How often music reaches us from everywhere. Music becomes the sound background of our lives. Do you know the feeling when you simply forgot to take your headphones with you? Silence, no, even emptiness. It’s unusual, and your hands try to turn on something. The music stops playing - the inner voice turns on, and somehow you don’t want to listen to it at all. Reminds us of unfinished business, reproaches us for something, and brings serious thoughts. No, the new track would start soon. We’re just used to music, we’re used to not being alone all the time, but with these fun (or not so fun) musical rhythms.
Probably everyone has favorite melodies, the sound of which brings up lines of familiar songs somewhere deep inside. At the same time, it often happens that a person knows the lyrics of a song by heart, but he has never thought about the meaning of the words imprinted in memory and even often spoken. This happens because most people are used to listening to music in the background or relaxation, that is, relaxing and not thinking about anything, enjoying emotions or simply immersed in extraneous thoughts.
As a result of such listening, a person’s worldview is filled with texts and meanings that have not been filtered at the level of consciousness. And since the information is presented accompanied by various rhythms and melodies, it is absorbed very well, and subsequently begins to influence human behavior from the subconscious level. What kind of behavioral programs is conveyed to a mass audience by modern popular music - the kind that is played on TV and radio, and is it possible to treat it unconsciously, that is, without thinking about its influence? Let's watch some video reviews:
After watching these videos, it is appropriate to recall a quote from the ancient Chinese philosopher Confucius: “The destruction of any state begins precisely with the destruction of its music. A people without pure and bright music is doomed to degeneration.”
Please note that in the last review we were talking not only about the content of specific songs, but also about the general focus of the theme of popular music. This is an important nuance that must be taken into account. After all, music should reflect different aspects of our lives, and not elevate one to an inappropriate size and importance.
A person’s creativity, when it comes from the soul, always reflects his inner world, touches on issues of personal development, and the search for answers to pressing questions. If creativity is replaced by business, and making money comes first, then its content is automatically filled with corresponding meanings and forms: primitive, stereotyped, insipid, stupid.
Listening to the content that is played on most radio stations today is a real process of programming people to unconsciously implement in their lives all the behavioral models listed in the videos.
At the same time, in the presented video reviews, only the content of the texts and video clips were analyzed, but the rhythm, tonality, melody, and volume of the music have a huge impact on a person. After all, any music is, in the end, vibrations that can either harmonize with the internal state of a person, or literally act destructively.
The influence of music on society
Dissonance in music, sudden changes in rhythm, loud sound - the body perceives all this as stress, as a polluting factor that affects not only the nervous, but also the cardiovascular and endocrine systems. On the Internet you can find the results of many experiments that show that if classical or folk music improve mental abilities, then modern pop music, built on the same rhythms, or heavy, ragged music, on the contrary, depress the human psyche, worsening memory, abstract thinking, and attentiveness.
You can clearly see the influence of music in these pictures:
These photographs were taken by Japanese explorer Masaru Emoto. He exposed water to various melodies and human speech, after which he froze it and photographed the resulting frozen water crystals with high magnification. As can be seen on the slide, under the influence of sounds classical music crystals of distilled water take on graceful symmetrical shapes; under the influence of heavy music or negative words, emotions, frozen water forms chaotic, fragmented structures.
Considering that we are all mostly made of water, you can imagine how much influence music has on us. For this reason, the choice of those compositions that you often listen to yourself or play for your children should be made consciously, assessing the impact of the music and the effect that you would like to achieve.
Music influences a person in 3 aspects:
- The content of the lyrics and video clips
- Vibrations of music (rhythm, tonality, melody, voice timbre, etc.)
- Personal qualities of popular performers whose lives are on display
The third point on this slide we highlighted the personal aspect associated with the morality of those performers who receive fame and glory. Since modern show business is built on the fact that it brings to public discussion the entire personal life of the so-called stars, imposing them on the younger generations as idols personifying “success”, when evaluating modern songs one must also take into account the lifestyle that they convey by their example their performers.
Everyone has probably heard about such a popular Western singer as. Let's see what ideology she promotes through her creativity and personal example.
As part of the Teach Good project, similar reviews were made of other most popular Western performers: , - and the same thing everywhere. Their careers develop as if according to a pattern: from relatively simple and modest girls, having entered the show business industry, they gradually turn into those whose photographs and works of creativity are even awkward to demonstrate during a lecture due to obsessive vulgarity and vulgarity.
At the same time, it is these stars who are constantly awarded the main awards. music awards, their videos are played on TV channels and radio stations, even here in Russia their songs are played regularly. That is, the same system is built in the music industry, based on 3 main tools: award institutions, financial flows and control over the central media.
Where to look for good songs?
It is almost impossible for good performers - those who sing truly meaningful songs and try to direct their creativity for the benefit of people - to break through this barrier. The situation is only beginning to change today, when with the advent of the Internet, each person has the opportunity to act as an independent media outlet through their accounts on social networks, through blogging and creating websites.
The emergence of the Teach Good project and many other associations of caring people is a natural process of destruction of the old system, built on strict control of persons admitted to the media. And it is on the Internet that you can find songs by those artists whom you will not hear on TV, but whose music is really pleasant and useful to listen to.
They also tour cities, perform on stages, and sell out houses, but their photographs are not published in glossy magazines, and their songs are not broadcast on popular radio stations or music TV channels. Because for the modern music industry, their work does not fit the “format” determined and imposed on a wide audience through the same media, or rather, the means of forming and managing public consciousness.
As an example of meaningful creativity, we bring to your attention one of the songs that was invented and recorded by readers of the Teach Good project.
Table No. 9
MAIN CHARACTERISTICS OF THE RUSSIAN MUSIC MARKET
The Russian music business directly depends on the general trends in the development of the domestic economy. An example of this is the crisis of August 1998, when the entire music industry turned out to be practically
mentally paralyzed. As a result, the number of record companies decreased by three times, sales volume decreased by 3-5 times (in some repertoire groups - by 10 times), prices decreased by 2-3 times in terms of currency equivalent.
A huge number of problems that have accumulated over last years, hinders the further development of the music industry. First of all, these are issues: rights, mutual debts and trust between companies. Nowadays, many companies do not yet have a complete set of documents confirming their rights to certain phonograms (we are talking about both copyright and related rights). The agreements were concluded without observing the necessary formalities, so a serious redistribution of ownership of the projects released over the past ten years is currently taking place. Many entrepreneurs realized that they needed to buy rights, not phonograms.
Another problem of the time was the new pricing policy. The largest sellers focus on minimum prices comparable to pirated ones. Such an approach has become the only possible condition for the survival of the domestic music industry and foreign companies doing business in Russia. However, the decision to work at low prices was not taken lightly. Majors, for example, were afraid of the re-export of cheap discs to the West. And re-export really was and is even now. There was no question of mass promotion of cheap discs from Russia, since no self-respecting distributor or owner of a chain of stores would sell discs of “unclear origin” without IFPI codes and other
symbols confirming their legal nature. Parallel imports remain a big problem.
The country's cassette market in 1999 showed that its potential is quite significant, although it is beginning to lose ground, following global trends.
In addition to sales of such traditional media as MS and CD, the CD-R market developed quite actively in 1999. CD-RW and DVD-RAM disks have been added to the already traditional CD-R. In 2000, the first CD-R production line came into operation in Russia at the Ural Electronic Plant.
One of the main problems of business development is the high level of piracy in the country - 65-70%. In some repertoire groups it reaches 90%
Thus, the Russian market as a whole looks like this (divided by type of media):
Table № 10
TOTAL DATA OF LEGAL AND PIRATE SALES IN MILLIONS. $
* Consequences of the crisis on August 17, 1998 As can be seen from the table and figures, the main carrier of musical products remains the compact cassette.
Table No. 11
SALES BY REPERTOIRE IN MILLIONS. EKZ. (MC+CD3).
Table No. 12
MARKET STRUCTURE BY REPERTOIRE (% OF TOTAL LEGAL SALES).
WHAT IS APKA? WHAT IS NAPA?
To better understand the state of the US video market, consider the active work of the Motion Picture Association of America (APCA). This is a professional association of leading film, photo and television companies in the United States. Its members include such companies as Buena Vista Pictures Distribution (Walt Disney Company, Hollywood Pictures Corporation, Sony Pictures Entertainment, Columbia, Trista), Twenty Century Fox Film Corporation ", "Universal City Studios" and "Warner Brothers".
APKA solves many problems: protecting copyrights and interests of film, video and television companies, preventing video piracy by tightening penalties for this type of illegal activity. Lawyers of the Association help the prosecutor's office in the best possible way formulate an accusation; collect evidence, ensure the participation of witnesses and experts, conduct legal and legal analysis, calculate the amount of compensation.
There are approximately 100 APCA investigators throughout the United States, assisting police in investigating pirate activities and prosecuting those responsible. In 1998, 2,022 such investigations were carried out. Based on the results of 262 of them, criminal cases were initiated and court decisions were made. 52 perpetrators were sentenced to prison.
Members of the Association facilitate anti-piracy operations in more than 70 countries, including Russia. They rent their
films in Russia through organizations that have appropriate Russian licenses, such as Cascade, East-West, Jammy and Premier.
Since October 1998, 32 films produced by APCA member studios have been legally released in Russian cinemas for screening. Among them: “Shakespeare in Love”, “Armageddon”, “The Mummy”, “The Mask of Zorro”, “The Adventures of Flick” and “Healer Adams”. Additionally, the series of films is presented on video. Films in theatrical release are generally not eligible for simultaneous distribution on videotape. Usually the latter go on sale after the end of film distribution. This is done to protect the interests of film distributors.
APKA supports the Russian anti-piracy organization - RAPO. The administration of RAPO is located in Moscow, and the organization itself operates in large cities throughout Russia. RAPO members are not only US film studios and their license holders in Russia, but also independent Russian film distribution organizations, two Russian television companies, Russian Union filmmakers, Russian society collectors and the Russian Video Association.
RAPO employees assist law enforcement agencies and tax police in investigating the sources of pirated products and conducting raids to identify their manufacturers and sellers. RAPO represents experts who can identify items of “pirated” products and testify in court.
NAPA - National Association of Manufacturers
distributors of audio products in Russia. The decision to create the National Association of Audio Manufacturers of Russia was made at the first meeting of the East European Commission IFPI after the August crisis (September 1998). As a result, NAPA was registered in June 1999.
The main goals of NAPA: preparation in Russia on the basis of NAPA of a national IFPI group, which will eventually merge with the staff of the IFPI representative office in Moscow; protection of the rights and legitimate interests of producers of audio products - Russian music companies, combating the reproduction and distribution of illegal audio products and coordinating the activities of holders of rights to audio products in order to comply with existing legislation in the territory Russian Federation.
Currently, NAPA includes the largest Russian companies and major companies that have their branches and branches in Russia, such as Universal, BMG, EMI (S.B.A.), Gala Records, Real Records "Art Stars", "Studio Soyuz", Producer Igor Matvienko Center, FeeLee Records Company, “NOX-MUSIC” and others.
Today, NAPA has seven organizations operating as branches in Russia. Negotiations are ongoing with other regions. NAPA is actively expanding into the outback, while at the same time focusing on business regions of the country and millionaire cities.
NAPA includes many companies - NAPA members are also members of IFPI. To understand this construct, let us first consider the structure of IFPI in other countries and the world at large.
The International Federation of Phonogram Producers (IFPI) unites record companies, which, in turn, are united on a territorial basis into national groups. That is, the federation consists of national groups of different countries, for example, national groups of Germany, the USA, etc. Until today, there has been no such association in Russia. In risky business areas, IFPI begins its activities by opening representative offices. After some time, depending on the development dynamics of each individual country, a national IFPI group of a given country is created at the place of representation or with its help. The functions of the federation's representation in various countries (and in Russia too) boil down to explaining to local music companies the role of IFPI in the international music business, inviting them to become members of the federation and, ultimately, creating a national group. Unfortunately, in our country this process followed the “special Russian path.”
The completion of the creation of the IFPI national group in Russia is just around the corner. NAPA is fully prepared for this - the Association was created as the core of the national group IFPI. They have common goals and objectives: legalization of the music business, legal and regulatory assistance to IFPI member companies, active fight against piracy in Russia in general, but especially in regions with a population of millions. Of course, work in Moscow and the Moscow region occupies a special place.
NAPA assists government agencies in improving legislation in the field of copyright and related rights, participates as an independent
prominent experts in the development of decisions of government and management bodies in matters of the music business.
We have also created and operate the Russian Phonographic Association. It was created as an organization uniting record companies. The main objectives were to collect rewards for public reproduction and distribute the saved funds among the copyright holder companies.
Any domestic company legally operating on the market that recognizes the statutory documents and operates in the field of sound recording and sound reproduction can become a member of NAPA. To join, you must contact NAPA with an application, attaching a set of statutory and registration documents. The procedure is simple and does not impose high responsibility on members.
During the period from July 1999 to July 200 in Russia, NAPA examined 62,076 copies of audio media for counterfeiting. Twenty-two applications for criminal prosecution of persons guilty of illegal use of copyright and related rights were filed, eight statements of claim were filed, five petitions were sent to the courts, five anti-piracy actions were carried out jointly with law enforcement agencies and the IFPI, and fifteen actions were carried out jointly with the Ministry of Internal Affairs.
The association is engaged in research of the audio products market in the Russian Federation, creating a data bank of audio products, audio manufacturers and a trading network of dealers and distributors - right down to information on each trade
point. Consults government bodies, enterprises, public associations and citizens on music business issues, promotes civilized ways of developing the music market, organizes seminars, symposiums, and internships in Russia and abroad. Our immediate plans include organizing national competitions in the music industry.
NAPA represents Russian audio producers in the International Federation of Phonogram Producers (IFPI) and participates in its activities (interacts with other national groups).
NAPA's permanent partners are, firstly, copyright holders, and secondly, various expert organizations, including the system of forensic centers of the Ministry of Internal Affairs of the Russian Federation, the Center for Independent Comprehensive Examination of Systems and Technologies, which conduct the entire possible range of studies and examinations of seized products. Thirdly, enterprises involved in the transportation and safe storage of counterfeit products.
Through a set of examinations, it is possible to prove the fact of production of counterfeit products at a specific enterprise, or, as experts say, to “link” audio cassettes to a specific machine, a specific recording device. In particular, a magnetic tape moving during the process of recording sound information on it has changes in the surface layer characteristic of this sound recording device, which
and is revealed completely unmistakably by investigative examination.
The search for copyright holders is carried out in databases that contain information about domestic albums (and in this NAPA is very helpful in the “Russian Music Yearbook” published by the Inter Media agency) and in foreign publications. Here NAPA relies on databases received from foreign partners. It is important to determine the date of first publication of the work and phonogram for each title. One of the essential components of an examination or research act is to determine the amount of damage caused to copyright holders as a result of the illegal use of works and phonograms. An important point is the recognition of the copyright holder as a civil plaintiff.
Cash, received after processing counterfeit products and manufacturing legal products from released component materials, are distributed in an agreed amount between copyright holders, enterprises responsible for storing counterfeit products, a system of enterprises for processing counterfeit products and manufacturing legal products, and the budget.
WHAT IS KNOX?
"NOKS" is the National Association of Cultural Communities. The main ideas of "Knox" are:
Preservation and development of national and ethnic cultures;
Promotion of cultural heritage;
Uniting people through cultural exchange, strengthening friendly and fraternal ties between peoples;
Affirmation of every person's pride in his nation;
Assistance in strengthening Russia as a multinational state in which all peoples are equal in their rights.
For many years I have been promoting the idea that all people should live in friendship and peace, communicate in business, and mutually enrich themselves through cultural ties. There should be no wars on our land. After all, mothers give birth to children happy life, diligently develop their talents, cultivate in them the best feelings and, of course, pride in their nation, for in every nation there are unusually talented people.
To solve the problems of our society through culture, I created “NOKS”.
Now it is important to find people who can be completely trusted in implementing these ideas. “NOX” should become a real forge of such personnel. I constantly convey my ideas to managers, educate a new generation of producers, trust them with my projects and help them implement them.
Before the advent of modern portable audio sources, digital signal and music, the process of recording and reproducing sound was long haul development. At the turn of the XIX-XX centuries. The music industry had a certain system, which included: concert and touring activities, sale of sheet music and instruments. In the 19th century, the main form of musical goods was printed music. At the end of the 19th century, the emergence of devices for recording and reproducing sound, and as a consequence the emergence of record companies, led to a significant change in the structure of the music industry and the emergence of such a phenomenon as the music business at the beginning of the 20th century.
Human nature is such that he cannot imagine life without sounds, harmony and musical instruments. For several thousand years, musicians have honed their skills in playing the lyre, jew's harp, lute or cistre. But in order to please the ears of high-ranking customers, the presence of a troupe of professional musicians was always required. Thus, the need arose to record music with the possibility of its further playback without human intervention. In addition, the music business owes its origins primarily to the advent of sound recording.
It is believed that the first device for reproducing sound was the invention of the ancient Greek inventor Ctesibius - "hydravlos" . The first descriptions of this design are found in the manuscripts of late antique writers - Heron of Alexandria, Vitruvius and Athenaeus. In 875, the Banu Musa brothers, borrowing an idea from the manuscripts of the ancient Greek inventor, presented to the world their analogue of a device for reproducing sounds - "water organ" (Fig. 1.2.1.). Its operating principle was extremely simple: a uniformly rotating mechanical roller with skillfully placed protrusions struck vessels with different amounts of water, which affected the pitch of the sounds, thus causing the filled tubes to sound. A few years later, the brothers presented the first “automatic flute”, the operation of which was also based on the principle of a “water organ”. Until the 19th century, it was the inventions of the Banu Musa brothers that were the only available method of programmable sound recording.
Rice. 1.2.1. Invention of the Banu Musa brothers - "water organ"
Since the 15th century. The Renaissance era was covered by the fashion for mechanical musical instruments. The parade of musical instruments with the principle of operation of the Banu Musa brothers opens - a barrel organ. In 1598 the first musical clock appeared, in mid-16th century V. - music boxes. Also, the initial attempts at mass distribution of music were the so-called "ballads-leaflets" - poems printed on paper with notes at the top of the sheet, which first appeared in Europe in the 16th-17th centuries. This method of distribution was not controlled by anyone at that time. The first consciously controlled process of mass distribution of music was the replication of sheet music.
In the first half of the 19th century, the trend of development of mechanical musical instruments continued - boxes, snuff boxes - all these devices had a very limited set of melodies and could reproduce a motif previously “saved” by the master. It was not possible to record the human voice or the sound of an acoustic instrument with the possibility of further reproduction until 1857.
The world's first sound recording apparatus is - phonautograph (Fig. 1.2.2.), which was invented in 1857 by Edouard Leon Scott de Martinville. The principle of operation of the phonautograph was to record a sound wave by capturing vibrations through a special acoustic horn, at the end of which a needle was located. Under the influence of sound, the needle began to vibrate, drawing an intermittent wave on a rotating glass roller, the surface of which was covered with either paper or soot.
Rice. 1.2.2.
Unfortunately, Edward Scott's invention was unable to reproduce the recorded fragment. A few years ago, a 10-second fragment of a recording was found in a Paris archive. folk song"Moonlight", performed by the inventor himself on April 9, 1860. Subsequently, the design of the phonautograph was taken as the basis for the creation of other devices for recording and reproducing sound.
In 1877, the creator of the incandescent lamp, Thomas Edison, completed work on a completely new sound recording device - phonograph (Fig. 1.2.3.), which a year later he patented in the relevant US department. The principle of operation of the phonograph was reminiscent of Scott's phonautograph: a wax-coated roller acted as a sound carrier, the recording of which was carried out using a needle connected to a membrane - the progenitor of the microphone. Catching sound through a special horn, the membrane activated a needle, which left indentations on the wax roller.
Rice. 1.2.3.
For the first time, recorded sound could be played back using the same device on which the recording itself was made. However, the mechanical energy was not enough to achieve the nominal volume level. At that time, Thomas Edison's phonograph turned the whole world upside down: hundreds of inventors began experimenting with the use of various materials to cover the carrier cylinder, and in 1906 the first public audition concert took place. Edison's phonograph was applauded by a packed hall. In 1912 the world saw disc phonograph , in which a disk was used instead of the usual wax roller, which significantly simplified the design. The appearance of the disc phonograph, although it was of public interest, was from the point of view of the evolution of sound recording practical application never found it.
Subsequently, starting in 1887, the inventor Emil Berliner actively developed his own vision of sound recording using his own device - gramophone (Fig. 1.2.4.). As an alternative to the wax drum, Emil Berliner preferred the more durable celluloid. The recording principle remained the same: horn, sound, needle vibrations and uniform rotation of the disc-record.
Rice. 1.2.4.
Experiments that were carried out with the rotation speeds of the recorded disk-record made it possible to increase the recording time of one side of the record to 2-2.5 minutes at a rotation speed of 78 revolutions per minute. The recorded disk-plates were placed in special cardboard covers (less often leather), which is why they later received the name “albums” - in appearance they were very reminiscent of photo albums with city sights, sold everywhere in Europe.
The cumbersome gramophone was replaced by a device improved and modified in 1907 by Guillon Kemmler - gramophone (Fig. 1.2.5.).
Rice. 1.2.5.
This device had a small horn built into the body, with the ability to place the entire device in one compact suitcase, which led to the rapid popularization of the gramophone. In the 1940s A more compact version of the device appeared - a mini-gramophone, which became especially popular among soldiers.
The appearance of records significantly expanded the music market, since, unlike sheet music, absolutely any listener could purchase them. Long years gramophone records were the main recording media and the main musical product. The gramophone record gave way to other media musical material only in the 1980s. Since the early 1990s. and to this day, record sales account for a few or even fractions of a percent of the total turnover of audio products. But, even after such a decline in sales, the records did not disappear and have retained their insignificant and small audience among music lovers and collectors to this day.
The advent of electricity marked the beginning of a new stage in the evolution of sound recording. Starts in 1925 - "electric recording era" using a microphone and an electric motor (instead of a spring mechanism) to rotate the record. The arsenal of devices that allow both sound recording and its further playback has been replenished with a modified version of the gramophone - electrophone (Fig. 1.2.6.).
Rice. 1.2.6.
The advent of the amplifier made it possible to take sound recording to a new level: electroacoustic systems received loudspeakers, and the need to force sound through a horn became a thing of the past. All physical efforts of a person began to be performed by electrical energy. All these and other changes improved acoustic capabilities, and also increased the role of the producer in the recording process, which radically changed the situation in the music market.
In parallel with the recording industry, radio was also beginning to develop. Regular radio broadcasting began in the 1920s. At first, actors, singers, and orchestras were invited to popularize new technologies on the radio, and this contributed to the emergence of a huge demand for radios. Radio became a necessity for a huge audience and a competitor to the phonograph industry. However, a direct dependence was soon discovered on the sound of the records on the air and the increase in sales of these records in stores. There was an increased need for music commentators, the so-called “disc jockeys,” who did not just put records on the player, but helped promote new recordings on the music market.
During the first half of the 20th century, the basic model of the music industry underwent significant changes. Sound recording, radio and other achievements of scientific and technological progress have greatly expanded the original audience of the music business and contributed to the emergence and spread of new musical styles and directions, for example electronic music. They offered the public a more attractive product and organically fit into the forms that were common in the 19th century.
One of the main problems with sound recording devices of that time was the duration of sound recording, which was first solved by the Soviet inventor Alexander Shorin. In 1930, he proposed using film film as an operational recording, passing through an electrical recording unit with constant speed. The device was named shorinophone , but the quality of the recording remained suitable only for further voice reproduction; about 1 hour of recording could already be placed on a 20-meter film.
The last echo of electromechanical recording was the so-called “talking paper”, proposed in 1931 by the Soviet engineer B.P. Skvortsov. Sound vibrations were recorded on plain paper using a pen drawing with black ink. Such paper could be easily copied and transmitted. To play back what was recorded, a powerful lamp and photocell were used. In the 1940s last century were already conquered by a new method of sound recording - magnetic.
The history of the development of magnetic sound recording almost all the time ran parallel to mechanical recording methods, but remained in the shadows until 1932. Back at the end of the 19th century, inspired by the invention of Thomas Edison, the American engineer Oberlin Smith studied the issue of sound recording. In 1888, an article was published devoted to the use of the phenomenon of magnetism in sound recording. Danish engineer Waldemar Poulsen, after ten years of experimentation, received a patent in 1898 for the use of steel wire as a sound carrier. This is how the first sound recording device appeared, which was based on the principle of magnetism - telegraph . In 1924, inventor Kurt Stille improved the brainchild of Waldemar Poulsen and created the first magnetic tape-based voice recorder. IN further evolution magnetic sound recording, the company AEG intervened, releasing a device in mid-1932 Tape recorder-K 1 (Fig. 1.2.7.) .
Rice. 1.2.7.
By using iron oxide as a film coating, BASF revolutionized the world of audio recording. Using alternating current bias, engineers achieved a completely new sound quality. From 1930 until 1970, the world market was represented by reel-to-reel tape recorders of a wide variety of form factors and with a wide variety of capabilities. Magnetic tape opened creative doors for thousands of producers, engineers and composers who were able to experiment with sound recording not on an industrial scale, but right in their own apartment.
Such experiments were further facilitated by the emergence in the mid-1950s. multi-track tape recorders. It became possible to record several sound sources on one magnetic tape at once. In 1963, a 16-track tape recorder was released, in 1974 - a 24-track tape recorder, and 8 years later Sony proposed an improved digital recording scheme for the DASH format on a 24-track tape recorder.
In 1963, Philips introduced the first compact cassette (Fig. 1.2.8.), which later became the main mass format for sound reproduction. In 1964, mass production of compact cassettes was launched in Hannover. In 1965, Philips initiated the production of music cassettes, and in September 1966, the first products of the company's two-year industrial experiments went on sale in the United States. The unreliability of the design and the difficulties that arose with recording music prompted manufacturers to further search for a reference storage medium. These searches became fruitful for the Advent Corporation, which in 1971 introduced a cassette based on magnetic tape, the production of which used chromium oxide.
Rice. 1.2.8.
In addition, the advent of magnetic tape as an audio recording medium gave users the previously unavailable opportunity to independently replicate recordings. The contents of the cassette could be transferred to another reel or cassette, thereby obtaining a copy that was not 100% accurate, but quite suitable for listening. For the first time in history, the medium and its contents ceased to be a single and indivisible product. The ability to replicate recordings at home has changed the perception and distribution of music among end users, but the changes have not been radical. People still bought cassette tapes because it was much more convenient and not much more expensive than making copies. In the 1980s the number of records sold was 3-4 times more than cassettes, but already in 1983 they divided the market equally. Compact cassette sales peaked in the mid-1980s, and a noticeable decline in sales began only in the early 1990s. .
Subsequently, the ideas of sound recording, laid down at the end of the 19th century by Thomas Edison, in the second half of the 20th century led to the use of a laser beam. Thus, magnetic tape was replaced by "era of laser-optical sound recording" . Optical sound recording is based on the principle of forming spiral tracks on a compact disc, consisting of smooth areas and pits. The laser era made it possible to represent a sound wave into a complex combination of zeros (smooth areas) and ones (pits).
In March 1979, Philips demonstrated the first prototype of a compact disc, and a week later the Dutch concern entered into an agreement with the Japanese company Sony, approving a new standard for audio discs, which were put into production in 1981. The CD was an optical storage medium in the form of a plastic disk with a hole in the center; the prototype of this medium was the gramophone record. The CD held 72 minutes of high-quality audio, and was also significantly smaller than vinyl records, measuring only 12 cm in diameter versus 30 cm for vinyl, with almost twice the capacity. Undoubtedly, this made it more convenient to use.
In 1982, Philips presented the first CD player, which surpassed all previously presented media in terms of playback quality. The first commercial album recorded on a new digital medium was the legendary "The Visitors" by ABBA, which was announced on June 20, 1982. And in 1984, Sony released first portable CD player - Sony Discman D-50 (Fig. 1.2.9.), the cost of which at that time was $350.
Rice. 1.2.9.
Already in 1987, sales of CDs exceeded sales of gramophone records, and in 1991, CDs had already significantly displaced compact cassettes from the market. At the initial stage, the CD retained the main trend in the development of the music market - it was possible to put an equal sign between an audio recording and a carrier. You could only listen to music from a disc recorded at the factory. But this monopoly was not destined to last long.
Further development of the era of laser-optical CDs led to the emergence of the DVD-Audio standard in 1998, entering the audio market with a different number of audio channels (from mono to five-channel). Beginning in 1998, Philips and Sony promoted an alternative compact disc format, Super Audio CD. The two-channel disc made it possible to store up to 74 minutes of sound in both stereo and multi-channel formats. A capacity of 74 minutes has been determined opera singer, conductor and composer Noria Oga, who at that time also served as vice president of Sony Corporation. In parallel with the development of CDs, handicraft production - copying media - also developed steadily. For the first time, record companies began to think about the need for digital data protection using encryption and watermarking.
Despite the versatility and ease of use of CDs, they had an impressive list of disadvantages. One of the main ones was excessive fragility and the need for careful handling. The recording time of CD media was also significantly limited and the recording industry was intensely looking for an alternative option. The appearance of a magneto-optical mini-disc on the market went unnoticed by ordinary music fans. Mini-Disk(Fig. 1.2.10.)- developed by Sony back in 1992, has remained the property of sound engineers, performers and people directly related to stage activities.
Rice. 1.2.10.
When recording a mini-disc, a magneto-optical head and a laser beam were used, cutting through areas with a magneto-optical layer at high temperature. The main advantage of the mini-disc over traditional CDs was its improved security and longer service life. In 1992, Sony introduced the first player for the mini-disc media format. The player model gained particular popularity in Japan, but outside the country, both the first-born Sony MZ1 player and its improved descendants were not accepted. One way or another, listening to a CD or mini-disc was more suitable exclusively for stationary use.
At the end of the 20th century came "era of high technology" . The advent of personal computers and the global Internet opened up completely new opportunities and significantly changed the situation in the music market. In 1995, the Fraunhofer Institute developed a revolutionary audio compression format - MPEG 1 Audio Layer 3 , which was shortened to MP3. The main problem of the early 1990s. in the field of digital media was the unavailability of sufficient disk space to accommodate a digital composition. The average size of the hard drive of the most sophisticated personal computer at that time hardly exceeded several tens of megabytes.
In 1997, the first software player entered the market - "Winamp" , which was developed by Nullsoft. The emergence of the mp3 codec and its further support from CD player manufacturers led to a gradual decline in CD sales. Choosing between sound quality (which only a small percentage of consumers actually experienced) and the maximum possible number of songs that could be recorded on one CD (on average, the difference was about 6-7 times), the listener chose the latter.
Over the course of several years, the situation has changed dramatically. In 1999, 18-year-old Sean Fanning created a specialized service called - "Napster" , which sent shockwaves through the entire music business era. With the help of this service, it has become possible to exchange music, recordings and other digital content directly via the Internet. Two years later, this service was closed for copyright infringement by the music industry, but the mechanism was launched and the era of digital music continued to develop uncontrollably: hundreds of peer-to-peer networks, the operation of which was very difficult to quickly regulate.
A radical change in the way we receive and listen to music occurred when three components came together: the personal computer, the Internet and portable flash players (portable devices capable of playing music tracks recorded on a built-in hard drive or flash memory). In October 2001, Apple appeared on the music market, introducing the world to the first generation of a completely new type of portable media player - iPod (Fig. 1.2.11.), which was equipped with 5 GB flash memory, and also supported playback of audio formats such as MP3, WAV, AAC and AIFF. In size it was comparable to two compact cassettes folded together. Along with the release of the concept of a new Flash player, the company's CEO Steve Jobs developed an intriguing slogan - "1000 songs in your pocket" (translated from English - 1000 songs in your pocket). At that time, this device was truly revolutionary.
Rice. 1.2.11.
Further, in 2003, Apple proposed its own vision of distributing legal digital copies of compositions via the Internet through its own online music store - iTunes Store . At that time, the total database of songs in this online store was over 200,000 tracks. Currently, this figure exceeds 20 million songs. By signing agreements with recording industry leaders such as Sony BMG Music Entertainment, Universal Music Group International, EMI and Warner Music Group, Apple has opened a completely new page in the history of recording.
Thus, personal computers have become a means of processing and reproducing audio recordings, flash players have become a universal means of listening, and the Internet has acted as a unique means of distributing music. As a result, users received complete freedom of action. Equipment manufacturers have met the consumer halfway by providing support for playing the compressed MP3 audio format not only in flash players, but in all AV devices, from music centers, home theaters and ending with the conversion of disc CD players into CD/MP3 players. Thanks to this, music consumption began to grow at an incredible rate, and the profits of copyright holders began to fall just as steadily. The situation could not be changed by new, more advanced SACD disc formats, which were designed to replace CDs. Most people preferred these innovations to compressed audio and other revolutionary innovations, for example, the iPod music player and its many analogues.
Using systems of the simplest generation of sound signals on personal computers, computer music began to be created in huge quantities. The Internet, along with digital technology, has made it possible for producers to create and distribute their own music. Artists used the network for album promotion and sales. Users were able to quickly receive a recording of almost any piece of music and create your own music collections without leaving home. The Internet has expanded the market, increased the variety of musical material, and contributed to the active adoption of digital technologies in the music business.
The era of high technology has had a huge impact on musical culture, contributed to the emergence and further development of the music industry, and, as a result, to the development of the music business. Since that time, alternative options have emerged for artists to enter the music market without the participation of large record companies. Old patterns of product distribution are under threat. Over the past few years, 95% of music on the Internet has been pirated. Music is increasingly no longer sold, but freely exchanged on the Internet. The fight against piracy is taking on unprecedented proportions as record labels lose profits. The computer industry generates more revenue than the music industry, and this has allowed music to be used as a product to promote digital sales. The impersonality and homogeneity of musical material and performers has led to market saturation and the predominance of background functions in music.
The situation in beginning of XXI century, is in many ways reminiscent of what happened in the music industry at the turn of the 19th-20th centuries, when new technologies broke established traditions, and records and radio actively took root in the music business. This led to the fact that by the middle of the century the music industry had formed an almost new basic structure, on which the “era of high technology” at the turn of the 20th and 21st centuries. had a detrimental effect.
Thus, it should be concluded that the entire history of the development of sound data carriers is based on the heredity of the achievements of previous stages. Over 150 years, the evolution of music industry technology has come a long way of development and transformation. During this period, new, more advanced sound recording and playback devices repeatedly appeared, ranging from the phonautograph to compact discs. The first sprouts of recordings on optical CDs and the rapid development of HDD drives in the late 1980s. In just one decade they have crushed the competition of many analogue recording formats. Despite the fact that the first optical music discs were not qualitatively different from vinyl records, their compactness, versatility and further development The digital direction expectedly ended the era of analog formats for mass use. New era High technologies are significantly and rapidly changing the world of the music business.
Competition in show business has led to the emergence of music industry marketing. When audio art became an entrepreneurial field, he needed tools to promote his products. Marketing in music is based on traditional strategies and methods, but, of course, has many specific features and characteristics.
Marketing concept
The consolidation of production, the production of more and more high-quality goods leads to the fact that they become necessary special efforts to stimulate purchasing activity. As productivity increases, the first ones arise. Initially, it was aimed at improving goods and production, but modern ideas about promotion are gradually being formed as a special activity aimed at satisfying needs through exchange. Today, marketing refers to special communication between the manufacturer and the buyer, which leads to the satisfaction of needs. It is designed to help the buyer and seller achieve their goals. In this sense, music industry marketing is also a specific interaction between producer and consumer. The producer offers a product on the audio market that will allow the listener to satisfy his needs.
The Emergence of Music Marketing
The emergence of music marketing is associated with the formation of the entertainment and leisure industry. When show business appears, an area in which people earn money by providing entertainment services, there is also a need to satisfy the needs of the market as fully as possible. The more competition grew, the stronger the need for special efforts to sell the product being created was felt. The beginnings of music marketing can be found in ancient times. For example, Mozart’s father essentially performed the function of a musician’s producer: he selected the repertoire and conducted propaganda activities in order to organize concerts. The composer and performer was a means to make a profit and to satisfy the public's needs for entertainment. But in the full sense of the word, music marketing appears only at the stage of high development of the entertainment industry. Only with market oversaturation and great competition does the need for thoughtful promotion of a musical product arise.
Formation of the music industry
Show business includes several industries: cinema, theater and entertainment, music. The audio industry is a branch of the global economy that makes profit through the sale of a music product or service. Man has felt the need to listen to music since ancient times; the phenomenon of its impact on the psyche has not been fully studied. However, it is obvious that it is closely related to emotions, which are a deep human experience. It is with them that the importance of music in human life is associated. Since there is demand, then naturally there is supply. The music industry arises along with the possibilities of mass distribution of audio products, that is, along with technical progress. Show business appears along with public spectacles; researchers determine the date of its birth in different ways: from the 11th to the 19th centuries. But since the first legislative acts regulating the organization of public shows appeared only in the middle of the 19th century, this is where the countdown is traditionally made. The music industry was formed with the advent of the gramophone recording, which began to distribute the musical product to the masses. The next revolutionary stages are associated with the emergence of radio and television. Subsequently, the industry is only gaining momentum, sound carriers are improving, circulation and competition are growing. Every year the music industry market continues to increase by several percent, with especially noticeable growth in the Internet segment. Today, without promotion, it is impossible to realize a single musical project, even with the most talented performers.
Music as a commodity
Songs, performances of audio works, musical groups and soloists are a means of generating profit. The peculiarity of music as an object of promotion is that it simultaneously combines the properties of a product and a service. An audio product must satisfy the listener's needs, have a certain quality and an appropriate price, it must have prestige and consumer value, like any product. In addition, music, like a service, is inseparable from the performer, it is intangible, and the result of its consumption cannot be predicted. At the same time, an audio product is a product because it has a price, quality, can satisfy a need and requires promotion from the manufacturer to the buyer.
Profession: producer
The music producer plays the most important role in the creation and promotion of a musical product. He conceives the product, selects the performer and the material in accordance with the needs of the market. He understands market trends well, can influence the tastes and desires of the public, and is able to anticipate the needs of listeners. The music producer also financially ensures the creation of the product, he finds equipment, buys music, lyrics, pays for the work of performers and accompanying personnel. And another important function of the producer is to ensure product sales, he plans marketing events, organizes tours and concerts. The producer is a central figure in the music industry, he is a marketing and management specialist at the same time.
Marketing goals and objectives
Music industry marketing, like any other, has the most important goal - increasing sales. But in order to increase demand, it is necessary to solve related problems. An important goal of music marketing is to spread awareness about the product and artist. Only high awareness can lead to a purchase. Another goal of marketing is to create a product that satisfies the needs of listeners. Therefore, each performer must have not only a unique quality, but also a unique positioning. Music marketing must maintain constant communication between the listener and the performer, take into account changes in the perception of the product, and form a loyal attitude towards the product on the part of the consumer.
Promotion objects
There are several promotion objects in music marketing. First of all, it is a performer or a group. When a new name appears on the music market, marketing tasks become to create awareness of it among the target audience. Promotion of groups and soloists begins with the development of positioning, and only then communication is planned, demand is formed and stimulated. A performer also needs branding; every musician strives to become a brand, because this leads to constant high sales. An audio product can also be the object of promotion. A record, a concert, a film - all require a thoughtful promotional plan to maximize demand and profits. Music hits are most often the result of clever marketing efforts.
Marketing strategy
A long-term product development plan is called a marketing strategy. In order to develop a strategy, you need to have a good understanding of the state of the market and the specifics of the segment to which the product is being promoted. Music marketing how special activity cannot apply all existing marketing strategies. This requires a special approach that takes into account the characteristics of the musical product. The most appropriate intensive growth strategies are those based on increasing marketing efforts in existing markets. It is also possible to apply a deep market penetration strategy, in which case marketing programs stimulate the purchase of more goods, as well as services. Strategies must promote long-term and sustainable demand, so the image of the artist is extremely important in the music market, which must be carefully planned and maintained.
Music Marketing Target Audience
Marketing of the music industry is based on the concept, that is, on identifying a special target audience for which a given product is being developed. Defining a segment is extremely important for successfully marketing a product. The identification of the target audience in the music market is most often done according to the following parameters: age, gender and lifestyle. There is a product for youth, children and mature people, music for men and women. Lifestyle, interests, tastes are also criteria for identifying the target audience. You can see that today in all markets, including music, demassification is taking place, products are being produced for increasingly narrow audiences. So, there is music for fans of Korean TV series or for goths. This allows you to sell more goods.
Promotion methods
There are four main methods of achieving goals in marketing: demand stimulation, direct sales, PR and advertising. All four elements of the marketing mix are used in promoting a music product, but are used more often than stimulating demand. Promoting a song without advertising and PR is impossible. In order for albums to be bought, it is necessary to create awareness and demand, and for this, methods such as direct media advertising are used - posting information materials in the media, as well as BTL tools - event marketing, communications through social media, Internet Marketing.
Music product promotion plan
Based on the chosen marketing strategy, a promotion plan for the artist or group is developed. At the first stage, it is necessary to determine the goals of promotion, this could be, for example, creating awareness or maintaining fame. Then activities are planned in three areas: promotion (placing the product in television and radio programs), publicity (creating information noise around the product, launching legends and gossip, giving interviews, placement in ratings, creating journalistic materials), performance (organizing live communication between the performer and listener, organization of concert performances, autograph sessions). Musical groups and soloists must be constantly heard, so it is necessary to use a variety of advertising and PR means to ensure the constant presence of the performer in the listener’s information field.
Brands in music
Marketing in the musical arts is initially associated with the creation of stars, that is, brands. In order for the listener to trust the performer and feel sympathy and affection for him, it is necessary to carefully consider the image of the future star. Promotion of groups or soloists begins with the creation of a name, which should contain a certain philosophy, a message, on the basis of which communication with listeners will subsequently be planned. The next step is to create a personal story. Fans want to know everything about their idol, so they will start looking for information about his personal life, past, and the producer must take care of the selling myth in advance. For example, the legend of the mega-popular group “Tender May” was a story about children from an orphanage, this gave the group an additional aura of pity and contributed to their popularity. It is also necessary to consider appearance performer so that it meets the expectations of the target audience. In addition, you should formulate a key message that will need to be reinforced in the minds of listeners. For example, Stas Mikhailov is positioned as a singer for mature, divorced women, and this is his competitive advantage. Once all brand elements have been created, it is necessary to systematically maintain the performer's image.
Global experience in music marketing
Today, musical hits are born not only thanks to the talent of composers and performers, but most often thanks to the efforts of producers. Modern industry has put the process of star birth on stream. Of course, you need talented material to get started, but what you need more is a competent producer who is familiar with effective marketing methods for producing music brands. A striking example of such work by producers is, for example, Lady Gaga, Justin Bieber or the Viagra group.
The famous British media retailer - HMV (His Master's Voice) - has been declared bankrupt since Monday. Commercial network, which had existed since 1921, could not withstand the competition with online sales, which had become the main form of music distribution. The advent of new technologies requires new approaches to regulation. Study Overview Glinna Lunny
The need to adapt the existing copyright regulation regime is long overdue. In his study “The Mercantilist Turn in Copyright” (Copyright's Mercantilist Turn: Do We Need More Copyright or Less? Tulane Public Law Research Paper No. 12-20). Professor of Law at Tulane University Glynn Lunney (Glynn S. Lunney) analyzes the position of supporters of tightening copyright regulation. Passing laws such as SOPA And PIPA, in their opinion, will contribute to income growth in the creative industry. Mr. Lunny doubts the viability of such an argument - it seems that by tightening copyright regulation, all that can be achieved is that the state will artificially redirect part of the income from other sectors of the economy to the creative industry. But at the same time, modern digital technologies form new mechanisms for stimulating creative individuals to create new cultural values, which is confirmed by the results of his empirical studies of the music industry.
Stages of the creative industry
New technologies have often led to radical transformations in various spheres of human activity. The advent of Gutenberg's first printing press, and later devices for sound and video recording, significantly reduced the cost of copying and made it possible to distribute creative works without the direct participation of their authors. In the early stages of the development of these technologies, inventors were able to successfully distribute (not for free, however) copies of multimedia content without paying royalties to their authors. For example, at the end of the 19th century, the mechanical piano (pianola) and punched tapes on which notes were recorded became actively widespread, which made it possible to massively copy and distribute musical compositions.
In such conditions, composers and score publishers risked being left without income. To resolve the growing conflict, an agreement beneficial for both parties was reached. Copyright began to extend to copies of works, and musicians, together with score publishers, received the right to receive income from distributed copies, and record companies minimized the possibility of score publishers monopolizing the market and received guaranteed access to musical compositions for a fee. This model of copyright protection is still in effect both in the music industry and in other sectors of the creative industry. There is a concept according to which such a model allows reducing transaction costs, but it remains insensitive to changes in economic conditions.
The digital rebirth of the music industry
The widespread adoption of digital technologies over the past few decades has significantly transformed our society. Co-Director of the Berkman Center for Internet and Society at Harvard University Yochai Benkler (Yochai Benkler) in his book “The Wealth of Networks” notes that digital technologies have made it possible to form a networked information economy that combines both market and non-market elements. Such an economy operates on the basis of a universally distributed technological infrastructure (computer equipment is owned and controlled by individuals). The “raw materials” are public goods (information, knowledge, culture), the “marginal social value” of which is actually zero. However, human creativity and the computing capabilities of technology are limited resources. And social systems of production and exchange (peer-to-peer) make it possible to use these resources more efficiently.
Digital technology has transformed the music industry. Now, to record and distribute a music album, for example, it is enough to have not very expensive recording equipment, a computer and Internet access. As a result, musicians no longer need to turn to well-known recording studios, which control most of the distribution channels for music content. Reducing costs and risks when creating digital content makes it possible to destroy former barriers to entry into the music market, which contributes to the formation of a highly competitive environment and the emergence of new ones creative works. But at the same time, music products are actually “leaking” out of the hands of their producers into a digital environment in which they are increasingly less able to control its distribution, and industry revenues have declined. Does this affect the motivation of creative individuals to create new cultural values?
The government strengthens support for copyright
To survive in the music industry, record corporations are forced to adapt to the new conditions of the digital age. But instead of supporting a competitive environment in the industry, the US government is pursuing an active domestic and foreign policy aimed at maintaining the existing “status quo.” The most significant example of strengthening the role of the state in regulation intellectual property at the internal level is the adoption by the White House in 2010 of the General Strategic Plan for the Protection of Intellectual Property, which is aimed more at combating counterfeiting than at reforming legislation in the field of intellectual property protection, incl. and copyright.
In his article, Tulane University Law Professor Glynn Lunney notes that such a US departure from neoclassical approaches to international trade may be premature. Proponents of tightening copyright regulations argue that such actions will contribute to economic growth, job creation and income growth in the creative industries. But copyright advocates often overlook how tightening copyright regulation will affect other sectors of the economy.
As an analytical model for considering this interaction, Mr. Lunney suggests using Frederic Bastiat's broken window paradox, according to which if a boy breaks a glass in a baker's shop, the latter will have to order a new one, which will create a demand for the glassblower's products and glazier's services. But if the glass had remained intact, the baker would have been able to buy new boots with this money. As a result, the economy grew, but no new value was produced for the baker. Similarly, in the creative industry, even if the expansion of the copyright regime creates new incentives for economic growth, this will not always lead to the creation of new values for society. This can lead, for example, to the “pumping” of resources from other sectors of the economy.
Making music without copyright
During the first decade of the 2000s, after the appearance of the first music file-sharing service Napster, industry revenues fell by more than half (see Figure 2).
Figure 2. Volume of music sales (in 2011 prices)
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