labels that are not under the control of the Big Four music groups and music publishers that are not one of the Big Four are generally considered to be independent, even if they are part of large corporations with complex structures. Some prefer to use the term indie label to refer to only those independent labels that adhere to criteria of corporate structure and size, and some consider an indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure.
Music industry organizations
Recording Industry Association of America
American Society of Composers, Authors, and Publishers
Recording Artists' Coalition
American Federation of Musicians
Musicians' Union
Country Music Association
Academy of Country Music
MCPS
Performing Right Society
National Academy of Recording Arts and Sciences
Further reading
Krasilovsky, William; Shemel, Sidney: This Business of Music, Billboard Books, ISBN 978-0823077236
Lebrecht, Norman: When the Music Stops: Managers, Maestros and the Corporate Murder of Classical Music, Simon & Schuster 1996
Imhorst, Christian: The ‘Lost Generation’ of the Music Industry, published under the terms of the GNU Free Documentation License 2004
Leonhard, Gerd: Music Like Water - the inevitable music ecosystem
The Methods Reporter: Music Industry Misses Mark with Wrongful Suits
Music CD Industry - a mid-2000 overview put together by Duke University undergraduate students
d’Angelo, Mario: Does globalisation mean ineluctable concentration ? in The Music Industry in the New Economy, Report of the Asia-Europe Seminar, Lyon, 25-28 oct. 2001, IEP de Lyon/Asia-Europe Foundation/Eurical, Editors Roche F., Marcq B., Colomé D., 2002, pp. 53-54.
d'Angelo, Mario: Perspectives of the Management of Musical Institutions in Europe, OMF, Musical Activities and Institutions Sery, ParisIV-Sorbonne University, Ed. Musicales Aug. Zurfluh, Bourg-la-Reine, 2006.
The Country Music Association (CMA) was founded in 1958 in Nashville, Tennessee. It originally consisted of only 233 members and was the first trade organization formed to promote a music genre. The objectives of the organization are to guide and enhance the development of Country Music throughout the world; to demonstrate it as a viable medium to advertisers, consumers and media; and to provide a unity of purpose for the Country Music industry.
Initially, CMA's Board of Directors included nine directors and five officers. Wesley Rose, president of Acuff-Rose Publishing, Inc., served as CMA's first chairman of the board. Broadcasting entrepreneur and executive Connie B. Gay was the founding president.
Originally there were nine individual membership categories. The current 15 categories represent all facets of the music industry. Organizational memberships are also available. CMA membership is composed of those persons or organizations that are involved in Country Music, directly and substantially.
The first CMA Awards ceremony was held in 1967 in Nashville. Sonny James and Bobbie Gentry hosted the event, which was not televised. The winner of the first "Entertainer of the Year" award was singer Eddy Arnold. "Male Vocalist of the Year" went to Jack Greene and "Female Vocalist of the Year" to Loretta Lynn.
The Country Music Hall of Fame and Museum is a museum at 222 Fifth Avenue South in Nashville, Tennessee, United States. Its mission is to document the history of country music and to honor its major figures. Within the building lies the Hall of Fame itself, which consists of plaques honoring the most famous of country and western music-related personalities as designated by the Country Music Association (CMA).
In 1961, the CMA announced the creation of the Country Music Hall of Fame. The first three inductees, Jimmie Rodgers, Fred Rose and Hank Williams, were announced at a CMA banquet in November. Bronze plaques, with the facial likeness and a thumbnail biography of each new member, were cast in bas relief. They were unveiled on the Grand Ole Opry by Ernest Tubb. These plaques, and those for subsequent Hall of Fame inductees, were displayed in the Tennessee State Museum in Nashville until 1967.
In 1963, the CMA announced that a Country Music Hall of Fame and Museum was to be built on Music Row in Nashville. In that same year, Tennessee chartered the Country Music Foundation (CMF) as a nonprofit, educational organization to operate the museum
The original Country Music Hall of Fame and Museum opened on Music Row (Music Square East and Division Street) on April 1, 1967. Operations of the museum came to include educational programs, the CMF Press and CMF Records, the Country Music Foundation Library (1968), and the historic sites RCA Studio B (1977) and Hatch Show Print (1986). The Music Row location of the Country Music Hall of Fame and Museum was closed December 31, 2000. The building was later razed and a private parking lot for employees of music licensing firm BMI now occupies the site. Before they went on to become major stars in the country music recording industry, Kathy Mattea and Trisha Yearwood worked as tour guides at the Music Row museum.
On May 17, 2001, the CMF held the grand opening of its new $37,000,000 facility ten blocks away in downtown Nashville. Featured exhibits include "Sing Me Back Home: A Journey through Country Music", with a collection of original recordings, instruments, costumes, photographs, et cetera, as well as the Hall of Fame Rotunda, which displays the plaques of all the inductees to the Country Music Hall of Fame. An intimate concert venue, the Ford Theatre, is also located within the building.
The new building's exterior is laced with symbolic images. The most obvious of these are the windows that look like the black keys of a piano. More conspicuous images include the diamond-shaped radio mast, which is a miniaturized replica of the WSM tower located a few miles south of Nashville. The round discs surrounding the tower symbolize the different size records and CDs country music has been recorded upon. When viewed from the air [1], the building is in the shape of a bass clef. The north-west corner of the building juts out like the tail fin of a '57 Chevy.
Many have commented the museum is facing the wrong direction. The museum's artistic front side faces toward the downtown area, while only the blank rear side of the building is visible to any skyline-viewers. Architects claim the building was meant to face downtown so visitors would be able to view the historic Ryman Auditorium, longtime home of the Grand Ole Opry, from the glass-encased lobby. Ironically, a large high-rise hotel has since been built between the museum and the Ryman, thereby obstructing the view.
The Country Music Hall of Fame building was designed by local architecture firm Tuck Hinton Architects.
In 1968, Roy Rogers and Dale Evans hosted the awards, which were presented at the Ryman Auditorium in Nashville. (The ceremony was filmed and televised on NBC a few weeks later.) The first live telecast of the show was in 1969.
Annual awards are given in the following twelve categories: Entertainer, Male Vocalist, Female Vocalist, Horizon Award (similar to the "rookie of the year" award in sports), Vocal Group, Vocal Duo, Single, Album, Song, Music Event, Music Video, and Musician.
The CMA also gives a "CMA Broadcast Award" to country-formatted radio stations eacg year. Broadcast Awards are segmented based on market size, major market (Arbitron Ranking 1—25), large market (Arbitron Ranking 26—50), medium market (Arbitron Ranking 51—100) and small market (All other Markets). A single station cannot win the award in consecutive years.
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