Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


Media Ownership + Music

Media Ownership in Music

Alma Shaw

on 4 November 2011

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Media Ownership + Music

Media ownership + music regarding advocation of rape, prostitution, homicide, unlawful ritual acts, suicide, crimes based on race, gender, color, religion or national origin, use of controlled substances, and or unlawful use of alcohol. obligation to create and produce X albums per contract. by Alma Shaw Major record labels 32% radio conglomerates retail mass merchandisers 80% of $12 billion 25% 15% 9% music videos ad campaigns distribution onstage outfits manufacturing packaging production shipping touring executives payola Telecommunications Act of 1996 1,200 404 224 824,000 billboards 40 T.V. stations + 100,050 concert halls, amphiteaters, venues, clubs, concert promotions and ticket sales + 65% of music sales stakeholders only stock music from major labels backed by huge promotional campaigns consumer retail company artist label artist ideology sales fans label consumers label themselves themselves partners partners ideology Sources interviewee Daniel J. Travanti What's your take on record companies? What do you think of the way the music industry is set up? What's the best thing about having your own label? Aristotle's Golden mean:
choose a middle point between two extremes. Licensing: artists retain ownership of the song's copyrights and master recordings but give the label the right to exploit the music for a specified term. Afterwards, the rights revert to the artist. RAYNA, THIERRY, and LUDMILA STRIUKOVA. "Monometapoly or the Economics of the Music Industry." Prometheus, Volume 27, Number 3, 2009.

BURKART, PATRICK. "Loose Integration in the Popular Music Industry." Popular Music & Society, Volume 28, Number 4, 2005.

TEMPLE, JOHNNY. "On the Record: Toward a Union Label." Nation, Volume 272, Number 16, 2001.

MINJEONG, KIM. "Conglomerate Rock: The Music Industry's Quest to Divide Music and Conquer Wallets." Journalism & Mass Communication Quarterly Volume 86, Number 1, Spring 2009.

Mathison, David (ed). "The Music Business: The New Way to Promoye Yourself and Sell Your Music." Be The Media. natural E creative group, LLC, New Hyde Park, NY. 2009.
Full transcript