Contractual Relationships among Artists, Record Labels, and Artist Management Companies in Japan

Author(s):  
Kazuhiro Ando

Although Japan is the second largest music market in the world, the structure and practices of the music industry are little understood internationally. People overseas need to know how the music business works in Japan so that they can conduct business comfortably. The Japanese music industry has unique features in some respects. First, Japanese record labels remain heavily dependent on traditional physically packaged music although its profitability is much lower than that of digital distribution. Second, full-scale competition in the music copyright management business has just begun. While JASRAC monopolized this market for more than sixty years, the new entrant, NexTone has gradually increased the market share thanks to the frustration experienced by many music publishers and songwriters in their dealings with JASRAC. Third, the relationship between artists and artist management companies is more like an employer-employee relationship than a client-agent relationship. Artist management companies are fully invested in discovering, nurturing, and marketing young artists just the way big businesses handle their recruits. This chapter illuminates practices of the Japanese music industry for an international audience.

Author(s):  
Cecilia Casalegno ◽  
Christian Rainero ◽  
Giacomo Büchi ◽  
Fabrizio Mosca

The analysis and the consideration of the sustainability development throughout the SMEs has been less considered by the academic literature than the one developed by large firms so far, although small and medium enterprises represent the majority of the local businesses in many geographical areas of the world. Since small and medium entrepreneurs usually do not know how to tackle the challenges concerning internationalization and sustainability, a managerial model for underling which kind of relationships and interactions must be built is the real aim of the present chapter. In order to do that the chapter is focused of a limited area, the Piedmont Region (Italy), to deep analyse the relationship SMEs can create and improve with the local institutions, associations, and business partners.


Author(s):  
Anjana Saxena

The transition to digital is changing the music industry. As technology has advanced over recent years, the music industry has consequently undergone a drastic change in the way it operates. This industry-wide shift has its pros and its cons: On one hand, the internet serves as an incredible platform on which anyone can exhibit their talent and potentially build a fan base. On the other hand, the presence of millions of people attempting to do so make it more and more difficult for any one person to stand out, and the reality of file sharing and illegal downloading makes the financial aspect of music much more complex. Regardless of one`s opinion about the road that the music industry has traveled down, a music manager must be flexible enough to keep up with the changes that the industry undergoes. The meaning and role of a “manager” has changed drastically over the last decade as the traditional business model has given way to the “new” music business Traditionally a manager managed an artist’s efforts to get signed to a label and once signed, he/she managed the relationship between the artist and the label. But given the state of labels today the unsigned artist must assume that he/she will never be signed and build a career accordingly. A traditional manager is often unable and ill – equipped to successfully manage and develop an artist’s career in the new environment.


2021 ◽  
Vol 13 ◽  
pp. 386-390
Author(s):  
Han Chen

The global recorded music market grew by 7.4% in 2020, the sixth consecutive year of growth, according to IFPI, the organization that represents the recorded music industry worldwide. Figures released today in IFPI’s Global Music Report show total revenues for 2020 were US$21.6 billion. Growth was driven by streaming, especially by paid subscription streaming revenues, which increased by 18.5%. There were 443 million users of paid subscription accounts at the end of 2020. Total streaming (including both paid subscription and advertising-supported) grew 19.9% and reached $13.4 billion, or 62.1% of total global recorded music revenues. The growth in streaming revenues more than offset the decline in other formats’ revenues, including physical revenues which declined 4.7%; and revenues from performance rights which declined 10.1% – largely as a result of the COVID-19 pandemic. As we have seen, the music market has a huge economic potential on a global scale, then I want to use 40,000 of data in Spotify to analysis people’s average hobbies and build a simple persona.


Author(s):  
Subash Giri

Abstract This paper investigates the current legitimate digital music business trends and models created by the innovation of new digital technologies and examines their pertinence in the Nepalese music industry. Further, it scrutinises neighbouring music markets and juxtaposes the Nepalese music market against their current market trends. Based on eight in-depth semi-structured interviews with executives and stakeholders of different major, medium and independent Nepalese record labels, the paper examines two questions: what is preventing Nepalese recorded music from being found digitally and accessible legally; and what are the opportunities, gaps and requirements that confront the search for a commercially viable route for the optimal digital music business model to make Nepalese music digitally and legally accessible, both locally and globally?


Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki

As an ‘industry’, the music business can be analysed in terms of its micro-economic structure, conduct and performance (Anand and Peterson, 2000; Power and Hallencreutz, 2007; Asai, 2008), infrastructure (Burkart and McCourt, 2004) and restructuring process (Hardy, 1999). This kind of approach tends to lead us to focus fairly narrowly on the dominant players in the production side of the industry, such as the ‘big three’ record labels in the commercial music market (Universal Music Group, Sony Music Entertainment and Warner Music Group). However, it does not deal so clearly with non-mainstream and publicly funded music (Hesmondhalgh, 1997; Fonarow, 2006), and therefore blinkers our view of the many and various actors and actions that comprise the music market. In addition to the record labels and the management they provide, other actors include regulators, copyright owners, publishers, policy makers, sponsors, promoters, musicians, media, critics, audiences, social activists and researchers. A multitude of different and important relationships exist between these actors, most of which are not yet well understood in the marketing literature. The purpose of this chapter is to briefly introduce the key shaping forces behind the contemporary music industry. It first outlines the economic system of music activities, and then explores the role of cultural policy in the music business. It concludes with a review of technology as a significant driving force behind the change in the music industry.


2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Carlos Rojas

Abstract Based on a 2000 novella by Cixin Liu with the same title, Frant Gwo’s 2019 film Wandering Earth has been celebrated as China’s first big-budget science fiction film. As a Chinese film with a global theme that simultaneously targets both a domestic and an international audience, accordingly, the work invites a reflection on the relationship between the local and the global—on how we understand the concept of home, and what it might mean to be home in the world. This essay, accordingly, examines three intersecting ways in which Wandering Earth (both the film and the original novella) explores the relationship between home and the world, including the status of the Earth as an ecological system, the planet’s status as a lived environment, as well as a set of contemporary geopolitical discourses about China’s shifting position within the contemporary world order, and particularly its relationship to the Global South.


2021 ◽  
Vol 18 (2) ◽  
pp. 282-291
Author(s):  
Gülbu Tanriverdi

Religion, which is one of fundamental element that affects and changes culture. One of the most important functions of religions is to unite their members around a common belief. People who share the same belief look at the world from the same window and think that they see the same things through that window.  It is stated that, thanks to religious belief, people are relieved significantly by means of emotional comfort and calmness, coping with death anxiety and seeking wisdom in their illnesses.  In order for nurses to know how the individual's religious beliefs will affect their care; they are expected the relationship between religion, culture and health. Westbeerg proposed an innovative nursing role for faith communities in the mid-1980s, and interest in this area has grown exponentially over the past 25 years.In this review, it is proposed to develop the field by creating a conceptual framework for the field of "Interreligious Nursing", which is based on religion integrated care.   Özet Din, kültürü etkileyen, değiştiren ona süreklilik kazandıran temel unsurlarından birisidir. Dinlerin en önemli işlevlerinden birisi mensuplarını ortak bir inanç etrafında birleştirmeleridir. Aynı inancı paylaşan insanlar dünyaya aynı pencereden bakar ve o pencereden aynı şeyleri gördüklerini düşünürler.  Dini inanç sayesinde insanların duygusal bir rahatlık ve sakinlik yaşadıkları, ölüm kaygısıyla başaçıktıkları ve hatta geçirdikleri hastalıklarda bir hikmet olduğunu düşünerek rahatladıkları belirtilmektedir. Hemşirelerin, bireyin dini inançlarının bakım sürecini nasıl etkileyeceğini bilmek için; din, kültür ve sağlık ilişkisini bilmeleri beklenmektedir.  Westbeerg'in 1980'lerin ortasında iman (inanç) toplulukları için yenilikçi bir hemşirelik rolü önermiş ve son 25 yılda bu alana ilgi katlanarak artmıştır. Bu derlemede dinin entegre adildiği bakımı esas alan “Dinlerarası hemşirelik” alanına yönelik kavramsal çatı oluşturularak, alanın geliştirilmesi önerilmektedir.


1967 ◽  
Vol 14 (8) ◽  
pp. 627-628
Author(s):  
James E. Inskeep

Creative teachers seldom miss the relationship between science and mathematics. Considerable appeal has been made to the apparent similarities found in the mathematics and science curricula. The man in the street almost always puts the scientist and the mathematician in the same category. However, some mathematics teachers and mathematicians react unfavorably to the identification of mathematics with science. The purist will make a distinction. The practitioner will laugh and teach what his children need to know. We do not teach mathematics or science exclusively in the elementary school; we teach mathematics and science. A child leaving our elementary and junior high schools will need to know some of the deductive, axiomatic nature of mathematics. He will also need to know the thrill of experimentation and the excitement of inferential reasoning from empirical data. But, more than this, he will need to know how to mix the two in studying mathematics and science and in applying them to the world about him. This issue of THE ARITHMETIC TEACHER develops the theme of mathematics and science.


Author(s):  
Nuno P. Castanheira ◽  

This paper intends to give a critical reading of Jean-Paul Sartre’s treatment of inter-consciousness relationship as presented in his work L'être et le néant, namely in the chapter L'existence d'autrui. Our main objective is to understand the treatment Sartre gave the referred issue in that particular work, but also to show that his theoretical standpoint falls short on a true determination of the meaning of the experience of Otherness for consciousness. Our method for approaching Sartre’s views stands on a detailed reading of the author’s own analyses, trying to show their limited scope and providing a different, less conflictual treatment and interpretation for the presented data. In Sartre’s view, consciousness (the Pour-soi, as he calls it, i.e., non-positional consciousness) is not inhabited by an ego, that is, it doesn’t have an ego until one becomes an object to it, similar to the remaining objects of the world, which occurs with the Other’s entry in the world. That being, Sartre’s fundamental problem is to know how is it possible for consciousness to constitute an ego as an object - as an object among other objects, but whose experience is, for consciousness, different from the one it makes of all other objects - , and, on a second step, to state its identity with that ego, i.e., to be that ego, without loosing, in the process, its subjective spontaneity and freedom. Taken as a subject/object kind of relation, as Sartre affirms it, the inter-consciousness relationship is condemned to failure, doomed to be a permanent struggle for domination of one over an other. Our analysis of the sartrian data as put forward in L'Être et le néant will show that Sartre’s thesis about inter-consciousness relationship is one-sided and that a more comprehensive interpretation of the above-mentioned relationship is possible, an interpretation based in the view that envisaging the Other as an object is founded on an anticipation of its subjectivity and of consciousness’ own subjectivity, that is, on a founding intersubjective relationship. According to our viewpoint, if it is true that an ego can be an object, it is already as a degraded ego and not as the ego properly said, born out of a relationship between subjects. The experience of Othemess shows consciousness, originally and immediately, what it can and should be, and that being has a positivity that remains an other for a concrete, knowable ego. That founding experience, which takes place at an affective level, has the meaning of an experience of the limits which, when surpassed, will allow consciousness to reach a higher dignity of being. Therefore it is as anticipation and project, as desire, as afectivity, that the relationship to an other takes place, as a pure relationality without masks, and not as a dialectical conflict, as Sartre intends to show with his occasionally convincing arguments.


2020 ◽  
Vol 13 (2) ◽  
pp. 187-199 ◽  
Author(s):  
Sarah Horton

The penumbra (or shadow) of the non-verbal is a phrase taken from Sarat Maharaj’s article ‘Know-how and no-how’ in which Maharaj describes a kind of making that does not solely rely on the verbal but on what he calls the ‘sticky’, somatic and material qualities of the artwork. He argues that these qualities exist independently of the discursive side of the process. This article explores the complicated dynamic between the material, ‘sticky’ aspects of making and the various texts that were written alongside the making in my own Ph.D. How can the practical and written components work to support rather than usurp each other? I will argue that the relationship between theory (as written) and theory (as practice) forms concertina-like push-and-pull tensions that each inform the other. Using Pierre Bourdieu’s concept of ‘habitus’ the material, or ‘sticky’, qualities of artworks may be seen to link to our bodily and haptic understanding of the world. This discussion has implications for anyone undertaking practice-based research who wishes to gain a deeper understanding of the theory-practice dynamic within it.


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