Itunes Analysis

The music industry is made of companies which produce and sell music. The music industry as we know it was solidified in the mid-twentieth century, where records succeeded sheet music as the primary product in the music business. Record companies were established, but did not last very long until the late 1980s when the “Big Six”, a group of multinational corporations consisting of Sony, MCA, WEA, Polygram, EMI, and BMG controlled most of the market. Initially there were five corporations (CBS and RCA (both now belonging to Sony), WEA, EMI, and Polygram) that had emerged in 1978 to own 60 per cent of the market. (Wallis and Malm, 1984, p. 81)

This case study about the Spotify business model allows a broader vision of what the digital music industry is. In a short time, many companies have developed and managed marked their territory in a highly competitive industry. The start-up Spotify has undergone a remarkable evolution in a financial point of view but also in terms of its popularity. Its various competitive benefits regarding the market leader and its respect for music labels have enabled the company to be renowned and to have a reputation in the real business. Today, five years after its creation, Spotify is certainly criticized in some aspects of

The popular music industry in the late 1990s was dominated by a small number of integrated corporations with headquarters in Europe, the United States and Japan. This music market starts simply with an artist and moves along through many steps to the consumer. Everything has its start when a musician presents his music to a music manager, and if he/she finds the music promising, a contract is signed between the two, recordings are made and a marketing plan is drafted for the

The major music-only stores such as Tower Records (which once wielded considerable influence in the industry) went bankrupt, replaced by box stores (such as Wal-Mart and Best Buy). Recording artists began to rely primarily on live performances and merchandise for their income, which in turn made them more dependent on music promoters such as Live Nation (which dominates tour promotion and owns a large number of music venues.)[6] In order to benefit from all of an artist 's income streams, record companies began to rely on the "360 deal", a new business relationship pioneered by Robbie Williams and EMI in 2007.[7] At the other extreme, record companies also used simple manufacturing and distribution deals, which gives a higher percentage to the artist, but does not cover the expense of marketing and promotion. Many newer artists no longer see any kind of "record deal" as an integral part of their business plan at all. Inexpensive recording hardware and software made it possible to create high quality music in a bedroom and distribute it over the internet to a worldwide audience.[8] This, in turn, caused problems for recording studios, record producers and audio engineers: the Los Angeles Times reported that, by 2009, as many as half of the recording facilities in that city had failed.[9] Consumers benefited enormously from the ease with which music can be shared from computer to computer, whether over the internet or by the exchange of

No one can deny that technology is actively changing the music industry. Production, distribution and sales of music have been affected dramatically within the last 10 years along with artists, composers, and technicians. Most of the changes have been great for consumers, but vastly negative for professionals in the music industry, however a few artists have found ways to adapt to the changing atmosphere of digitally downloaded music and use it to their advantage. We’ve seen music change form from physical, tangible products like records and CD’s to electronic single tracks stored in an invisible cloud. Two major factors in this sudden revolution are online music stores (specifically iTunes) and file sharing websites that allow music to be downloaded illegally.

Apple (NASDAQ:AAPL) is one of the world leaders in the research, development, marketing, sales and service of personal digital music & video devices, in addition to personal computers globally. Its' innovative music and digital content delivery service, iTunes, has sold over 1 billion songs to date. As of the close of their latest fiscal year the company generated $156B in Sales and generated a Gross Profit of $68B earning a Net Income of $41B (Apple Investor Relations, 2013). The intent of this analysis is to evaluate Apple's strengths, weaknesses, opportunities and threats (SWOT) and provide an analysis of each. The cause, impact and recommendations for each specific strength, weakness, opportunity and threat are provided along with an action plan of how to maximize strengths and opportunities and mitigate the effects of weaknesses and threats. The Apple brand is among the most valuable in the world and its ability to innovate with successive product generations unmatched, yet this has led to a high dependence on its iPhone and iPad platforms, to the exclusion of entirely new businesses. The Apple iTunes platform and ecosystem delivers 30% of all profits and a significant portion of overall revenue, making this single business a stabilizing force in their strategic product and services roadmap (Apple Investor Relations, 2013). Despite these challenges however Apple continues to attain

The music industry is an oligopoly. Since the late 1800’s people like Thomas Edison have been buying up patents in communication technology, forming monopolies, leading to a non-competitive entertainment industry. With only a handful of corporations controlling all aspects of acquisition, distribution and marketing of music, harsh business principles create an exploitative industry that takes the best of what artists have to offer and leaves many of them unable to support themselves. Beginning in the 1950’s with payola and white cover music and ultimately evolving into iTunes and Spotify, the music industry has grown into a billion dollar industry with far-reaching influence and control. Contracts rarely serve the artists’ best interest and many are left out to dry when their usefulness has expired.

ITunes created the first legitimate digital music store that competed with piracy. On April 28, 2003, Apple released the iTunes store. The music industry had finally an application to earn money from the sale of digital music, after years of suffering from the power of Napster and piracy. Steve Jobs created a new link between the artist and the customer. Indeed, instead of having to go to a store and

Over the past decade, the use of CDs has been replaced with online streaming and retailing. This has eliminated much of the record companies revenues as they were used to making most of their profit off of distribution and promotion of physical copies of artists albums (Niemen). This has caused for a major shift and remodeling of major players in the music industries business models. Companies such Sony, Warner Music Group and Universal Music Group have started to completely rethink the way they conduct business (Forbes). In the past record labels were not only responsible for production, distribution and promotion of an artist and his/her music, but they also acted as a bank (Forbes), funding the artists tours and recording sessions. Recently, these music giants have been moving towards becoming more of a modular network organization. What this means is that they are less occupied with the nitty gritty, and more focused on what they do best which is distribution and promotion. This also allows for more freedom of creativity for the artist as well as fairer split of profits (Forbes). This adaption of new business models clearly shows the versatility of the music industry in adapting to new times and technologies.

Despite Sony Entertainment’s success, due to a declining industry, Sony has been unable to sustain their profit margins from previous years. After an in-depth analysis of Sony Music Entertainment’s industry position and it’s rival competitors , along with an assessment of their internal and external environment, I have developed two recommendations that will increase Sony Music’s long-term profitability in the digital music industry. The following recommendations, derived from the addendums below, will

To be more specific, although it hurt the retailers, for the record companies the Internet is not necessarily threat in terms of cost structure. Manufacturing of CD and Manufacturing of CD booklet will be significantly reduced and distribution and sales, along with overhead and mailing costs will also decrease. Looking at the actions taken by the major record companies, some may survive and some may decline. BMG and Sony are the first movers to make vigorous efforts for the online market. BMG had invested $1 mill per year in to the World Wide Web by creating various websites even before the beginning of the online sales. With this BMG could attract the online customers beforehand. Also, Sony with its competitive downloadable music prices, digital kiosks and memory stick has been active to cope with the change occurred by the Internet. They signed agreements with other competition (BMG & Universal, Sony & Warner) and technology firms like Apple and Microsoft for more aggressive approach. Compared to these first movers, EMI was slow in reacting to the change.

EMI must implement new measures to increase its market share. It can also decrease its CD prices to compete with Universal Records. EMI has less market share because it has less hit recording artists and a smaller music catalog. EMI has several options to increase its prominence in the record industry. One of these solutions is for EMI to change its marketing mix. EMI can consider changing its product mix by offering more music geared toward group of people who have steadily increased the percentage of music they buy for the past ten years; consumers over the age of 40 (Kerin,2007). EMI can also cut cost involved with artists by dropping artists that do not produce, supply the market with high quality artists and increasing productivity. This in turn will also increase its market share. And of course, EMI can decrease the price of its CD's.

In the midst of the United States’ “dot com bubble” (years 1997-2000), there was a surge in technology that brought about file sharing and digital downloads. Threatening the survival of the music industry and introducing a unique set of challenges for the industry to overcome. To remain relevant in the new global market of digital music online, the music industry would have to evolve and change with the introduction of each new facet technology had to offer. The introduction of digitally compressed music files, so easily attainable for a small fee or downloaded legally (pirated) for free, made the music industry reevaluate how to make a profit and protect copyrights. Social media created a visible opportunity for both consumers and artists to maintain digital relationships while providing a platform for consumers to follow and discover new musicians and bands, naturally, making the internet a promotional medium for artists. As the corner record shops closed to make way for virtual storefronts and instant downloads; the internet, digital downloading, and social media made an enormous impact on the music industry that has changed the way consumers purchase, source, listen to, and produce music today.

Based on the background of “the era of the Digital lifestyle”, iTunes 3 target customers are;

Based on the background of “the era of the Digital lifestyle”, iTunes 3 target customers are;