The Is A Latin American Female Singer / Songwriter With The Goal

Her album of “Ven Conmigo” was the first Tejano record to achieve a gold record status, meaning it sold more than 500,000 copies, with A.B. III as the main songwriter for that album in the year 1990. Not surprising, she took the “Female Vocalist of the Year” again at the 1989 and 1990 Tejano Music Awards, and at the 1990 Tejano Music Awards she also won the “Female Entertainer of the Year”. Behar and Mario never thought Selena would sell so many records.

In our society today, there is a growing number of consumers using the Internet as a main source for music. The smaller music companies are having to come up with new and different ways to use the Internet to increase their sales. The music companies can drive there sales because so many people are previewing songs online by downloading it first. The artists are also able to capitalize on their music via the Internet. The Internet is capable of reaching all types of people all over the world. The music industry has been made

The negotiations take place at a critical time: the music market has seen a massive shift towards streaming and away from downloads. U.S. revenue from downloads -- which iTunes dominates -- dropped 1 percent to $2.8 billion in 2013, while streaming music revenue from the likes of Pandora and Spotify soared 39 percent to $1.4 billion, according to the Recording Industry Association of America (CBS News/AP, 2014).

Since the start of the annual Record Store Day there has been an obvious increase in vinyl sales. Anthony Schoettle informs that in 2007 one million vinyls were sold, however in 2015, sales jumped to nearly twelve million vinyls sold (24A). Within these eight years, vinyl has shown a staggering increase in sales. Even used vinyls are making a comeback. “Local music shop owners say used albums make up 40 percent to 60 percent of the records headed out the door” (Schoettle 24A). The knowledge that the vinyls being bought are vintage and that their sound is original and not autotuned must drive the sales. Along with vinyls’ sales increase, other music platforms have been decreasing in their sales. “CD sales, though, decreased 11 percent in 2015 and digital downloads were down 3 percent, according to Nielsen, while vinyl sales were up 30 percent” (Schoettle 24A). Vinyl is the only music platform that is growing; CDs and digital music have only been staying flat or decreasing in sales since vinyl started making its comeback. Overall, the vinyl industry is making a strong comeback and starting to blow other music platforms out of the water.

For instance, a musician could earn between 0.5 to 0.7 cents per stream that is $5000 to $7000 per million streams, which literally adds to nothing compared to what they might earn if they were to physically sell their albums. According to him, many popular streaming companies like Pandora and sportify are believed to be worth about $2 and $3 billion respectively but yet contributed very little to annual revenue of the American recording industry. (Ben Sisario, page 3). With this I personally believe and support the fact that online streaming did improve the musical system but as a result it also hurt sales. All the three articles were focused on one main concern-how streaming has hurt sales and royalties to musicians, but each addressed it inherently different. Author James c. McKinley Jr. showed how these days the internet taken over music video that were used to be aired on MTV which was the main platform for many musicians and producers to promote and advertise their new albums. He added that due to this, musicians need to be extra creative with a comic idea, has to be telling a story or showing sexually fabricated images in order to attract much audience to repeatedly watch the video. One of the most significant impacts that the Internet had on the music industry conveyed by these articles is the ability of musicians to be creative

3-4). While these statistics provide a look into the numerical growth of the streaming industry, it is also important to discuss the power that these streaming services have generated—over both the music industry and over established/aspiring artists. Subscriptions are on the rise, having increased significantly over the past ten years, but as is the amount of users streaming music on a free-trial or ad-supported basis—ultimately undercutting the music industry and artists alike. Blewett and Gollogly (2017) elaborate on this point, stating that, by the end of 2016, paid music streaming subscriptions drove a revenue growth of 60.4%—this growth more than offsetting a “20.5% decline in downloads” and a “7.6% decline in physical revenue” (Blewett & Gollogly, 2017, para. 4). Moreover, Borja and Dieringer (2016) explore the concept of streaming even further in their academic article, positing that the decline in paid digital downloads may be a direct result of streaming—as, music streaming can be perceived as a “complement” for music piracy, in which listeners can freely sample music to pirate later on (Borja & Dieringer, 2016, p. 1). The authors also suggest that streaming can provide a “venue for discovering and listening to new releases”; and after completing their 1052 surveys, conclude that streaming increased the likelihood of piracy by

In 2000 the digital music was the next big thing in how consumers listen to music. The technological shift in music changed how the relationship is between the artists, recording companies, promoters and music stores on how they operate today. In the late 90’s and early 2000’s Peer-to-peer (P2P) networks allowed free exchange of music files with companies like Napster and Kazaa was a big step that allowed consumers to store large libraries of music. With the cost of hard drive space going down; it allowed for pocket-sized computers to store more information in a smaller space that open the door for apple to step in with the unveiling of the iPod and iTunes. These systems made it possible for storage and playback that gave consumers the

The music industry has changed in very quickly in so many ways it almost seems impossible. Thomas Edison recorded the first voice in 1877 and now we listen to hundreds of different types of music on devices that hold more information than the computers that sent the first astronaut to the moon. People have been getting music in tons of ways for the past hundred plus years and when the internet came into the picture, the music industry sky rocketed. People could get their own music out and be heard just by clicking a few measly buttons and using the internet to stream millions of songs with high speed. But even though the internet has helped the music industry by making it easier to distribute, advertise, and produce music, it still has its disadvantages.

Introduction: Setting the trend for the future, the distribution and consumption of recorded music transformed dramatically with the launching of Apple’s iTunes in 2001. The proliferation of online music subscription services and other music sharing services exerted a great pressure on the conventional music distribution business model. Combined with this transformation, piracy of digital music had a profound impact on the whole industry. These worsening conditions in the market place for recorded music forced both established and upcoming new artists to experiment with new ways of selling their music.

When speaking economically, the digital music sector of the international music industry is undoubtably the most important sector in the industry. Within the last decade, music has seen cardinal changes in the way both major and independent labels distribute their products. An industry that once relied on Payola 's and mass distribution of physical records and CD 's now relies heavily on the power of the internet. The first instance of mass distribution of music through the internet was by the service Ritmoteca.com in 1998 [1]. Ritmoteca had a library of over 300,000 songs, offering individual songs for 99 cents each and albums for $9.99. After signing distribution deals with many major music labels such as Warner

We listen to music and we continue to listen to a lot of it. While Americans streamed more than 164 billion on-demand tracks across audio and video platforms in 2014, they streamed 135 billion in the first half of 2015 alone – up more than 90% from the same period last year.

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.

Internet sales - Internet has become the fastest growing media for music distribution and many analyses expect that the downloading trends will continue to grow in a future. The success of Apple i tunes has show it is possible to sell download music over the internet with many customers willing to pay rather than download the music for free from such sources as KazaA, Morpheus and many more where legality is still a rather grey area. Selling music by internet download may be an area EMI may try to enter directly or through collaborations and increase market share.

The research compiled here will attempt primarily to answer the following questions for the layman: "What is digital music distribution and why is it significant?" "Who are the stakeholders in digital music distribution?" and "What are the primary drivers of the imminent changes in the music industry?" Formal reference material on this subject is in short supply. As a result, opinions, facts, and statements made by stakeholders and industry observers have been gathered from various articles published both in print and on the Internet will be quoted as sources.

After an incredibly successful 1990s, the onset of the 21st century brought with it the dotcom revolution and it signaled a watershed for the way music was consumed and distributed. The erstwhile unshakable music record companies were exposed to a new threat, online file sharing. According to the International Federation of the Phonographic Industry (IFPI), album sales grew from $24.1 billion in 1990 to $39.4 billion in 1996 and remained at a high level until 1999 after which it saw a downturn.