MusicDish e-Journal - May 26, 2015
MusicDish Advertising Network
» HOME » INSIDER SCOOP » CAREER TIPS » MUSIC SPOTLIGHT » MUSICDISH*CHINA
» INDUSTRY INTERVIEWS » NEWS BEAT » DIGITAL SKOOL » OPEN REVIEW » MUSICDISH EDELWEISS
Search MusicDish e-Journal (Advanced)
Subscribe To MusicDish e-Journal
About | Contact | Advertise | RSS | Submit Article | Submit News | Artist Development | Premium PR Distribution
Mi2N | MusicDish*China | MusicDish Network | MusicDishTV | Urban Music News Network

The New World
While Napster May Disappear, File-Sharing Will Live On...
By Anonymous
(more articles from this author)
2001-03-25
Comment | Email | Print | RSS

Napster may disappear, but the business of file sharing among members of the musical audience will not. It is well known that the various distributed networks like Gnutella and Freenet will create the same opportunity for users that they have enjoyed with Napster. If Napster falls, it is merely a matter of time before the use of these networks becomes easy enough for them to gain wide acceptance by the public. And when that occurs, the Napster community will continue its file sharing there.

Further, technology is developing at an ever-increasing rate. If you believe Ray Kurzweil's conclusions in his book "The Age of the Spiritual Machine" - and I see no reason to doubt the general thrust of his conclusions - it will soon be the case that when a work gets disseminated to any non-private group, the work will immediately become freely available to the public. There will almost always be frictions, of course, as in most processes, but the frictions will be relatively small and unimportant.

The argument that shows this last point is as follows: even if all material is watermarked and encrypted, however strongly, it must ultimately come out a loudspeaker in pristine form, and from there it can be recorded without loss of quality (at least to the human ear) and converted to mp3 or other digital form without any watermark or encryption encumbrance.

Listening to music is similar to downloading another's experience into your own mind, like reading Schopenhauer. This downloading will, like virtual sex, become ever more available and ever more efficient and ever more "real" (whatever that might mean) and stimulating.

For music, these developments lead to some inevitable consequences and some interesting questions. One inevitable consequence is that the vast library of music that has been disseminated through Napster file sharing is an essentially free catalogue that will be forever available to anyone, regardless of what happens to Napster. Another inevitable consequence is that, sooner or later, the digital sale of any music to the public will automatically make that music available for free to the public.

The interesting questions, some answers, and some observations relevant to the more inscrutable questions, are:

How will musicians be paid?

1- Musicians will of course always be paid for live performances, but reproductions of these live performances will become immediately freely available

2- The incentive to pay for a live performance will be to witness its spontaneity, the mistakes, embellishments, new music, variations of previous pieces, to be in the presence of creation and inspiration, etc. -- the same incentive jazz fans have to attend performances of the same group night after night.

3- The notion of compensation will change - artistic expression, fame, the emotional release of performance, and personal, emotional and sexual contacts will be the driving forces

4- The Stephen King model is probably the only reasonable model: you will get to hear more only if you continue to pay. Live performance will be available to you anywhere in the world. You will pay for a live performance either by the byte, or minute, etc.

If the development causes the income to musicians to decline, will the quality of music suffer?

Related questions are:

1) Will increased distribution possibilities outweigh reduced earnings and lead to higher quality music, or will reduced earnings cause a decline in the quality of music?

2) Will the earnings of musicians be commensurate with their earnings today? An artist like Bob Dylan, for instance, gets about 2 cents per dollar spent by the end-consumer. If the delivery mechanisms are costless or minimal compared to previously (CD's, etc), his percentage of dollars spent must rise. Will the increased percentage of dollars spent compensate for the fewer dollars spent on such an artist's music?

Some observations that bear on these questions:

- Few musicians embark on a career in music to make money. Someone with the talent to make good music probably could apply that same talent elsewhere and be much more assured of a good income.

- Many musicians gravitate into commercial music because it can provide a good income. Commercial music is not the object of much (if any) file sharing, and so it probably will not suffer and will remain an opportunity for those musicians who are so disposed.

- For those musicians fortunate enough to experience great popularity, fame and huge financial success, the thrill of catapulting into the stratosphere of audience popularity probably generates an excitement in them that is also brought to their music. To the extent that this excitement is generated by the financial success, this excitement may diminish.

- The selection process by which musicians of originality and talent will become more efficient. Musicians who might have a large but dispersed audience will have access to, and will be rewarded by, that audience. And musicians who might otherwise not pursue their music further will be encouraged to do so, adding talent to the pool.

How will distributors and the "industry" be paid?

The music industry performs various services:
1-Discovery of artists
2-Development of artists
3-Promotion of artists and music
4-Production of 1st hand (live performance) experiences
5-Manufacture of media for 2nd hand (media delivered) experiences.
6-Sales of media

The prospects of each service are:

1- The service of discovery will achieve greater importance due to the increasing numbers of musicians and varieties of music.

2- Development of artists will continue to be important, although less important than in the past because of the existence of technology that helps musicians create and implement their creations. Producers will be less important, due to the proliferation of studio equipment and the automation of many producer functions.

3- Promotion of artists and music will continue to be important, possibly even more important than today.

4- Production of 1st hand (live) performances will maintain its present importance, at least.

Services 5 and 6 will be available at extremely low cost (money and time) to the music creators. Very little will be paid for these services.

The prospects for those parts of the music industry, which exploit time and space inefficiencies are thus grim. This could of course have been deduced merely from the general principle that such inefficiencies are being eliminated by the increased technological sophistication of the machinery available to the public.

Note that many of the same considerations apply equally to visual media, in particular to film, for which the prospects appear to be quite a bit grimmer. The film industry performs essentially the same services as those listed above. However, creating a film is a much more collaborative and costly enterprise, and services 5 and 6 earn a much greater proportion of the consumer dollar spent than they do in music.


Home » Insider Scoop » The New World
Permalink:http://www.musicdish.com/mag/?id=3404
Email |Print |Comment |RSS

back | top


MusicDish Advertising Network

Insider Scoop

» Stones Fans Rejoice - 2015 Tour Dates Announced

» ASCAP CEO Elizabeth Matthews Testifies For Senate Judiciary Subcommittee

» Ebook And Music Downloads Stagnate While Mobile Games And Videos See Strong Growth

» Red Bull Music Academy Accepting Applications for Paris Academy

» Music Therapy May Provide Hope To Alzheimer and Parkinson Sufferers

Insider Scoop Directory



» [2015-05-22] MusicDish*China Tours, Signing, NYCxDesign And Planetrox; It's Been A Busy 2015 With New Tours, Our Launch Into The Art/design World And Signing Of One Of The Pioneers Of Chinese Rock

» [2015-05-19] Award-Nominated DJ Soulier Performs At Beijing's Award-Winning DDC; Western Canadian Music Awards Nominee Returns To China For 7 Dates In Beijing, Changsha, Wuhan, Guangzhou And Tianjin

» [2015-05-18] Second Hand Rose "Crossing Boundaries" World Tour; China's Boldest Rock Band Will Embark On Their "Crossing Boundaries" World Tour That Will Include One Of Europe's Biggest Festivals, Paleo Festival Nyon 2015

» [2015-05-13] CMW Live Touring Summit: Interview With Elliott Lefko; Interview With Elliott Lefko VP Of Talent, Goldenvoice / AEG Live / Coachella

» [2015-05-12] Online Chinese Music Video Platform Yinyuetai Raises $35 Million In Funding; The Funding Would Be Used To Build A Fan Club Platform And Optimize Its Music Fan Service System

» [2015-05-11] Founder Of Beijing Oi! Punk And MiSanDao Front Man Passes Away; Ode To China's Boot Boy

» [2015-05-09] The New Wave Of Chinese Contemporary Art: Identity, Irreverence And Forward-Looking; Avent Studio, LittleE Studio And MusicDish*China Will Present A Unique Event Assembling Chinese Creators Who Have Chosen Very Different Paths, And Yet Share A Common Spirit

» [2015-04-30] Tommy Hilfiger New Store Opening In Beijing, China; As Part Of His Global 30th Anniversary Tour, Iconic American Designer Tommy Hilfiger Will Visit Beijing For A Special Program

» [2015-04-24] Stones Fans Rejoice - 2015 Tour Dates Announced; This Tour Will Follow The Band's 2014 One Fire Tour, Which Went Through Europe, Asia, New Zealand, And Australia

» [2015-04-07] INTRO Electronic Music Festival: Interview With DJ Weng Weng; INTRO Music Festival, China's Biggest Electronic Music Festival, Will Be Held This May 1st In Beijing's Chaoyang Park

» [2015-04-06] VUE Audiotechnik Establishes VUE China; VUE Audiotechnik China Will Offer The Entire Complement Of VUE Products As Well As Provide Technical Support For All Integrated Systems

» [2015-04-03] March 28, 2015: A Black Day For Yaogun (Chinese Rock); A Bad Practical Joke Played On China's Rockers? 330 Festival, MIDI Festival And Strawberry Festival Get Cancelled
MusicDish Advertising Network

follow MusicDish on
Follow MusicDish on Twitter

Mi2N Music PR

Canadian WCMA Nominated DJ Soulier Performs At Beijing's Award-Winning DDC

Dyne Side Is Officially The First Winner Of The Muzicol Revolution

Heavy Russia: Young Metal Act "Gravity Rain" Announce Crowdfunder For "Artifacts Of Balance"

Are You A Professional Musician Or Talented Composer? Help Xhail Find You

Vocalist/Songwriter Halie Loren Explores Transformation And Self-Realization On Soulful Release, Butterfly Blue - Available June 9 Via Justin Time Records

Eurovision Contestant Tamar Kaprelian Releases New Single "Yours To Keep" On EP Through Killer Tracks' Artists Series

Chinese Rockers Second Hand Rose "Crossing Boundaries" World Tour

Deadline Looms For 20th Annual USA Songwriting Competition



Websites: Mi2N | MusicDish*China | MusicDish Network | MusicDishTV | Urban Music News Network
Services: Submit Article | Submit News | Submit Video | Artist Development | Premium PR Distribution

Copyright © 1997-2015 MusicDish LLC., all rights reserved.
About MusicDish e-Journal | Contact Us | Advertise | RSS | Internships