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Music is a big part of civilization. Centuries had passed but music survived and even grew to greater heights every single decade. As a matter of fact, the demand of music has been rising very steadily in the past 10 years and it will continue that way in the foreseeable future. It comes along with the big amount of revenue the music industry is currently getting year after year. It is an unstoppable force as people always look up for the next great artist around the corner, thus continuing the cycle and the relevance of music. The demand of music content is at an all time high. The global music revenue since the turn of the century has been steady. The currency is measured in billions. As the technology grew, music got more technical, complex and in demand. Others take credit for using music they don’t own. Nowadays, independent musicians are well aware of protecting their work for legal purposes. Through music licensing, you can be ensured of your asset/work being protected legally. What is music licensing? Music licensing is the licensed used for copyrighted music. This allows the owner of the music to maintain the copyright of their original work. It also ensures the owner of the musical work to be compensated if their music is being used by others. The music licensing companies has limited rights to use the work without separate agreements. In music licensing, you could get your work licensed in the form of music, composition and songwriting. During the music licensing process, there are terms that would be discussed by the groups involved. If you are an independent musician, you would be the licensor. You are the one responsible of the music created, thus you are the copyright owner of the licensed work. A licensee would be the music licensing company as they would be the one who will distribute your work to other industries. They will also collect the royalty fees as distribute them back to you if your music is included in live performances, TV shows, ads, campaigns, video games, etc. There are also two kinds of contracts in music licensing, namely exclusive contract and non-exclusive contract. Exclusive contract means having your work licensed exclusively to a single music licensing company. Only a single company has the authority to distribute and market your work. If you signed an exclusive contract to your song or album, you cannot use the same music contents and get it signed by other music licensing companies. The agreement is exclusive and confidential to the licensor and the licensee. Non-exclusive contract allows a second party to distribute your work and it doesn’t prohibit the licensor to sell their music to other music licensing companies or licensees. An independent musician can sign a non-exclusive contract to multiple companies using the same music content. Non-exclusive contracts are generally used to prevent an individual from being locked into a restrictive contract before their work gains popularity. This type of contract is designed to protect music artists from being taken advantage of in the early stages of their respective careers while on the process of getting their music out to larger audiences. There are also cases which involves direct payment for used music content. This is called Sync Fees. Sync fee is a license granted by a holder of a copyrighted music to allow a licensee to synchronize music with visual media such as ads, films, TV shows, movie trailers, video games, etc. For example, a video producer is in dire need of music content for a certain project and is in a limited time of finding one. In these cases, the artist and the music licensing company will be contacted directly for the possible use of the original work and negotiate the upfront payment involved. Sync fees can range from a few dollars to a couple of hundred dollars or up to thousands. The payment usually depends on how big and established a company is. If it is a well known company, there is a probability that the sync fee will spike up in value. We need to understand that businesses nowadays are paying premium for music at an all time high. The influx and revenue generated on different industries are worth billions of dollars and the music artists who got their music licensed will get a big share of that money. The content of music is very important. Every single company need visual and audio content. You can’t do ads, shows and movies without having any music content. Music licensing brings compensation for assets used. This is called royalty fees. A royalty fee is the payment collected by one party from another for the ongoing use of a copyrighted asset. You can get compensated if your work is featured on live public performances. For every live use of your music, you get compensated as you own the copyright of your work. The American Society of Composers, Authors and Publishers (ASCAP) has collected over $941 million dollars in licensing fees and distributed $827.7 million dollars in royalties to its members back in 2014. BMI on the other hand, collected more than $1.013 billion dollars in license fees and distributed over $877 million dollars in royalties to its members during the year 2015. Music licensing is the modern way of earning through music. In the past few years, the physical sales had gone down. Streaming music has taken over because it’s more convenient and practical with the help of the World Wide Web. With the rise of streaming sales, the figures that could be collected as royalty fees could spike up in the years coming. In fact, as stated in an Australian financial review website, streaming generated $2.5 billion dollars in US music sales last year, overtaking digital downloads as the industry’s biggest source of music revenue. As stated in the picture below, the global streaming of music is projected to reach greater heights in terms of revenue in the upcoming years.
Music is a form of art that involves organized and audible sounds and silence. It is normally expressed in terms of pitch (which includes melody and harmony), rhythm (which includes tempo and meter), and the quality of sound (which includes timbre, articulation, dynamics, and texture). Music may also involve complex generative forms in time through the construction of patterns and combinations of natural stimuli, principally sound. Music may be used for artistic or aesthetic, communicative, entertainment, or ceremonial purposes. The definition of what constitutes music varies according to culture and social context. Greek philosophers and medieval theorists defined music as tones ordered horizontally as melodies, and vertically as harmonies. If painting can be viewed as a visual art form, music can be viewed as an auditory art form. The broadest definition of music is organized sound. There are observable patterns to what is broadly labeled music, and while there are understandable cultural variations, the properties of music are the properties of sound as perceived and processed by humans and animals (birds and insects also make music). Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. Music theory, within this realm, is studied with the pre-supposition that music is orderly and often pleasant to hear. However, in the 20th century, composers challenged the notion that music had to be pleasant by creating music that explored harsher, darker timbres. The existence of some modern-day genres such as grindcore and noise music, which enjoy an extensive underground following, indicate that even the crudest noises can be considered music if the listener is so inclined. 20th century composer John Cage disagreed with the notion that music must consist of pleasant, discernible melodies, and he challenged the notion that it can communicate anything. Instead, he argued that any sounds we can hear can be music, saying, for example, „There is no noise, only sound,“[3]. According to musicologist Jean-Jacques Nattiez (1990 p.47-8,55): „The border between music and noise is always culturally defined–which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus…. By all accounts there is no single and intercultural universal concept defining what music might be.“
Have you ever wondered how your favorite musicians make such great music? The answer is this: They fully understand how musical emotion works, and how to use this to create intense emotions in YOU while you listen to them. Understanding musical expression is key to becoming a great guitar player and musician. When you control emotion in music, you will gain the power to greatly affect the listener’s experience. Most guitarists want to be able to express themselves better with their guitar playing; however, the majority of guitar players have no idea how to actually practice this skill. This leads to a lot of time being wasted on practicing guitar in a way that does not produce big results. The solution to this problem is to develop a more accurate fundamental understanding of how to develop creativity in music. Many guitar players try to enhance their musical creativity skills by searching the music of their favorite bands for cool riffs and guitar ideas and playing them over and over. This is certainly an enjoyable activity to do when playing guitar, but in reality it does not do very much to help you to learn musical expression. If you spend a great deal of time on this, you will be missing out on the two most critical parts of being able to create emotion in music.
One good thing about music, when it hits you, you feel no pain. Liverpool International Festival Of Psychedelia announces first wave of acts. The next Liverpool International Festival Of Psychedelia will take place from 23–24 September. Now in its fifth year, the festival describes itself as a “pan-continental celebration of audio-futurists, operating at the bleeding edge of today’s psychedelic renaissance”. Artists on the bill include Super Furry Animals, Demdike Stare, Eartheater, Sliver Apples, Acid Mothers Temple, Ashtray Navigations, Taman Shud, Silver Waves, Cavern Of Anti-Matter, and more. Tokyo based label Guruguru Brain will also present Narrow Road To The Deep Mind, which promises to present some of ”the finest PZYK wunderkinds from across the Asian underground”. The festival takes place at Camp And Furnace, Blade Factory Liverpool. Tickets are on sale now via the festival’s website.
We had some truly stellar photos come out of our photographers this week, as they attended shows from Vance Joy, Ball Park Music, Matt Corby and Groovin The Moo sideshows, with the common theme being some amazing light shows. As Forbes notes, in the missive, Sixx and bandmates James Michael and DJ Ashba implore YouTube to work harder to protect the rights of artists whose work frequently appears on the platform without proper payment, clearance or copyright, noting their own positions of privilege as successful musicians — and wanting to use that advantage for the benefit of smaller acts, in keeping with their history of artist advocacy. „We recently completed our fourth album called Prayers For The Damned, in our singer/producer James Michael’s recording studio,“ the band began. „We are a lucky band, grateful to have all had success prior to the creation of Sixx:A.M. Music expresses that which cannot be put into words and that which cannot remain silent. „Nikki came from Mötley Crüe, DJ played guitar in Guns N‘ Roses for the past six years and James has had a successful career as a writer and producer. Releasing an album and being part of a tour going on sale allows us to use the promoters‘ marketing money to create a larger platform to get our message out, and having a record company that generates publicity gives us an opportunity to speak up about issues we think are important — specifically the crisis with the music business and YouTube.“ The band go on to recall the occasion on which they backed Taylor Swift „when she spoke up about the absence of royalty payments to artists by Apple Music“, as well as explaining that the band has „long been an advocate for new artists“, as evidenced by Sixx’s predilection for featuring emerging acts on his radio show, before taking aim at Google (and its founders, Larry Page and Sergey Brin) for its payment strategies through the framework of comparing its annual revenue to that of the global music industry.
Nightlife in Copenhagen is set for a heavy blow as one of the city’s main clubs, Culture Box, will lose a substantial amount of funding from 2017. Since 2005, the Danish government has provided the club with €240,000 (1,800,000 Danish kroner) per year, but that’ll end at the end of 2016. The club describes the planned cancellation of funding as a „very hard blow“ as the money goes towards bookings and maintaining facilities. The press release also reads: „We are shocked that The State of Denmark has decided to remove the cultural support for the venue, and by that the support for electronic music culture.“ Some people have lives; some people have music. House and techno has had a heavy presence at the club since it opened, with the likes of Moritz von Oswald, Ellen Allien, DJ Koze and Nina Kraviz all playing.
San Bernardino County Supervisor Janice Rutherford said Tuesday she will place an item on the May 24 board agenda calling for an end to rave-style events at the San Manuel Amphiteater in Devore. Rutherford’s decision came amid continued and growing complaints from Devore and Crestline residents about excessive noise generated from electronic dance shows at the venue, mainly the Nocturnal Wonderland and Beyond Wonderland electronic dance shows, until the wee hours. Residents said the music is so loud it causes their windows to rattle and their walls to vibrate. In addition to the noise, the concerts draw heavy traffic that traps residents in their homes and is a magnet for rampant drug use and drug sales, overdose deaths and public indecency, residents say. During an April 5 board meeting, Rutherford said dozens, if not hundreds, of residents have complained about the shows since they began at San Manuel Amphitheater in 2013, when the county entered into its contract with Live Nation Worldwide. The dance shows were previously held at the National Orange Show Events Center in San Bernardino, but continued complaints of a similar nature from residents and business owners forced their relocation. During the April 5 Board of Supervisors meeting, Rutherford asked County Counsel Jean-Rene Basle how best to invoke the provision of the county’s contract with Live Nation allowing the county to terminate the contract should the dance shows become a public safety hazard or are subject to resident complaints due to noise or other nuisance behavior. Basle suggested that Rutherford put it before the board for a vote.
At 9 p.m. on a Friday in February, Watson was standing outside of La Casa, a micro-church and community center — whose main chapel is the size of your parents‘ spacious living room — nestled next to a tienda in Washington, D.C.’s Mount Pleasant neighborhood. Inside, a hardcore punk band called Unknown Threat had just taken the stage. Of course, there was no actual stage. There was just the floor where the band set up at one end of the room, and the dozens of fans in attendance who stood everywhere the band wasn’t and this is more or less what punk looks like. Once Unknown Threat hit its stride a few songs into its set, those standing closest to the band churned into motion, ricocheting off of one another and swinging arms wildly, seemingly unconcerned whether friend or foe caught a fist to the face. But to Watson, who has performed in bands and booked shows in D.C. for years, the city’s punk scene, at this moment, feels complacent. He says he has watched the scene he helped build lose urgency, at least at home. Looking at it from the outside, 2015 was a banner year for D.C’s storied punk scene, which first rose to prominence in the early 1980s and has become an on-again, off-again fixture in the local music ecosystem. But at no point since those heady days of Bad Brains and Minor Threat has the local product been so talented, prolific and diverse. After years of being a primarily local concern, D.C. punk matters to the wider underground music world once again. But that’s the rub, Watson says. D.C.’s punk scene broke nationally last year, with multiple bands releasing well-received albums, joining major tours and crossing international borders to play for punk contingencies abroad. More than a half-dozen new wave D.C. hardcore bands released albums or EPs last year, including scene stalwarts Pure Disgust, Red Death and Protester. Those three bands also toured the U.S. at various times, while Protester spent a week in Mexico in December. But while established bands rose in prominence as they performed around the country, some within the scene grew frustrated as momentum and enthusiasm at home lagged. When those established bands played gigs within the city limits, fans oftentimes stood with arms crossed and nodded along — not the ideal reaction to a genre that often inspires a hail of spin-kicks and stage dives from its audience. „We just assumed it’s because everyone is in the same bands. For most people it’s like, if I’ve seen one, I’ve seen it all,“ Watson says. „We played lackluster shows, attendance was low. People weren’t having a lot of fun.“
Price, 57, has played music nearly her whole life, starting with piano when she was five years old. But in the fall of 2009, the guitar was still something of mystery to her. She had been playing for only a couple of months and was struggling a bit with the new challenges. Yet, instead of holing up in her living room to practice until she felt more confident, she did something totally unexpected: she packed up her guitar and sheet music, headed into downtown Los Angeles, and set up outdoors to work through the new techniques. Twice a year, Active Arts, a series of programs run by the Music Center in Los Angeles, invites recreational musicians to the arts center’s campus for a 30-minute outdoor practice session called Public Practice. There are no rules about what participants can and cannot play, and mistakes are more than welcome. “I looked at it as a way to make the time to practice, because I’m always so busy,” explains Price, a legal secretary. Having participated in Public Practice three times, she’s found that bringing her music outdoors helps her focus. “Playing out in public encourages me to approach things a little bit differently. Even though it’s not a performance, knowing that I might have observers helps me to organize my practice session,” she says. https://www.youtube.com/watch?v=jxZsT2Ppi5w On the other hand, Eric Oto, a saxophonist and two-time participant, has occasionally found himself sidetracked during outdoor sessions–but in a good way. “The acoustics were so fascinating that I ended up, for a little while, just strolling around the campus plaza listening for different sounds,” says the 48-year-old lawyer. “Hearing the sounds bouncing off of the granite, concrete, and everything else outside was really interesting, and it got me to think a lot more about sound production, rather than just technique.”
We are the music makers, and we are the dreamers of dreams. [qtgallery id=“458″] What is that secret age-old productivity tool? Music. Yep. The right music can help you stay focused and more productive. Here’s how: Music Helps Boost Productivity on Repetitive Tasks Research has shown that when presented with repetitive tasks, music can help make those tasks more enjoyable and boost productivity. In this study, for instance, assembly line workers reported feeling happier and experiencing higher efficiency while listening to music. Studies suggest that this is because music helps boost mood and therefore contributes to productivity. One study from Canadian researchers looked at this concept. What they found was that time-on-task was shorter — which means they got the work done quicker — and the quality of work performed was better when music was playing. Not only did those listening to music complete tasks faster, but they also came up with better, more creative ideas when the music was on. This concept of mood can be further explained. Listening to music at your desk can help drown out other distracting noises like chatting coworkers, the buzz of the copy machine, and the clicks of other people typing around you. Placing earbuds in your ears to drown all that noise out — or even having music play over the office’s speakers — creates a more consistent and enjoyable environment that makes you feel more comfortable and relaxed in the space. The New York Times further suggests that melodic tunes promote the release of dopamine, a feel-good chemical in the brain, which also contributes to that good mood and promotes a more productive working environment. All of this suggests that music may be a valuable tool in boosting efficiency when performing mundane tasks, such as data entry or answering emails. Some suggest that when trying to focus on a complex task, music can be distracting – just as a noisy office may distract workers. But that doesn’t mean all music is bad for creative tasks. It’s just that the same type of music may not be appropriate in both situations. In fact, studies show that moderate levels of ambient noise can boost creativity, so you have to be conscious of what type of music is playing, and select it based on the task at hand.
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