Canada's Music Industry: A Case Study

Starting a career in the music industry is a difficult task. There are many important steps that you need to take along the way, and the path is often long and confusing. The people that you meet along the way will guide you along this path, and hopefully help you become a music industry success story. The goal is to not let your message get jumbled and distorted beyond your control and lead you to disaster.

With the fast rising technology and the closer world community, the music industry has changed dramatically in this modern world. In this case, I will choose an American rock band Paramore as a case study. I will first start with an overview and a brief history of the band, afterwards I will focus on the main four music business areas, which are Artist Management, Record Companies, Music Publishing and Live Performance, examining how they operate in the industry and their relationship between each area and with the band. Finally, I will finish up with a conclusion and my own views.

As a music publisher, one must interact with and have connections with A&R executives, producers,

Within industry there is revolution. Innovation for development and a burning desire for further progression must be realized or risk of failure increases exponentially. Does consistent hard work not correlate with well earned success? Does perseverance parallel evolution? The music industry is not impervious to failure and its institutes must evolve to survive in an ever-changing world of technological advancements. These advancements are utilized and implemented industry wide, including via event promotion to solidify the future of music as a whole. Event marketing, albeit not a “modern term”, has proved vital to the music industry time and time again as it constantly evolves as the music industry business model is redefined. Event marketing and promotion has been defined and consistently redefined as use of technologies upturn.

The Society of Composers, Authors and Music Publishers of Canada (SOCAN) is a non-profit organization that represents the Canadian performing rights of millions of music creators and publishers all over the world. Its predecessors have been in Canada since 1925 but was officially founded in 1990. In this paper, you will learn about SOCAN and how it operates, their goal and purpose, and how to become a member and how it will benefit you and even the rest of Canada. Eric Baptiste (CEO of SOCAN) is one of the most influential leaders in the music industry. With all his experience in the music industry it is no wonder why the organization has grown its membership base and increased the number of organizations licensed to use music to record-high

Industry opportunities. I will cover the use of online portals to find opportunities in the music industry, using teaching opportunities, competitions, collaborative opportunities and touring/performing opportunities as examples. In this section I will draw on Brown (2011) and Madden (2004) and use the example of indaba.com. I will include musician’s online forum discussions as a source of

Music will never be obsolete, the medium may diminish but the music will remain. These pivotal issues are where we as individuals who become formally educated in the industry work to keep it afloat. These issues range from artists not receiving or earning very little royalty payments, artists and musicians having a harder time becoming mainstream due to the ease of access to technology, cancelled concerts because of low ticket sales, and rising ticket prices and inflation from resellers; The list is vast. The key to researching one of these fascinating topics is first identifying my goal for the research. In finding a topic that I believe progresses the industry I need to present a diligent case study that I nurtured. At first, I thought about building a new module to the form new standards for RIAA Certifications but then I realized that Adele has sold over 7 million copies of “25” and is currently number one on Billboard. This is the follow up album to “21” that never left the charts before her next album was released. I also recalled a night of watching a jaw-dropping episode of Scandal only to have Beyoncé unhinge what was left of my mandible when she released “Beyoncé” out the clear digital skies. It appealed to me because I can recall as a middle schooler anticipating first week sales of my favorite artists. I am not sure if that was normal 11 year old behavior but I will own it! We can agree that most of these artists possess a unique spark that allows them to prevail against the negative elements, so researching their creative footprint would not necessarily benefit upcoming artists as having a niche of their own is key. In my navigation through technology and my observations of the industry I have noticed a general upset when it comes to award shows as it pertains to nominees and

Lucian Charles Grainge, born on February 29, 1960, is the present chairman and chief executive officer of Universal Music Group, the most famous music corporation in the world that also owns one of the largest publishing companies around. I have decided to conduct my research on this particular person of interest because of his recent work that has inspired a generation of artists and music lovers. Over the course of his career he has worked with artists such as Amy Winehouse, ABBA, Rihanna, Sam Smith, and The Rolling Stones. Grainge has been in the music business for his entire career and in 2013, 2015, and 2016 he topped Billboard’s magazine “Power 100” list as the most powerful person in the music business (the first to ever win this award

The music industry has undergone radical changes since the end of the 1990’s, largely a function of the internet and its effects on sales and copyright. Besides placing artists and their music on the world stage, the internet also permitted the downloading of music from free-file- exchange networks. A parallel and equally worrisome, phenomenon is record pirating, a practice made easier by the proliferation of CD burners and access to high speed internet. Unauthorized downloading and pirating circumvent intellectual property laws and result in reduced sales. “In Atlantic Canada, average annual household expenditures on CDs and audio cassettes dropped by 27 percent between 1996 and 2001, from $96.00 to $70.00.”

I learned a great deal this week about the music industry and the various events and innovations that over time contributed toward the shaping of American music into the “business” that it is today. The chapter “The Six Life Stages of the Music Industry” allowed me to gain a broader understanding of how and why such events occurred, and what underlying factors precipitated them. In particular, I found the impact of MTV on the music industry enlightening, as while I was aware of the profound effect it had on dance, I had never really considered the impact that it had on music in that it essentially ushered in today's trend of “making” stars based on looks and appearance as opposed to genuine talent. The experiment performed in the documentary

Ever long for the good ol’ days of music? If so, Postmodern Jukebox (PMJ) can take you back to whenever those glory days might have been. Imagined and created by Scott Bradlee, a trained jazz pianist, PMJ takes popular music from today or the recent past and remakes it in all kinds of vintage genres, from 30’s jazz, to Motown, to bluegrass hoedown. The group consists of around forty artists, many of whom are classically trained, that put out weekly videos featuring any various combination of them at a time. These videos are put up on their Youtube channel and regularly gain millions of views each. Because of their internet inception, PMJ has bypassed the existing music industry almost entirely, and, in spite of that, has been able to remain profitable through producing music. This is unique indeed, as even artists that sign on with major label companies are often left in the red. This paper will analyze PMJ’s method for achieving success outside of the traditional music industry, will look at how their music fits in the broader landscape of popular music, and will show that their approach to producing music is a good, reproducible model for other artists to follow.

These given 3 graphs below show what kind of music albums that people purchased in Britain according to sex and age.

A more balanced approach is required when seeking to understand the relationship between the corporate music industry and the consumers which it supplies. Firstly if there is no commodity and no demand the industry would die. Secondly all industry at a micro level includes individuals of differing values working together for a common good. Keith Negus concurs in stating that the work of the people within the industry should not be dismissed as the activities of automated cogs in a machine. That the industry needs to be understood as both a commercial business driven by the pursuit of profit, and a site of creative human activity from which some very great popular music has come and continues to emerge (Negus 1996).

In this article, Peterson and Berger show how the organization of the popular music industry affects the music that America hears.

The music industry has been around for over two centuries (PBS). Its volatility can be measured by its ability to shift and change according to its time period, the technologies that arise through the ages and the public’s shift in musical taste. The music industry is comprised of many different components, organizations and individuals that operate within it. Some of these components include the artists who compose the music themselves, the producers that engineer the sounds created by the artists, the companies that handle distribution and promotion of the recorded music, the broadcasters of the music such as radio